The Discourse of The Drinkers

Photo of Berlin Club, 1920s. From exhibition catalogue: Eldorado: Homosexuelle Frauen und Männer in Berlin 1850–1950: Geschichte, Alltag<br />
und Kultur, Berlin, Fröhlich und Kaufmann, 1984.

Photo of Berlin Club, 1920s. From exhibition catalogue: Eldorado: Homosexuelle Frauen und Männer in Berlin 1850–1950: Geschichte, Alltag
und Kultur, Berlin, Fröhlich und Kaufmann, 1984.

Prologue

Good friends, our Readers, who peruse this Book,

Be not offended, whilst on it you look:

Denude yourselves of all depraved affection,

For it contains no badness, nor infection:

‘Tis true that it brings forth to you no birth

Of any value, but in point of mirth;

Thinking therefore how sorrow might your mind

Consume, we could no apter subject find;

One inch of joy surmounts of grief a span;

Because to laugh is proper to the man.

Text extract from Rabelais, François, (ca 1494-1553): The histories of Gargantua and Pantagruel by François Rabelais ; translated by J. M. Cohen (1955), pg. 40.

Viagra

Welcome onboard this k-hole airline flight 1.5 1000 to Margarita.
 While you are getting comfortable in the cabin this is a reminder that your entire package must fit securely inside the person in front of you. Before our departure please make sure that your seats are in the upright position and tray tables are stowed. 
Also please be aware that this is a smoking cabin, and smoking and drug-taking is encouraged in the designated lavatory areas. Ladies and gentlemen, we are now cruising!

Transcription from The Real Housewifes of Neukölln, Trash Drag Show S2 Finale: Tschüssi to the Club featuring Collapsella, Fanny, Cheryl, Marquis de Shade, Viagra Falls & Lady Bite, at the Club, Berlin, 24 Feb 2017.

what is going on and why is it eating everything – are you succulent, pig? (FULL MOON LEECH PARTY, Caspar Heinemann)

what is going on and why is it eating everything – are you succulent, pig? (FULL MOON LEECH PARTY, Caspar Heinemann)

Of the Genealogy and Antiquity of the us

For knowledge of the genealogy and of the antiquity of our descent, we refer you to our great Chronicle, from which you will learn at greater length how we were born into this world. Do not take it amiss, therefore, if for the moment we pass this over, though it is such an attractive subject that the more often it were gone over the better it would please you. For which fact you have the authority of Plato in his Philebus and his Gorgias, and of Horace, who says that there are some things—and these are no doubt of that kind—that become more delightful with each repetition. 


Would to God that everyone had as certain knowledge of his genealogy, from Noah’s ark to the present age! We think there are many to-day among the Emperors, Kings, Dukes, Princes, and Popes of this world whose ancestors were mere peelers of pardons and firewood; as, on the contrary, there are many almshouse beggars—poor, suffering wretches—who are descended from the blood and lineage of great Kings and Emperors; which seems likely enough when we consider the amazing transferences of crowns and empires throughout history to the present day.


And to give you some information about ourselves, who address you, believe that we are descended from some wealthy kings or queens of the olden days. For you have never met any persons with greater desire to be kings and queens or to be rich than we have, so that we may entertain liberally, do no work, have no worries, and plentifully reward our friends, as well as all worthy and learned men and women. But we comfort ourselves with one thought, that in the other world we shall have this, and greater still than at present we dare wish. So console yourselves in your misfortunes too, with as good thoughts or better, and drink lustily if you can get the liquor. 


Now return to our muttons, let us say that by the sovereign gift of heavens, this genealogy was found by a passer by in a park near Neukölln, below an oak tree, on the way to Hermannplatz. Here, as they were cleaning the ditches, the diggers struck with their picks against a great tomb of bronze, so immeasurably long that they never found the end of it. For it stuck out too far into the sluices of the Spree. Opening this tomb at a certain place which was sealed on the top with the sign of a goblet, around which was inscribed in Etruscan letters, HIC BIBITUR, they found nine flagons, arranged after the fashion of skittles; and beneath the middle flagon lay a great, greasy, grand, grey, pretty, little, mouldy Book, which smelt more strongly but not more sweetly than roses. In this Book was found the said genealogy, written at length in a chancery hand, not on paper, nor on parchment, nor on wax, but on elm-bark, so worn however by old age that scarcely three letters could be read.


Unworthy though we are, we were called in to inspect it and, with much help from our spectacles, following the art by which letters can be read that are not apparent—as Aristotle teaches—we translated it, as you may see if you drink to your hearts desire and read the dreadful and horrific acts of us. 


At the end of the Book was a little treatise entitled A Galimatia of extravagant Conceits. The rats and moths, or—to be more truthful—some other venomous vermin, had nibbled off the opening; but the rest we have put down, out of reverence for antiquity.

Text modified by Annika Larsson, original text: Rabelais, François, (ca 1494-1553): The histories of Gargantua and Pantagruel / y François Rabelais ; translated by J. M. Cohen (1955), pg. 41-42.

Photo of owner Betty inside the front window of the Mint Bar, early 1970s (photo courtesy: Josie Carter, via Jamie Taylor). Opening in 1949 on State Street in downtown, the Mint Bar had one of the longest histories of a gay bar in the Milwaukee area. When the $53 millionmulti-block Bradley Center project (a new sports and entertainment<br />
arena) was proposed in 1985, it was one of seven properties acquired for the site, and sold for just $92,900.

Photo of owner Betty inside the front window of the Mint Bar, early 1970s (photo courtesy: Josie Carter, via Jamie Taylor). Opening in 1949 on State Street in downtown, the Mint Bar had one of the longest histories of a gay bar in the Milwaukee area. When the $53 millionmulti-block Bradley Center project (a new sports and entertainment
arena) was proposed in 1985, it was one of seven properties acquired for the site, and sold for just $92,900.

A Galimatia of extravagant Conceits, found in an ancient Monument

Cheryl came from Brooklyn NYC

Hitchhiked her way across the open sea

Clutched her pearls along the way

Divorce papers signed and then she was free

She said hey babe, you wanna fuck in the dark room?

She said hey, hun, you wanna fist in the dark room?

Collapsella came from San Marino

For the camera she was a dirty hobag

But she never broke her pose

No matter how much was up her nose

She said hey babe, you wanna fuck in the dark room?

She said, shut up, you wanna fuck in the dark room?

And the queens go

Doo doo doo doo doo doo doo doo doo

Doo doo doo doo doo doo doo doo doo

Doo doo doo doo doo doo doo doo doo

Doo doo doo doo doo doo doo doo doo

Doo doo doo doo doo doo doo doo doo

Doo doo doo doo doo doo doo doo doo

Doo doo doo doo doo doo doo doo doo doo

Viagra Falls always gave it away

Some kake, some speed, as long as you were gay

A line here, a line there

Berlin City is the place where they said:

Hey babe, you wanna fuck in the dark room?

Hey slut, you wanna fuck in the dark room?

Marquis de Shade was always into pain

She’d make you beg, and then she’d whip you again

Went to the Labratory

Boy, I could tell you stories

She said, hey sugar, wanna fuck in the dark room?

She said, hey pig, I’ll chain you up in the dark room. Bitch.

Ida Entity was high off her face

Thought she was riding a ship in space

She liked the girls, she liked the boys

She liked to use a lot of toys

She said hey babe, you wanna fuck in the dark room?

She said, hey stranger, you wanna play in the dark room?

Fanny had the most beautiful legs

The men would get onto their knees and beg

Her moves would knock you to the floor

And once you’re there, she would say

Hey babe, you wanna fuck in the dark room?

She said, hey sailor, join me in the dark room?
And the queens go

Doo doo doo doo doo doo doo doo doo

Doo doo doo doo doo doo doo doo doo

Doo doo doo doo doo doo doo doo doo

Doo doo doo doo doo doo doo doo doo

Doo doo doo doo doo doo doo doo doo

Doo doo doo doo doo doo doo doo doo

Doo doo doo doo doo doo doo doo doo doo

Song »Fuck in the Darkroom«, Lyrics by Alex Lee, performed by The Real Housewives of Neukölln, Trash Drag show FRRRUITY, Rosis Bar, Berlin, 27 May 2017.

Painting by Eduard von Grützner (1846–1925), Monk With A Wine, oil on canvas.

Painting by Eduard von Grützner (1846–1925), Monk With A Wine, oil on canvas.

The Discourse of the Drinkers

Draw!—Pass it over!—Fill it up!—A mixture!—Give it to me without some water, like that, my friend.—Toss me off that glass, neatly.—Draw me some claret, a brimming glass.—An end to thirst!—False fever, will you not begone?—God bless me, my dear, I can’t get my gullet working.—You’ve caught a chill, old girl.—You’re right.

…lets talk of drink […]—Which came first, drinking or thirst?—Thirst. For who could have drunk without a thirst in the time of innocence?—Drinking, for privatio praesupponit habitum (a lack can only be defined if there has been previous possession). I’m a Latinist. Foecundi calicoes quem fecere disertum? (Whom has the flowing bowl not made eloquent?) We poor innocents drink only too much with no thirst.—As I’m a sinner, I never drink without a thirst, if not a present thirst a future one. I forestall it you see. I drink for the thirst to come. I drink eternally. For me eternity lies in drinking, and drinking in eternity.—Let’s have a song, lets have a drink, lets’s catch! Where is my tuning-fork?—What! I only drink by proxy.—Do you wet your guts to dry them, or dry your guts to wet them?—I don’t understand the theory, but I help myself out by the practice.—Enough!—I moisten my lips, I wet my thirst, and I gulp it up, all for the fear of dying.—Drink all the time and you’ll never die.—If I don’t drink, I’m high and dry, as good as dead. My soul will fly off to some frog-pond.

Text modified by Annika Larsson / original text: François, (ca1494-1553): The histories of Gargantua and Pantagruel / y François Rabelais ; translated by J. M. Cohen (1955), pg. 48-50.

Video-still (Josip) from The discourse of the Drinkers by Annika Larsson (2017).

Video-still (Josip) from The discourse of the Drinkers by Annika Larsson (2017).

The old pond—a frog jumps in, kerplunk!
Hard road! I walked till both feet stunk—
Ma! Ma! Whatcha doing on that bed?
Pa! Pa! what hole you hide your head?

Left home got work down town today
Sold coke, got busted looking gay
Day dream, I acted like a clunk
Th’old pond—a frog jumps in, kerplunk!

Got hitched, I bought a frying pan
Fried eggs, my wife eats like a man
Won’t cook, her oatmeal tastes like funk
Th’old pond—a frog jumps in, kerplunk!

Eat shit exactly what she said
Drink wine, it goes right down my head
Fucked up, they all yelled I was drunk
Th’old pond—a frog jumps in, kerplunk!

Saw God at six o’ clock tonight
Flop house, I think I’ll start a fight
Head ache like both my eyeballs shrunk
Th’old pond—a frog jumps in, kerplunk!

Poem Old Pond by Allen Ginsburg, August 22, 1978

Video-still (Dani) from The discourse of the Drinkers by Annika Larsson (2017).

Video-still (Dani) from The discourse of the Drinkers by Annika Larsson (2017).

A

Ich liebe sie. (lachen) Wenn ich nicht schwul wäre, würde ich dich anmachen.

B

Du billige Schlampe. Ein paar Komplimente und dann bist du bereit.

A

Ich weiß, ich war nicht teuer.

C

Aber 38, du siehst gut aus wirklich.

A

Dankeschön.

C

Ja.

A

Du auch. Für 30, du siehst auch sehr jung aus.

C

Danke danke.

A

Er sieht alt aus. (lachen)

C

Wie alt bist du?

B

35!

C

Auch super.

A

Wir kamen zusammen hierher.

B

Ja..

C

Aber..

B

Wir haben uns auf Gran Canaria, ich komme aus Gran Canaria…

A

Ich habe..

C

Aber aber..

A

Ich komme aus Kroatien.

C

Du bist zusammen auch? Freund und Freund oder nur Freunde?

A

Nein. Wir sind sehr gute Freunde.

B

Ja seit langer Zeit.

A

Ich habe in Gran Canaria gelebt /Ja / Ich war in Barcelona und dann habe ich gesagt ay Barcelona, so viel Stress, so viel Mode, so viel Scheiße / Meinst du / Jaa.. mag ich nicht so. Und dann habe ich gesagt, ich habe kein Lust auf Winter, ich habe keine Lust…

C

Und dann kommst du nach Berlin?

A

Ne ne ne , dann bin ich nach Gran Canaria, dann habe ich gesagt, da war Oktober, da habe ich gesagt »Scheiß auf Arbeit, scheiß auf alles!« ich geh nach Gran Canaria. Da gibt’s keinen Winter / Ja / und dann mal sehen was ich mache mit meinem Leben. Und dann habe ich…

B

Und dann hat er dieses Stück… mich kennengelernt (lacht)

C

Aber warum jetzt Berlin?

A

Und dann war ich 4 Jahre da.

C

Aber hier ist wirklich Winter. Warum Berlin jetzt?

A

Und ich hab dann angefangen zu recyceln. Aber Recycling zum Ficken ist ist nicht gut.

C

Aber da gibt es wirklich auch so einen Gaypride oder? In Gran Canaria?

A

Jaaa Touristen.. Ich hatte so ein T-Shirt »No tourist«. Weil… Ich find das nicht so spannend. Ich find das immer so spannend weißt du, so mit Leuten zu ficken, die man dann gar nicht kennt und vielleicht kann ja mal daraus was interessantes werden. (Pause) Und was machst du in Berlin?

C

Wohnen. (A lacht) Wohnen.. Arbeiten…

A

Wohnen, ficken, masturbieren. (B lacht).

C

Alle ja. Gerne.

B

Alle zusammen heute auch.

A

Alles zusammen.

C

Alles zusammen.

A

Mit wem? Bist du lesbisch?

C

Nein (lacht) Seh ich aus wie lesbisch?

A

Nein.

C

Nein.

B

Wie sehen lesbisch aus?

C

Ich habe einen Freund.

A

Ja?

C

Ja.

A

Wer ist er?

B

Ist er hier?

C

Matthias. Nein, er ist nicht hier.

A

Hat er einen großen Schwanz?

C

Er sieht aus wie schwul.

A

Echt?

C

Ja alle… Aber das ist ein ähm äh threesome.

A

Oh sehr interessant.

B

Polyamor.

C

Ja.

A

Polylove.

C

Ja.

A

Achso okay. (Unverständlich / Pause)

B

Bist du lesbisch?

D

Vielleicht.. (alle lachen)

A

Du siehst ein bisschen lesbisch aus. (Alle lachen) Ich habe eine lesbische Freundin. (Pause)

B

Ich habe eine lesbische Schwester.

A

Und zwei Cousinen.

D

Das war ein Witz.

A

Bist du nicht? Ahh..

B

Ist das wichtig? Ist das überhaupt wichtig?

A

Nein, aber interessant. Das ist nicht wichtig.

C

Aber warum?

B

Ist es überhaupt wichtig?

C

Genau.

A

Es ist nur eine Information.

B

Ja genau. Woher kommst du?

A

Wo kommst du her?

C

Schweden.

A

Auch?

C

Ja klar.

A

So klar ist das auch nicht.

C

Wir sind ein Team. Sie arbeitet nur mit Schweden.

A

Es gibt auch Teams, die aus Schweden und Simbabwe bestehen.

C

Du auch ne?

E

Ja ja, ich bin Schwedin.

A

Aha… (unverständlich)

A

Holland, Spanien, Kroatien, Schweden…

C

Frankreich und Deutsches.

A

Sehr interessant. Und der Blonde? Wo kommt der her?

C

Ja Deutschland.

A

Deutschland?

C

Aber du fickst immer noch gern?

A

Ach weißt du, ich bin schon 38.

C

Das ist doch egal.

A

Irgendwann ist der Libido dann nicht mehr so groß.

C

(lacht) okay. Aber genieß es..

A

Vielen Dank, aber hast du… hast du noch Feuer für mich?

C

Auch.

B

Bist du immer noch… bist du immer noch mit deiner Zigarette?
PAUSE

A

You want to go with me to toilette?

Transcription of conversation at Rote Rose, Berlin, 29 Oct 2016.


Video-still from The discourse of the Drinkers by Annika Larsson (2017).

Video-still from The discourse of the Drinkers by Annika Larsson (2017).

How we received our names, and how we gulped our Liquor

Photo of a group of men and women revelers gather at a bar on New Years Eve in Denver, Colorado, (ca. 1965). Source: Burnis McCloud/ Denver Public Library/Western History Collection/MCD-199.

Photo of a group of men and women revelers gather at a bar on New Years Eve in Denver, Colorado, (ca. 1965). Source: Burnis McCloud/ Denver Public Library/Western History Collection/MCD-199.

S

Jag heter Syss

K

Jag heter Kate


T

Jag heter Tove. (laughter) Jönsson

R

Jag heter Ruth. Meine name ist Ruth. My name is Ruth.

A

Har ni smeknamn också?

K

Der Ruth! (laughter)

A

För att hon kan prata tyska?

K

Nein.

A

Der Ruth.

K

Der Ruth. Ja.

A

För att ni brukar gå till hennes bar?

K

På Nick. Hennes bar heter Nick. Är det inte riktigt Ruth? Din bar heter Nick?

S

Nej den heter, Cafe Nick.

S

Skål med artisterna!

A

Vad är det för något?

K

Det är Weinbrand med 3 dropper Cola.

S

Weinbrand med 3 dropper Cola.

K

3 dropper Cola

A

Eine?

K

Tysk konjak med Cola.

A

Skål!

K

Skål


T

Skål!

R

Skål!

E

Skål!
Skål!, Skål!, Skål!

A

Jag heter Annika


E

Jag heter Ewa.

F

My real name? Farmer. Fadaikme…is Frank. But Farmer is some name that I am proud of. That’s from rich people, you know.

Transcription of conversation, Rote Rose, Berlin, 14 Jan 2017


Photo of The Real Housewives of Neukölln, Photo: Ida Entity (2016).

Photo of The Real Housewives of Neukölln, Photo: Ida Entity (2016).

Collapsella: My name is Collapsella
This is my sorella
Her name is Pipetella
She is also my sorella
Her name is Salmonella
My name is Colapsella|

I’m from San Marino
Now I live in Berlino
I modeled all the time
Now I get high at Berghain
I do lines
I don’t do their line
I skip the queue
Because that’s for people like you

I stomp my way into the dark
I’m on all fours
Now make me bark
vOFF, vOFF
vOFF, vOFF
vOFF

My name is Collapsella
Speed is every where
But K is my best friend
It loosens up my hole
And this is how I roll

My name is Collapsella
My name is Collapsella
My name is Collapsella
My name is Collapsella
vOFF, vOFF

Song »My name is Collapsella«, Lyrics by Fábio M Silva, performed by Collapsella at, The Real Housewives of Neukölln, Trash Drag show, S02e01 HONEY, I’M HOMO !!! at The Club, Berlin, 6 Jan 2017.

Painted Portrait of Chevalier d’Eon by Thomas Stewart (1792).

Painted Portrait of Chevalier d’Eon by Thomas Stewart (1792).

My name is pandora Fox, as in pan sexual. Because the theme of the night is Honey I’m homo. And since I am obviously a gay man trapped in a woman’s body but I can’t come out here saying im a homosexual man, but I can describe my own sexuality that I was thinking about now considering this theme. And I was thinking about my own coming out, and how I would described my own sexuality and I think I found a could kind of stance to answer “What’s your sexuality?”. And the answer is basically: fuck you! Not necessary because I am an extremely rude person. But if you are guy or a girl or somewhere in between or nothing at all, if I like you and you like me, I am going to:
Fuck You Fuck YOU.

Extract from Monologue by Ida Entity, The Real Housewives of Neukölln, Trash Drag show,
S02e01 HONEY, I’M HOMO !!! at The CLUB, Berlin 6 Jan 2017.

Drawing of a design for a grotesque ewer: a fat satyr wearing a goat skin seated on a barrel and holding a bowl, has his pointed ears pulled by a devil who acts as the handle. Engraving After Rosso Fiorentino (1530–1550).

Drawing of a design for a grotesque ewer: a fat satyr wearing a goat skin seated on a barrel and holding a bowl, has his pointed ears pulled by a devil who acts as the handle. Engraving After Rosso Fiorentino (1530–1550).

M

Me I am Max. Modou, but Max they call me, you know. They call me Modou in Afrikansich. My name is Modou in Afrikanisch and Europa it is Max. (laughter) A: Which do you prefer?

M

Both! Ja, both! (laughter)

I

Hey Max!

M

I know, what is you name?

I

Isabel

M

Oh, Elisabeth. You see, our queen!

C

Uh?

M

Elisabeth, is our queen, you know. Yeah (laughter)

I

Almost like Elisabeth.

M

Yeah, king of...Queen of England. Elisabeth! Yeahhh, she is our queen! And Sweden also have a queen no? ...so you see lot of queens.

Transcription of conversation, Rote Rose, Berlin, 18 Jan 2-17.

Photo of Cheryl. Photo: Ida Entity (2016).

Photo of Cheryl. Photo: Ida Entity (2016).

E

Wie heiss du?

J

Josip.

J

Cheers!

D

Cheers!

A

Cheers!

D

Cheers!

E

What is your

D

Daniel.

E

And you are from Croatia also?

D

No, from the Canary Islands.

E

And you used to be together and now you are friends?

J

No.

D

We never was together.

J

We are gay, but we are not so gay that we...(laughter)

D

No but,

J

...that we all like sleep all...

E

I know, with each other..?

D

Josip used to call me every night with every impossible story ever. I remember, because at the time I was not feeling really well and he was not feeling really well and he was all the time calling. My phone was always ringing at 12 or at 1 at night, and then it was of course Josip. And then ok..Hey Josip, Hey Daniel how are you? and it was very nice actually and he was always calling me for the most weird things ever. One time he called me to tell me something like, it was funny, it was not that late, it was around 11, and he called me and he tells me: I think I shit my pants! (laughter) You think you shit your pants, or you shit your pants? No, I didn’t check it! But I think I shit my pants. (laughter) Are you calling me for to check it? Totally weird story. And he was always calling me for these kind of stupid things all the time.

E

He is like your gay-male girlfriend?

D

Gay-male girlfriend?

E

Like your girlfriend you know?

D

Exactly. And then he moved here, and I moved here one month later and since then we are together.
name?

E

Aha

D

No, no, no, not together

E

Friends?

D

Friends, yeah.

E

And you have a german boyfriend?

D

I have a german husband.

J

He was, he is married.

D

He was my best man at the wedding.

J

Yeah

E

You are married with a german man?

D

Yes, but I am separated already.

J

Or, no, officially not.

D

Officially not, I am living alone but not officially.

J

But I am the witness.

D

You were the witness at the wedding yes.

J

What is this?

D

It is Jägermeister.

A

It is for the microphone.

J

But why is it so big?

A

It records very much.

Transcription of conversation, Rote Rose, Berlin, 29 Oct 2016.

Photo of a performer, Berlin, 1927.

Photo of a performer, Berlin, 1927.

Cher Noble
Anne Fetamine Freida Slaves
Adam Apple
Anna Bortion
BJ Hardick
Aidan Justus
Juana Bang
Ryan Coke
Sybil Disobedience Andy Roginous Lauren Order
Annie Depressant
Amber Alert
Adam Goodlay
Carlotta Stolengoods Chance Encounters
Lois Common Denominator Tyler Uptight
Rusty Nutz
Eileen Dover
Eddie Adonis
Anita Bump
Catherine the Above Average Seymour Booty
Dirk Diggler
Boeff Stroganoff
Alex Machine
Polly Esther
Peter Pansy
Trick Sturr
Drunkard Channing
Herbie Hind
Sarabelle Palsy
Hedda Lettuce Ming Vase
Dred
Vic Ticious
Avery Austin``

Rory Norgasm
Estee Lauder Harder Faster Roman Holiday
Johnny Class
Seamus Again
Visa Gold
Lady White Swallow
Summer Clearance
Helena Handbag
Zsa Zsa Lahore
Lucy Furr
Rhonda Civic
Elizabeth Trailer
Aiden N. Abetting
Ginny Tonic
John d’Arc
Evan Shorter
Tony Bonez
Duncan Deeply
Clara Fication
Rhoda Dendron
Howie Fellinlove
Bo Tipton
Hunter Downs
Topper Wisely
Dyvin DeMuff
Ewan Love
Another Gay Kyle
Chance Hardwood
Eva Destruction
Stone Hardson
Demi Crat
Antonio Punnani
Eddi Licious
Bob Forapples
Sybil Rights

Penny Tentiary
Torian Debonair
Sarah Palegic
Charlie Chapless
Persnickity Splitt
Malestia Child
Dee Bawcherous
Mo B. Dick
Tommy Two Finga
Sham Payne
Queef Latina
Woody Stroker
Manly Pointer
Eggz Benedict
Elton Schlong
Clint Taurus
Lance Libido
Neil Down
Eva Lution
Paul Deboinair
Kitty Porn
Ginger Snapp
Sue Veneer
Ethylene Glycol
Leo Licksgood
Sharon DaWealth
Kitty David
Dee Friended
Mick Swagger
Polly Unsaturated
Terry Cloth
Ruta Wakening
Val Kyrie
Rhea Publican
Olympia Bukkakis
Milzbrand Babsi

List of Drag-Kings and Queen names. Compiled by Annika Larsson

“You are under arrest for dressing as the opposite sex.”

With these words, two so-called vice squad officers arrested Anthony “Tony” Mayes (who later became Anne Mayes. Mayes was arrested in 1972 under the cross-dressing ordinance, Section 28-42.4 of the city’s Code of Ordinances, which prohibited “a person from appearing in public dressed with the intent to disguise his or her sex as that of the opposite sex.” On August 12, 1980 The ordinance was repealed

Photo of Raid on the Artist’s Exotic Carnival and Ball at the Manhattan Center, New York, 6 Oct 1962. Image by © Bettmann/CORBIS.

Photo of Raid on the Artist’s Exotic Carnival and Ball at the Manhattan Center, New York, 6 Oct 1962. Image by © Bettmann/CORBIS.

Hey you it is 1973!
I say 1973
19
73
19
73
19
73
Welcome to 1973
What happen in 1973, you crowd?
Oil-crises!
Loads of shit
In 1973 Yoko Ono gets US residency
Fuck off Yoko!
John Lennon and Yoko Ono’s is to build their own utopia. They call it: Utopia
They have their boundaries. They have their borders
and the…
silence
1973 become an oil-crises!
They price of oil has doubled!
But don’t panic! Don’t panic!
It is 1973 and the first cellular phone is made in New York!
It is 1973 and …the US goes to of Vietnam
The Vietnam war!
The Monster Mash is gone gold!
In the Uk princess Margret, her horse and her hers finally got married!
Someone has to marry the horse. Yes, she gets married.
And all you people who hasn’t yet heard, in 1973 homosexuality is no longer considered a disease!
So you can’t call in sick to work.
Welcome to 1973!
Welcome!

Transcription from The Real Housewives of Neukölln, Trash Drag show, SE01 EP16: 1973, The Club, Berlin, 9 Dec 2016.``

Video-still (Syss and Kersti) from The Discourse of the Drinkers by Annika Larsson (2017).

Video-still (Syss and Kersti) from The Discourse of the Drinkers by Annika Larsson (2017).

T

73!


E

Vad gjorde du 1973?

T

Jag gjorde många ting. Men jag hela mitt liv varit politiskt aktiv. Jag var med i kvinnorörelsen i Köpenhamn men också i ett litet alternativt förlag som heter Demos, det grekiska ordet för folk. Ett anti-fascistiskt förlag. Och så har jag jobbat själv som psykolog i många år, men jag har varit politisk aktivist. Det är det som jag identifierar mig mest med.

R

I 1973 då var jag 26 år gammal. Jag arbetade på socialkontor. Jag bodde i en liten 1 rumslägenhet med toa på gården. det tror man idag är lögn. men mellan 1971-1979 bodde jag i den där lilla lägenheten på 3 kvm med korridor. …där var det 10 grader. Det var kallt väder, det var ingen elektrisitet och var nog den lyckligast tiden jag har haft i mitt liv. Jag var glad. Jag var tillfreds, jag hade en billig lägenhet, den började på 28 kr..i månaden, och jag har aldrig haft det bättre. Jag har det gott nu, men jag tror ikk jag har haft det bättre än den gången.

K

Jag vill säga nåt om 1973 igen!

K

Ja, för 1973 finn jag ut att jag var till kvinnor. Och det var otroligt svårt i Denmark, för jag vill ju gärna vara normal, så jag hade besvärligt med det och det gick många år tills jag vägade säga att det var faktiskt kvinnor jag blev förälskad i. Idag är det mycket nimmare. Men på den tidspunkten 1973 så var det otroligt svårt.

E

Men, var du förälskad i någon då?

K

Det var jag. Men jag tordes inte själv att säga det. Jag kan säga det nu att jag var förälskad i henne. Men det kunde man ikke. Så jag tillsammans med henne, och jag va tillsaammans men jag tordes inte säga det högt för. Det kom det där myterna om de där lesbiska som var fruktansvärda och som var män, och som i grund närmast våldtog kvinnor. Så det förträngde jag.

Transcription of conversation. Rote Rose, Berlin 14 Jan

How we were dressed

A costume from the Schembart Carnival or Nuremberg Shrovetide Carnival (German: Schembartlauf). Nürnberger Schembart-Buch, f.247 (17th Century).

A costume from the Schembart Carnival or Nuremberg Shrovetide Carnival (German: Schembartlauf). Nürnberger Schembart-Buch, f.247 (17th Century).

Viagra:
Look at my style could it be more glam
Look at my look, could you say hot damn
Look what I am, who I am
Me I´m fabulous baby

Look at my boobs don´t that blow your mind?
Glamour, talent and sex combined
Hell, you could tell even if you are blind
See, I’m fabulous baby.
I’m meant to be where the spot lights shine
Born to be on display
Built to be dressed to the 99ns
And ready to stand and say
Hey, look at me can’t you see
I’m fabulous baby
Look right here, ain’t it clear
where I’m heading to
So look at the time honey I can’t say
Look while you can because I am on my way
I am fabulous baby
I got fabulous things to do

Where I’m headed?
I’m going wherever it happens
Bottoms, cocktails, Bergaihn oh Berghain
Hello Berghain, I am Viagra Falls
Look at my boobs, my clothes, my hair

Look what’s up here, and then look back there
Look all you want, I got lots to spare
Just stand back and clear the track because
Look at me can’t you see
I’m fabulous baby
Check my out, there ain’t no doubt where I am about
So joke all you want, go ahead and laugh
One day you’ll beg for my autograph
I am fabulous baby

Can’t you see me there up on the stage
How the cameras adore me
Can’t you see me walking on red carpets or doing TV
Can’t you see all my millions of fans
screaming desperately for me
I’m a diva, a godess, a star on a break
A hot rocking vision in hot fucking pink
I’m probably riot the whole kitchen sink
I’m top of the world, don’t you know. don’t you think

Look at me, can’t you see
yeah, I’m fabulous baby
…..me up..I am…
I’m fucking great, I don’t need lyrics

So look all you can, I won’t be denied.
What I have got is to hot to hide
I’m fabulous baby
So damn fabulous baby
I’ll do fabulous ….
I am fabulous baby
Fresh, free fabulous baby
Fine and fabulous, Wait and see

Song: »I’m fabulous«, Lyrics by Alex Lee, Performed by Viagra Falls, The Real Housewives of Neukölln, Trash Drag show, S02e01 HONEY, I’M HOMO !!!, at The Club, Berlin, 6 Jan 2017.


Photo of the blues singer Gladys Bentley (1920s).

Photo of the blues singer Gladys Bentley (1920s).

Went out last night, had a great big fight
Everything seemed to go on wrong
I looked up, to my surprise
The gal I was with was gone.

Where she went, I don’t know
I mean to follow everywhere she goes;
Folks say I’m crooked. I didn’t know where she took it
I want the whole world to know.

They say I do it, ain’t nobody caught me
Sure got to prove it on me;
Went out last night with a crowd of my friends,
They must’ve been women, ‘cause I don’t like no men.

It’s true I wear a collar and a tie,
Makes the wind blow all the while
Don’t you say I do it, ain’t nobody caught me
You sure got to prove it on me.

Say I do it, ain’t nobody caught me
Sure got to prove it on me.

I went out last night with a crowd of my friends,
It must’ve been women, ‘cause I don’t like no men.
Wear my clothes just like a fan
Talk to the gals just like any old man

Cause they say I do it, ain’t nobody caught me
Sure got to prove it on me.

Ma Rainey's »Prove It On Me Blues« (1928).

Video still from The Discourse of the Drinkers by Annika Larsson (2017).

Video still from The Discourse of the Drinkers by Annika Larsson (2017).

For our hat-medallion, we had a fine piece of enamelled work set in a gold plate weighing a hundred and thirty-six ounces, on which was displayed a human body with two heads turned towards one another, four feet and two rumps—the form, according to Plato in his Symposium, of Man’s nature in its mystical beginnings; and around it was written in Ionian script: ΑΓΑΠΗ ΟΥ ΖΗΤΕΙ ΤΑ ΕΑΥΤΗΣ.

Text modified by Annika Larsson / original text: Rabelais, François (ca 1494-1553): The histories of Gargantua and Pantagruel / y François Rabelais ; translated by J. M. Cohen (1955), pg. 56-57. ΑΓΑΠΗ ΟΥ ΖΗΤΕΙ ΤΑ ΕΑΥΤΗΣ. (Charity seeketh not her own [profit])

Photo of a drag queen during Stonewall Riots (28 Jun, 1969).

Photo of a drag queen during Stonewall Riots (28 Jun, 1969).

Hannelore jeht uff'n Reimann-Ball
Im hochjeschlossnen Kleid
Nachher sitzt sie im Ludenstall
Zu früher Morjenzeit
Sie tropft in die Augen Atropin
Und schnupft 'ne Handvoll Kokain
Besonders so im Mai
Sie macht in Weltverjesssenheit
Und ab und zu in Sinnlichkeit –
Ooch det jeht schnell vorbei

Hannelore, Hannelore
Schönstes Kind vom Hall'schen Tore
Süßes, reizendes Geschöpfchen
Mit dem schönsten Bubiköpfchen
Keiner unterscheiden kann
Ob du Weib bist oder Mann!
Hannelore, Hannelore
Schönstes Kind vom Hall'schen Tor

Extract from Song »Hannelore« (1926),lyrics by Willy Hagen / Music by: Horst Platen, recorded by Claire Waldoff (1929).

How we realized our marvolus intelligence, by our invention of an Arse-wipe

A a playing card by Master E.S. (copperplate engraving. Master of the Playing Cards—The Queen of Stags. In the possession of Hartmann Schedel (1435–1455).

A a playing card by Master E.S. (copperplate engraving. Master of the Playing Cards—The Queen of Stags. In the possession of Hartmann Schedel (1435–1455).

Shittard,

Squirtard,

Crackard,

Turdous,

Thy bung

Hath flung

Some dung
On us:

Filthard,

Cackard,

Stinkard,

St. Antony’s fire seize on thy toane (bone?),

If thy

Dirty

Dounby

Thou do not wipe, ere thou be gone.

Text Extract from Rabelais, François,( ca 1494-1553): The histories of Gargantua and Pantagruel / y François Rabelais ; translated into English by Sir Thomas Urquhart (1653), pg. 49.

Our Games

Photo of Berlin Kneipe Schönhauser Tor (1927).

Photo of Berlin Kneipe Schönhauser Tor (1927).

L

I have a friend who always talks about playing. And this game, and this game and this game, but never taking, so far not taking anything that personally, I’d say. But I don’t feel that way. I think it is…, yeah, it makes me anxious. But then again, I have you here. And I don’t you what you think but all.

E

And what type of games does he play?


L

He plays all kinds of games, like he. For example he has tried to study three different things: Psychology, literature, and now law, and always it is just a game. And now he is thinking of maybe applying to be a physician, like medicine, to study…and it is like..Of social situations as well. I talked with him about this, it is like. For example when you meet new people. How you present yourself to them for example. He perceives that as a game as well. A specific kind of a game. It has to do with power and hierarchy I think.


E

How do you mean?

L

So you have to play that situation and that game well in order to get on top of it.

E

Like a performance?


L

Yes, exactly. Exactly. But in that way, especially with social situations an people it is like…hmm like unethical, like have that kind of relationship and that kind of orientation to other people. Like not trying to understand them, but trying to understand them in order to play them: in your game. And I think, this is the first time I make this kind of connection, but isn’t it the same with the ironic dressing style thing in a way? So you are trying to play some game in relation to other people, to show your environment that you are actually know what they are doing, and that you are above that. Or outside of that.

M

Yeah, yeah, absolutely.


L

Yeah. Ok, so now I even more strongly stand my ground. And is it is not cool. And it is not a good way to see other people.

E

What about your bag?

L

Huh?


E

Could you show it?

L

I have an explanation for the bag. My previous bag-pack broke down, and I borrowed this from my mum. I knew that she had other bag-packs that are not cool in any way. So this could be taken for an ironic bag which is why I choose it. But there were these just like sporty bags or whatever, you could go to a forest and hike with them, but good backpacks. But I didn’t want to take them, because I didn’t want to take them, because I didn’t want to look like a person who is so practical? Because I still like, or also there is like a what people perceive as beautiful or nice, or something that they want to, want other people to connect with them, I guess. And I prefer this to “the forest- practical-I don’t-know-what-bag”. But still, me having this is ironic, because I wouldn’t buy this kind of a bag myself. I wouldn’t buy it. I don’t like it that much. But you could buy this kind of a bag, couldn’t you?


M

Yeah, well, maybe it not quite tacky for that.


L

Mmmm



 M

I don’t know.



L

Exactly the tackiness…Like you have to think what is tacky enough to be worn.

M

Yeah, you have to be on the border all the time.

L

But, it’s bullshit!

M

Yeah, it is bullshit..

M

I think it was a good point that you were mentioning that the irony is putting yourself above the people around you, in a kind of way.

L

But for example tonight in this bar, I don’t feel that we are here ironically at all. I don’t know what you guys think, but I didn’t come here ironically, in a way. Like, were would we go and be not ironic? Like the falafel place we went to?


M

Well that wouldn’t be ironic, because it is a truly nice place.

L

Exactly.

Transcription of conversation, Rote Rose, Berlin, 15 Jun 2017

Video-still from The Discourse of the Drinkers by Annika Larsson (2017).

Video-still from The Discourse of the Drinkers by Annika Larsson (2017).

Collapsella:
I'm a model and I'm looking good
You wanna take me home and penetrate me
I play hard to get but wait one hour or two
I'll be on my knees and I will service you

Instrumental break

I'm going out tonight I love to drink champagne
But in this fucking bar all I can get is cocaine

I'm getting super wasted
And what you can hear them say
"She doesn't look good,
But I'll do her anyway"

Another instrumental break
Longer than the previous one

I'm still getting wasted
Still with no champagne
Just cocaine

I'm a model and I'm looking good
You wanna take me home and penetrate me
I play hard to get but wait one hour or two
I'll be on my knees and I will service you
Service you

Song »I’m a model«, Lyrics by Fábio M Silva, performed by Collapsella, The Real Housewives of Neukölln, Trash Drag show, SE01 EP16:1973, The Club, Berlin, 9 Dec 2016.

Filmstill of Greta Garbo in Ninotchka (1939), Dir. Ernst Lubitsch

Filmstill of Greta Garbo in Ninotchka (1939), Dir. Ernst Lubitsch

virtuosity exercise:



try to get red
try to get blue
try to get high
try to get low
try to draw
try to flaw
try to draw fast
try to flaw fast
try to draw fast and low
try to get there
try to sing a spiral
try to sing a line
try to sing in line
try to sing online
try to stop time
try to stop in time

Virtuosity Exercise by Augustin Maurs (2017).

How the Tavern was built and endowed

It measured 28x16 metres and had a central courtyard surrounded by many rooms, all of which contained a clay beer vat placed centrally or in a corner of the room. The plasters walls of the rooms may all have been decorated with depictions in clay of naked women.

One of the first drinking houses excavated outside the city of Susa, Source: Trümpelmann, “Eine kneipe in Susa”, Iranica Antiqua 16 1981)43, Stol, Marten, 1940-. - Women in the Ancient Near East / Marten Stol ; translated by Helen and Mervyn Richardson (2015).

Photo of a Tavern Counter during the excavation. Pompeii (1913).

Photo of a Tavern Counter during the excavation. Pompeii (1913).

It was a rectangular building some twenty meters long and ten meters wide with two series of wooden columns inside, standing on stone bases. There was also a supporting wall with an inscription indicating the use of the building. Two painting compositions extended along the long sides of the building, the north and the south, with the entrance being located in one of the narrow sides, probably the west side. The building had many doors; two rooms, leading to the main room where the paintings were exhibited. The roof was gabled, covered with terracotta tiles.

Description of The “Lesche” of the Knidians (Place of Talk, Club Room), Delphi (467 B.C.). Source: The Form and Function of the Tabernae, Holleran,Claire, (1979), Holleran, Claire Shopping in Ancient Rome : the retail trade in the late republic and the principate (2012). 


Photo of the Thermopolium of Asellina, Partly excavated in 1911. Pompeii. 1959. Entrance doorway text Lollium d(ignum) v(iis) a(edibus) s(sacris) p(ublicis) o(ro) v(os) f(aciatis).

Photo of the Thermopolium of Asellina, Partly excavated in 1911. Pompeii. 1959. Entrance doorway text Lollium d(ignum) v(iis) a(edibus) s(sacris) p(ublicis) o(ro) v(os) f(aciatis).

It was a single room with stairs leading to a mezzanine floor. An L-shaped counter with four inbuilt terracotta jars or folia, three large and one slightly smaller, and a brazier at one end. A bronze vessel on this brazier still containing water. A stack of amphorae against the wall behind the counter and various utensils on a shelf. A number of other utensils, cups, jars, ladles, statuettes, and lamps, made of terracotta, glass, and bronze in the taberna, together with a number of bronze and silver coins. Suggestively there had originally been a wooden table on the east side of the bar, as many items were found towards the east wall of this taberna.

Description of the Tavern of Asellina in Ostia, in Ancient Rome. Source: The Form and Function of the Tabernae, Holleran,Claire, (1979), Holleran, Claire Shopping in Ancient Rome : the retail trade in the late republic and the principate (2012).

In another room just across a courtyard, earthen benches lined the walls and a charcoal-burning hearth occupied the middle of the floor. Those features suggested a sit-down joint rather than a takeout counter. Bones from sheep and cattle were found in the courtyard. The floors were scattered with shards of fancy drinking bowls imported from Italy, as well as debris from large platters and bowls.

Description from the excavations of a 1 Century bar in the ancient town of Lattara, now France.

Image of a 17th century woodcut, outdoor tavern scene.

Image of a 17th century woodcut, outdoor tavern scene.

Over the lintel of the door of the tavern the sculptured angel shone resplendent in his golden glory. A charming little balcony rested on his wings and his hands held out a crown of hospitable welcome to royal and common guests alike.

The sign over a A tavern in England, which once belonged to the Knights' Templars, and which saw the royal guests, King John in 1213,and King Richard III in 1483. Source: Endell, Fritz: Old tavern signs; an excursion in the history of hospitality (1916).

It had a fireplace, typically circular tables and chairs and then the bar, not a long table running down the length of the room, but rather a corner countertop wedged at a 90-degree angle in one corner of the room. Behind that countertop is where the booze was stored.

Description of a Colonial-era tavern, New England, America, Source: Covert, Adrian, Taverns of the American Revolution (2016).


The front door faced the street and opened into a small room with an oak bar, table and chairs; from there a doorway led to into a second, larger room, where more tables, chairs and a sofa were arranged.

Description of Seeger’s Restaurant, a gay bar that opened in Berlin 1881, Source: Beachy, Robert. Gay Berlin: Birthplace of a Modern Identity (p. 43), Knopf Doubleday Publishing Group.

It had a lamp, a counter, maybe a bench. Chairs and tables would be discretionary. The floor would be wood, maybe, or maybe packed dirt. There might be chromes on the walls, but probably not . There would certainly be a peephole, a guard at the door. There would be nearly a zero level of amenity.

Description of a boy’s dive on Worth, Mott, Mulberry or Baxter Street in 1870’s New York Source: Sante, Luc, Low life : lures and snares of old New York (2003)- 1st Farrar, Straus Giroux pbk.

It was two rooms, in the front room was the bar and tables for tourists, the back room was where the illegal activity took place which was called dancing. A red light flashed to alert us when police were coming so we could sit down at our tables and not touch each other.

Joan Nestle’s description of the Sea Colony, a lesbian bar in the 50’s New York. Source: from Interview by Angeline Acain and Susan Eisenberg, Ripe Issue, Vol. 2, No. 5, (2001)

It was dark with two bars and a jukebox. There was no running water to wash the glasses of watered-down booze and beer that were rinsed in a murky tub behind the main bar. There were two large horizontal windows that were blacked out so no one could not see inside. The windows were reinforced from the inside with plywood which was further reinforced with two-by-fours. The thick oak doors had steel doors inside them and several of locks. Each of the front doors had two small vertical openings cut into it at eye level. One of four openings served as a peephole to screen potential customers, giving the establishment somehow the look of a speakeasy.

Description of Stonewall Inn, Source: Carter, David, Stonewall: The riots that sparked the Gay Revolution (2004).

The lighting was very dim throughout. The first room had a low ceiling that combined with the darkness to create a cavern-like feel.

Description of Stonewall Inn, Source: Carter, David, Stonewall: The riots that sparked the Gay Revolution (2004).

It was a small, cozy bar, with only a few barstools and tables, but its size gave it a distinctive charm and unpretentious character that was larger than life.

Description of Mint Bar, a gay bar in the Milwaukee area. Opening in 1949.

Photo of The Blue Bar, New York (1980).

Photo of The Blue Bar, New York (1980).

the drinking house in Susa

the Delphians Lesche

the Tavern of Asellina

the Thermopolium at Via di Diana

the Mermaid

the Boar’s Head

the Falcon
Cole’s

Hughson’s Tavern 

the Black Nite

the Mint Bar

El Cangrejo

the Sweet Gum Head

Seeger’s

Hazel’s

Mali & Ingel

Topkeller

Hannemann’s Bar

Schoene Müller, where the Owner Otto Müller performed in drag

Restaurant Frohsinn

Tavern on Münchebergerstrasse

Tavern Weberstrasse, under constant surveillance

Der Dicke Franz

Cafe Dorian Gray

The Mikado

Cafe Continental


Cafe Imperial

Eldorado
the Jungle
Black Rabbit

the Red Mask

the Flower Pot

Auluka-Lounge

Café Olala
Topkeller

Harlem’s Clam House

Mona’s

Hazel’s Inn

the Mint Bar

the Sea Colony

the Stonewall Inn
the Armory, demolished for a 23-story apartment building
the Nite Beat
Your Place
Chances “R", in Wichita
Red Lion Lane
Black Horse
Golden Swan
Green Cup Café
the Slide, at 59 Bleecker Street
Black And Tan at at 153 Bleecker
The clubs on Jackson Street
Cooper's Donuts
Harold’s
the Waldorf

Gene Compton's Cafeteria, open 24 hours a day
the Back Cat
the Pussy Palace
the Eagle
Club Ghost
La Bata de Boatine
Central Station
Club Envy
BlueBoy
Marienkasino
the Scheunenviertel
the Café Nordstern
the Adonis-Diele.
the Nationalhof
the Continental Club
the Bülow-Kasino
Zur Katzenmutter, decorated with small pictures of cats
Noster’s Cottage
the Maly
Jugel
Südblock
Rote Rose
the Club

List of selected taverns and Bars, 1750 BCE - 2017. List compiled by Annika Larsson.

The inscription set upon the great gate of the Tavern

Photo of The Club, Berlin (2016).

Photo of The Club, Berlin (2016).

Here enter not vile bigots, hypocrites,

Externally devoted apes, base snites,

Puffed-up, wry-necked beasts, worse than the Huns,

Or Ostrogoths, forerunners of baboons:

Cursed snakes, dissembled varlets, seeming sancts,

Slipshod caffards, beggars pretending wants,

Fat chuffcats, smell-feast knockers, doltish gulls,

Out-strouting cluster-fists, contentious bulls,

Fomenters of divisions and debates,

Elsewhere, not here, make sale of your deceits.
Your filthy trumperies

Stuffed with pernicious lies
 (Not worth a bubble),

Would do but trouble
Our earthly paradise,

Your filthy trumperies.


Here enter not attorneys, barristers,

Nor bridle-champing law-practitioners:

Clerks, commissaries, scribes, nor pharisees,

Wilful disturbers of the people’s ease:

Judges, destroyers, with an unjust breath,

Of honest men, like dogs, even unto death.

Your salary is at the gibbet-foot:

Go drink there! for we do not here fly out

On those excessive courses, which may draw

A waiting on your courts by suits in law.
Lawsuits, debates, and wrangling

Hence are exiled, and jangling.

Here we are very

Frolic and merry,

And free from all entangling,

Lawsuits, debates, and wrangling.
Here enter not base pinching usurers,

Pelf-lickers, everlasting gatherers,

Gold-graspers, coin-gripers, gulpers of mists,

Niggish deformed sots, who, though your chests

Vast sums of money should to you afford,

Would ne’ertheless add more unto that hoard,

And yet not be content,--you clunchfist dastards,

Insatiable fiends, and Pluto’s bastards,

Greedy devourers, chichy sneakbill rogues,

Hell-mastiffs gnaw your bones, you ravenous dogs.
You beastly-looking fellows,

Reason doth plainly tell us

That we should not

To you allot

Room here, but at the gallows,

You beastly-looking fellows.

Text Extract from Rabelais, François, (ca 1494-1553): The histories of Gargantua and Pantagruel / y François Rabelais ; Translated into English by Sir Thomas Urquhart (1653), pg. 157-158.

What manner of dwelling the Tavern had

They served sweet beer, iron beer, sparkling beer, perfumed beer, spiced beer-cold or hot, beer of thick, sticky millet, and as many varieties of beer as of different qualities of wine.

Source: Maspero, Gaston (1846 –1916), Everyday Life in Ancient Egypt and Assyria, Routledge, New York (2010), pg.30.

Drink unto rapture, let it be a good day, listen to the conversation of thy companions and enjoy thyself

Drink, do not turn away, for I will not leave thee until thou hast drunk 

Come now, bring me eighteen cups of wine the thine own hand. I will drink till I am happy, and the mat under me is good straw bed upon which I can sleep myself sober

The remarks of the drinkers are taken from a scene of a Funeral meal in the tomb of Ranni, at El-Kab. Maspero has paraphrased them in order to render intelligible to the modern reader. Source : Maspero, Gaston (1846 –1916).

She is a landlady, her beer is good! Just as good as her beer is her vessel! How good is her beer! Thinned with water — how good is her beer!

From a Sumerian drinking song Source: Y. Sefati, Love songs in Sumerian literature (1998), 345 (ŠRT 23:19–22).

I saw a woman with a tambourine and a man with a
lute leaping up and down. She firmly grasped his penis as
they looked at each other over their shoulders mischievously.
There were some bawdy songs:
The jester’s bitch: bread rations (are) for her mouth,

but the shaft of tigidla (is) for his anus.

Description of a Terracotta depicting drinking house scene and an Sumerian Song, Source: Stol, Marten, Women in the Ancient Near East, translated by Helen and Mervyn Richardson (2015).

There were wheat, barley, pulses, and barleywine in the mixing bowl and grainy things [floating] at the brim. Straight straws, some bigger and some smaller, were placed inside. When thirsty, one put it [the straw] in the mouth and sucked. If someone did not pour water over it, it was thoroughly undiluted [very strong], but very pleasant to one who had acquired the taste.

Text by Xenophon, Anabasis IV, 26-27 (4th Century BC).

Photo of Nightlife in Bronzeville, Chicago (1940’s).

Photo of Nightlife in Bronzeville, Chicago (1940’s).

I saw some young men getting drunk, becoming feverish with intoxication, off their heads to such an extent that they supposed they were in a trireme, sailing through a dangerous tempest; they became so befuddled as to throw all the furniture and fittings out of the house as though at sea, thinking that the pilot had told them to lighten the ship because of the storm. A great many people, meanwhile, were gathering at the scene and started to carry off the discarded property, but even then the youths did not pause from their lunacy. On the following day the generals turned up at the house, and charges were brought against them. Still sea-sick, they answered to the officials’ questioning that in their anxiety over the storm they had been compelled to jettison their superfluous cargo.

Timaeus of Taorima’s observations “In Agrigentum there is a house called 'the trireme’…”, 345 BC (BCE).

I saw your provincial governor, reclining next to some assassin. He was nestled in a crowd of sailors, thieves, and fugitive slaves. He was there amongst executioners, the builders of cheap coffins, and the eunuch priests of Cybele who have finally stopped beating their drums only because they have passed out. There are no class distinctions in a place like that. The drinks are shared; there are no private couches at the table; no one is closer to the table than anyone else.

Juvenal’s description of a Popinae, Source:Juvenal, Satires 8 171-178 (Late First/Early Second Centuries AD).


I saw some play at dice so eagerly as to quarrel over them, snuffing up their nostrils, and making unseemly noises by drawing back their breath into their noses:—or (and this is their favorite amusement by far) from sunrise till evening, through sunshine or rain, they stayed gaping and examining the charioteers and their horses; and their good and bad qualities.

Description of the low class wine shops by Ammianus Marcellinu (A.D. 353).

Video-still (Cheryl) from The Discourse of the Drinkers by Annika Larsson (2017).

Video-still (Cheryl) from The Discourse of the Drinkers by Annika Larsson (2017).

I saw three men, slouching, listless, weary specimens of their kind, who were playing “Comrades” with gusto curiously out of keeping with their looks of bored fatigue. One had a harp, another a violin,, and a third drummed ceaselessly upon a piano of harsh, metallic tone. There were a dozen round tables in the room, and at these were seated small groups of men and women drinking beer… They were simply commonplace… Suddenly I noted that the social atmosphere was one of the strangest, complete camaraderie. The conversation was the blasphemous, obscenest gossip of degraded men…unrelieved by anger or by mirth, and varying only with the indifferent interchange of men’s and women’s voices.

William Wycoff Studies Joblessness in the 1890s, Source: Wyckoff, Waltee A, The workers an experiment in reality, New York (1898).

Nymph and shepherd raise electric tridents glowing red against the plaster wall, The jukebox beating out magic syllables, A line of painted boys snapping fingers & shaking thin Italian trouser legs or rough dungarees on big asses bumping and dipping ritually, with no religion but the old one of cocksuckers naturally, in Kansas center of America the farmboys in Diabolic bar light alone stiff necked or lined up dancing row on row like Afric husbands & the music’s sad here, whereas Sunset Trip or Jukebox Corner it’s ecstatic pinball machines—Religiously, with concentration and freeprayer; fairy boys of the plains and their gay sisters of the city step together to the center of the floor illumined by machine eyes, screaming drumbeats, passionate voices of Oklahoma City chanting No Satisfaction Suspended from Heaven the Chances R Club floats rayed by stars along a Wichita tree avenue traversed with streetlights on the plain.

Poem »Chances “R”« by Allen Ginsberg, Wichita, (Feb 1966).

Es ist laut – akustisches Chaos und Reizüberflutung. Verschiedene Formen des Fremdartigen schichten sich an- und übereinander und ungehörige Entäußerungen von Wilden und Narren, anthropoiden Tieren und Automaten bilden einen dichten Äther. Ihre Töne und Geräusche gerinnen in einem Wechselspiel aus Klarheit und Dreck, in dem die Stimme als flüchtiges Phänomen erklingt und verschwindet. Murmeln an der Bar aus gesenkten Köpfen und als Summen aus schlenkernden Körpern vor der Jukebox. Klare Artikulationen verlieren sich zwischen Kehlkopf und Lippen. Surren, Klicken, Dröhnen, Scheppern setzen sich aufsässig der klaren Artikulation von Sinn entgegen.


Extract from text by Isabel Gatzke (2017).

Photo: Wir hören nie auf so zu leben: Tanzende Berlinerinnen by Will McBride (1959).

Photo: Wir hören nie auf so zu leben: Tanzende Berlinerinnen by Will McBride (1959).

Men danced with men, mournfully, with deadly seriousness.… The one playing the lady’s role might have the moustache of a cavalryman and pince-nez, he might be ugly, with coarse, masculine features, and not even a trace of femininity.… The Police Inspector and his guests had seated themselves at a table in the centre of one end of the room, close to which all the couples had to pass.… The Inspector called them by their Christian names and summoned some of the most interesting among them to his table, so that I could study them!… In the female section, where women danced with women, the most noteworthy person was a stately lady.… Her eyes followed a radiant young blonde. The Inspector informed them that the two were bound together by a passionate love for each other, and that, as the elder woman was poor, the younger one supported her by selling herself to men she abhorred.

Observation by August Strindberg at the Café National in February 1893, Source: Beachy, Robert, Gay Berlin: Birthplace of a Modern Identity, p. 56, Knopf Doubleday Publishing Group.

When you see two women walking hand in hand,

Just look em’ over and try to understand:

They’ll go to those parties—have the lights down low—

Only those parties where women can go.

You think I’m lying—just ask Tack Ann—
Took many a broad from many a man

Extract from song »SHAVE ’EM DRY«, Lyrics by Gertrude Rainey and William Jackson (1924).

The night I was there we met lesbians on acid talking to the goldfish in the fish tank along with the local black transvestite who was dancing in hot pants with his G string on show and various dodgy looking people sat around the place giving the new people in the bar the evil eye thing that we where the police or some thing.

Online review of Rote Rose at Yelp (2008)
.

Photo of Club Eldorado, Berlin (c. 1930).

Photo of Club Eldorado, Berlin (c. 1930).

That time I had to talk to the police who came because of the loud noise while I was very drunk wearing my fab peacock outfit showing them my legs and offer them in bad german to have a shot with me.

Shared memory by Tomer Einav from The Club, Berlin, at The Clubs Facebook page, 6 Feb 2017.


How the Tavern were governed

Went to bed last night and, folks, I was in my tea
I went to bed last night and I was in my tea
Woke up this morning, the police was shaking me
I went to the jail house, drunk and blue as I could be
I went to the jail house, drunk and blue as I could be
But the cruel old judge sent my man away from me
They carried me to the courthouse, Lordy, how I was cryin’
They carried me to the courthouse, Lordy, how I was cryin’
They give me sixty days in the jail and money couldn’t pay my fine
Sixty days ain’t long when you can spend them as you choose
Sixty days ain’t long when you can spend them as you choose
But they seem like years in a cell where there ain’t no booze
My life is all a misery when I cannot get my booze
My life is all a misery when I cannot get my booze
I can’t live without my liquor, got to have the booze to cure those blues.

Song: »BOOZE AND BLUES« (1924), Lyrics by J. Guy Suddoth, performed and recorded by Ma Rainy.

Photo of the “raided premises” sign from the Stonewall riots, on display inside the door at the Stonewall Inn, New York.

Photo of the “raided premises” sign from the Stonewall riots, on display inside the door at the Stonewall Inn, New York.

The line flowed past the far wall, past the bar, the front room tables, and reached into the back room. Guarding the entrance to the toilet was a short square, handsome butch woman, the same every night, whose job it was to twist around her hand our allotted amount of toilet paper. She was [to] us,a man’s obscenity, doing the man’s trick so we could breathe. The line awaited all of us every night, and we developed a line act. We joked, we cruised, we commented on the length one of us took, we made special pleas to allow hot and heavy lovers in together, knowing full well that our lady would not permit it. I stood, a femme, loving the women on either side of me, the hair hitting the collar, the thrown-out hip, the hand encircling the beer can. Our eyes played the line, subtle touches, gentle shyness weaved under the blaring jokes, the music, the surveillance. We lived on that line: restricted and judged, we took deep breaths and played…but buried deep in our endurance was our fury. That line was practice and theory seared into one.

»The Bathroom line« by Joan Nestle, Source: Nestle, Joan, A Restricted Country, Ithaca: Firebrand Books (1987).

Ordinance Code § 257: Rogues and vagabonds, or dissolute persons who go about begging; common gamblers, persons who use juggling or unlawful games or plays, common drunkards, common night walkers, thieves, pilferers or pickpockets, traders in stolen property, lewd, wanton and lascivious persons, keepers of gambling places, common railers and brawlers, persons wandering or strolling around from place to place without any lawful purpose or object, habitual loafers, disorderly persons, persons neglecting all lawful business and habitually spending their time by frequenting houses of ill fame, gaming houses, or places where alcoholic beverages are sold or served, persons able to work but habitually living upon the earnings of their wives or minor children shall be deemed vagrants and, upon conviction in the Municipal Court shall be punished as provided for Class D offenses.

Photo of raid on the Artist’s Exotic Carnival and Ball at the Manhattan Center, New York, 6 Oct 1962. Image by © Bettmann/CORBIS.

Photo of raid on the Artist’s Exotic Carnival and Ball at the Manhattan Center, New York, 6 Oct 1962. Image by © Bettmann/CORBIS.

(Ordinance Code § 257…) The Jacksonville vagrancy Ordinance Code, until 1972.

Was will man nur?

Ist das Kultur,

daß jeder Mensch verpönt ist,

der klug und gut,

jedoch mit Blut

von eig'ner Art durchströmt ist,

daß g'rade die

Kategorie

vor dem Gesetz verbannt ist,

die im Gefühl

bei Lust und Spiel

und in der Art verwandt ist?


Und dennoch sind die Meisten stolz,

daß sie von ander'm Holz!

Refrain

Wir sind nun einmal anders als die Andern,

die nur im Gleichschritt der Moral geliebt,

neugierig erst durch tausend Wunder wandern,

und für die's doch nur das Banale gibt.

Wir aber wissen nicht, wie das Gefühl ist,

denn wir sind alle and'rer Welten Kind,

wir lieben nur die lila Nacht, die schwül ist,

weil wir ja anders als die Andern sind.

Wozu die Qual,

uns die Moral

der Andern aufzudrängen?

Wir, hört geschwind,

sind wie wir sind,

selbst wollte man uns hängen.

Wer aber denkt,

daß man uns hängt,

den müßte man beweinen,

doch bald, gebt acht,

wird über Nacht
auch uns're Sonne scheinen.



Dann haben wir das gleiche Recht erstritten,

wir leiden nicht mehr, sondern sind gelitten

Song »Das Lila Lied« (German for »The Lavender Song«) (1920), Lyrics by Kurt Schwabach / Music by Mischa Spoliansky, The song is considered one of the first gay anthems.


Photo from the Stonewall Riots (1969).

Photo from the Stonewall Riots (1969).

Rainey: Well, I’m drunk all right now, but I know just what I’m doin’! 

Man: Yeah, yeah, woman, yeah! Stop shaking that mess in here! 

Rainey: Yeah, well, look like the time ain’t gonna be long now! 

Man: You goin’ back to jail again if you don’t stop shakin’ that thing here. 
Don’t allow that in here! 
Rainey: Can anybody come help poor little bitty old me? Lord, Lord. 

Man: ’Round here carryin’ a groundhog in your pocket. 

Rainey: Oh, how I feel this evening! 

Man: Aw! Somebody come here! Ma! Have you … have you completely lost your head? 

Rainey: I’m drunk!

Extract from »BLUES THE WORLD FORGOT, PART II«, Composer unknown, recorded by Ma Rainy (1928).


Photo of Police raid at gay bar bar El Cangrejo, in Barcelona, 28 June 2013.

Photo of Police raid at gay bar bar El Cangrejo, in Barcelona, 28 June 2013.

How we murdered language

Video-still (Fanny) from The Discourse of the Drinkers by Annika Larsson (2017).

Video-still (Fanny) from The Discourse of the Drinkers by Annika Larsson (2017).

M

Lots of Gambians in Sweden, lots, lots, lots, lots. And in Gambia also a lot of Swedish too. This is why they come to interact, to speak Swedish and I see even a Swedish man who is also speaking Wolof very good. (laugher) So it is normal. Exchanges of languages, you know. Normal. He can also speak some, a bit of Afrikanisch when he likes, he feels the same.


I

Did you teach him?

M

I? Yes, sometimes, even. Sometimes we hear other words. When you recognise them you know, even if you don’t know the meaning. But you can cut off this word and say: Hey, this is also a word. Egal which word you think of, egal which word you think it is a language. Eh, egal which word you say it is a language.


I

Is it..?


M

No, you don’t know what is a language! If you speak anything from you mouth it could be a language. It could be a language. 


I

You mean? Because it comes out of the mouth..?


M

You know how many languages do we have? You can not..


I

You cannot count.


 M

You cannot count. So this is why anything you say it could be a language to somebody. Maybe you would not know, I would not know, but it is a language to somebody.


I

It is true, maybe you are right.

M

Maybe not! But just think also what I’m just telling you. You may not know I may not know, like for example some things that are similar to german and english.

I

Yeah


M

Look. In German you sometimes say the word sorry. Sorry is not German.


I

Yeah, that’s true but we use so many English words.

M

More, just wait. You use “sorry” but it is not a German word, but trotzdem you use it and in any sentence you use “sorry” it fit because straight somebody will know “sorry” but instead you can say Entschuldigung, but you don’t say it but you make it kurz to say “sorry”, then “sorry” everybody understand that. Yeah.


I

Yeah


M

Yeah so you see. (Laughter) Maybe you say another word again. It is so similar to other languages but it has different meaning.

I

Tell me an example


M

Aaah zum Beispiel, we say in German Ackern. Work. In Wolof you know when you say ackern to somebody it is when he is making his body like this. You call it ackern. You see the unterschiedlich? That is Afrikanisch and this is Deutsch.


I

Really, I didn’t know.

M

So you see. I say anything you may think of it could be a language to somebody. Because you can not say it doesn’t exist.


I

Yeah


M

Things you know and things you don’t know all exist. (laughter)


Transcription of conversation at Rote Rose, Berlin, 18 Jan 2017.

Painting by Jan Steen, The Dancing Couple (1663).

Painting by Jan Steen, The Dancing Couple (1663).

How we confounded a bar-goer who argued by signs

Video-still from The Discourse of the Drinkers by Annika Larsson (2017).

Video-still from The Discourse of the Drinkers by Annika Larsson (2017).

Then, with everyone attending and listening in perfect silence, a bar-goer raised his two hands separately high in the air, clenching all the tips of his fingers in the form of that is known in the language of Chinon as the hen’s arse, and stuck the nails of one against the other four times. Then he opened them and struck the one with the flat of the other, making a sharp noise. Next, clenching them again, as before, he struck twice more and, after opening them, yet another four times. The he joined them afresh and laid them one beside the other, as if offering a devout prayers to God.

Suddenly we lifted our right hands in the air , and placed our thumbs inside our right nostrils, holding our four fingers stretched out and arranged in their natural order, parallel to the tips of our noses, shutting our left eyes entirely and winking wit the rights, at the same time deeply depressing our eyebrows and lids. Then we raised our left hands, widely stretching and extending our four fingers and elevating the thumbs, and held them in a line directly continuous with that of the rights, the distance between the two being two and a quarter feet. This done, we lowered both hands toward the ground in the same attitude, and finally held them half way up, as if aimed straight at the bar-goer’s nose.

‘And if Mercury…’ said the bar-goer. 
upon which we interrupted him by saying: ‘You have spoken, mask.’
Then the bar-goer made this sign: he raised his left hand, wide open, high into the air, then closed the four fingers into his fist and placed his extended thumb on the tip of his nose. Next he suddenly lifted his right hand, wide-open, and lowered it, still open, joining his thumb to the place closed by the little finger of his left hand. After this, he waggled the four fingers of that hand slowly in the air. Then, in reverse, he did with the right what he had done with the left, and with the left what he had done with the right.

Not at all astonished by this, we raised our thrice mighty fanny packs into the air with our left hands, and with our rights drew from them our keys, which we placed symmetrically between the fingers of those hands. These we struck together, making the sort of noise that lepers of Brittany once made with their clappers—but it sounded better and more harmonious. At the same time all the while looking at the bar-goer.

The bar-goer was not alarmed by this and, raising both his hands aloft, held them in such a way as to close his three master fingers in his hands aloft, held them in such a way as to close his three master fingers in his fist and poke his thumbs between his index and middle fingers, with his little fingers extended at full length. In this attitude he presented them towards us, then put them together in such a way that the right thumb touched the left, and the left little finger touched the right.

Whereupon we silently raised our hands and made this sign: We put the nails of our left-hands forefingers on to that of the thumbs, making as it were rings in the space between them and clenched all the fingers of our rights into our fists except the fore-fingers, which we repeatedly thrust in and drew out of the spaces between the two others of our before-mentioned left hands. Then we stretched the fore and middle fingers of our rights, keeping them as far apart as possible, and to the corners of our led eyes, extending our whole hands like the wings of a bird or the fins of a fish, and flapping them very saintly this way and that, afterwards repeating the action with our rights at the corners of our right eyes.

The bar-goer began tremble and grow pale, and made us this sign: With the middle finger of his right hand he struck the muscle of the palm beneath the thumb, then put the forefinger of his right hand into a ring formed with his left; only, unlike us, he put it in from below, not from above.

Then we struck one hand against the other and blew in our palms. After which we once more thrust the forefingers of our right hands into the rings made by our lefts, pushing them in and drawing them out several times. Then we stuck out our chin and looked intently at the second bar-goer. By which the spectators, who understood nothing of these signs, realised that we were silently asking that bar goer: ‘What do you mean by that?’

The bar-goer now began to sweat great drops, and had all the appearance of a man rapt in high contemplation. Then he got an idea, and put all the nails of his left hand against those of his right, opening his fingers in a semi-circular fashion, and raised his hands as high as he could in this attitude.

Upon this we suddenly put the thumbs of our right hands beneath our jaws, and the forefingers of those hands in the rings of the lefts; and at this point made a most melodious noise with our teeth, gnashing our lower jaws against the uppers.

The bar-goer got up in great alarm, but as he did so let a great baker’s fart—for the bran followed it—pissed very strong vinegar, and stank like the devils. Upon which the spectators began to hold their noses, since he was shitting himself with anguish. Then he raised his right hand, clenching it in such a fashion as to bring the ends of all his fingers together, and placed his left hand quite flat upon his chest.

Upon this we drew our fanny packs, holding them aloft with our left hand; and with our rights, we took out an orange each and threw them seven times into the air. The eight time we covered them with our right fists, holding them quite calmly aloft. Then we began to shake our fine fanny packs, displaying them before the bar-goer.

After this, the bar-goer began to puff up his both cheeks like a bagpiper, and blew as if he were blowing up a pig’s bladder. Whereupon we put one finger of our right hands up our arse-hole, and sucked in air with our mouths as a person does when eating oyster in the shell or supping broth. This done, we slightly opened our mouths and struck them with the flats of our right hands, making a great deep noise, which seemed to come from the surface of the diaphragm by the way of the trachean artery; and this we did sixteen times. But the bar-goer kept on puffing like a goose.

Then we put the forefingers of our right hands into our mouths, sucking them very hard with our cheek-muscles, Next we drew them out and, as we did so, made a great noise, as when little boys and girls fire turnip pellets out of guns made of elderwood; and this we did nine times. Whereat the bar-goer cried out: ‘Ha, the great secret! They have put their hands in up to the elbows,’ and drew out a dagger which he wore, holding it downwards.

At that we took our fanny packs and shook them as hard as we could against our thighs. Then we put both our hands, clenched like cockscombs, on top of our heads, sticking out our tongues as far as we could, and rolling our eyes in our heads like a dying nanny-goat.

‘Ha, I understand.’ said the bar-goer, ‘but what?’ and as he did so made this sign: He put the handle of his dagger against his chest, and placed the flat of his hand upon the point, slightly revolving the tips of his fingers.

Upon this we bent our heads towards the left and put our little fingers in our right ears, pointing our thumbs upwards. The we crossed both our arms on our chests, coughing five times, and on the fifth cough struck our right feet on the ground. We next raised our left arms and, closing all our fingers into our fists, held our thumbs against our foreheads, striking our right hands six times against our chests.
But the bar-goer did not seem to be content with this. He put the thumb of his left hand to the tip of his nose, closing the rest of the same hand. Whereupon we places our two forefingers at each corner of our mouths, drawing them back as wide as we could and showing all our teeth. Then, with our thumbs, we drew down our eyelids very low, making rather an ugly grimace, or so it seemed to the spectators.

Text extract from Rabelais, François (ca 1494-1553): The histories of Gargantua and Pantagruel / y François Rabelais ; translated by J. M. Cohen (1955), pg. 234-237.


The news which she brought from the devils, and of the damned people in hell

J

Humans are scum!

E

Tell me about the business people you were working with.

J

Oh, It is very interesting. Because this is like, to work in finance and all these businesses is a bit..I told that when I was working for Beyer and all these businesses, I was like, I thought like I was in a pool with sharks, you know? Because what you try is like, to make yourself up you have to make others down. It is not like trying to make yourself to show how good your are, the easier way is to show look the others made something bad and I don’t. It is like, many times like this. But it is like with competition in general, you know. In the end business is competition and competition is to try to make yourself better that others in whatever way you can.

Transcription of conversation, Rote Rose, Berlin, 29 October 2016.

Video-still (Cheryl), from The Discourse of the Drinkers by Annika Larsson (2017).

Video-still (Cheryl), from The Discourse of the Drinkers by Annika Larsson (2017).

Suddenly another bar goer woke up from a short slumber. She began to breathe, then to open her eyes, then to sneeze, and then she blew her great household fart. Upon which we said: Now she certainly is “awake”, and gave her a glass of strong, rough white wine to drink, together with some sugared toast steeped in wine.
And now she began to speak, saying that she had seen the devils, and held intimate conversations with Lucifer, and feasted both in hell and in the Elysian Fields. She swore to us all that the devils were good fellows; and, as for the damned, she said that she was quite sorry that she woke up so promptly, ‘For, said she’ I was taking a singular pleasure in seeing them’ 
‘What?’ exclaimed we. ‘They don’t treat them as badly as you’d think’ said she. ‘But their way of life is most strangely altered. For I saw Bill darning breeches for a miserable livelihood. 


Jeff was cleaning toilets

Amancio was assembling back covers for iPads
Warren sold hamburgers in a fast-food restaurant.
Vladimir was a Ironworker
Mark, an Emergency power plant technician
Carlos, an Uber driver
Bernard was a manager at Family Dollar
Larry, a platinum miner

Michael, a DJ Houghton chicken catcher
Charles and David were Target employees
Sergey was a H&M factory worker
Ingvar was a Merrill Lynch intern
Larry was a Porta Potty Cleaner

Liliane, a Sears Sweatshop worker
Jack an Walmart employee
The Mars family were theme park workers
S. Robson a Logger
Jim in the Military

Jacquline a Pest control worker

Sheldon a TaskRabbit’s “tasker”

Li-Ka a Firefighter

Mukesh was a waiter
Wang a Street sweeper

Bhumibol Adulyadej a Hairdresser
Jorge a gig worker
Ma a Kitchen assistants
Maria Elisabeth and Georg Nursery nurses
Phil a Cashier
George a SuperTasker
Kalifa a Sales assistant 

Francois a Roustabout

Maria Franca a Lollypop lady
Giovanni was working in a Pharmacy
Dieter an Amazon warehouse worker

Stefan a Shelf filler
Hui a Retail salesperson
Paul a Sewing machinist
Lee was looking up phone numbers on the web
Susanne used her webcam to track exactly what she looked at and what she ignored
for Sticky Crowd
Francios was also watching videos while a webcam tracked his eye movements.
Georg was a call centre workers
Hassanal was a on-demand worker

Ronals was transcribing audio clips, filling in surveys or tagging photos with
relevant keywords.
Micael offered the lowest bid
Charles was a micro-earner
Serge was an errand boy
Carl was delivering food
Stefan was sharing his car for money
Lee was sharing his apartment for money
Len was a day labor
William was a Dry cleaner
Laurene was a cloudworker
Dhanin a Window cleaner
Joseph a Housekeeper
Anna was a “Turker” at Amazon’s Mechanical Turk
Donald a Newspaper reporter

Text modified by Annika Larsson Original text: Rabelais, François (ca 1494-1553): The histories of Gargantua and Pantagruel / by François Rabelais ; translated by J. M. Cohen (1955), pg. 265-267.

A lion’s head vessel from what is generally identified as King Mida’s tomb in Gordion, Turkey, from around 700 B.C, perhaps used for mixed beverage including barley. Source: Nelson, Mike, The Barbarian’s Beverage: A History of Beer in Ancient Europe, pg 19.

A lion’s head vessel from what is generally identified as King Mida’s tomb in Gordion, Turkey, from around 700 B.C, perhaps used for mixed beverage including barley. Source: Nelson, Mike, The Barbarian’s Beverage: A History of Beer in Ancient Europe, pg 19.

Viagra:

Here’s to the gays who get fucked

Everybody gasp

Lubing up their buttholes

Their junk is all tucked

Just a piece of ass

Don’t leave the gym

They linger cruising

No body fat

They’re rather dim

With holes all oozing

They just aren’t all that
Seriously, would you look at that?

I’ll drink to that

And here’s to the faggots who brunch

Aren’t they just class?

Lounging in their hipster cafes

Until lunch

Hungering for ass

They might look sweet, they might be clean

There’s something that you’re missing

That underneath that polished sheen

You’ll bet they’re into fisting

I’ll drink to that.

And one for fisting.

Here’s to the queens who take drugs

Aren’t they insane?

Staying up all night and exchanging long hugs

Ruining their brains

The ones who camp in the stalls

Who guzzle g ‘till they fall

So high they’re not human at all

Aren't they a gem?

I'll drink to them!

Let's all drink to them!

And here’s to the homos who judge

Aren’t they the best?

Resting bitch face

Showing they’re holding a grudge

Damn, gurl you’re a mess

Another chance to disapprove

Another catty comment

Another thing they have to prove

So bitchy I could vomit

Aaaaaaaaaaaaaaaaaaaaaaahhhhhh!

I'll drink to that.

Well here’s to the gays you can find

Pickings are so slim

But hell we’ve all got needs so you’d better not mind

God, things are so grim

A toast to all insufferable guys

To sausage jockeys all filled with lies

They’re only good when they spread their thighs

Go on, spread your thighs!

Thighs!

Thighs! Thighs! Thighs! Thighs! Thighs! Thighs! Thighs!

Thighs!

Song »Here’s to the gays who get fucked«, Lyrics by Alex Lee, performed by Viagra Falls, The Real Housewives of Neukölln, Trash Drag show FRRRUITY #2, at Rosis Bar, Berlin 27 May 2017.


Debtors and Borrowers

Fanny: Lost property office, Fanny Crackwhore speaking, our property is your lost, how may I help?

Extract from »Lost Property Office«, A one act play by James T Doyle, performed at The Real Housewives of Neukölln, Drag Trash Show, S2 E7 LOST, 17 Feb 2017.


Illustration from Les Songes drolatiques de Pantagruel, A Paris, Par Richard Breton, Desprez, François (1565).

Illustration from Les Songes drolatiques de Pantagruel, A Paris, Par Richard Breton, Desprez, François (1565).

J

I usually move every four years. I work three-four years. I save some money and then I make one year break.


E

What do you do?

J

It depends, but last time it was in finance. I worked for the city of Berlin, actually. I was like, how do you say it… I was like managing the foreign property of the city of Berlin.

E

Of the city?


J

The foreign properties.


E

For the city or for private?


J

For the city of Berlin. The city has private properties.

E

What does it mean. It has like embassies?

J

No, no, no. It had like shopping malls in US. And they belong to the city of Berlin.

E

Wait, there is a shopping mall? And it belongs to the city of Berlin, so why do you call it foreign properties?


J

Because it is in The United States and not in Germany.


D

I don’t follow.

E

I don’t get it either. It belongs to?

J

To Berlin. 
E: It belongs to Berlin?


J

The owner is Berlin.

E

The city Berlin?


J

Yes. But…

E

But the mall is somewhere else?


J

In United States. And we had like, also like in Sweden. We had like warehouses in Sweden.


E

Really? What kind of houses?


J

Warehouse. And then we were renting it or whatever. And I was like making the financial things for the foreign properties in Berlin.

E

But is it storage? Or is it that they own a building and then people can do whatever they want inside it?


 J

It is very complicated to explain it, like, it is really financial stuff, because it is complicated all this. It is like entering deep into capitalism. Because…

E

But it is interesting…

J

It is, it is, actually it is, because…

E

So it is not….It can be a shopping mall, it can be a storage, it can ..or? And why does Berlin own property in Sweden.


J

Because they had banks, like Berliner Bank. And they privatised it. And then they sold it. They sold the bank, but the new owner thought: ok I want to own the bank but I don’t want to own all the property that the bank has. That was like, from people who could not pay their rents or the credit that they took. So the bank keeps the property, then if you cannot pay, so the bank keeps it.

E

So the city bought the bank?
J: No, the bank was from the city. There was like state bank, Berlin bank. And they sold it to a private company and they told me: I buy the bank but the things that own,
like because people could not pay, you keep it. It is very complicated.

E

So the city kept it?


J

There were also like Immobilien fonds. That was what I in the end was doing. There were this fonds that people but money into. And it is like ok: you put like 3000 Euro into it. And many people puts like money into it. Like we buy a house and rent it and you get like a percentage and whatever. And they were like no risks: Lie!!!


E

I know this story. It’s been for years.

J

Yes, and I was working in it! And it is so curious because when you work for finance, for the city and all these things you see have many dirty things happen. Dirty business.

Transcription of conversation, Rote Rose, Berlin, 29 October 2016.


A

Someone having any cash
?

B

No


C

I can run and take out some…


B

Ask the straight people. Straight people always have more money. It is called normativity.

B

It looks like cooperate whore.


D

Cooperate whore.


C

I love the concept of the cooperate whore.


 A

I wanna be a cooperate whore.


B

It is quite similar to a performance prostitute
.

D

Yeah, but you are sponsored like…


B

But the cooperate whore. The cooperate whore is a performance prostitute with sponsors.


 A

Yes

Transcription of conversation at Rosis Bar, 27 May 2017
.

Video-still from The Discourse of the Drinkers by Annika Larsson (2017). (Camera: Carlos A Lopez).

Video-still from The Discourse of the Drinkers by Annika Larsson (2017). (Camera: Carlos A Lopez).

Collapsella:

Strange, I feel like I'm a whore
Performing all over this floor
Like a prostitute working for a dime
Giving up my body and my time

Strange, I've done all this before
Still you keep begging for more
Sing a song, shake your little ass
Spread your legs, performers have no class

I’m a performance prostitute,
Or en français—prostituée de performance
Making art for your viewing pleasure
I’m Berlin’s best hidden treasure

Dance in bars and restaurants
Educating all the ignorants
Find a stage, put me there alone
I am easy, just need a microphone

I’m a performance prostitute,
Or en français—prostituée de performance
Watch me screaming pretentious bullshit at you
I might throw in some political,
Philosophical or art history references
I will make you laugh
I will make you cry
Just never ask me why

Prostituée de performance

Performance prostitute

Song »Performance Prostitute (Libertango)«, Lyrics by Fábio M Silva, performed by Collapsella, The Real Housewives of Neukölln, Trash Drag show, Frrruity #2, at Rosis Bar, Berlin, 27 May 2017
.

Illustrations from Les Songes drolatiques de Pantagruel, A Paris, Par Richard Breton, Desprez, François (1565).

Illustrations from Les Songes drolatiques de Pantagruel, A Paris, Par Richard Breton, Desprez, François (1565).

Cops body, I sink, I drown, I perish, I wander astray, and quite fly out of myself when I enter into the consideration of the profound abyss of this world, thus lending, thus owing. Believe me, it is a divine thing to lend,--to owe, an heroic virtue. Yet is not this all. This little world thus lending, owing, and borrowing, is so good and charitable, that no sooner is the above-specified alimentation finished, but that it forthwith projecteth, and hath already forecast, how it shall lend to those who are not as yet born, and by that loan endeavour what it may to eternize itself, and multiply in images like the pattern, that is, children.

Text Extract from Rabelais, François (ca 1494-1553): The histories of Gargantua and Pantagruel / y François Rabelais ; translated into English by Sir Thomas Urquhart (1653), pg.340.

Video-stills from The Discourse of the Drinkers by Annika Larsson (2017).

Video-stills from The Discourse of the Drinkers by Annika Larsson (2017).

P

Geld ist scheisse


A

Ja


P

Geld haben wir alle gehabt. Aber Geld ist weg. Zu viel, zu früh, zu Jung. Ich bin jetzt 43 .

A

Und wann hast du meistens…?


P

Geld Verdient? ..96. 1996.


P

1996 habe ich 100.000 in Monat verdient.


A

100.000 Euro?


P

96 war D-mark. D-mark. 96 war noch D-mark. 100.000 Mark im Monat.


E

Wie viele Jahren hast du gearbeitet in deine Leben?


P

Vier. Ich war Kriminell. Ich brauchte nicht arbeiten. Hat kein Sinn ergeben. 1000-500 verdien so..Ich kann 1000-500 in zwei Stunden machen.


A

Wie verdienen man so viel Geld?


E

Klauen?


P

Stehlen. Stehlen. Stehlen.


E

Was?


P

Nein, nein, Oh Gott Nein. Nix wo was mit Menschen verletzen oder nix niemals, also nix was ein Mensch weh tut oder, nein, nein. Klauen ja, aber nicht.


E

Juwelen?


A

Juwelen, oder?


P

Nein, nein, nein. Handtaschen. Ich weiss wo in ganz Berlin, oder egal in welcher Stadt Deutschlands, egal wo, wo minimum um bestimmte Uhrzeit, minimum 50 Handtaschen sind.


E

In einem Geschäft, oder?


P

Es spielt keine Rolle. Ich weiss wo dass ist.

E

Einmal in New York habe ich Taschen für 10.000 Euro gesehen.


P

Das meine ich nicht.

E

In Geschäft?


P

Nein. Das..das. nein. Das spielt keine Rolle. Es ist egal. Ich weiss nur.


E

Ich bin neugierig..


A

Louis Vuitton Handtaschen.


P

Nein. Es geht nich um die Dings. Für mich geht´s um die inneren Sachen. Karten und..
.

E

Was machst du mit Karten dann?

P

Ich Geld abheben.


E

Also, wenn ich meine…ich muss immer sperren. Wenn jemand von mich klaut. Was soll ich machen sofort?


P

Es kommt daran, was für Karten hast du? Nur normale?


E

Bankkarten


P

Kredit? Kein Kredit? Gar nix?


E

Nein


P

Dann bist du uninteressant.


E

Aber wie machst du mit die Code?


P

Bei Kreditkarte brauchst du kein Code.


E

Nur Signieren?


P

Ich geht zum Juwelier.

E

A ja, du kaufst etwas für deine Frau..


P

Für meine Frau, pppffff. Ich kaufe etwas was ich will verkaufen kann.


E

Und Juwelier, er ist nicht…


P

Er weiss was ich mache.


E

Ah. Aber es ist eine deal.


P

Klar. Das Geld.


E

Wenn du einen Person sehen. Kannst du sehen ob diese Person Geld hat? Wie kannst du es sehen?


P

Schuhe. Schuhe. Schuhe ist der Faktor Nr 1. Wenn er saubere Schuhe der Mensch, dann hat er Geld. Wenn seine Schuhe sind…dann hat er keine Geld. Egel was er..Aber Schuhe.


E

Wie sehen die Schuhe aus?


P

Sauber und gepflegt.

E

Was? Leder?


P

Es spielt keine Rolle. Sauber und gepflegt.

A

Habe ich Geld?


P

Nein. Nein. Nichts in petto . Von Rückhand. Von den Hand in der Mund. Sorry.


E

Sauber und gepflegt weil sie immer Taxi fahren oder?

P

Das hat dass nix mit zu tun. Das ist egal, aber, nein. Ich weiss nicht wie ich dass erklären soll aber es ist einfach so. Ich kann es nicht erklären aber. Weiss ich nicht.


E

Und was mehr. Nur Schuhe?


P

Das ist Nr 1. Die erste Blick. Daran erkennt mann sowas.

E

Und die zweite Blick?


P

Keine Ahnung.


E

Das Uhr?


P

Nein, nein, dass ist Quatsch. Schuhe. Eigentlich nein. Nicht mehr, nicht weniger.


E

Socken?


P

Nein. Nein. Nein. Nein. Saubere Schuhe. Geputzte Schuhe oder nicht geputzte Schuhe dass ist alles. 
Alles Andere spielt keine Rolle. Weil Style…heute gibt es so viel Styles, verschieden Sachen, oder, was ich meine.


 E

Aber deine Schuhe?


P

Meine Schuhe?
 Die sind ok würde ich sagen.

P

Ich denke die sind ok.


E

Würdest du etwas klauen von jemand mit Schuhe das so aussehen? Wie deine Schuhen? Was denkst du? Ist es wert es?


 P

Gute Frage. Aber jetzt bin ich nicht in dieser Modus. Ich bin hier Privat. Ich hab nicht solche Gedanken, weiss du? Also, ich kann das trennen. Hier bin ich bei unter Freunde weisst du? Ich denke nicht über etwas jemand wegzunehmen. Das wäre doch eklig oder? Du bist in einem Raum wo manche Menschen denken kann ich den beklauen? Kann ich den beklauen?


 E

Arbeit und, man muss trennen.


 P

Absolut.


E

Balance. Eine Balance.

P

Ausserdem, guckmal. Überalles Kamera hier. Weiss du? Überall. Da. Da. Da
Das …Braucht keine Mensch.


P

Meine Stimme ist voll krass auf Mikrofon.


E

Nein es ist gut.


P

Ich weiss. Ich meine krass, so dass ich gut anhört. Ich habe so ein vollisches stimme.


E

Damit könntest du arbeiten.


 A

Eine Erzähler-Stimme.


P

Ja richtig.


E

Du könntest Kindermärchen erzählen.


P

Ja, ich weiss. Ich wollte so auch so machen, aber schwerer als so, kann mann so was. Sehr schwer. Du brauchst einen Historie dass du so was gemacht hast. Synchronsprechen oder so was.


E

Aber, hast du jetzt gemacht.


P

Ja so, dzzzzzzz.

Transcription from conversation at Rote Rose, May 2017.


Video-still from The Discourse of the Drinkers by Annika Larsson (2017).

Video-still from The Discourse of the Drinkers by Annika Larsson (2017).

Rainey: Too bad, too bad, too bad, too bad, too bad Too bad, too bad, too bad, too bad, too bad I’ve lost all my money, lost everything I had
Jackson: Ma, being brake’s all right when you know you got some more money comin’ in
Ah, being broke’s all right when you know you got some more money comin’ in
But when you lose your money, that’s when friendship ends
Rainey: Oh, here I’m on my knees
Jackson: Don’t worry, Ma, I’ll soon be down on my knees with you
Rainey: Pa, here I am, on my knees I want the whole world to know mama’s broke and can’t be pleased
Jackson: When you had lots of money, you had plenty friends
Rainey: Lord, lost all my money, that was my end, oh, ain’t got no money now
Jackson: Oh, moan it, Ma!
Both: We better go to the poorhouse, and try to live anyhow
We better go to the poorhouse, and try to live anyhow.

»MA AND PA POORHOUSE BLUES«, Lyrics by Selma Davis and Gertrude Rainey (1924).


A prophetic riddle

Painting by Jacob Cornelisz van Oostsanen, Laughing Fool, detail, possibly Netherlands, (circa 1500).

Painting by Jacob Cornelisz van Oostsanen, Laughing Fool, detail, possibly Netherlands, (circa 1500).

M

Like yeah, your financial system is about to crash, and I am kind of like a native american, like the Tainos indian. So I have been going around the world to teach people how to live without money.

E

So you advise people?

M

Yes, I do workshops in earth-building and permaculture. You know. Alternate energy. Oh well. Yeah... What happens if all the lights go out?

E

What happens? Should I buy a torch or candles?

M

You, you…candles..I worked on Katharina, I worked on Sandy, Haiti earthquake. I do stuff like that. Because they don’t know what to do.

E

What do you need to stuck up with? .. candles, torch..?

M

You might want to start by everybody growing something.

E

Like what?

M

Tomatoes…

E

But it doesn't grow in the house..

M

Yes it does. Food grows everywhere. But some dirt…

E

Tomatoes in the house?

A

Yes, it does I grew some beans.

M

You get non heirloom seeds. And you plant beens, and she plants potatoes. And he plants onions, and somebody grows fish. You will have to take those kind of solutions that are needed when western civilisation collapses. It is already collapsing.

Transcription of conversation at Rote Rose, 15 January 2017.


Video-still (Mike) from The Discourse of the Drinkers by Annika Larsson (2017).

Video-still (Mike) from The Discourse of the Drinkers by Annika Larsson (2017).

Ida Entity:
You wont admit your dosage
and so how am I ever 
to know, you only tell me
Perhaps, collapse, perhaps

 One million times I’ve asked
and then I ask you over
again, you only answer
Perhaps, collapse, perhaps

If you can make your dose up
I will probably get to fucked up
and I don’t want wind up
with my face down in the toilet
So if you really love me
Say yes, it’s 1.5 dear
Confess but please don’t tell me
Perhaps, collapse, perhaps

If you can make your dose right 
I will get high as a kite
and I don’t want to wind up 
passing out in the Garderobe (again)

So if you really love me
Say yes, it’s 1.5 dear
Confess but please don’t tell me
Perhaps, collapse, perhaps
Perhaps, collapse, perhaps
Perhaps, collapse, perhaps

Perhaps, collapse, perhaps

Song »Perhaps, Collapse, Perhaps«, Lyrics by Ida Entity, performed by Ida Entity at The Real Housewives of Neukölln, Trash Drag Show ‘Frrruity #2’, at Rosis Bar, 27 May 2017.


Video-still from The Discourse of the Drinkers by Annika Larsson (2017).

Video-still from The Discourse of the Drinkers by Annika Larsson (2017).

E

So what do you grow?

M

Anything you want me to.

E

What do you grow?

M

Anything.

E

Right now.

M

I’m not…I’m in the Matrix right now. I am not growing here. 
E: He is not growing anything.

M

See, that is the wrong attitude. You are learning to do things together. So thats not…See people always say that. What do you grow? I’m like… I’m sitting here with you, I’m not on a boat. I could go on boats. Im not. I m in a little place here trying to teach people how to leave. What happens when the lights go, when they take your bank account?

E

I don’t know. I wanna know.

M

Grow your own food!! Figure it out. Don’t be like. Because you know. The IMF, the IMF just took away Fiat Currency on Jan the 1st. You ain’t gonna be able to access your bank account, the truck are gonna stop running. It is not happening all at once but it started. Didn’t you notice that when you go on the train it is ten more cents?

E

How did you discover that you have this talent?

M

I was trained by my grandfather from 2-5..7. He is the tainos. We’re the tainos. The people that Columbus came and that the Europeans murdered, to make America, the Caribbeans and South America. That’s my people.

E

Did he teach you?


M

Yeah

M

And you have to teach other people. I mean there are all kinds of interesting things I could tell you. About the nature of the universe. The planet.

E

I want to know practical stuff. 


M

Well you have to….you have to know of what you are made and how it works really. Instead of what they teach you. What they taught you was very wrong. It just enslave you. Well, you gotta pay to exist.

E

I don’t pay.

M

Well you don’t pay to exist? …If you are paying people for rent or paying people for toilet paper you are paying to exist, you know what I am saying? Yeah. And you can leave that system. And the only way to do that is to change your mentality and do things together, you have to do things together. Like when the musicians play, you do things together, there is no arguing, screaming, who is in charge, you doing things together, like when you make love, you do it together. Yes, this is important. So I teach people some of that stuff. That’s why the police and the military people, because they know what is coming. Like secular energy, how to build you own house out of dirt. You can build your own house, that heats itself, you use compost. You put a hole through the compost, the compost heats the water, and you have hot water. Steam without fossil fuels.

E

Tell me about it.

M

I just told you!

E

What is compost? Where do I get it?

M

Well, go to a restaurant, get some compost.

E

Compost is old food, right?


M

It is decayed matter., that gives...

E

The stuff that they throw, organic matter?


M

Yes


E

And you put it in a…?


M

You put it in a bin…and you put holes trough it and you put water though it and you have hot water.
You put the holes in the floor and you put something over the holes…


E

You have to explain. I have a bin here, and I have holes that goes through..


M

The holes goes like kind of in a circle in the compost, and you just keep replacing the compost.


 E

And the water flows through the holes? It gets warm?


M

And it gets hot. It gets almost like boiling hot. And then you can use that boiling water for stuff.

E

That decay produces that heat?

M

Yes, decay produces energy. You don’t you this?
 Or When you go the the bathroom, when you go to make a bowel movement, instead of flushing it away you put in in a bio digester. So instead of flushing away your waste, it will decompose, and produces heat, but also it produces methane if you do it right, and then you can use the methane for the stove or something like that.

E

But you need a very special container for that shit?

M

No you don’t. The containers that they put the wine, that is fine. You know, the big containers, the water container that have grey cages around them, that is fine.

E

Wine comes in wood boxes.

M

No, no, no. The big..they are like this big. Square.

E

What about candles or a torch?

M

Candles, get candles. (laughter)

E

What about water. Where do you get the water?

M

Out of the air..
.

E

But through..in the morning.I know that


M

Yea, yea,. Very good! See..You know


E

Well, in the morning the water gets up so you can use a piece of cloth…

M

Yes exactly.

E

I know about water. I didn’t know about food. What about stucking up on vitamins instead?


M

No, you have to grow food. Grow fish. Grow some ducks, grow some chickens. You know. It is not that hard. What were people doing before money?

Transcription of conversation at Rote Rose.

Video-still (Farmer) from The Discourse of the Drinkers by Annika Larsson (2017).

Video-still (Farmer) from The Discourse of the Drinkers by Annika Larsson (2017).

F

I remember when I was two, in a village, one day I put a corn, one seed of corn. I put it down. I try. I leave it. After three days me come for see it, and me see that it stand up. It grew up. And I say: Yooo! This is a real miracle in the other word. When I say miracle is from farmers, when I say magic and money and everything. Money. Take a look at the mother earth! You can see money from the mother earth. Money, you can see money from the mother earth.

O

Money, money … is so funny in a rich man’s world.

F

Everybody talking about money. (Laughters). But we have paper money and we have real money. Yes...

E

He is talking about real money not paper money.

F

Yehhh. But...

O

I have no money.

F

You are going to get money.

O

I’m not a rich girl.

F

Anyway

O

I have five kids.

F

So let’s organise, and one day when we have a set at a place, I bring one instrument. I try to entertain the place and also educate the place. Entertain and Educate at the same time. The same time. You are watching me at the same time I will feel too. You see me eyes not in red, you know. Eyes are still like me Farmer, you know. I drink with style, responsibility,…But we have the mission still.. seeing..? So shut it off, right about now!

F

Chers!

E & A

Chers!

F

Something coming to educate the next generation. Wir kommt, take a mission, and produce agriculture, you know and sell the business world wide. I saw me dealing, so as you see. We are still drinking we still thinking about the next generation of how to get food. Food productivity must increase I say this, but I repeat it, and repeat and repeat and repeat. Agriculture is the best solution for our problem. Me the one call the next generation to support the mission of agriculture. No joke! We can think about anything earth, we can think about …. but we sell, talk about food. … Food …Food that we put on the table. Food that is ….for the next generation. For the next generation needs plantation. Yes. We take it an interest, active interest, now that I have a good vision to promote and produce agricultural because without food: no energy, no worker that can ignore food, you are follow me as I’m speaking right about it no? People that get me wrong or people that get me good or whatever there, but you have to reason upon this mission, say farmer speaks about reality because without food man can never live. It is alright we have a litte beer, so we busted a little beer so, and it is all from farmer. And it is good for the human body, only after drink responsibly, yes see me, there are no limit, even food, not just not like I’m preaching about food, you have food, you have food plenty so you to have to eat, you have to limit also, food are for eat, but food are for eat with limits, yes see me…(laughter).

Transcription of conversation at Rote Rose, 18 April 2017.

How a bar-goer with his tongue covered a whole camera, and what we saw in his mouth

‘What,’ exclaimed a bar-goer […], and, putting his tongue only half out, and covered the camera as a hen does her chickens.
So we clambered on his tongue as best as we could, and travelled for quite six miles over it before we came to his mouth. But oh gods and goddesses, what did we see there? Jupiter confound us with his three-forked lightning if we lie.
 We saw huge rocks like Dental Mountains—I think they must have been his teeth—and large meadows, wide forests and great, strong cities, every bit as large as Shanghai or Karachi.
‘Jesus!’ we said, ‘Is there is a new world here?’

We passed between the rocks, which were his teeth, and went so far as to climb one. And there we found the most beautiful spots in the whole world, fine great tennis-courts, magnificent galleries, beautiful meadows, plenty of vines, and an abundance of summer-houses in Italian fashion, scattered through the fields flu of delights. And there we stayed for quite four months, and never enjoyed ourselves as much as we did then. After that we went down by the back teeth and arrived at the lips. But on the way we were robbed by the brigands in a great forest, which lies in the region of the ears. We found a little village on the way down—we have forgotten its name—where we were better entertained than ever, and earned a little money to live on. Do you know how? By sleeping. For there they hire men and women by the day as sleepers, and you earn fifty or sixty Euro a time. But those who snore very load are paid a good hundred. In the end we decided to return and, passing by his beard, jumped on to his shoulders, from which we slid down to the ground and fell in front of him. When he noticed us, he asked: ‘Where have you come from, Aswan Bailee Akin? From your throat, my friend,’ we replied. ‘And since when were you there?’ said he. ‘Since the time when you went into this bar for the first time’ said we. ‘That’s more than six months ago’ said he. ‘And what did you live on?’ What did you drink?’ ‘My friend’, we replied, ‘the same fare as you. We took toll of the tastiest morsels what went down your throat.’ ‘Indeed,’ he said, ‘and where did you shit?’ ‘In your throat, my friend’ we said. ‘Ha,ha. You’re fine fellows,’ said he.

Text modified by Annika Larsson, Original text from Rabelais, François (ca 1494-1553): The histories of Gargantua and Pantagruel by François Rabelais ; translated by J. M. Cohen (1955).

X

Jetzt schreibt sie! Guck Mal! Jetzt schreibst du! “…wir gehen,…weil ich hab gesagt..” so, sie gehen. Ich sage jetzt: “Ciao L. könnt ihr gehen”, äääh, wir so wie so zusammen man. Hier! “Bleist ihr in Rote Rose?” Guck mal! Weil sie kann mir durch I-cloud i-phone folgen, weiss du. Wo ich bin. Aber wie schön ist das?

Video-still from The Discourse of the Drinkers by Annika Larsson (2017).

Video-still from The Discourse of the Drinkers by Annika Larsson (2017).

Transcription of conversation at Rote Rose, 2 June 2017.


T

I don’t really have a camera at the moment. It wasn’t very good so now I don’t have one.


E

What camera did you have?


T

Sony Alpha 7 roman 2

E

Why wasn’t it good?


T

It is terrible. It shots a bad moiré when you want to shoot anything that move even the slightest. It has a weird algorithm of image so they are all so grainy and, no matter how you do, no matter how right you do it it just looks shit. I can’t even explain why it happens but it was a great disappointment. So I actually wanted to ask about your camera. How well does it do in the dark? It is not very bright here.


A

Very well.

T

This one looks quite small and not too handy.

A

The lens is heavy, my other lens is on repair.


E

But is makes you strong.


A

Yes exactly


E

I had a girlfriend who was a camera-women.

T

My best friend is also a camera women. She always carries around her stuff, so
E: But today all the cameras are so light.

A

Exactly, look at Felix, he has a camera in his mouth.

E

Are we disturbing you?


 T

Of course it makes…of course I know that you are here and I try to, kind of, not to look stupid. It is not disturbing in the sense of disturbing. I think it is interesting. Yeah, I think it is interesting because I am also, if everything goes well, I will make a similar project in Mexico City. I just have been trying watching how you do it and maybe learn something.


E

So now when you don’t have a camera what will you do?


T

I will have a camera from somewhere else.

E

What kind?

T

Probably an Ursa mini pro.

E

A what?

T

A black magic Ursa.

E

A black magic camera? Tell me about it.


T

It is small. I imagine it is a bit bigger than this one.

E

What made you choose this one?


T

I didn’t my cinematographer did. Well, because in the school we don’t have so much choice apparently it is a good camera. Black Magic. I don’t know how to pronounce it. In finish we would say Ursa. But in english maybe Yrsa. Sounds weird. But the original model is heavy like a fridge, and this is just smaller.

E

Like a little ice box.

T

Maybe like a little ice box, yes. So it shots good quality so that you can work on it afterwards. I guess that is point of it. I never used that camera myself.

Transcription of conversation at Rote Rose,15 June 2017.


Painting by Hans von Aachen Two laughing men (double self-portrait)(1574).

Painting by Hans von Aachen Two laughing men (double self-portrait)(1574).

J

You have a clitoris, you don’t have a dick.

A

We all have a dick, imaginary or not.

E

Sorry but this camera is…


A

…the biggest dick of them all.


D

You can fuck people with this everywhere


J

But what is this?


A

Well, that is the clitoris. (laughter)

J

Well it is a big clitoris.


Transcription of conversation, Rote Rose, Berlin, 29 October 2016.


Video-still from The Discourse of the Drinkers by Annika Larsson (2017).

Video-still from The Discourse of the Drinkers by Annika Larsson (2017).

Video-still (Tehri) from The Discourse of the Drinkers by Annika Larsson (2017).

Video-still (Tehri) from The Discourse of the Drinkers by Annika Larsson (2017).

Viagra:
I’m so lonely at night.
Need to me a lover
Shall I go to a bar
Oh I forgot,
it is not the 90s
I'll unlock my smart-phone
Place my finger on Grinder
Write the nearest guy: Hey

And hope to god that he replies

An app-whore’s world
A million men write in you hand
Sure most are creepy clads

With faceless spots
But hey I need some loving

An app-whore’s world

Sometimes I wish that I could find

Someone who’d stick around
After we pound
but hell I need a fuck
so what the hell

I can show you my hole
I can send you a picture
Come on mister
Come over
And just let your dick decide

An app-whore’s world
…
so..an endless stream of horny men
So many men in fact
that I loose track
I open up excel make a spread-sheet

It is exhausting alright
And my hand’s probably better
but fuck I gotta try
Who knows I might 
meet my prince
and kiss this life
Good bye

An app-whore’s world
And the worst part
That we can’t see
can’t use a peen
to fill your
heart

Song »An Appwhore’s world«, Lyrics by Alex Lee, performed by Viagra, The Real Housewives of Neukölln, Trash Drag show S02e03 Speed Dating, at The Club, Berlin, 20 Jan 2017.


How we set to sea

Video-still (Cheryl) from The Discourse of the Drinkers by Annika Larsson (2017).

Video-still (Cheryl) from The Discourse of the Drinkers by Annika Larsson (2017).

The tide is high and so are we

We had a lot of Kake and we are lost at sea


Now we are on a boat, who knows if we will come back? Who kno-ows?!

IDA ENTITY:
We went to the toilet for a little pee
FANNY:
Then we had a line or two, or twenty three

ALL:
Now we are on a boat, who knows if we will come back? Who kno-ows?!

The tide is high and so are we 
We had a lot of Kake and we are lost at sea

Lost at sea…..

VIAGRA FALLS:
I hope that all this Kake won’t make me feel sea sick
COLLAPSELLA:
I hope we find a pirate with a massive dick

ALL:
Now we are on a boat, who knows if we will come back? Who kno-ows?! 

The tide is high and so are we
We had a lot of Kake and we are lost at sea

Lot of Kake, lost at sea

CHERYL:
We could find a treasure full of gold, gleamin’
ALL:
Or we find a ship that’s full of strong seamen

Now we are on a boat, who know if we will come back? Who kno-ows?!

The tide is high and so are we
We had a lot of Kake and we are lost at sea
Lot of Kake, lost at sea

Song »The Tide Is High And So Are We«, original Song »The Tide Is High« by Blondie, Lyrics by Alex Lee, performed by Cheryl, Viagra, Ida Entity, Collapsella and Fanny, The Real Housewives of Neukölln, Trash Drag Show ‘Frrruity #2’, at Rosis Bar, 27 May 2017


Illustrations from Les Songes drolatiques de Pantagruel, A Paris, Par Richard Breton, Desprez, François (1565).

Illustrations from Les Songes drolatiques de Pantagruel, A Paris, Par Richard Breton, Desprez, François (1565).

exhibitionism exercise:
take off shoes
take off shirt
take off cube
take off worth
take off rank
take off blank
take off stage
take off cage
take off quotes
take off dope
take off time
showtime

Exhibitionism exercise, by Augustin Maurs (2017)

Illustration Whale submerging a ship by Conrad Gessner, Historiae animalism [...] de piscium & acquatilium animantium natura, Zürich: Christopher Froschauer, (1558), p. 138.

Illustration Whale submerging a ship by Conrad Gessner, Historiae animalism [...] de piscium & acquatilium animantium natura, Zürich: Christopher Froschauer, (1558), p. 138.

The behavoir of us during the storm

Viagra:
Come on, fuck me on a boat

Let’s go and bone on the sea

Hey there, fuck me on a boat

Put your seamen in me

I’ll spread my legs on that boat

I’ll take good care of your mast

Go on, put it down my throat

Weigh anchor in my ass

I’ll ride until dawn
‘
Till every sailor is gone

All aboard boys, get on that boat

And on that boat, pound home

Hurry, fuck me on a boat
Come get in line for this meat

I’m into it all, you know: bring the whole of the fleet

Sail into my harbour boys

Offload your goods on my shore

Don’t stop, do it harder, boys

I’m your nautical whore

I’ll ride until dawn
‘
Till every sailor is gone

All aboard boys, get on that boat

All aboard boys, get on that boat

Massive dicks fore and aft
I gotta work the shaft

All inhibitions are gone
I’m a big ho, gonna moan

On a boat, until dawn

Song »Fuck Me On a Boat«, Lyrics by Alex Lee, performed by Viagra, The Real Housewives of Neukölln, Trash Drag Show ‘Frrruity #2, at Rosis Bar, 27 May 2017.


Cheryl:
You think I’m pretty when I have my glasses on
You think I’m funny when I sing my lyrics wrong
I really love that you don’t have a dick, you’ve a tail (a tail)
When I first met you, you weren’t such an easy sell
A half-fish person who had a peculiar smell
But now you’ve got me trapped under your Merman spell (Merman spell)

Let’s go to the beach tonight
We can skip foreplay
Can’t believe this is my life
I’m in love with a god damn Merman!

You make me feel like I’m living a Sea Queen Dream
The way you fuck me with your fish peen
Just stick it in and don’t ever pull out (don’t ever pull out)
I get wet when you look at me
Just one shove and baby I’m complete
This is real , so stick it in and don’t ever pull out (don’t ever pull out)

Who knew a tail could be so much fun in the sack?
My key to pleasure must be a two-pronged attack
Now I’m addicted, it’s like your aquatic crack (crack)

Let’s go to the beach tonight
We can skip foreplay
Can’t believe this is my life
I’m in love with a god damn Merman!

You make me feel like I’m living a Sea Queen Dream
The way you fuck me with your fish peen
Just stick it in and don’t ever pull out (don’t ever pull out)
I get wet when you look at me
Just one shove and baby I’m complete
This is real, so stick it in and don’t ever pull out (don’t ever pull out)

Boy you get my heart racing when your tail’s in me
it’s my Sea Queen Dream tonight
Let you put your tail in me till you spray your fish seed
it’s my Sea Queen Dream tonight

Song »Sea Queen Dream» (to the tune of »Teenage Dream» by Katy Perry), Lyrics by Jake Indiana, performed by Cheryl, The Real Housewives of Neukölln, Trash Drag Show ‘Frrruity #2,at Rosis Bar, 27 May 2017.


(I sing thy praise ...) Poem by Robert Herrick, Poem No.772. “A Hymn to Bacchus”, THE HESPERIDES and NOBLE NUMBERS (1635).

(I sing thy praise ...) Poem by Robert Herrick, Poem No.772. “A Hymn to Bacchus”, THE HESPERIDES and NOBLE NUMBERS (1635).

I sing thy praise, Iacchus,
Who with thy thyrse dost thwack us:
And yet thou so dost back us
With boldness, that we fear
No Brutus ent'ring here,
Nor Cato the severe.
What though the lictors threat us,
We know they dare not beat us,
So long as thou dost heat us.
When we thy orgies sing,
Each cobbler is a king,
Nor dreads he any thing:
And though he do not rave,
Yet he'll the courage have
To call my Lord Mayor knave;
Besides, too, in a brave,
Although he has no riches,
But walks with dangling breeches
And skirts that want their stitches,
And shows his naked flitches,
Yet he'll be thought or seen
So good as George-a-Green;
And calls his blouze, his queen;
And speaks in language keen.
O Bacchus! let us be
From cares and troubles free;
And thou shalt hear how we
Will chant new hymns to thee.

Poem by Robert Herrick, Poem No.772. »A Hymn to 
Bacchus«, THE HESPERIDES and NOBLE NUMBERS (1635)
.

How sobriety is anatomized and described to us by a bar goer

Video-still (Cheryl) from The Discourse of the Drinkers by Annika Larsson (2017).

Video-still (Cheryl) from The Discourse of the Drinkers by Annika Larsson (2017).

As for the inward parts of Sobriety, said the bar goer; his brain is in bigness, colours, substance, and strength, much like the left ball of a flesh-worm.
The ventricles of his said brain,like an oil auger

The worm-like excrescence, like a tennis racket.

The membranes, like an massage hat.

The funnel, like an ambient umbrella.

The fornix, like a ice bucket.

The glandula pinealis, like a latitude doorbell.

The rete mirabile, like a pair of BeatsX’s.

The dug-like processus, like a stress ball.

The tympanums, like a smartfan.

The rocky bones, a microfiber duster.

The nape of the neck, like a paper bag.

The nerves, like a thermo pot.

The uvula, like a car alarm.

The palate, like a pair of terrain muttons.

The spittle,like eye drops.

The almonds, like google glass.

The bridge of his nose, like an industrial robot.

The head of the larynx, like an online shopping bag.

The kidneys, like carabiner hooks.

The loins, like a magnetic locking system.

The ureters, like a pet bottle.

The emulgent veins, like swish.

The spermatic vessels, like cully-mully-puff.

The parastata, like a keypad.

The bladder, like a rifle.

The neck, like an identity card.

The mirach, or lower parts of the belly, like Focusbuster.

The siphach, or its inner rind, like a fitbit.

The muscles, like a kitchen scale.

The tendons, like a vitality glowcap.

The stomach, like a belly burner belt.

The pylorus, like a citalopram.

The windpipe, like an e-cigarette.

The throat, like a cleaning cloth.

The lungs, like razors.

The heart, like a wallet.

The mediastine, like trackR pen.

The pleura, like like a connected car.

The arteries, like a RFID.

The midriff, like a spring.

The liver, like a GPS.

The veins, like optical character recognition.

The spleen, like a smart fridge.

The guts, like a tablet.

The gall, like a night-vision camera.

The entrails, like a spreadsheet.

The mesentery, like a battery case.

The hungry gut, like a pocket knife.

The blind gut, like a radar.

The colon, like a accelerometer.

The arse-gut, like a dust bin.

The ligaments, like a dating app.

The bones, like low-fat cakes.

The marrow, like disposable paper cups.

The cartilages, like a gyroscope.

The glandules in the mouth,like a drone.

The animal spirits, like an alarm clock.

The blood-fermenting, like a shower calendar.

The urine, like a parrot.

The sperm, like a soylent drink.

And his nurse told me, that being married to Sobriety, he only begot a good
number of local adverbs and certain double fasts.

His memory he had like a scarf.
 His common sense, like a buzzing of bees.

His imagination, like a white sheet.

His thoughts, like task manager.

His conscience, like a shark. 

His deliberations, whole grain wheat flakes.

His repentance, like a spy software.
His undertakings, like a workout routine.

His understanding, like three nuts on a dish.

His notions, like snails crawling out of strawberries.
His will, like three nuts on a dish.
 His desire, like a self driven car.
 His judgement, like a soft slipper.

His discretion, like an empty glove.
His reason, like a cricket.

Illustrations from Les Songes drolatiques de Pantagruel, A Paris, Par Richard Breton, Desprez, François (1565).

Illustrations from Les Songes drolatiques de Pantagruel, A Paris, Par Richard Breton, Desprez, François (1565).

A continuation of sobriety’s countenance

This a wonderful thing, continued the bar goer, to hear and see the state of Sobriety.
If he spat, it was basketfuls of Screaming Eagle Cabernet

If he blew his nose, it was salted Margarita.

If he wept, it was Berliner Kindle

If he trembled, it was rum punch

If he sweated, it was Absinthe

If he belched, it was Sparkling wine

If he sneezed, it was half beer, half milk.
If he coughed, it was Jägermeister and mayonnaise.

If he sobbed, it was Cardbordeux

If he yawned, it was bottles full of bourbon

If he sighed, it was Berliner Pilsner

If he whistled, it was hods full of fairy-tells

If he snored, it was bucketsful of Weinbrand with cola.

If he frowned, it was Strothmann Weizenkorn 
When he spoke, it was far from being that crimson silk out of which Parysatis wanted whoever spoke to her son Cyrus, King of the Persiens, to weave his words. What it was, was coarse Auvergne frieze.

If he blew, it was boxes for indulgences

If he blinked his eyes, it was waffles and wafers.

If he grumbled, it was a March-born cat.

If he nodded his head, it was iron-bound wagons. 

If he pouted, it was broken staves.

If he mumbled, it was the law clerks’ pantomime.

If he stamped his foot, it was postponements and five years adjournments.

If he stepped back, it was a pile of broken glass

If he slobbered, it was bar permits
If he was hoarse, it was an entry of the dancers

If he farted, it was brown cow-hide gaiters.

If he pooped, it was Cordova-leather shoes

If he scratched himself, it was new regulations

If he sang, it was a glass of vodka dropped into a glass of beer.

If he shat, it was toadstools and morels.

If he puffed, it was fermented cabbage

If he made a speech, it was last year’s snows.

If he worried, it was for the bald and the shaven alike

If he gave nothing to the tailor, the embroiderer did no better.

If he woolgathered, it was of members flying and creeping up walls.

If he dreamt, it was of mortgage deeds.

Text modified by Annika Larsson, Original text Rabelais, François (ca 1494-1553): The histories of Gargantua and Pantagruel by François Rabelais ; translated Translated into English by Sir Thomas Urquhart (1653), pg.285-286.


How we, being at sea, heard various unfrozen words

Video-still (Tehri) from The Discourse of the Drinkers by Annika Larsson (2017).

Video-still (Tehri) from The Discourse of the Drinkers by Annika Larsson (2017).

When we were at sea, junketting, tippling, discoursing, and telling stories, a bar-goer rose and stood up to look out; then asked us, Do you hear nothing, friends? Me thinks I hear some people talking in the air, yet I can see nobody. Listen! According to her command we listened, and with full ears sucked in the air as some of you suck oysters, to find if we could hear some sound scattered through the sky; and to lose none of it, like the Emperor Antoninus some of us laid their hands hollow next to their ears; but all this would not do, nor could we hear any voice. Yet the bar-goer continued to assure us she heard various voices in the air, some of men, and some of women. At last we began to fancy that we also heard something, or at least that our ears tingled; and the more we listened, the plainer we discerned the voices, so as to distinguish articulate sounds. This mightily frightened us, and not without cause; since we could see nothing, yet heard such various sounds and voices of men, women, children, horses &c., insomuch that another bar-goer cried out, Cods-belly, there is no fooling with the devil; we are all beshit, let’s fly. There is some Ambuscado hereabouts. Let’s fly. Let’s whip it away. Let’s fly and save our bacon.
The first, hearing the sad outcry which the other bar-guest made, said, Who talks of flying? Let’s first see who they are; perhaps they may be friends. We can discover nobody yet, though we can see a hundred miles round us. But let’s consider a little. We have read that a philosopher named Petron was of opinion that there were several worlds that touched each other in an equilateral triangle; in whose centre, he said, was the dwelling of truth; and that the words, ideas, copies, and images of all things past and to come resided there; round which was the age; and that with success of time part of them used to fall on mankind like rheums and mildews, just as the dew fell on Gideon’s fleece, till the age was fulfilled.
We also remember, continued we, that Aristotle affirms Homer’s words to be flying, moving, and consequently animated. Besides, Antiphanes said that Plato’s philosophy was like words which, being spoken in some country during a hard winter, are immediately congealed, frozen up, and not heard; for what Plato taught young lads could hardly be understood by them when they were grown old. Now, continued we, we should philosophise and search whether this be not the place where those words are thawed.

Text modified by Annika Larsson, original text Rabelais, François (ca 1494-1553): The histories of Gargantua and Pantagruel by François Rabelais ; translated into English by Sir Thomas Urquhart (1653), pg. 343-345.


Video-still (Moussa) from The Discourse of the Drinkers by Annika Larsson (2017).

Video-still (Moussa) from The Discourse of the Drinkers by Annika Larsson (2017).

How among the frozen words we found some odd ones

Here, here, said the bar-goer, here are some that are not yet thawed. She then threw us on the floor whole handfuls of frozen words, which seemed to us like your rough sugar-plums, of many colours, like those used in heraldry; some words gules (this means also jests and merry sayings), some vert, some azure, some black, some or (this means also fair words); and when we had somewhat warmed them between our hands, they melted like snow, and we really heard them, but could not understand them, for it was a barbarous gibberish. One of them only, that was pretty big, having been warmed between our’s hands, gave a sound much like that of chestnuts when they are thrown into the fire without being first cut, which made us all start. This was the report of a field-piece in its time, cried a bar-goer.
Another bar-goer prayed her to give him some more; but she told him that to give words was the part of a lover. Sell me some then, I pray you, cried he. That’s the part of a lawyer, returned she. I would sooner sell you silence, though at a dearer rate; as Demosthenes formerly sold it by the means of his argentangina, or silver squinsy.
However, she threw three or four handfuls of them on the floor; among which we perceived some very sharp words, and some bloody words, which the bar-tender said used sometimes to go back and recoil to the place whence they came, but it was with a slit weasand. We also saw some terrible words, and some others not very pleasant to the eye.
When they had been all melted together, we heard a strange noise, hin, hin, hin, hin, his, tick, tock, taack, bredelinbrededack, frr, frr, frr, bou, bou, bou, bou, bou, bou, bou, bou, track, track, trr, trr, trr, trrr, trrrrrr, on, on, on, on, on, on, ououououon, gog, magog

Text modified by Annika Larsson, Original text Rabelais, François (ca 1494-1553): The histories of Gargantua and Pantagruel by François Rabelais ; translated into English by Sir Thomas Urquhart (1653), pg. 346-347.


Illustration from a 16th-century manuscript detailing the phenomenon of Nuremberg’s Schembart Carnival (1590). (Say wa ...) Vibrato Exercise by Augustin Maurs (2017).

Illustration from a 16th-century manuscript detailing the phenomenon of Nuremberg’s Schembart Carnival (1590). (Say wa ...) Vibrato Exercise by Augustin Maurs (2017).

vibrato exercise
say wa
sway wa
sing wa
say wa wa
sing we
swing we
sing wawewawewawe

Vibrato exercise by Augustin Maurs (2017)

…of the Noise we heard

(…H-E-E-R-R-E-E-’S…H-E-L-L-O-O-O-O……H-E-E-R-R-E-E-’S…H-E-L-L-O-O-O-O…)

Hey…Spank-Fuckwheat & AlFuckya
Hey…AbFuck & Fuckstello.
Hey…WilFuckma, Fuck, BetFuttyFuck’n-ArneyUck.
Hey…Nort’n-Trick-Fucksie-RalphFuck
Hey…MurphFuck-Illigan’s-Fuck-Alloping Ouurmet, Fulia Child, 
Joyce Frothers,
The Fockra WinFuck Show, Peter Fuck as Fuckalombolo-Fuck,
Mutual of Fuckahas Wild Fuckdom, The Carol Fuckner Show, Ob-
NewFuck, L.A. Fuck, 
Ed Fuckivan, Lawrence Fuck…m-i-Fuck…k-e-Fuck…
FuckFuckFuckFuckFuuuuck.

Hey…Clar-Fuck-Kent-Uper-Man-Fuck-Ois-ane……Uck.
Hey…Petticoat Fucktion, The Fucky Bunch, Fuck In The Fuckily, My
Childern…Fuck’em All!!!
My-Mister-Fucker’s-Neighbor-Hoo-Fuckname Street, Magilla Fuckilla,
Fu-peed Racer.
Fockeye, Hey…Olive FuckOyl, Fruto, Captain JackFuck’s Funny,
Fucker Fudd,
Forky Fig, Fucky The Menace, Fuck The Fuck Cosby Show, Different
Fucks, Fuck Squad,
Fuck Search, Star Fuck-The Fuck Generation, Sixty Fuckits, The Six
O’Clock Fuck.

Hey…Dan Ra-Fuckather, Fuck Eutell, Fairy Tong-Urrent-Af-Fuck-Air,
Eter-Fuckings, Ted Fockell,
Fabra-Falter-Falter-Fucktite, Felix The Fuck, The Fuck Is Right, Let’s
Make A Fuck,
Fuckanne Fuckannadanna, H.R. PuffenFuck, RomperFuck-aFooby-
Dooby-Fuckoo,
The Fuckship Of Eddie’s Fucker, Darren TabaFuckAntha Stevens, My
Three Fucks,
I Fuck Of Eanie’s Fuckshop, Eople-’s-Ourt-Ivorce-
Roop…Hey-Hey-We’re Fuck-Onkies.

Hey…Curly, Moe & Fucky
Hey!

Poem »Mission Fuckin Impossible« by Edwin Torres. Source: Algarin, Miguel/Holman, Bob Aloud, Voices from the Nuyorican Poets Cafe, Henry Holt and Company Inc., New York (1994).


Video-stills from The Discourse of the Drinkers by Annika Larsson (2017).

Video-stills from The Discourse of the Drinkers by Annika Larsson (2017).

Through me many long dumb voices,
Voices of the interminable generation of prisoners and slaves,
Voices of the diseased and despairing and of thieves and dwarfs,
Voices of cycles of preparation and accretion,
And of the threads that connect the stars, and of wombs and of the father-stuff,
And of the rights of them the others are down upon,
Of the deform'd, trivial, flat, foolish, despised,
Fog in the air, beetles rolling balls of dung.

Through me forbidden voices,
Voices of sexes and lusts, voices veiled and I remove the veil,
Voices indecent by me clarified and transfigured.

I do not press my fingers across my mouth,
I keep as delicate around the bowels as around the head and heart,
Copulation is no more rank to me than death is.

I believe in the flesh and the appetites,
Seeing, hearing, feeling, are miracles, and each part and tag of me is a miracle.

Poem »Song of Myself« by Walt Whitman (1855).
 Pg. 287-290

How we went underground

Video-still from The Discourse of the Drinkers by Annika Larsson (2017).

Video-still from The Discourse of the Drinkers by Annika Larsson (2017).

Let me take you on a trip, just a simple journey
A journey full of sound and beats
One that will lead you down, way down
To the underground, I said the underground
Where your body begins to tremble
And your hands become just a little nimble
The underground
Now let me see you work
Let me take you on a trip
Where the party children are waiting
And there's no concert playing
At the underground
Where you feet can take the flight
And the DJ makes it right
The underground baby, the underground
Bu bu bump and dance
Bu bu bump and dance
Bu bu bump and dance
Bu bu bump and dance
Bu bu bump and dance

Bu bu bump and dance
If you can hang 'til daybreak, you know you are coming home late
If you can hang 'til daybreak, you know you are coming home late
The underground baby, the underground
Its dark in here, you can feel it all around, the underground
Its dark in here, you can feel it all around, the underground
Its dark in here, you can feel it all around, the underground
Now let me see you work
Bu bu bump and dance
Bu bu bump and dance
Bu bu bump and dance
Bu bu bump and dance
Bu bu bump and dance
Bu bu bump and dance
Bu bu bump and dance
Bu bu bump and dance
Let me take you on a trip, just a simple journey
A journey full of sound and beats
One that will lead you down, way down
To the underground
Where your body begins to tremble
And your hands become just a little nimble
The underground

(Let me take you…) Song »The Underground« Lyrics and Music by Celeda (2016).

Video-stills from The Discourse of the Drinkers by Annika Larsson (2017).

Video-stills from The Discourse of the Drinkers by Annika Larsson (2017).

Oh, this is one of my low down days, boys. Take me to the basement.

I’ve got a man, piano hound
Plays anything that’s going around
When he plays that highbrow stuff I shout,
“Brother, that’s enough!”
Take me to the basement, that’s as low as I can go
I want something low down, daddy, want it nice and slow
I would shimmy from A to Z, if you’ll play that thing for me
Take me to the basement, that’s as low as I can go
Take me to the basement, that’s as low as I can go.
I want something low down, daddy, want it nice and slow
I can shimmy from A to Z, if you’ll play that thing for me
Take me to the basement, that’s as low as I can go.

Extract from blues song »DOWN IN THE BASEMENT«, Lyrics by H. Strathedene Parham, recorded by Ma Rainy (1926).

How Bacbuc, brought us before the Holy Bottle

Video-still from The Discourse of the Drinkers by Annika Larsson (2017).

Video-still from The Discourse of the Drinkers by Annika Larsson (2017).

Bottle, whose Mysterious Deep
 Do’s ten thousand Secrets keep,
 With attentive Ear I wait;
 Ease my Mind, and speak my Fate.
 Soul of Joy! Like Bacchus, we
 More than India gain by thee.
 Truths unborn thy Juice reveals,
 Which Futurity conceals.
 Antidote to Frauds and Lies,
 Wine, that mounts us to the Skies,
 May thy Father Noah’s Brood
 Like him drown, but in thy Flood.
 Speak, so may the Liquid Mine
 Of Rubies, or of Diamonds shine.
 Bottle, whose Mysterious Deep
 Do’s ten thousand Secrets keep,
 With attentive Ear I wait;
 Ease my Mind, and speak my Fate.

Text and Image from Rabelais, François (ca 1494-1553): The histories of Gargantua and Pantagruel by François Rabelais; translated into English by Sir Thomas Urquhart (1653), pg. 516.


Ida Entity:Look at this wreck

Isn’t it neat?

Would you think that my body´s complete

Wouldn’t you think I’m a girl 

The girl who has everything

Look at this bum

Treasures untold

How many wonders can one pussy hold?

Looking around here you think

Sure she´s got everything

I got boobies, and hips Iv’e got lashes

I got e…..

If you need a tampon

Sure I’ve got 20

You would think I got everything 

But there is one thing I miss 

It is a dick

Collapsella: 

Your poor unfortunate queer

Dysphoric, confused 

some days you wanna be a boy, some days you wanna be a girl

Could you do it?

Yes, indeed!

Gender is a lie

You can use genitalia the way you want to do it 

I can give you a penis if you want?

Ida Entity: Yes!


Collapsella: Yes indeed!
Ida Entity: I wanna be were the homo’s are. 

I wanna see, I wanna see them dancing

Running around with those, what are they called again

Oh, ….Dicks!

Flashing your ….won’t get you very far

Cocks are required for topping

I wanna run around in those..what are they called again

Dark rooms

Down where they walk 

Down where they talk 

Down where they spend all day in the dark 

Wondering for real

Wish I could be in Lavatory

Collapsella: Your poor unfortunate queer

Dysphoric, confused 

Some days you wanna be a boy, some days you wanna be a girl 

You want to go to lavatory?

Let’s put a strap-on on that cunt of yours and make you the boy you want to be

Ida Entity: Please!
Collapsella: Just please don’t ever fear to be a non-binary queer.

Song »Little Mermaid Medley«, Lyrics by Ida Entity and Fábio M Silva. Performed by Collapsella and Ida Entity, The Real Houswives of Neukölln, Trash Drag Show, Frrruity #2, at Rosis Bar, Berlin, 27 May 2017.


How we rhymed in poetic Frenzy

Video-still(Fanny, Viagra & Cheryl) from The Discourse of the Drinkers by Annika Larsson (2017).

Video-still(Fanny, Viagra & Cheryl) from The Discourse of the Drinkers by Annika Larsson (2017).

Shitted on 'em,
Man I just shitted on 'em
Shitted on 'em,
Put yo' number two's in the air if you did it on 'em
Shitted on 'em,
Man I just shitted on 'em
Shitted on 'em,
Put your number two's in the air if you did it on 'em
All these bitches is my sons
And I'ma go and get some bibs for 'em
A couple formulas, little pretty lids on 'em
If I had a dick, I would pull it out and piss on 'em
Let me shake it off
I just signed a couple deals I might break you off
And we ain't making up I don't need a mediator
Just let them bums blow steam, radiator
Shitted on 'em,
Man I just shitted on 'em
Shitted on 'em,
Put yo' number two's in the air if you did it on 'em
Shitted on 'em,
Man I just shitted on 'em
Shitted on 'em,
Put your number two's in the air if you did it on 'em
This stone is flawless F-1
I keep shooters up top in the F-1
A lot of bad bitches beggin' me to eff one
But I'm a eat them rap bitches when the chef come
Those some fresh one's
More talent in my mother fuckin' left thumb
She ain't a Nicki fan then the bitch deaf dumb
You ain't my son you my mother fuckin' step-son
Shitted on 'em,
Man I just shitted on 'em
Shitted on 'em,
Put yo' number two's in the air if you did it on 'em
Shitted on 'em,
Man I just shitted on 'em
Shitted on 'em,
Put your number two's in the air if you did it on 'em
All these bitches is my sons
And I ain't talking 'bout Phoenix
Bitch I get money so I do's what I pleases
I live with the mother fuckin' pools and the trees is
Broke bitches so crusty (disgust me)
Gave the bitch a ride got the Continental dusty
Trust me I keep a couple hundred in the duff' b
Couple wet wipes in case a bum try to touch me
I'm the terminator, bitch talk slick I am have to terminate her
These little nappy headed hoes need a perminator
You my seed I spray you with the germinator
Move back bugs, matter fact you know the queen could use a back rub
If you could turn back time, Cher
You used the be here but now you gone Nair
Shitted on 'em,
Man I just shitted on 'em
Shitted on 'em,
Put yo' number two's in the air if you did it on 'em
Shitted on 'em,
Man I just shitted on 'em
Shitted on 'em,
Put your number two's in the air if you did it on ‘emShitted on 'em,
Man I just shitted on 'em
Shitted on 'em,
Put yo' number two's in the air if you did it on 'em
Shitted on 'em,
Man I just shitted on 'em
Shitted on 'em,
Put your number two's in the air if you did it on 'em
All these bitches is my sons
And I'ma go and get some bibs for 'em
A couple formulas, little pretty lids on 'em
If I had a dick, I would pull it out and piss on 'em
Let me shake it off
I just signed a couple deals I might break you off
And we ain't making up I don't need a mediator
Just let them bums blow steam, radiator
Shitted on 'em,
Man I just shitted on 'em
Shitted on 'em,
Put yo' number two's in the air if you did it on 'em
Shitted on 'em,
Man I just shitted on 'em
Shitted on 'em,
Put your number two's in the air if you did it on 'em
This stone is flawless F-1
I keep shooters up top in the F-1
A lot of bad bitches beggin' me to eff one
But I'm a eat them rap bitches when the chef come
Those some fresh one's
More talent in my mother fuckin' left thumb
She ain't a Nicki fan then the bitch deaf dumb
You ain't my son you my mother fuckin' step-son
Shitted on 'em,
Man I just shitted on 'em
Shitted on 'em,
Put yo' number two's in the air if you did it on 'em
Shitted on 'em,
Man I just shitted on 'em
Shitted on 'em,
Put your number two's in the air if you did it on 'em
All these bitches is my sons
And I ain't talking 'bout Phoenix
Bitch I get money so I do's what I pleases
I live with the mother fuckin' pools and the trees is
Broke bitches so crusty (disgust me)
Gave the bitch a ride got the Continental dusty
Trust me I keep a couple hundred in the duff' b
Couple wet wipes in case a bum try to touch me
I'm the terminator, bitch talk slick I am have to terminate her
These little nappy headed hoes need a perminator
You my seed I spray you with the germinator
Move back bugs, matter fact you know the queen could use a back rub
If you could turn back time, Cher
You used the be here but now you gone Nair
Shitted on 'em,
Man I just shitted on 'em
Shitted on 'em,
Put yo' number two's in the air if you did it on 'em
Shitted on 'em,
Man I just shitted on 'em
Shitted on 'em,
Put your number two's in the air if you did it on ‘em

Song »Did it on ‘em’« Lyrics and music by Nicki Minaj with J. Ellington, Safaree Samuels, and Shondrae "Bangladesh" Crawford, (2010). Performed by Cheryl, The Real Housewives of Neukölln, Trash Drag show S2 Finale: Tschüssi to the CLUB, at The CLUB, Berlin 24 Feb 2017.


feedback exercise:
go in
go out
go in and out
go out and in
circulate
destroy system
circulate

Feedback Exercise by Augustin Maurs (2017).