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If you read the weekly Torah portions in sequence, under the assumption that the beginning of one reading is the continuation of…

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Here at, we love to keep up with the latest buzz in the world of 3D technologies–and that, of course, includes the latest at some of the great trade shows around the world. We’re rolling out a new feature now, A Few Questions For, in which we talk directly with insiders at some of the biggest names in 3D tech, to get a quick glimpse–ten questions or fewer–into their workings and their thoughts on the industry: both in general and as far as their participation in it. With only a few QAs, we can get some insight into the hearts of companies involved in the 3D printing industry.

3dhubsStartups are everywhere we look in the 3D printing space, and that doesn’t seem likely to change anytime soon. With designing and prototyping ready to go at your fingertips and on your desktop, barriers to entry are low in many aspects of additive manufacturing. We often see startups launch themselves on crowdfunding platforms, marketplaces offering design, and through competitions geared at getting new entities off the ground. One of the amazing resources available to startups in this space is the Startup Competition, running at Inside 3D Printing and RoboUniverse events. From the first winner in the competition, 3D Hubs in New York in 2014, through the most recent at Inside 3D Printing Santa Clara, Metamason, prize-winning participants have been catapulted toward success through their wins. Now with just A Few Questions For some of these winners, we’re able to take a look at Past I3DP Startup Competition Winners: where are they now?

I recently had the opportunity to ask 3D Hubs‘ co-founder Bram de Zwart a few questions about how life (and work!) has been since the company’s big win at the Startup Competition a few years ago. As we’ve seen, 3D Hubs has certainly been on a huge growth track, and we look forward to regularly following the company’s frequent events and monthly Trend Reports, as well as the detailed annual 3D printer report, showing that not just the number of hubs involved across the world is growing, but so too is the entire industry itself.


3D Hubs’ Co-Founders: Bram de Zwart (L) and Brian Garret (R)

What initially led you to 3D technology?

What were your thoughts upon winning the Startup Competition?3D-Hubs-2
3D-Hubs-3What is your favorite part about being involved with 3D Hubs?

3D Hubs has seen some incredible growth in its history, and clearly sees sunny skies ahead as they continue on toward impressive strides forward. With, as of the time of writing, 26,995 hubs up and running around the world, the network is bringing together makers and those who want things made all over the world, along with showing us all the latest trends in the industry and hosting events around the globe.

We’ll be catching up soon with some more success stories from the Startup Competition to see how life has changed since their wins!

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Victor Calderone plays Awakenings on February 14.EXPAND

“I’ll never forget the first time I walked into Awakenings,” says Brooklyn-based DJ/producer Victor Calderone. It was, he estimates, six years ago, and Awakenings, the Dutch party brand with global reach, had teamed up with techno record label Drumcode for a party during the Amsterdam Dance Event festival. Calderone wasn’t playing that night. “I just stood there in awe,” he recalls. “Every component, every layer, was spot on.”

On February 14, Calderone will make his first Awakenings foray, when the renowned party series hits Hammerstein Ballroom. This is not just a first for Calderone: For Awakenings, Valentine’s Day serves as the proper North American debut of the series. (Last summer, Awakenings hosted a showcase at Electric Zoo, but not a full-on event.) It’s a night of firsts, but Calderone’s set, a planned two-hour back-to-back jam with Nicole Moudaber, will be familiar to New York party-goers. They two techno titans joined forces last September at Brooklyn Mirage. They have also played together in Miami and have worked together in the studio. In 2012, they released a co-production, a dreamy jam called “The Journey Begins,” on Drumcode. 

“Nicole and I have a very long history together, and we connect musically really well,” says Calderone. In fact, he and London-based Moudaber have known each other for somewhere in the neighborhood of fifteen years. Moudaber had brought him out to the U.K. to play the parties she promoted and ended up helping out with his European bookings. “She’s always had an ear for music,” says Calderone. “It’s great to see her now channeling that and sharing that.”

It’s not all that often that Calderone has the chance to collaborate with other artists. “It’s a challenge to even get into the studio and produce and write music,” says the DJ, who spends many of his weekends hopping from city to city, country to country, for DJ gigs. 

More than the issue of time, though, is that the artists have to find the same groove. “We feed off each other,” says Calderone of his sets with Moudaber. “There’s this transfer of energy between each other. That doesn’t always happen when you play back to back with someone.”  It’s similar to when they have worked together in the studio. In fact, Calderone says that the two were recently discussing recording together again. 

Calderone has a different kind of collaborative relationship with Drumcode label-founder Adam Beyer, who will be playing back-to-back with Ida Engberg at Awakenings. Last year, Calderone released the EP “Burdern” through the Swedish DJ’s label. 

“I feel connected with the Drumcode brand and with Adam. Musically, I feel at home there,” says Calderone. “I respect Adam’s ear and everything that he does, and to be a part of what they’re doing, and to be invited to be a part of some of the events that Drumcode is doing, has been a great honor. It sort of confirms that you’re doing something right.”

Calderone’s long and impressive career began when he was just fifteen. Inspired by his older brother, who was already DJing, he first latched onto artists like Giorgio Moroder and Kraftwerk, and gravitated towards instrumentals. Techno has long been a passion for him, even when he made his mark in other styles of music. “I’ve gone through quite a few incarnations,” he says. “I had my tribal moment. I had my moment in the early 2000s when I was doing work for Sting and Madonna and I feel like I’ve come full circle.”

As he points out, even in Calderone’s most mainstream moments, the influence of his techno history is there. You can hear it in the way the drums echo on his remix of Madonna’s late-Nineties hit “Frozen” and in a number of other pop-dance moments. “There’s still a heavy, driving groove underneath, even though some of the music was melodic and, of course vocal,” he says. “It always had this underlying hard rhythm to it. That’s something that I guess is deep rooted in me.”

Perhaps Calderone’s finest achievement is the way he was able to move towards the mainstream and then back into the underground seamlessly. “I have to be happy with what I’m doing at the end of the day,” says Calderone. “I never want to get stuck in one thing.”

While he’s well-known for his production and remix work, Calderone says he prefers to be in the DJ booth. “It’s only fun in the studio when it’s flowing and the creative juices are really coming together,” he says. “There are those moments in the studio when you’re banging your head against the wall, just writer’s block.” As a DJ, though, he can play until the sun rises over a Bulgarian beach and not realize how much time has passed. “When it’s good,” he says, “time flies.”

In March, Calderone will release a new EP, Inside, on his own record label, Matter+. He’s also planning a few upcoming releases from other artists via the label. Beyond that, he’ll be heading out of DJ gigs in Montreal, Miami and beyond. But for now, Awakenings offers Calderone a chance to recharge his creative batteries, revisit his roots, and let the beat drop alongside an old friend.

Awakenings comes to Hammerstein Ballroom on February 14. For ticket information, click here.

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Last Thursday evening at Lehman College in the Bronx, Mayor Bill de Blasio’s third State of the City address was bracketed by two unwelcomed events: the failure to restrict the horse-drawn carriage industry in the early hours of the day and a report that two police officers had been shot that evening in the Bronx, not too far from the college.

It seems the mayor can’t catch a break.

What he did catch in his hour-long-plus speech was rounds and rounds of applause, particularly when he announced a litany of numbers that underscored his promise of “One New York.”

In fact, “One New York” was emblazoned behind him on the screen and festooned around the auditorium, which included just about every elected official in the city and some from the state, including Speaker Carl Heastie, who de Blasio lauded for pushing through the Paid Family Leave Act.

But like most of the mayor’s State of the City addresses—and this one he called “State of Our People”—it was densely populated with figures, none matching the $2.5 billion promised to the MTA. Another huge number that he proudly proclaimed was the 750,000 New Yorkers with IDNYC cards in their pockets. With this identification, every resident, even undocumented immigrants and the formerly incarcerated, can have government-issued identification that would otherwise be difficult to get.

After a few words in Spanish, “our vision is one New York,” the mayor rattled off a string of accomplishments as he completes the first half of his administration. “We filled a million potholes over the past two years,” he said, “paved 2,200 lane miles … and we will add 2,000 new police officers—the first increase since 2001.”

A great portion of the speech focused on the courage and bravery of the NYPD, FDNY, EMS and correction officers—all of whom had performed in a singular way to protect, save a life or deliver a baby. Officer Kenneth Healey, who was attacked by a mentally disturbed man, was singled out by the mayor. “He survived the attack and is here with us this evening,” the mayor said, asking the officer to stand.

First responder Ray Pfiefer, now battling cancer contracted while rescuing people on 9/11, was also cited as the mayor praised him and noted the passage of the Zadroga Act, which finally made the health care program for 9/11 survivors permanent.

If there was one thing that was repeated again and again by the mayor, it was how safe the city is. He said the city experienced the safest January in history. “There were 45 percent fewer murders and 34 percent fewer shootings,” he said.

One of the milestones of his administration has been the pre-K initiative, “and I’m sure you know about that,” the mayor joshed before announcing that 68,000 children were now in the program. Affordable housing has also been high on his agenda, and he said last year was the best ever for available affordable housing, “and we had the first rent freeze ever on stabilized units,” he added.

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With its unusual bottle shape, clean and simple packaging design, and quirky name, Our/Vodka looks every inch the craft vodka, an individual product produced by an independent company. And yet, looks can be deceptive, as Our/Vodka is in fact owned by Pernod Ricard, one of the largest drinks companies in the world and home of brands including Absolut, Jameson and Malibu. So is it a ‘local’ brand or a new product from a large corporation? Well both, as it turns out.

Our/Vodka is produced in small batches by micro distilleries based in different cities across the world including Berlin, Detroit, Seattle, Amsterdam, and London. The production location of each bottle is displayed on its label, alongside the actual address of the distillery. The overall impression created by the packaging is that of a cool, individual, urban product. It’s only if you take the time to read the small print that you’ll see that it has a more famous corporate backer.

The brand first came into existence five years ago in Stockholm, and was the brainchild of Åsa Caap, now CEO of Our/Vodka but then innovation director at Absolut. Caap teamed up with five members of Swedish marketing and design agency Great Works to develop the brand and the team worked on it out-of-hours, spending two years finessing the project before Pernod Ricard agreed to back the development of the first distillery, which is based in Berlin. Since then, four more cities have opened distilleries, with several more planned for this year, including one in New York, which will apparently mark the first distillery to open in Manhattan since prohibition.

Above and top: Distillery manager Matt Lovell at work at Our/London
Above and top: Distillery manager Matt Lovell at work at Our/London
A section of the Our/London distillery
A section of the Our/London distillery
The events space at Our/London
The events space at Our/London

It is an unlikely business proposition in a number of ways. For a global drinks manufacturer to choose to create micro distilleries on expensive sites in cities seems incongruous and this unexpectedness extends to the partnerships that Our/Vodka has made in the individual locations. Rather than team up with experts from within the drinks industry, Caap has deliberately approached figures from outside it, with Berlin run by two partners from the world of fashion and PR, Seattle by designers, and Detroit by social entrepreneurs. The London arm, which produced its first batch of vodka just before Christmas last year, is run by Neil Chivers, who runs music PR firm LD Communications, and Clive Watson, who (alongside his partner Adam White) founded the Riding House Café and Village East among other food and drink establishments.

“They go into the city and find two partners who already have their own businesses, they are successful in what they do already, but don’t have a background in drinks,” says Chivers. “People who can give time to the project without needing any money initially, because it’s a partnership model, and although we don’t have to put any money in, we’re not [receiving] any money until we turn a profit.”

“It’s a very different business model,” agrees Watson. “In terms of launching a spirit to market, there’s a way that it’s traditionally been done for years. This is a different model firstly in that it’s a global brand but made, genuinely, at a local level in different locations around the world. There is an initial outlay to build a distillery in each city, rather than having one central giant distillery, which goes against a centralised, successful booze business, but obviously our consumers on the ground get to know that it’s made near to them and there’s a story there.”

Matt Lovell at Our/London
Matt Lovell at Our/London
A batch being produced at Our/London
A batch being produced at Our/London
Bottles of Our/London
Bottles of Our/London

The London distillery is housed under a railway arch in Hackney Central, and includes a large events space alongside all the machines and tech to make the product, which, if you are a fan of such stuff, is a delight to behold. Aware of its appeal, Chivers and Watson plan to run tours of the distillery, and see the general space as central to Our/London’s development. They are keen to hold events there and partner with other local businesses, or artists, musicians and other generally cool folk that it will benefit Our/Vodka to be associated with.

This emphasis on the local is crucial to Our/Vodka’s success, and is clearly a key marketing strategy. The product itself, however, doesn’t necessarily conform to our typical associations of what a local product might be. It is produced locally, of course, and uses some local-ish products (the ethanol for the London drink comes, for example, from Birmingham), but its core flavour is devised by Pernod Ricard and used across all the different outlets, giving every bottle, wherever it is created, a broadly similar taste.

Both Watson and Chivers are also keen to dispel any notion of Our/London being seen as a craft product, with unique qualities to each bottle. “We don’t pretend to be a craft product,” says Watson. “We’re making it here, in a railway arch, and we’re hand-bottling, but our product is very, very consistent. There are no nuances. This is a very serious product, we’re not pretending to do it in a craft-y way, that’s not what we’re about.”

Our/London shipping case
Our/London shipping case
Our/London bottle caps
Our/London bottle caps
The finished product, featuring design by Swedish agency Great Works. All photographs by Christian Banfield,
The finished product, featuring design by Swedish agency Great Works. All photographs by Christian Banfield,

So, instead of from its flavour, much of the product’s individual nature comes from its partners in each city, through their influence and connections, and their ability to plug Our/Vodka into the right kind of collaborations and associations required to raise its status. There are no large ad campaigns possible for the brand – the cost of constructing the distilleries means there is no money left for this – but that would perhaps be an inappropriate way of marketing it anyway.
Instead, the partners are finding clever and unique ways of promoting the vodka that work in the different settings. This might be selling the vodka as a tourist product at airports, which happens in Berlin, or promoting it by sponsoring house parties, as the London team are doing.

“We’re all fascinated by each others’ territories,” says Watson. “For example, the market in Detroit is very, very different from here. The partners that they’ve chosen in Detroit are social entrepreneurs who are very much involved in the rebuilding of the city. So the way that they position themselves is completely different to the way we do.”

With the appeal of the local and handmade appearing to be an enduring fashion, and global spirit products including big name brands like Absolut facing a sales downslide, the reasoning behind Pernod Ricard’s decision to take a punt on Our/Vodka – which on the surface must have seemed a major (and expensive) risk, hence it being tagged for some time as a ‘black ops project’ at the company – begins to make business sense. And as it continues its rollout, executives are watching its development closely. “They’re all really interested in this project,” says Watson. It’s easy to see why.

This article first appeared in the February 2016 issue of Creative Review, which is a Food Drink special. More info on the issue is here.

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Dancefair/Musicfair is coming up this weekend in the Jaarbeurs Utrecht. With masterclasses in music production by the likes of Secret Cinema, De Sluwe Vos,  or the opportunity to get in touch with major labels like Universal, the two-day event is promising to be one that’s not to miss for any producer who wants to get himself out there.

“The idea behind the event was born out of frustration actually,” says organiser Norman Soares “My friends who are music producers and I thought that there was no event which focussed solely on music makers. Of course there’s Noorderslag and ADE, but they’re pretty expensive and are directed more towards professionals such as bookers, managers and artists”, he continues, “We actually wanted to to create an easily accessible event for beginning producers and amateurs, but who are keen to develop their skill set and increase their network.”

The Dancefair is made up of 22 different areas, all encompassing relevant events, demos, shows for the professional producer in the making. Artists that are expected to play and speak during the event are De Sluwe Vos, Eric De Man, Prunk, and many more.

The Dancefair/Musicfair will take place on the 13th and 14th of February. Check out the packed schedule to see where and what you can stick your teeth in. 



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More music festival than club scene, the first raves were held in open fields and obscure warehouses in the ’80s.

But this was no farmers’ market – drug dealers monopolised the party and gave rave the reputation it’s always had. Until now.

The morning sober rave, otherwise known as awakenings, is the latest trend in wellness.

From Amsterdam to Bangalore, Leeds to Los Angeles, and Melbourne to Munich, morning-rave culture finally justifies PJs in the daytime. (Although bizarre costumes of all sorts are a cornerstone of the phenomenon as well.)

It’s a start to the day like no other.

Most begin at 6am and look and feel exactly like a night-time rave, complete with lasers and weird get-ups, but there are no drugs or alcohol.

Coffee is probably the only stimulant you’re going to find and that’s if you’re lucky.

Smoothies and other “health” foods are the order of the day.

Some of the best DJs in the world have played at these sunrise events which are open to everyone, from infants to the elderly.

In some cities, the sometimes structured sometimes freestyle or maybe even yoga-inspired dance floor workout is seen as an innovative alternative to those dreaded 7am gym classes.

After all, there’s plenty of research to back up the benefits of dance.

Morning Gloryville, which started in London in 2013, is widely considered the party pioneer.

The brainchild of two hardcore clubbers – events producer, Samantha Moyo, and bodywork therapist, Nico Thoemmes – the first of these morning raves was held in East London in the UK and was attended by about 100 people.

Since then Morning Gloryville has been in 24 cities worldwide with the likes of Basement Jaxx and Fatboy Slim choosing to support the drink-and drug-free dance initiative.

In New York, Daybreaker leads the pack. Started by long-time friends, Matthew Brimer and Radha Agrawal, who were bored with the nightlife scene, Daybreaker turned the club experience on its head by throwing health conscious am parties every two weeks and at different venues.

A year later and Daybreaker was attracting between 400 and 600 people an event, and its parties spread across the country to San Francisco and LA.

Morning Gloryville prefers venues in natural light, while Daybreaker is usually held in clubs and on boats. is another London outfit, but there are many.

International broadcasters, such as CNN and the BBC, have all offered a take on the endorphin-driven concept.

In Cape Town, the shared workspace Twenty Fifty in Buitenkant was among the first to host morning raves in South Africa.

It described its AM Mayhem as “where the gym meets the jam”.

Likely the first for Durban, The Morning Rave will take place at the urban regeneration space, Eight Morrison Street, on February 27.

The family-friendly, early-morning exercise party will be led by super-charged fitness and dance gurus, Selwyn Rautenbach and Clinton Green, of Statik.

The high-tempo beats and moves will be driven by Durban electronica artists, Veranda Panda, and The Kiffness, of Cape Town.

While juices and smoothies are standard, local foodies Chilli Chocolate Chefs hope to up the game with a full offering at their health bar.

“It’s an ideal event for Durban,” says event organiser, Liam Magner. “Outdoor activities and fitness movements are popular as our climate is highly conducive and you’ll find that most clubbers are pretty health and body conscious these days, anyway. Most aren’t looking for a hazy, drunken scene.

“The best thing about a morning rave is that it’s for the whole family, as without any substance abuse it’s a safe, happy environment.

“That said, expect nothing but the most radical and outlandishly awesome soundtracks.

“You can dress up or down; it’s really just an opportunity to experience a global phenomenon and just get wild, get fit and have fun all before rush hour even begins.”

Rautenbach says: “If you’re into fitness this is a great opportunity to turn up the tempo on your exercise routine.

“When you exercise, your brain releases various chemicals such as endorphins. Dance does this and more. The music and the movement will leave you energised for the rest of the day. Think of it as a healthy high.”

Tickets to The Morning Rave at Eight Morrison Street in Durban on February 27 are R100 a person at Computicket, with free entry to under 12s.

The early bird special is R80, on the first 300 tickets sold.

The first guy at the door in a Speedo gets in free.

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Men in mini-skirts pose for photographs at the start of the Amsterdam mini-rok protest. Jess Graham.?All rights reserved. Men in mini-skirts pose for photographs at the start of the Amsterdam mini-rok protest. Jess Graham. ?All rights reserved.Don’t get me wrong, I love that
these men have decided to care about street harassment” says Marie. It’s a
phrase she’ll repeat constantly, throughout our 3 hour conversation, each
time with an unspoken “but” lingering at the end. After the Cologne attacks
on December 31st 2015 Marie’s Berlin-based anti-street harassment group saw a
surge in support: 200 new subscriptions to their mailing list, 700+ new
followers on social media, and 25-30 new faces at every meeting.

Who are these new members? “They’re
all men. Some of them I’ve known for years, they’ve never given a fuck about
street harassment before, others are strangers. They all want to talk about
Cologne as soon as they walk through the door. Never mind if we’ve got an
agenda or an action to plan. They just want to talk about Cologne”. Marie’s
frustration is clear, her usually calm voice, polished by decades manning a
sexual violence survivors helpline, is strained: “There is a constant
pressure not to let bigots use the fear of rape to attack refugees… we have
a responsibility to prioritize the needs of the women we work with but the
new members want us to react immediately, even if that reaction won’t do

As I speak to anti-street campaigners
throughout Western Europe it quickly becomes clear that Marie’s experience is
not unique. “The week after the Cologne attacks we had 40 new emails asking
about our next meeting” says Andrew, a London-based trans activist and web
developer. “I would say at least 50% of them were men. Which is really
unusual, especially as street harassment doesn’t really happen to men that
much so they tend to be kind of… oblivious.” Were they all legitimately
interested in the group? “There were a couple of scary ones, men saying we
need to protect white women, etc etc. Most of them really wanted to help out

Activists in Barcelona, Paris,
Edinburgh, Copenhagen and Amsterdam had similar experiences. My polling is
informal at best but all of them reported that male interest in
anti-harassment campaigns has increased and it seems to have been directly
inspired by Cologne. As one slightly exasperated Scottish campaigner said:
“It’s like a magic password for them: “Yes I am here to help because of
Cologne!!””. During these conversations three distinct themes began to

Offering temporary support

“I appreciate [the men’s] commitment”
says Marie. “But I can’t help thinking “where were you two months ago? Or two
years ago?”. Sexual violence isn’t new and I am uneasy that they’ve developed
this sudden interest” Dutch campaigners are familiar with the accusation that
men protesting VAWG are, at best, temporary recruits. Two weeks ago a group
of young political activists organized a mini-skirt protest in
Amsterdam. They asked men to wear mini-skirts in response to Cologne mayor
Henriette Reker’s suggestion that women should follow a dress code to avoid
future attacks.

“This is exactly the wrong response
to those kind of events” says Elene Walgenbach, one of the protest organizers
and Chairperson of the Youth arm of the Democrat 66 Party. “In our eyes, we
don’t need to search for a solution in the conduct of women, but rather in
the behaviour of men.” The behaviour of men quickly became the focus of the
day. While half the mini-skirt organizers were women, it was men who were
interviewed by TV crews, men whose images were used to promote the protest,
men who were mentioned in the event description and men who led the march
through Amsterdam city centre.

The male-centric nature of the
protest made a lot of women feel uneasy. Freelance journalist Tessa Heerschop
posted on the event’s facebook wall, asking why the protest
focused on clothes, rather than long-term solutions: “What happened in Köln
was an organised crime, it was not so much to do with how women behaved or
did” Heerschop says. “So the protest should ask for better police enforcement
and making men aware that violence against women is unacceptable. It
shouldn’t be about how women dress.”

Reluctance to defer to women

A member of the The Feminist Club Amsterdam holds a sign advocating for consent at the Amsterdam mini-rok protest. Jess Graham. A member of the The Feminist Club Amsterdam holds a sign advocating for consent at the Amsterdam mini-rok protest. Jess Graham. All rights reserved.Many of the people who responded to
Heerschop’s comments were unable, or unwilling, to see why focusing on
women’s clothing was a bad thing. “We want everyone to be able to wear
whatever they want!” one man explained. When it was pointed out to him that
clothing was not the issue in Cologne (most of the women were wearing thick
winter coats and were still targeted) he reiterated his point, as if
constantly voicing positive sentiments was enough.

“This keeps happening” says Andrew
“We’ll be having a conversation about harassment and there are these new guys
who keep saying things like “Should we just petition the council to give all
women rape whistles?” and they mean well but they refuse to listen when
people with more experience say “no” and just keep talking over the top of
the women”. Asking men to park their privilege is an ongoing issue within
feminist circles, especially as more men become comfortable defining
themselves as feminists.

“Groups have to take concrete steps
to dampen the power imbalances we bring into organising spaces from wider
society” says Dylan, an activist with the Radical Assembly. “Emotional labour also falls more frequently on women
both in and outside organising spaces… By creating a supportive and caring
environment we try to collectivise that emotional labour, rather than it
falling on individuals.”

David Braniff-Herbert is a GMB
activist, TUC LGBT Committee member and another organizer with a lot of
practise making sure men don’t ignore the women in a group: “Every time we
organise something in GMB I reflect on my own privilege and have a discussion
with activists around under-represented groups participation” David explains.
“I ask questions about how relevant the meeting is (is the issue being framed
exclusively) and how accessible the details of the meetings are.” Unfortunately
tactics like these take time to implement and time is one of many things that
the new recruits don’t have patience for.

Pushing for immediate
solutions to a long-term problem

“It’s not like sexual violence is
going away” Marie explains. “But the media attention will. So there’s all
this pressure from our male supporters to wrestle back the conversation
regarding sexual assault and refugees. We’ll be planning an action and
they’ll decide we’re not moving fast enough and take control. Which means we
have a protest tomorrow, rather than next week, but it’s not as good and
lacks longevity”.

The pressure to react quickly is
familiar to campaigners but the pressing need to saying something, anything,
is compounded by the immediate politicization of the Cologne attacks. “It’s a
difficult situation” says Lily, a political activist from Barcelona. “It’s
nice that [Cologne] helped motivate guys to support our attempts to challenge
street harassers. Unfortunately the good will is next to the fact that a lot
of them don’t understand how street harassment works and what we need them to
do.” This lack of understanding as to how street harassment “works” bleeds
into every area of campaigning. Men have the potential to use their privilege
to challenge street harassment but many of the new recruits prefer to take
about big solutions, rather than small, meaningful, conversations.

“Our group was set up to end
street-harassment” explains Marie. “That’s a big goal and it will take a long
time to accomplish. And these guys seem to think we’re going to solve it by,
say, next Tuesday. And the way to solve it is to have a big, one-off protest
and then go home, rather than develop a long-term plan.” Activists like Marie
and Lily are, understandably, reluctant to alienate new supporters, both
asking to be kept anonymous, rather than risk male supporters reading about
their dissatisfaction.

As the battle to prioritize
short-term wins over long-term goals continues, however, it’s clear that both
women are at breaking point. “We need men to commit to helping us for years,
not months” Lily says. “They need to commit, they need to listen, and they
need to understand that there are no easy solutions regarding street
harassers. So walking in and deciding to “fix” everything won’t work. They
don’t get to be heroes.”

Some names have been changed to
protect the activists’ privacy

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Juju Jordash, are internationally acclaimed musicians, prolific producers and performing artists who have been active as a duo for over a decade.

Their productions have attracted ever-increasing interest and support around the world from fans, DJs and music journalists, alike. Back in 2009, Juju Jordash were signed to the Amsterdam-based record label and event company Dekmantel. The release of their second album, the self-titled Juju Jordash, marked the start of a long-lasting cooperation with Dekmantel, today one of Europe’s leading forces in electronic dance music. Juju Jordash perform as regular headliners at Dekmantel events, including large-scale concerts in the Netherlands and other European countries. Most notable is the Dekmantel Festival, held in Amsterdam for the last three years and currently regarded as one of Europe’s best electronic music festivals, with over 12,000 people in attendance.

Aside from Dekmantel, The duo’s music and productions have found homes around the world, including on the esteemed record labels Golf Channel, Aesthetic Audio, Future Times, Rush Hour, Real Soon, Philpot, Uzuri, Compost, Ostgut Ton, Cisco, Downbeat, Apartment and Firecracker.

Today, JuJu Jordash duo add their deep trademark sunshine inflected beats and sturdy basslines to the already tropical loop of Calma‘s ‘Quattro‘, infusing swirling synths and strings that lead us in and out of the breakdowns and on to a late night, chilled-out dance floor.

“Raining” is available 15 February on Sorryforthis! Records

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