NOW HAUS

Nov 28

///”Without Expression through Language, Angoisse” ////////////////////////////

This is a film I made for the Vista Higher Education Learning 2012 contest. It won!

"…the Wagnerian dream of the Gesamtkunstwerk—the fusion of all the perfect than in Tristan because the sensuous elements which all approvingly reflect the surface of social reality are in principle embodied in the same technical process, the unity of which becomes its distinctive content. This process integrates all the elements of of the production, from the novel to the last sound effect."

- Max Horkheimer and Theodor W. Adorno, “Dialectic of Enlightenment” (1947)

Nov 6
Sep 21

//////////SCHAU HAUS//////////////MIU MIU SHORT FILM///////////////////////////////

Miu Miu presents a new collection of 4 short films, #4 “It’s Getting Late” features musician Zola Jesus. 

Jul 10

//////////////////////VIDEO ART/////////PEEP DELISH: VJ MIIXXY, A SELECTION OF WORKS//////////////////

Originally (1960-1971), Video art within the context of media art meant entailed three points:

1. Guerrilla-TV, being video expressing aggressive and critical views about politics or society.  

2. Self- or Media-reflection, meaning the artist will either record him/her-self to examine a detail in a way that couldn’t be understood through other mediums (photography, literature, painting…) OR the video artwork will make a statement about video-art’s role in society.

3. Experimental video, meaning the use of synthesizers and processors to manipulate a moving image. 

Once it hit the 1990’s, the third point meant the trippy beauty of video-jockey art like this! 

//////////////////////////MIXTAPE SERIES, PART III/////////////POST-MODERN LOVE/////////////

Love in the Most-Modern world. It’s complicated.Track List:1. Doo Wop (That Thing) - Lauryn Hill 2. Honey - Mariah Carey3. Can’t Fake the Feeling - DA Players feat. Geraldine Hunt 4. Girl - Das Racist 5. Can You Kiss Me First - College 6. Another - Notorious B.I.G.7. Baby-Baby-Baby - TLC8. Doo Wop (That Thing) - Lauryn Hill 9. Are You Lonesome Tonight - Elvis
Jun 18

//////////////////////////MIXTAPE SERIES, PART III/////////////POST-MODERN LOVE/////////////

Love in the Most-Modern world. It’s complicated.
Track List:
1. Doo Wop (That Thing) - Lauryn Hill 
2. Honey - Mariah Carey
3. Can’t Fake the Feeling - DA Players feat. Geraldine Hunt 
4. Girl - Das Racist 
5. Can You Kiss Me First - College 
6. Another - Notorious B.I.G.
7. Baby-Baby-Baby - TLC
8. Doo Wop (That Thing) - Lauryn Hill 
9. Are You Lonesome Tonight - Elvis

Jun 10

////////////////////////VICELAND VIDEO SERIES//////////////////////GIRL EATS FOOD/////////////////

"I’d rather have a chemical rainbow in my mouth than bite into a bean burger that tastes like a coaster. That’s what science is for—making things better." Joanna Fuertes-Knight pronounces this testament proudly during her cooking show on Vice’s video series, "Girl Eats Food." Gwyneth Paltrow is fainting in her Goop and subscribers of "Women’s Health" magazine are shielding their Dunkaroo-deprived children’s eyes. In the day and age of urban farmers’ markets and Whole Foods, is this display cooking show blasphemy? The provocative contributors at Vice magazine are hoping the answer to that question is yes. Although I’ve always been a proponent for local and organic food, I am also a student who has interests in my personal economic health as well. 

I’ve been checking out local “discount” supermarkets in Berlin like Netto and LIDL and have found the difference in prices to be quite radical from the “standard” supermarkets like Kaiser’s. Chemical food makes me think of a term I like to call, “the post-war diet.” After WWII ended, new technologies offered the Western, Modern homemaker to feed her family with exciting new products. Canned vegetables, sliced bread, and desserts in a wide spectrum of colors meant that families’ meals could be more interesting for a fraction of the effort and price. Today, the concept of factory-produced anything is an utter appetite suppressant, but are the gains of eating organic food noticeable anywhere other than a foodie’s conscience?  It’s a question the coming of age generation grapples with as we take our first solo food shopping lists to the marketplace, and with Fuertes-Knight’s example, I begin to wonder how much fun I’ve really been having with my cuisine independence. 

Jun 6

////////////////////LOUD HAUS///////////IO ECHO////////////////////////////////////

I’ve been neglecting my usual musical propensities lately for the sake of Modern architecture, but today I decided to pay closer attention to the music press releases in my inbox. My curiosity was rewarded with the joy of discovering a new breakout band, IO Echo. Almost a year ago, I pointed out a brilliant new project from the French fashion label, the Kooples, who was extending the brand to include a record label. Star crossed lovers they may be, the Kooples featured the band in a recent video showcased here. IO Echo releases their debut LP “Ministry of Love” on September 11th on IAMSOUND in the US and COLUMBIA records in the UK. 

IO Echo prove their multi-medium capabilities in their work for two recent film productions. They not only wrote the film score for the film “Rebel” by James Franco and Harmonie Korine but also created original songs for “Snow White and the Huntsman.” Guitarist Leopold Ross also plays in the band The Big Pink.

Fans are calling the band’s sound “New Orientalism” as Japanese koto harps and Chinese violins are tucked beneath the dark Pop melodies and Arcade Fire-esque vocals. You can download the single, “When the Lillies Die” for free from IAMSOUND’s Soundcloud below:

Jun 5

//////// NEIGHBORHOOD WATCH //////////// INTERBAU, CHARLOTTENBURG, BERLIN /////////////


Wie die Geschichte erzählt, wird Deutschland nach dem zweiten Weltkrieg in zwei große Teile geteilt. In Berlin, während der 50er Jahre bedeutete das, dass sich die östliche und westliche Seite von einander unterschieden. Weil noch keine Mauer zwischen den Seiten stand, musste jeder Teil der Stadt sich durch Architektur gut präsentieren und natürlich die sozial-politische Ideale äußern.

 

Das Hansaviertel war eine direkte Antwort zum Aufbau der Stalin Allee und Hochhaus an der Weberwiese von 1949 in Ost-Berlin. Im Versuch eine „Stadt von Morgen“ zu schaffen, versuchte die demokratische „Stadtlandschaft“ des Hansaviertels, die sogenannten „Arbeiterpaläste“ an der Stalinallee zu übertreffen. Weil nur noch 21 Gebäude des alten Hansaviertels nach dem Krieg bewohnbar waren, musste das Viertel ganz erneuert werden. Gegen den Sozialismus musste die Westliche Regierung die Stärke der Demokratie und des Kapitalismus anzeigen. Die Hochhäuser auf jeder Seite von Berlin haben die Wohnsituation der alten Mietkasernen verbessert und neue häusliche Technologie angeboten wie zentrale Heizungen, Telefone, und Müllschlucker. 

 

Im Vergleich zu den östlichen Architekten aus Moskau, wurden Architekten aus verschiedenen westlichen Ländern für das Hansaviertel ausgewählt. Insbesondere war das Bauhaus eine wichtige Mischung der westlichen Ideale und der deutschen Geschichte. Viele von den Bauhaus Architekten sind nach den USA ausgewandert und vor der Sozialistischen Politik geflohen. Als Gründer des Bauhauses, der in Berlin geboren und aufgewachsen ist, war Walter Gropius eine ideale Wahl des Interbau Wettbewerbs im Jahre 1957.

 

Um die Freiheit des Westens zu zeigen, musste das Hansaviertel wie eine Garten-Stadt aussehen; schöne Gebäude stehen zwischen breiten Grünflächen. Am Hansaplatz gab es ein Restaurant, ein Kino, eine Bibliothek, und Läden. Die Einwohner haben mehr Raum zu wohnen und anders als in östlichen Siedlungen, durften sie ihre eigene Lebensgestaltung behalten. Das Gropius Haus enthält alle diesen Möglichkeiten.

 

Das Gropius Haus steht an der Händelallee hier der süd-westlichen Gegend des Hansaviertels. Das Haus steht 25 Meter hoch in 9 Geschossen. Die Struktur des Hauses ist konkav und der südliche Teil des Gebäudes verbreitert sich gegen den Tiergarten Park. Die südliche Seite hat die bekannte Fassade von Balkonen und die nördliche Seite enthält die Treppenhäuser. Ein Einwohner hat die nördliche Seite mit einem Fabrik verglichen. Das Haus wird aus Beton erbaut. Von der Fassade sieht man einen Rhythmus zwischen rechteckigen Formen aus schmiedeeisernen Balkonen, Glasfenstern, und graufarbigen Betonwänden. Das Spiel von Farben ist einfach aber auffallend—man sieht nur weiß, grau, und orange. Das Dach ist ein Flachdach. Das gesamtes Haus ist eigentlich aus 4 halb-verbundenen Teilen erbaut und dass heißt, dass es 4 Treppenhäuser gibt. Diese Zahl der Treppenhäuser bedeutet, dass man Nachbarn treffen kann auf dem Weg zur Wohnung. Wir haben schon etwas Ähnliches in der Siemenssiedlung gesehen, aber die Wege der Laubengänge waren länger und unpraktisch. Jedes Treppenhaus hat einen Fahrstuhl und neben dem Fahrstuhl liegt ein spezieller Raum für den Müll. Deswegen bleiben die Flure und Treppen sauber, hygienisch, und frisch.

 

Es gibt keinen Keller und das heißt, dass die Räume für Haustechnik, Heizung und Lagerraum im Erdgeschoß liegen. Das Erdgeschoß enthält auch ein Paar gemeinsame Räume, obwohl die übrigens nicht gern benutzt wurden.

 

Insgesamt gibt es 67 Wohnungen, von denen haben 64, 3 und halb Zimmer und sie messen zwischen 71 und 81 Quadrat Meter. Die anderen 3 Wohnungen liegen im Dachgeschoß und sind größer als die andern. Offensichtlich ist es kein sozialistisches System!

 

Innen waren die Fußböden und Zwischenwände isoliert, wie es damals in den USA schon üblich war, so dass man nichts von Nachbarwohnungen oder Großstadtverkehr riechen oder hören kann. Das Leben konnte privat und ungestört sein. Obwohl Gropius die Fensterrahmen aus Stahl entworfen hatte, wurden sie aus Holz eingebaut und dann grau angestrichen, wahrscheinlich aus finanziellen Gründen. Die Innenräume wurden ziemlich flexibel gestaltet und wenig war festgelegt, sodass die Einwohner alles selbst entscheiden konnten. Die Wohnungsaufteilung war besonders bei Hausfrauen beliebt. Obwohl es gegen die Bautradition war, wird die Küche nach Süden der Wohnung gelegt. Deswegen hat die Küche die beste Aussicht auf den Balkon und auf den Tiergarten. Jede Wohnung hat einen Balkon, der groß genug ist als Spielplatz für Kinder. Auf diesem Weg können Mütter auch auf ihre Kindern aufpassen während sie kochen.

 

Am ersten Blick habe ich auch viele Ähnlichkeiten gesehen, zwischen der Architektur von Gropius und der von Le Corbusier. Natürlich hat Le Corbusier auch am Interbau Wettbewerb teilgenommen und seine Athens Charter hat viele Aspekte des gesamten Konzeptes beeinflusst. In „die Fünf Punkte für eine neue Architektur“ zählt Le Corbusier auf:

1.     die Pfosten à die sind hier vergleichbar mit den Pfeilern vom Erdgeschoß bis zur ersten Etage.

2.     Dachgärten à das Ideal von der Garten-Stadt ist offensichtlich wichtig, weil wir so viele Grünflächen sehen und so nah am Tiergarten stehen.

3.     die freie Grundrißgestaltung à die Innenräume sind ziemlich flexibel, sodass die Einwohner es selbst entwerfen und verändern können.

4.     das Langfenster à Gropius benutzt ein gleichmäßige Fensterrahmen für jede Wohnung; die Fenster sind nicht so lang wie das Gebäude.

5.     die freie Fassadengestaltung à die Fassade von Gropius ist ein bisschen komplizierter und auffallender, aber in jedem Fall kann man den Modernen Stil mit dem von Le Corbusier vergleichen.

 

2007 gab es eine Ausstellung für das Hansaviertel und zu der Zeit wohnte ein Mann, Herr Krause, der seit der Eröffnung des Gropius-Baus in dem Haus gewohnt hat. In einem Artikel beschreibt er seine Erlebnisse im Haus: „In einem Haus von Gropius zu leben, war für uns etwas Besonderes. Er war ja schon sehr bekannt damals. Und ich habe ihn sogar getroffen. Als einen der ersten Wohnungsbewerber lud er mich zur Rohbaubesichtigung ein. Und da kamen wir auch darauf, dass das Projekt für ihn nicht so gelaufen ist, wie er es sich vorgestellt hat. Man hat ihm beispielsweise die Stahlfensterrahmen, die er eigentlich haben wollte, nicht bewilligt. Aus finanziellen Gründen wahrscheinlich. Darum hat er dann Holzrahmen genommen, die grau gestrichen wurden, damit es wenigstens so aussieht. Und deswegen auch die schmalen Profile. Um die durchhalten zu können, gehen nur zwei Flügel zu öffnen. Jetzt könnte man ja wunderbar neue Rahmen haben. Und Isolierfenster. Aber jetzt ist hier der Denkmalschützer. Und der sagt, es muss aus Holz sein. Weil Gropius mit Holz gebaut hat.“

 

Also, heute kann man verstehen wie das Gropius Haus, noch als Kunstwerk gesehen wird. Familien ziehen noch ein, um ein modernes Leben in der Stadt und in der Natur zu haben. Manche Einwohner sagen, dass das Gropius Haus ein Comeback noch erfahren wird. Die Mieter wechseln und die Technik avanciert, aber das Haus bleibt noch ein Teil der „Stadt von Morgen“ mit immer größeren Erwartungen für die Zukunft.
 

[photo credits - bauhausonline.de]

[a speech i wrote for my berlin architecture course presentation]

 

/////////////////RADICAL SOFTWARE MAGAZINE/////////1970-1974///////////////////////////
In the 1970’s, TV was beginning to be recognized as a powerful tool for communication. People like the those working at the Raindance Corporation/Foundation saw television in the context of other phenomena like art, politics, and education. At the time 9% of the United States was connected to cable television, but even this percentage—though small in today’s standards—posed a threat to the contributors of Radical Software magazine. Although the writers and artists understood that television opened new doors for the above mentioned cultural domains, they wrote articles that warn against dependence and blind belief of anything conveyed through cable TV. The Langois Foundation as converted the 11 issues into PDF formats for contemporary TV viewers to read and perhaps gain a little caution the next time they turn on the tube. Modern media artists like Nam June Paik, Douglas Davis, and R. Buckminster Fuller contributed curious visuals to complement the articles and appear retro and nostalgic of our (recent) technological past. The articles are perfectly radical in the ‘70’s stereotype fashion, and just as I was about to write them off as hippie-hogwash, a fly landed on my computer screen. Without thinking, I moved my mouse to where it was and despite the other flies who ignored my hands’ shoo-ing efforts, it flew away immediately. Maybe the Radical Software contributors really did have something to worry about when addressing the battle between biology and technology.  
May 19

/////////////////RADICAL SOFTWARE MAGAZINE/////////1970-1974///////////////////////////

In the 1970’s, TV was beginning to be recognized as a powerful tool for communication. People like the those working at the Raindance Corporation/Foundation saw television in the context of other phenomena like art, politics, and education. At the time 9% of the United States was connected to cable television, but even this percentage—though small in today’s standards—posed a threat to the contributors of Radical Software magazine. Although the writers and artists understood that television opened new doors for the above mentioned cultural domains, they wrote articles that warn against dependence and blind belief of anything conveyed through cable TV. The Langois Foundation as converted the 11 issues into PDF formats for contemporary TV viewers to read and perhaps gain a little caution the next time they turn on the tube. Modern media artists like Nam June Paik, Douglas Davis, and R. Buckminster Fuller contributed curious visuals to complement the articles and appear retro and nostalgic of our (recent) technological past. The articles are perfectly radical in the ‘70’s stereotype fashion, and just as I was about to write them off as hippie-hogwash, a fly landed on my computer screen. Without thinking, I moved my mouse to where it was and despite the other flies who ignored my hands’ shoo-ing efforts, it flew away immediately. Maybe the Radical Software contributors really did have something to worry about when addressing the battle between biology and technology.  

////////////NEIGHBORHOOD WATCH//////////////////////SIEMENSDAMM, BERLIN/////////////
I present to you some actual Bauhaus-contemporary architecture! In the 1920’s and ‘30’s there was a search for a “Gartenstadt” or garden-city. When the Siemenssiedlung was constructed, Siemens’s Blue-collar workers had a small pocket of Berlin that they could retire home to. Famous German architects like Hugo Herring, Hans Scharoun, and of course Bauhaus founder Walter Gropius designed neighboring structures that allowed working class families to have all the conveniences of Modern living; the complexes were situated directly between the U Bahn train stations and the Volkspark. Each building has a stretch of green land between the building and the street and each apartment has a balcony. While individual families’ needs were important, the architects also wanted to create a sense of community between the neighboring workers. To reinforce the community, hallways were designed as meeting points and Le Corbusier-esque gardens line roofs. The ship motif is another important connector between the urban and natural environments. 
May 9

////////////NEIGHBORHOOD WATCH//////////////////////SIEMENSDAMM, BERLIN/////////////

I present to you some actual Bauhaus-contemporary architecture! In the 1920’s and ‘30’s there was a search for a “Gartenstadt” or garden-city. When the Siemenssiedlung was constructed, Siemens’s Blue-collar workers had a small pocket of Berlin that they could retire home to. Famous German architects like Hugo Herring, Hans Scharoun, and of course Bauhaus founder Walter Gropius designed neighboring structures that allowed working class families to have all the conveniences of Modern living; the complexes were situated directly between the U Bahn train stations and the Volkspark. Each building has a stretch of green land between the building and the street and each apartment has a balcony. While individual families’ needs were important, the architects also wanted to create a sense of community between the neighboring workers. To reinforce the community, hallways were designed as meeting points and Le Corbusier-esque gardens line roofs. The ship motif is another important connector between the urban and natural environments. 

////////////NEIGHBORHOOD WATCH////////////////NASA OUTERSPACE COLONY/////////////////

Even before the Russians won the Space Race and entered the Final Frontier, humans have wondered if and when civilization will one day live in outer space. Astronomers, Sci-Fi novelists, architects and drug enthusiasts alike have imagined the reality of this prospect. 
Architects like Frank Lloyd Wright and Le Corbusier were keen on improving Modern cities and the Futurist artist Antonio Sant’Elia designed his famous “citta nuova.” Stephen Hawking concludes his book A Grand Design with a subtle urging for humanity to begin the move to infinity and beyond before it becomes too late and our vices seal Earth’s fate.   
In the 1970’s, a physicist named Gerard O’Neill from Princeton University began designing a scheme for giant orbiting colonies in space. The NASA website for these Space Settlements describes the venture as follows:
"Humanity has the power to fill outer space with life. Today our solar system is filled with plasma, gas, dust, rock, and radiation — but very little life; just a thin film around the third rock from the Sun. We can change that. In the 1970’s Princeton physicist Gerard O’Neill with the help of NASA Ames Research Center and Stanford University showed that we can build giant orbiting spaceships and live in them. These orbital space colonies could be wonderful places to live; about the size of a California beach town and endowed with weightless recreation, fantastic views, freedom, elbow-room in spades, and great wealth. In time, we may see hundreds of thousands of orbital space settlements in our solar system alone. Building these settlements will be an evolutionary event in magnitude similar to, if not greater than, ocean-based Life’s colonization of land half a billion years ago."
The concept is exciting and seems to have been in the making for nearly 50 years at this point. While you wait for construction to begin, why not check out the photo gallery? 
May 6

////////////NEIGHBORHOOD WATCH////////////////NASA OUTERSPACE COLONY/////////////////

Even before the Russians won the Space Race and entered the Final Frontier, humans have wondered if and when civilization will one day live in outer space. Astronomers, Sci-Fi novelists, architects and drug enthusiasts alike have imagined the reality of this prospect. 

Architects like Frank Lloyd Wright and Le Corbusier were keen on improving Modern cities and the Futurist artist Antonio Sant’Elia designed his famous “citta nuova.” Stephen Hawking concludes his book A Grand Design with a subtle urging for humanity to begin the move to infinity and beyond before it becomes too late and our vices seal Earth’s fate.   

In the 1970’s, a physicist named Gerard O’Neill from Princeton University began designing a scheme for giant orbiting colonies in space. The NASA website for these Space Settlements describes the venture as follows:

"Humanity has the power to fill outer space with life. Today our solar system is filled with plasma, gas, dust, rock, and radiation — but very little life; just a thin film around the third rock from the Sun. We can change that. In the 1970’s Princeton physicist Gerard O’Neill with the help of NASA Ames Research Center and Stanford University showed that we can build giant orbiting spaceships and live in them. These orbital space colonies could be wonderful places to live; about the size of a California beach town and endowed with weightless recreation, fantastic views, freedom, elbow-room in spades, and great wealth. In time, we may see hundreds of thousands of orbital space settlements in our solar system alone. Building these settlements will be an evolutionary event in magnitude similar to, if not greater than, ocean-based Life’s colonization of land half a billion years ago."

The concept is exciting and seems to have been in the making for nearly 50 years at this point. While you wait for construction to begin, why not check out the photo gallery? 



///////////MIXTAPE SERIES/////////////////PART II////////////////†C.V. STARR†/////////////////////
The C.V. Starr Mixtape explores the parallel phenomenon of being lost in space with growing old and becoming more confused than ever. 

Track list:
The Notorious B.I.G. & Frank Sinatra - New York, New York The Guess Who - Shakin’ All Over Lauryn Hill - Can’t Take My Eyes Off You Miami Nights 1984 - Sunset Cruise My Favorite - Homeless Club Kids The Chordettes - Lollipop Elvis Presley - (Marie’s the Name) of his Latest Flame Icona Pop - Sun Goes Down feat. the Knocks The Notorious B.I.G. & Frank Sinatra - New York, New York
Image: Marta-Kristen from “Lost in Space” (1965)
May 3

///////////MIXTAPE SERIES/////////////////PART II////////////////†C.V. STARR†/////////////////////

The C.V. Starr Mixtape explores the parallel phenomenon of being lost in space with growing old and becoming more confused than ever. 

Track list:

The Notorious B.I.G. & Frank Sinatra - New York, New York 
The Guess Who - Shakin’ All Over 
Lauryn Hill - Can’t Take My Eyes Off You 
Miami Nights 1984 - Sunset Cruise 
My Favorite - Homeless Club Kids 
The Chordettes - Lollipop 
Elvis Presley - (Marie’s the Name) of his Latest Flame 
Icona Pop - Sun Goes Down feat. the Knocks 
The Notorious B.I.G. & Frank Sinatra - New York, New York

Image: Marta-Kristen from “Lost in Space” (1965)

May 2

///////////////////TANZ IN DEN MAI////////DANCE INTO MAY//////////////////////////

Yesterday was the first of May. In America we call this day “May Day,” which I believe derives from some sort of military event…or the summer solstice harvest. In either case, we celebrate May Day by attaching ribbons or daisy chains to a central pole and dance around it until the pole has been sufficiently wrapped in spring colors, flowers, and love. In Berlin, however, we celebrate nonstop from the last day of April until the end of May 1st by filling the streets with Minimal Techno and Electric Swing beats, bratwurst barbecues, Socialist demonstrations, and 2€ beers. Just replace the porn-star chicks in “Pump up the Jams” with overweight German men in leather and you should have an idea of how to “keep the party pumpin’.” Let’s dance into May 2nd, shall we?

/////////////SPRING CLEANING////////////////

Gallery Weekend Berlin ends today with a backdrop of newly budding flowers, lush trees, pockets of blue sky, and a renewed Berliner Luft. It is springtime in Berlin. Now Haus’s time of hibernation during the brutal winter is over and the combination of Gallery Weekend and the 7th Biennale has been simultaneously exhausting and invigorating. I have decided to begin a series of interviews featuring some of the artistic volk I have had the pleasure of meeting during my time here. Los geht’s! 
Image: Friederich Kunath painting from “Things We Did When We Were Dead” at BQ Gallery - Weydingerstraße 10, 10178 Berlin-Mitte
Apr 29

/////////////SPRING CLEANING////////////////

Gallery Weekend Berlin ends today with a backdrop of newly budding flowers, lush trees, pockets of blue sky, and a renewed Berliner Luft. It is springtime in Berlin. Now Haus’s time of hibernation during the brutal winter is over and the combination of Gallery Weekend and the 7th Biennale has been simultaneously exhausting and invigorating. I have decided to begin a series of interviews featuring some of the artistic volk I have had the pleasure of meeting during my time here. Los geht’s

Image: Friederich Kunath painting from “Things We Did When We Were Dead” at BQ Gallery - Weydingerstraße 10, 10178 Berlin-Mitte

Mar 18

Have you ever wondered what English sounds like to Italian TV show hosts from the ‘70’s?