“Recognise and strengthen club culture as part of Berlin”
The Berlin Senate of the German capital, has stated that Berlin clubs should be better protected against oppression. In doing so the Senate has declared that clubs should be recognised as cultural sites. This is evident by a government application from the SPD, Left and Greens.
Club culture is a cultural asset which played a major role in shaping social, cultural and economic life in Berlin. Berlin clubs generate billions of dollars in annual revenue for the city, building connections to places and drawing global tourism. Club culture also enriches the cultural landscape of Berlin far beyond the pure “entertainment culture”. They create identity, are open spaces or even shelters for marginalised groups and intervene in urban politics. They make Berlin a city worth living in, with many people from different social and cultural backgrounds with values that stand for diversity and tolerance.
On June 12th, the government factions submitted an application to honour them, but also to protect them. Clubs worthy of protection are those which “have regular game play and a recognised artistic profile, which is characterised by a curated program, music aesthetic standards and a spatial concept,” it says.
According to the application, new building projects in the country should take clubs into account and builders themselves should provide noise protection in case of doubt.
“In addition to the current corona restrictions, these clubs are increasingly threatened in their existence due to competition in use,” states the application paper.
In particular, the rising commercial rents and crowding out by approaching residential buildings are a problem. The parliamentary groups also spoke out in favour of strengthening the country’s noise protection fund and also highlight the international appeal of the program.
The club scene association and the “parliamentary forum for club culture and nightlife”, an association of members of the five parliamentary groups Bündnis 90 / DIE GRÜNEN, SPD, DIE LINKE, FDP and CDU, have been promoting clubs in terms of building law for cultural purposes for a long time to be classified as places of amusement.
Clubcommission Berlin welcomes the decision:
“We are very happy about the confirmation of club culture that made the city of Berlin so significant and colourful. We curate our programs as well as opera houses or theatres and are therefore also cultural companies. Densification, advancing housing developments and real estate speculation are a sword of Damocles that we club operators can usually not avert on their own. With its clearly defined mandate to consider clubs as cultural facilities in urban planning in the future and to apply the agent-of-change principle, the Senate is sending a clear signal in the fight against the displacement of our venues. We are particularly pleased about the planned Federal Council initiative, in which Berlin will campaign for a reform of the Building Usage Ordinance and for the recognition of clubs at the federal level. “
Nyshka Chandran writes for Resident Advisor on how it’s time to get yourself acquainted with resident DJ’s.
The pandemic has devastated nightlife across the globe but as the sector recovers in parts of East Asia, a healthier ecosystem is poised to emerge.Across East Asia’s dance music communities, it’s no secret that overseas artists draw a bigger crowd than regular club nights. Organizers strive to balance the ratio of international and local artists at events, but the average clubber is more likely to buy a ticket if a popular European or American name is playing. COVID-19 could change this dynamic.
After a year of hard work and close collaboration we are excited to share the official report of The Creative Footprint (CFP), Tokyo edition. CFP is a sociocultural initiative which maps and indexes creative space to measure the impact of nightlife and cultural activity on cities.
The CFP Tokyo report has been completed at a crucial time in the development of Tokyo’s nighttime industry. With the survey conducted during 2019, the resulting study can now provide a point of comparison in understanding and measuring the impact of the global pandemic on the strength and potential of Tokyo’s cultural activity after dark.
The study also includes detailed recommendations to support and enrich this cultural activity, the implementation of which will prove more important than ever during the coming months and years of recovery.
Nighttime industries worldwide are in a particularly vulnerable position due to COVID-19 measures; with so many businesses unable to reopen, many of the ‘creative spaces’ that CFP seeks to document are at risk of disappearing for good. Detailed surveys of these spaces are an essential first step in developing plans for their recovery, and ongoing survival.
As many global cities embark on a process of cautious reopening, there is a unique opportunity for a ‘reset’ in thinking and tactics of both governments and nighttime industry stakeholders. With initiatives like Creative Footprint Tokyo, and The Global Nighttime Recovery Plan, Vibelab hopes to empower cities to seize this opportunity, and ensure the survival and growth of their nighttime industries and creative cultures.
Please download the study by signing up here (pdf, 14,9 MB)
Chal Ravens writes for The Guardian about the virtues of Bandcamp.
After speaking to Founder Ethan Diamond, the ” CEO of Bandcamp about what it means to put artists before listeners, and how Bandcamp became the rarest of Silicon Valley stories; a slow burn success.
“They waive their fees, raise cash for Juneteenth and champion everything from vapourware to eco-grime.
‘Artists have to come first’ … Ethan Diamond, founder of Bandcamp.
“A lot of independent labels waived their fees as well. Some gave to food banks and other organisations. Those labels aren’t big corporations … that was amazing to see”
In some countries, clubs are cautiously reopening. In others, people are hitting up illegal raves. Gabriel Szatan explores what the dance music landscape will look like in the immediate aftermath of coronavirus.
“Everywhere you look, clubland is thawing and green shoots of recovery are sprouting.”
Since its launch back in March 2020, international live-streaming channel UNITED WE STREAM has turned into something of a phenomenon.
The national series of events will be powered by Electronic Music Conference and Sounds Australia, United We Stream Australia is set to highlight the diversity of electronic music culture in Australia.
EMC Director Jane Slingo said, “By initiating a collaboration within the Australian electronic music community of artists; promoters; venues; clubs and supporting partners, United We Stream Australia fosters solidarity between the various scenes that drive electronic music and club culture nationally. Australia has so many amazing scenes that each have their own flavour and it’s exciting to be a part of this global movement to highlight the wonderful diversity of electronic music culture in this country.”
For more information read the article in Purple Sneakers
Follow & attend the virtual event on United We Stream Australia on Facebook
Vivian Lee, writes for the New York Times on whether nightlight in Lebanon’s capital can withstand the pandemic.
In Beirut a night out is considered a “sacred right, due to a point of pride, the party has never stopped,” even throughout the 25 years of civil war, the summer of 2006 (where war erupted between Hezbollah and Israel), and last autumn anti government protests the bars and clubs remained open.
However. “the bar hopping neighborhood of Mar Mikhaël, which used to vibrate with the clip-clop of high heels and the car-stereo beat of Western and Arabic music every night from Tuesday to Saturday — and sometimes Sundays and Mondays, too — went mute”
“When you live in a place where nothing is stable and the ground is shaking under you all the time, you live in a state of urgency,” said Charbel Haber, 41, a musician, giving the usual explanation for why the nights here can go on for days. “You have to live in the moment.”
Although Lebanon as a whole appears to have dodged a mass outbreak, “the government is starting to announce a staggered reopening for businesses in the coming weeks, yet not all will be able to come back. Due to the fact that the Lebanese pound buys less than half of what it used to, imports and drinks will cost more”.
Concerned club owner: “Joe Mourani, the owner of Ballroom Blitz, a popular alternative electronic-music nightclub, found it harder to foresee when people would dance in a crowd again. Clubbing, it’s really all about proximity,” Mr. Mourani said. “It’s the opposite of social distancing.”
Milan club Social Music City has offered its space to be used by Italian emergency services until the end of April.
In a statement released this week, it was revealed that the club’s 20,000 square meters would be made available to emergency services in the midst of the coronavirus pandemic, which much of the space being modified into accommodation for
Following the closure of nightclubs across the world, business owners have turned to live streaming. Business Insider Australia spoke to One Six One and Poof Doof about their new live-streaming initiatives.
“Jane Slingo, executive producer of Australia’s Electronic Music Conference, and a board member of Music NSW, told Business Insider Australia via email it was “fantastic” to see the community so motivated and quick to keep their creativity alive online.”
“By nature, those in the electronic music community are digital natives,” she said. “In this part of the music sector there’s already a history of live streamed events well before COVID-19 – global streamed events from the likes of Boiler Room, Cercle, Worldwide FM events. So it’s not surprising how quickly DJs and club nights have made a significant imprint on our feeds as life moves more permanently to online.”
In an article in the New York Times, Brett Sokol catches up with some of America’s noncommercial, community radio programmers, who have been forced into hastily improvising a response to the growing spread of Covid-19.
Local stations have cut down on D.J.s coming to the studio, but playlists and personalities are holding strong as small stations get a chance to build bigger audiences.
“This is the situation that so many broadcasters dream of!” said Ken Freedman, the station manager and program director at WFMU. “You have a global, captive audience, and everyone can share and commiserate their experiences. But it’s not safe to go to the station!”
Matthew Dunn of WOMR : “As much as anything else, this is an opportunity to spread joy at a time when people really need it,” he said. “We’ve had some things taken away from us, but radio is not one of them.”