Tuesday, September 2, 2025

the mini skirt diaries (berlin, athens, naxos and warsaw) 08/02/2025 - 08/18/2025


At around 5:30 a.m., a dozen or so beers and two viles deep, I realized I was having trouble holding in my pee. See, the problem with Berlin is that they don’t have toilet seats to sit on at the club. Not that I would recommend ever sitting on them unless you're piss drunk to the point where you can’t see. I was teetering on that. I’d try to hover, gripping my skirt to avoid pee staining it, just low enough that it wouldn’t trickle down my legs into my boots.


I failed at performing a basic human task that we were trained to do from a very early age. Nothing was coming out. By the time I’d stand up after struggling to hover, it would let go in my skort. This happened four times. Four times I’d hoped to god that I could just pee a stream, I could so easily do squatting in an alleyway. Nothing. Swimsuit material or not, I could feel it. 


Luckily, it never went below my crotch. 

“Ugh, I hate 3mmc, it makes you smell like cat piss!” B told me a couple of days after I got back. I should’ve stayed in my piss soaked mini skirt, what did it even matter? I was even told at Bowie about Berghain's piss hole that we completely missed. “There’s a hole in the ground that goes straight into someone's mouth.” The Piss Goblin? Fuck. I would’ve been terrible at it, considering my aim.

  

For the rest of the night at Aedan, or morning, we sat with the Chilean guys we had just met as they told us about tagging while doing bumps off their credit card. We told them about the Cafeteria in return. 


I had gotten the skirt as a gift from C one day when I was sitting at 96 Tears and trying on their new slouch tees. Two sizes too big, I held it up using a comically large Hanna-Barbera-style safety pin.

 

The skirt was worn almost every day in Berlin. It saw both night and day. On Tuesday, we took it to Church near the Fernsehturm. “I don’t think I’m dressed appropriately for this,” I told M. 



We spent 45 minutes here


“Just cover your shoulders,” he replied, pulling up my sleeves to cover my bra straps. I looked down to see 3/4 of my bare legs exposed, and then my torso to the long sleeve I had on. On Wednesday, it saw evil Berlin Angel Money and her B2B partner spin at Phantom Bar, a velvet den made for reformed drainers turned opium-heads and one single American. 


On Thursday, the fateful piss night, it first made an appearance at Ficken 3000. We’d missed the porn screening by 3 hours, but it played on every screen you could find throughout the night. The film looked as though it was shot in the basement of the club, all in black and white, unless I entered into dog vision at some point. All I could think about was how incredible the lighting was — how could someone capture the curvature of a bottom's arch so beautifully? Shadows that illuminated a vaginal hole. Stunning, even though I can only retain 10 full seconds of memory of the film. 


It was pinched, yanked, and honked in the basement. Ficken was my first intro to Berlin. As I sat on a couch smoking with M, which led to a Turkish man telling me how his incredibly large penis wouldn’t be able to fit in my vagina, but we could try. It apparently wasn’t able to with most. I think he was wearing a durag. He then asked me if I’d like my mephedrone cut with ketamine.  Later that night, I almost burned a hole in it, meeting L from Toronto. We talked about how similar our upbringings had been, smoking near the staff stairs of Aedan. We might have talked for hours about Toronto, how much she hated it and how much I loved it.  



Outside of Arkaoda on our last Friday Night

 

On Friday, our last night out, the skirt found itself at Arkaoda first for RegularFantasy. For a brief moment, we danced, beer spilling all over the skirt near the decks. However, it mostly sat in the candlelit upstairs lounge where S spoke about spirituality and purpose. Coming out of a three-day fever, S was rejuvenated and had lust for meaning and the beauty of life once again. Their joie de vivre was back. I was pretty high at this point, but I remember him saying something along the lines of “everyone has a type of god.” 


I’ve found myself consistently thinking how I’d rather believe in something rather than devote my life to the fearfulness of nothing. You can’t force yourself to believe in a specific religion or entity; you can try, but it won’t be as real as being drawn to it. That’s why I hate Hare Krishnas, or more so, missionaries.


I don’t give a rat's ass fuck about convincing someone to look upon someone else's God for solis, it doesn’t feel right. That being said, would it be so wrong of me to fake my devotion to Catholicism to find peace and discipline in joining a nunnery? They won’t have cocaine there! They might have cigarettes, that’s my deal breaker. 


The skirt did go to Berghain that night. A whimsical mess of an establishment, where Zionism is welcomed by the established management and probably hated by the service staff. God, that building is beautiful. What you expect isn’t what you get. Berghain is fun until the drugs run out and the sun is shining in your face, shrinking your pupils to nothing. Once you’ve reached pure blindness. We’d made it to drum and bass night. Or was it jungle? It doesn’t matter; however, it did matter when we were at the door.


“Who’s playing tonight?” He asked.

“We’re here to see Sneckers,” S said. 

“Who?” He replied.

“Sneckers. They’re playing right now.”


Straight out of a fucking schizophrenic Mr. Bean episode, the door guy looked at the schedule and back at us. It happened very slowly, and without my glasses, he looked like he was smiling and giggling silently. Apparently, he was not. Shocker.


“No. That’s tomorrow.” We stood in silence. S should be working the door here. 



S getting yelled at by security for taking a picture in front of them...zoom in...look closely


“The other place we were at was whack, and we just want to have fun and dance,” S chimes in from behind us. We got in. S would also be the one to tell the door guys to come to the Cafeteria if they ever visited Toronto on the way out while they yelled “GO! GO! Move!” 


It was maybe 6 a.m. when we made it there for the second time, it was a result of getting bored with the music at Oxy, and whatever secret back club we were lured to. Oh, Berghain, you stupid little faux-sex pest. Sure, you can dance, but what do you mean I watched a woman go down on a man as we waited to pick up? I thought this shit was supposed to be gay? Is the German gaydar so completely off? You must also beware, it’s as though the Nazi convention rolls into town at the burning hours, just as hell comes out with the sun rising. 


You can’t really tell the difference between sigylism tattoos and possible fascist dogwhistle symbols. I’d never seen so many blonde, white, blue-eyed people in my life. I don’t understand anti-immigration; why would you want to be around that many white people that smell like eroding coins in a vat of vinegar? Why would you want to be around that many white people sweating 4mmc out, a combination of natural body odour and pool cleaner? I mustn’t be so mean to Montreal.


The skirt sat tucked in my suitcase while I was looking for a smoking lounge at the Stockholm airport. The fucking Stockholm Airport. At around 15, Mr. True Crime and the world's #2 Schizophrenic patient, after Sartre, Ryan Murphy released American Horror Story: Hotel. I devoted my teen years to this show, and I was such a fucking fool for doing so. 



Abandoned hotel in Naxos, my first thought was that this would be a great nightclub because of all the nice spaces it has for dark rooms. But...not everything should be a nightclub.


To go back in time and slap myself so deeply in my face that it would write a thank you letter to my future self that I would have to view every day in the mirror would have done me a favour. Sorry! It was a shit season. Regardless, James March, who owned the Hotel Cortez in the show, was based on H.H. Holmes’s real-life maze-like murder hotel. 


That is what the Stockholm airport feels like. Once you finally find the “smoking lounge,” you’re introduced to a shame pod fashioned in the style of a Bauhause chrome ashtray. The airport was as if a United Colours of Beniton commercial teamed up with a biology textbook to create what they assume to be provocative art of the 2000s universal diversity era. 



Weirdly enough, I can't find the exact smoking area or Bauhaus ashtray that I'm talking about, but this is close enough


Soon, it found itself having staring contests with Greek men who win after they make a little kissy face. I wore it throughout my “sobriety” with S, where I vowed to cleanse my entire body before ultimately crashing it out back in Toronto on my first night back. Piss became sand, and I finally read a book after two long years. 


Cookie Mueller taught me two things while wearing that skirt: You should fall in love with men who are gay, but if you do end up in a lesbian relationship, never honeymoon in Italy, and acid dens are essential for your 20s. I can’t do acid, not after what happened on New Year's 2024. I, however, am more than happy to swap that out for speed. Do you know how productive it is to trap three people in the room with a bag of speed? 75%, at most.



She climbed a wall in a mini skirt. The internet says it was “The Berlin Wall,” but I think that was purely a joke. I didn’t climb a wall, but I did use it as an ashtray at some point. 


The skirt made its way to Warsaw, where I had an 11-hour layover. Stupidly, I had booked my tickets back home drunk. God was watching over me because tucked into my Telfar bag, the skirt was soon at the last 30 minutes at Miami Wars. What was basically a party by the river, I smoked on a rooftop patio. I soon found myself in an apartment, listening to records, talking about selling out, Asha Bosley, and drinking… a martini? I don’t really remember going through security at Chopin.


“Tell everyone that Warsaw is terrible and you hate it, so it doesn’t get [gentrified]!” B told me.


I think I’ll move to Warsaw soon.


Friday, July 18, 2025

please love me 07/18/2025


Still from Please Love Me, Courtesy of Sebastianis

“Look, you got to be recepcricol, see like this, this is give and take,” says Faith. “I give, you take. But you give, and I take, too. It’s like a circle.”

Sitting on a patio on College and Ossington, M talks about the worms in our stomach. “They are just in there, growing, and I’m okay with my worms in my stomach,” she says. It’s true, around 25 per cent of the world's population has them, and it’s not the end of the world. 25 is a big chunk, you’ve probably spoken to someone, slept with someone or hated someone with a worm in them. 


I used to have a health fanatic friend who would purge their worms, half a foot long, from what it seemed like. She’d show me photos of these feces-covered worms that she’d release after a detox. There was 100 percent something else going on, but it made me wonder how much I’d be happy carrying one. Some form of obscure motherhood or companionship, where my entire life is a performance for my worm. “Would you love me if I were still a worm?” No, that’s not it. 


“What would I do to make my worm stay with me…forever?”


Lea Rose Sebastianis’s short film Please Love Me is a whirlwind of codependency within companionship; it’s about what it means to love and to be loved. The 9-minute short portrays the beautiful yet tumultuous relationship between Tap Dancer (Sebastianis) and Friend (Moira Brown) and a falling out that leads to Tap Dancer's final performance. A two-woman show, performed in tandem, where two people virtually live in a universe created for them that comes crashing down. Sebastianis worked alongside Nate Wilson, Katerina Zoumboulakis and Nicholas Field to produce the short.




Photo Courtesy of Sebastianis


Throughout the film, you follow Tap Dancer preparing for her “big show”, which soon becomes a last-ditch chance to win Friend back. After a fight where Tap Dancer wields a knife, unsure if it is fake or not, Friend yells, “You always take things too far!” Tap Dancer's journey in preparation for the show is replaced by a yearningly deep urge to capture Friends' heart once again. 


What’s rather interesting isn’t the result of her journey, which we’ll touch on later, it’s how she reaches this point. Tap Dancer is shrouded in her own world. While it is blatantly obvious throughout the short that each of them plays a role in the demise, she centers herself. Her urge to please and her itching from the lack of codependency are making her spiral. 


But we need to start from the beginning—her hand. 


In the opening shot, Tap Dancer’s hand gets caught under a knife during a game of pinfinger. Hand roulette, five finger fillet, bishop or chicken, either way, a hand is drenched in blood as it shakes. There isn’t fear of the wound but some sort of excitement, shaking her hand in exhilarating joy. Some form of anticipated ecstacy of neurotically planned pain. From the jump, you're told that the violence and physical pain equate a proclamation of love. Is it a sacrifice? Not really. It's masochistically self-centred, slightly exhibitionistic, but Tap Dancer sees it at giving her fullest self.


While filming this, I recall seeing Sebastianis working at Bambi’s with a bandage wrapped around her hand. According to Sebastianis, it was fake. I don’t believe that, unless I’ve begun to create new memories based on delusions. Anyway, I’m never usually wrong. 




Photo Courtesy of Sebastianis



Somehow, in my mind, the blood rush, the shaking hand covering it, is the reality that Tap Dancer has built for herself. Or at least, in her mind. The true reality is that the relationship is a two-way street; Friend shoving the ashtray buds into her face and mouth, punching her, slapping her, only for Tap Dancer to then reach for a knife comically. 


Sebastianis’s portrayal of pain codependency is oddly joyful, but with an asterisk over it. The iris eye zoom, a vaudeville-esque nod that is constantly seen throughout the short. To me, vaudeville is everywhere. It’s a psychological minefield of morally ambiguous dilemmas, glittered through the scenes with dance and chipper yet dreadful sounds. 




Still from Please Love Me, Courtesy of Sebastianis


Tap Dancer’s journey continues through submission, where she’s told about the two-way street by Faith Alexandra Marie in the presence of Dusty Lee. Even after being spanked with the crop, Tap Dancer still seems to center herself as the one who must entertain, who must continue to perform for someone else. Even in a flashback, where Friend is the literal puppetmaster, Tap Dancer still continues her journey in her final performance rather than realizing it’s a duet.


Please Love Me reminds me of the 1986 public access talk show Beyond Vaudeville, which would eventually become Oddville MTV. But it’s not Andy Kaufman-esque, and that’s a good thing. Fuck that. Most particularly, Suzanne Muldowney, aka Underdog, shows off her silver cape in episode 19. 


There’s also Pat Ast, Warholian star and co-conspirator with the devil, Andy himself. Intertwined into every inch of the screen, when Tap Dancer smiles, full teeth, full of comically violent jest. It’s Ast serenading an uncomfortable Warhol at the Halston Atelier.




Pat Ast and Andy Warhol (1972 - Halsten Atelier)



Lurching back into his seat, melting away from Ast, Warhol avoids touch while Anst leans further in and sways through the atelier. Ast is a star. Everything in Please Love Me is cartoonishly manic, holding itself like a debaucherous Looney Tunes cartoon. 


Muldowney is embedded in so much of the short, in her attitude, in her demeanour and in her passion for the performance. However, Muldowney especially shines through during the Tap Dancer’s final performance. When Muldowney was eventually asked back during Odville, MTV, her voice mimicked an operatic theremin, if that could even exist. While Tap Dancer prays before her performance, I hear Muldowney singing “We’ve Only Just Begun” by the Carpenters during the mantramonial episode. An oath to God, an oath to a Friend, to be the best she can be. 




Suzanne Muldowney in Odville, MTV!


Soon, she’d take a knife to her guts as a proclamation of love.


Leading up to this moment, Sebastianis captures the true nature of mania. The goths, the prom queens and the mimes blend into her reality, convincing her the choice she’s about the make is the right one. Marni Marriott boxing in the air, Tap Dancer vomiting, Martha Allendes yelling at her to get on stage. Her Muldowney prayer. 


On stage, the wand tricks, as she planned, that in some ways may be true to her actual self, her real self, fail. So, she slits her stomach open. It’s a simple, cliche yet effective way of giving your everything. But Sebastianis leaves you questioning whether what's on the inside is truly the most important thing. Is it actually who we are? You’d have to truly know yourself first and what you deserve to give to others and yourself when it comes to love. 


Friend does return, but it’s too late. Lying in a pool of her blood and innards, Tap Dancer is gone. 


“She fucking killed herself in front of us. Heaven has another angel, I guess, but God, what a performance.”




Photo Courtesy of Sebastianis


While watching this for the first time at Paradise Theatre, I realized something. This is so much of what NYC’s film scene wants to be; it’s so much of what the male-dominated edgelord scene wants to be. Drenched in hyperboles and false metaphors that are so clearly digestible by a 13-year-old girl experiencing the angst of reality, they try to emulate those woes but fail to do so. Having watched  www.RachelOrmont.com with J, and after seeing Sebastianis’s film, the former spent 120 minutes trying to tell me about the overconsumption and psychological warfare post-digitalism, performance and the overtly terrifying nature of being wanted. Please Love Me does that in 9. I even sat in the same seat during both screenings. 


Listen, I know Vack’s film poses different themes, reaching towards meme culture and maternal love, yet they have a shared essence: companionship derived from yearning and wanting to be seen. The results differ in many ways. As Rachel sees through MOMMY6.0’s facade, in Sebastianis’s film, viewers are left with the result of that realization not coming to fruition, which ultimately leads to her death.


It occurred to me how many films, much like Vack’s, attempt to integrate this multimedia lens of post-digitalism and rotted content creation that was pushed into the digital vacuum by Angelicism. Under a pseudo-digital, fascist-like nature, one that reminds me of white Hinduism and the barefoot movement, it captures the essence of whiteness and suggests that the alt-right edgelordism lifestyle can be presented under left-leaning imagery. There, hence lacks a human touch or even a human response.




Photo Courtesy of Sebastianis


I didn’t feel that with Sebastianis’s work. In a culture and community filled with internet commentary, Sebastianis prompts you to reflect on your relationship. It actually makes you feel uncomfortable in the way you're supposed to, by picking at the skin around your nails until it's bleeding onto your skirt. It doesn’t make you think about post-digitalism like every other film in this scene, even as you watch dozens of cameras film her demise. 


You want to be spiralled into pleasurable psychosis, as you hear the applause for a film. Sure, yes, you understand it, but the most important part is whether you come out wanting to have.


Please Love Me will be screening at Fantasia International Film Festival on July 22nd