XI was the sadist to my masochism.

We had g-chatted all day at work, but I had misunderstood his invitation to fuck in the office toilets, and missed my chance. By 6pm, I was all tingly and force-invited myself to his flat, despite his protests about him having band practice. I told him I just needed 45 minutes, to which he replied “only?”. I smiled as we boarded the 55.

I propped myself on the kitchen counter and he grabbed and parted my thighs. The sound of keys fiddling at the front door interrupted the beginning of what could’ve been an unusual fuck. His kitchen is not very clean.

We walk up to his room, he throws me on the bed and strips my tights and panties down. He likes the tan lines on my butt: they simulate little white knickers against the darkness of my sunned skin. He feigns trying to remove them and digs his nails into my flesh. I laugh.

He smokes a joint in silence. I know I am here only because I invited myself, only because the need to be fucked by him became unbearable. XI plays with me, makes me punchbag my own insecurities. I am almost in love with him, already enamoured by our fucking, and he knows it. It is too easy for him. He taunts me with his silence as I buzz around him like a needy child.

Lying on top of me, he looks me in the eyes and spits on my face. He licks my teeth. In one brisk thrust, he’s in me. He’s big, and it is always delicious when I am not completely wet yet. His eyes in mine, a harsh sultry look. His smell is intoxicating, a bitter mixture of sweat, sex, dirt and mdma. He rarely washes, but his stink exhilarates me and I lick his acrid armpits with delectation.

He always kept his black Oxfam-bought jeans on during sex, simply letting me unbuckle, unzip and pull out his dick from his boxers. The belt-buckle pricks my groin. I like it like that, especially if I’m completely naked under him. But that day, he only removed my tights and let my panties dangle around one foot. I was wearing a grey jersey dress. I suckle his tattoos.

He rolls me around and spanks me. The word ‘spank’ belies the intensity of his slaps. They’re painful, hard and fast, relentless on my bum cheeks. They burn and turn bright red, I can feel it even though I can’t contort enough to see. I relish the stings. I’m like a child in his lap. If I put my hand, he still slams down. He makes me feel small, because I am falling for him, a man who does not want a girl. He has told me so. Several times. I am still in denial.

I suck at the wedding ring tattoo on his hip.

I love it when he fucks my mouth, chokes me with his dick. I seek his crotch, he grabs my head and forces himself down my throat. My eyes tear a bit, but I enjoy the forcefulness of his thrusts. He moans as he rams himself in and out, pulling slightly at my hair. I don’t want to hurt him with my teeth, I perfect the hole, fill it with saliva so that he can groan louder. His dick is big and fervent, he grips at my head guiding himself deeper in my throat. I have to pull away when breathing becomes impossible. I have never allowed cum in my mouth, but I dabble with the thought of gagging with XI.

He throws me on my stomach and takes me from behind. If I clench inside, I can feel myself enveloping him. He’s slow in his thrusts. His hand presses down on my back, he tilts slightly to the right and pushes in slowly. He makes the most delicious sounds, grave moans from somewhere deep inside. I know the expression on his face behind me, the pout and the abandonment in his eyes. I don’t know if my eyes are open or closed, but I grip at the bedsheets. I suck and nibble the thumb he forces in my mouth….continued

XI and la gueule du monde is available at www.rashakahil.com

More of Laurent Croisier. Still as beautiful…
Also see:
pt.1
pt.2

Spanning a career that has lasted 30 years and credited as the pioneers of Electro Punk, EBM and Techno, Deutsch Amerikanische Freundschaft have stayed true to their initial approach and always stuck to the dark German underground from where they emerged. In conversation with one half of the duo – Robert Görl…

1. To mark your 30-year jubilee you reformed and toured again. I saw you live in London and felt that you still hit the zeitgeist just as much today. How do you see your own development, the scene’s and above all the music’s over the past three decades?

That we still hit the zeitgeist is of course flattering, I think it has something to do with our knack for originality and our pioneering work. It is often said that we were ahead of our time – that our style of music was copied by other bands – and even when imitated it was successful. We have never had anything to do with the general development of music, we stand for ourselves and that’s enough for us! 

2. The end of the 70′s, Punk, the beginnings of early electronic music. How did this evolve at the time, the fusion of guitars and electro? Did bands such as Kraftwerk play a role?

With Punk everything changed! Nobody wanted 70′s music anymore – it was not only the style of the music – also harder lyrics – this is what we liked! Kraftwerk was too harmless for us. We were into the Sex Pistols, but we didn’t want guitars anymore – we preferred the electronic. Electronic with live drums, so more or less EBM. I also have a weakness for good Pop music.

3.  Düsseldorf and Berlin were two German cities, which emanated immense musical creativity during this time. What do you think were the reasons for this and how did this develop over the years, from Punk to Industrial and later into Techno, especially within the scene that you were a part of? I ask this question because I come from Düsseldorf and have lived in Berlin and today see very little of what was once created there.

As I said before the reason for this was definitely Punk. At the same time there was also an uprising in the art world, “die Jungen Wilden” (“the wild youth”) and they were also into Punk, for example Beuys or Immendorff! Of course everything has moved on – today the majority of these kinds of people have adjusted, they are not wild and less creative! But in time this will also change again.

4. The Ratinger Hof, the SO36, today they are well-known but what did these venues stand for at the time? I went to Techno parties at the Ratinger Hof when I was a teenager. What I’m interested in is the scene at the end of the 70′s, beginning of the 80′s, and how it developed later, musically as well as socially.

We were always at the Ratinger Hof – that joint was like my second home. At the time I was essentially there every day – and it was in the damp cellar of that place that Gabi and I founded DAF.

5. “Du bist jung und Du bist stark, Nimm dir was du willst, Verschwende deine Jugend” (“You are young and you are strong, Take what you want, Waste your youth”). If the scene is looked at as a sub cultural movement, what did this track or rather the statement mean to you at the time?

This track is an absolute youth track – and we wanted youth to be lived out to the extreme or basically to be wasted!

6. What is the biggest misinterpretation about DAF? And how was DAF rightly or wrongly received in terms of fascist connotations?

That the media tried to pigeonhole DAF into the fascist corner never bothered us! We just thought it was strange how stupid the media were!

7.  What was your experience of leaving Germany and moving to Mute Records in the UK, and your collaboration with Daniel Miller?

England was a big adventure for us – we went there without any money. We had this idea that our music would be viewed in a better or more neutral way there, and this was the case. The British Media loved us a lot – that’s no exaggeration. D. Miller more or less discovered us on the street and really wanted to produce our music.

8. Did you suddenly feel a bit naked or exposed alone as just the two of you? How did you approach this minimal presence, this new appearance?

As a duo, Gabi and I found our vocation – the fact that there were five of us at the beginning, then four was of developmental importance, but no more than that. Gabi and I worked towards the realisation of us a duo from the first minute we founded DAF. The very first DAF rehearsal was also as a DUO – in the cellar of the Ratinger Hof.

9. What was your relationship with the other bands at the time, for example Liaisons Dangereuses, Mania D and the local Punk bands? What or who inspired you then, and today?

We hardly had any contact with other bands, we were much too busy with our own music. Of course we new Malaria, Liaisons Dangereuses and a lot of the others. Inspiring for us was the Punk movement, however we had our own ideas about how we wanted to sound – unlike many Punk bands we were interested in synthesizers and not guitars, even if we initially had a guitarist. Even today it’s like this – I can only be creative when I concentrate fully on myself and not on others. Our main focus has always been originality, things that already exist are not our thing.

10. What is your take on the music scene nowadays, do you think that subcultures exist in the same way?

The music scene today is as it always has been, beaten down by commercial music formats – I have the feeling now more than ever. Since when has the subculture had it easy? The club landscape will always be the home of the subculture. Thankfully!
 

A) 032c x SLAVS & TATARS Summer Tour: Moscow Zurich WARSAW New York

SLAVS & TATARS will present 79/89/09, an intimate visual, oral, and written study of two key dates – 1979 and 1989 – in order to better understand our current environment in 2009. Commissioned by 032c, the first installment of this project discusses the events of Tehran in 1979. Considered to be the second most important date of the 20th century after the 1917 Russian Revolution, the revolution of 1979 has similarly shaped both global ideological issues (Islam’s confrontation with modernity) and regional concerns (the Middle East) over the past 30 years and beyond. An exploration of contemporary archives and documents, the talk collides the intimacies of recollection with the polemics of politics across themes such as monobrows, monotheism, The Beach Boys, and mirror mosaics.

79/89/09 was first presented at Moscow’s Triumph Gallery in April, followed by Zurich’s Corner College in June, before making its way to the MUSEUM OF MODERN ART in WARSAW on July 18th, moderated by Agnieszka Kurant. Tehran 1979 is currently featured in 032c’s summer issue (17), and the project’s second installment – the events of 1989 in Eastern Europe- will be printed in the upcoming winter issue. 79/89/09 will also be exhibited in an 032c group show at the new Goethe Institut in New York this autumn.

SATURDAY, 18.07, 20:00 @ MUSEUM OF MODERN ART in WARSAW,
ul. Pańska 3, 00-124 Warsaw, Poland

www.slavsandtatars.com

B) SOCIÉTÉ DE 032c x SANG BLEU, 24.07., Berlin

In HONOR of Maxime Buechi, editor-in-chief of Sang Bleu magazine, SOCIÉTÉ DE 032c opens an APERITIVO BAR. Although a cursory survey reveals that there are zero-tattoo and zero-body modifications within the 032c gang, we are, however, big fans of the exciting new publication, SANG BLEU. Rejecting the usual categorizations and segmentations of contemporary culture and style, Sang Bleu determines to fuse Art, Fashion, Sociology, Literature – and more unexpectedly -Tattooing, Body Modification or Fetish to create a carefully composed image of modern urban societies and individuals.

FRIDAY, 24.07., 19:00 – 22:00 @ 032c WORKSHOP, Kleine Kurstr.1
(terrace), BERLIN-MITTE (subway: Spittelmarkt/U2)

www.sangbleu.com

C) DOIN’ IT

Please SEND us pictures of you reading 032c on your summer holidays for a new section. Please FOLLOW us on www.twitter.com/032c Danke!

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032c workshop, Kleine Kurstr.1, 10117 Berlin, Germany

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Body Snatcher

It’s the morning after a night before that involved six hours of wine tasting at the bar down the road where she works and Gemma Slack is feeling it. “As if I know what a vanilla bouquet is,” groans the 23-yr-old womenswear designer, staring into her black coffee as we sit down to talk at The Old Shoreditch Station. But if Slack is hung over you could never guess. Her raven crop, slashed black eyeliner, alabaster skin and wide smile framed in vivid red lipstick tell a different story.

Raised in Pitsmoor, an area she describes as “like the Brixton of Sheffield,” Gemma Slack moved south to do a foundation year in fine art at the Chelsea College of Art and Design. Her sculptural fixation with the human form emerged early on and when a tutor introduced the idea of swapping to fashion for her degree course, she applied to the London College of Fashion to study womenswear. “I was told you don’t just have to make pretty dresses and jeans,” she says. “So I went there and couldn’t sew, couldn’t pattern cut or anything. How the hell I got on the course I don’t know. My portfolio of work was stapled together at the back instead of stitched. Fashion had always been on my radar so it was a natural progression for me. I just never though of it as a job I could do.”

The body is a constant theme in her work, inspiring both silhouette and materials. From the armour-like spine and ribcage protection in the most recent collection to the flowing human hair shoulder pieces in her debut show. An obsession with tough physiological structures like muscle and bone that compliments her love of leathers and hardware – if not her vegetarianism. But then she manages to live above a butcher’s shop in Dalston. “I had one person stand in front of me wearing a full fur coat tell me that using human hair was repulsive,” say Slack. “I would never use fur, or even synthetic fur. Leather is different, I fell in love with leather years ago and no other material can be manipulated in the same way. But hair is a waste product. We cut it and throw it away. Another person said it made them feel sick. It amazes people have such a strong reaction. I never set out to achieve that but I like it. I just wanted to harness the way hair moves as a material.”

For her autumn/winter 2009/10 show Slack looked to the overlap of science and religion for inspiration. Building her racy aesthetic on the concept of protection as something symbolic rather functional. Encasing the models in zipped leather micro dresses with articulated back plates, body-con all-in-ones with taped smoke print panels, padded sci-fi leather gilets and BDSM-inspired face masks. Clinging modern fabrics offset with rough-hewn leather showpieces and heavy metal hardware. Monochrome shades and natural flesh tones dominated the colour palette. “Hardcore fetishists would look at it and think it was too floaty,” says Slack. “But it’s more about empowerment and maybe my own fetishes to do with leather. Sex is a natural part of everything. It’s about being sexy for you. That’s the most attractive thing anyway.”

Despite the hangover Slack is looking forward to working at the bar again later. She enjoys learning new techniques at home, getting on with her new collection and hanging out in Dalston’s hair shops coveting the wigs. Her only concession to thoughts of fame is hoping to see Siouxsie Soux or Marilyn Manson wear her clothes. In the meantime she’ll make do with celebrity endorsement in the form of Roisin Murphy. Spotted wearing the infamous hair-shouldered jacket at London Fashion Week. “That picture was really good,” laughs Slack. ‘And it’s probably the only opportunity I’ll ever have to get into Heat magazine.”

Ben PERDUE

Ben Wullepit’s hand. Hope. Absolutely.

the feeling that what is wanted can be had or that events will turn out for the best.

A lot more of Ben in the next week or 2…

for the love and faithfulness