In the past eighteen years the Amsterdam Dance Event (ADE) has grown into a globally renowned platform for the international dance and electronic music scene. The festival (from 15th till 19th of October) is the perfect place to spot the latest musical trends and emerging talents, as well as hear the most recent work of both electronic music pioneers and current superstar acts.

In addition to the extensive live line-up of ADE Festival, ADE Playground offers music enthusiasts a large and varied daytime program including five days of film screenings, music hardware presentations, art shows and exhibitions, exclusive fashion offers, interactive talk shows, promotional activities and pop-up musical performances at 25 creative hotspots around the city, including roof-top terraces, clothing shops, and art galleries, as well as outdoor exhibitions and cinemas.

The business arm of the event (ADE Conference) is recognized as the most important of its kind. Divided into seven themed programs, ADE's comprehensive conference covers every aspect of the modern music industry, featuring dedicated programming for business professionals, start-ups, aspiring producers and musicians, international students, VJs, visual artists and stage designers. The programs also feature in-depth expertise and insight into the harder music genres, the relationship between music and technology, and sustainable, ecologically responsible practices for the global dance music industry.

The ADE Festival features 300 events and 2,000 DJ's over five days in 80 clubs and venues, which together combine to make Amsterdam one of the busiest and most inspiring clubbing cities in the world. Every year the ADE Festival attracts 300,000 festival visitors from around the globe and is truly the biggest international club festival covering the whole spectrum of electronic sub-genres.

Image from Amsterdam Dance Event

Why not take a trip to Amsterdam? Have a look at our flights here!

Modernism emerged in the late-19th and early-20th century, marking a break in style with the past, in line with the prevailing cosmopolitan, entrepreneurial mindset of the moment.

In 1883, the city needed to expand, leading to the construction of its famous Ensanche district,which spans the present-day streets of Juana de Vega,Picavia,Feijoo, Plaza de Lugo and Plaza de Pontevedra.

With the wealth they had acquired from foreign trade, the local bourgeoisie commissioned luxury residences in this new area, modelled on those of Vienna, Paris, Prague, Budapest and Berlin, in an outward show of their prosperity and cultural pursuits. This enabled them to distinguish themselves from the old Corunnan aristocracy, who still lived in the Ciudad Alta and Ciudad Vieja districts in dilapidated mansions with dark rooms, lacking proper ventilation or glazed window balconies, with their backs to the sea and to modernity.

Strictly speaking, Modernism came to the city in 1906 with the arrival of the Cuban architect, Ricardo Boán y Callejas, and the Corunnan architect ,Antonio López Hernández, who brought the new trends in building design from Austria, Switzerland and Germany. They also brought journals, catalogues and photos from those countries featuring designs by the Austrian, Otto Wagner, and the Belgian, Victor Horta.

One of the most striking features of these houses are the female faces adorning some of the buildings that are still standing. They were mostly inspired by the countenance of an English lady, Elizabeth Siddal, the wife of the Pre-Raphaelite painter, Dante Gabriel Rossetti. She was immortalised in the guise of her languid, enigmatic beauty and her long tresses following her death from an overdose of laudanum, a mixture of opium and alcohol.

Modernism in A Coruña was influenced by the ornamental style of the English architect, Owen Jones (1808-1874). Local artists decorated the facades and doorways with irises, horse-chestnut leaves, water plants, roses and camellias in multi-coloured garlands which seem to reach out to the passer-by and lavish pleasure on the senses.

Galleries are awash with the Mackintosh Rose motif of Charles Rennie Mackintosh, as well as twirling, sap-bearing plant stems. The transparent glass surfaces spread out among them like dragonfly wings. However, Japanese influences also come to the fore in the form of embossed irises, reeds and butterflies on lilies, star-shaped holly leaves and lotus flowers framing windows and lifts, by way of a country-like, ecological architecture. Enjoy a Modernist route through the city – download the guide here.

Modernist Top 5 in A Coruña

1. Casa Rey (1911)

The work of Julio Galán, his architecture distils the essence of the glass city. The rippling cornice, the Mudéjar inspired glazed ceramics and the wrought iron balconies made in the Wonenburger foundry make it a veritable dolls house for the ladies of those times that adorned its balconies with their head-dresses of gardenias and palm leaves. Chocolate was one of the exotic wares shipped from the Indies and other colonies to the port of A Coruña, and chocolateries dating from that period are still open to the public on the streets of Riego de Agua, Plaza de Lugo and Estrecha de San Andrés. Hence the origin of the popular Corunnan demonym ofcascarilleiros(huskers),an allusion to the cocoa husks which filled the streets with their aroma. Plaza de María Pita, 12.

2. Casa Molina (1915)

Designed by Rafael González Villar. The building was the home of Don Raimundo Molina, a representative of Royal Dutch Lloyd and consul of the Netherlands. He was also the father of the well-known mayor, Don Alfonso Molina. Influenced by the Italian Modernism of Turin, the garlands and draped ribbons of the building form a theatrical final curtain to the Old City. C/ Santiago, 2.

3. Kiosko Alfonso (1912)

Also designed by Rafael González Villar, this is a magnificent example of early-20th-century recreational architecture. With its rectangular floor plan, it operated as a café, music hall and cinema, the central screen of which divided the auditorium into two rooms. In the first room, the audience saw the positive film, while a negative of the film could be viewed at a lower fee from the other. Converted into an exhibition hall in 1982, the original Modernist decoration is still intact, including dragons which surround and immerse the audience in a world of mystery and fantasy. Jardines de Méndez Núñez.

4. Compostela, 8 (1910)

Also the work of Julio Galán Carbajal. The foyer, with access at no. 8 Calle Compostela, is the most striking entrance hall in the city. Walls, ceilings and the archway leading into the lift turn the space into an original stuccowork greenhouse, brimming with intertwined water plants, lotuses, lilies and irises. The lions at the entrance, the eagle and the caryatids on the cornice form a symbolic defence of the house’s residents, reminiscent of ancient Persian palaces.

5. Plaza de Lugo, 13 (1912)

Lastly, this bourgeois residence designed by Antonio López Hernández, linked to the family of the Corunnan actor, Fernando Casado Arambillet (better known as Fernando Rey), features overflowing ornamentation as an outward show of the economic prowess of its residents. It is theatrically adorned with a large garland of roses, leading the eye towards the huge female caryatid dominating the ensemble. The decorative syntax makes this the most beautiful building in A Coruña.

Don’t wait to see these Modernist architectural jewels in A Coruña. Check out our flights here.

Turismo A Coruña

What can we say about Pedro Almodóvar? Luis Buñuel notwithstanding, he is the internationally best known Spanish film director. His Oscar-award-studded, iconoclastic filmography includes both masterpieces and a large number of highly interesting movies. Like any creator worth his salt – and the Manchegan is one of these – Almodóvar has a pet city that features repeatedly in his films. We are referring to Madrid. In the late seventies he left his native Calzada de Calatrava and journeyed to the capital, Madrid, intent on making his name in cinema. It ended up becoming his favourite set. He has portrayed it in many different ways, revealing both its highlights and shadows, its well-known and its hidden facets. Almodóvar has explored virtually all the streets of his adopted city with a view to heightening the emotions and feelings of his main actors. His fiction breathes life into buildings, streets, establishments, airports, train stations and a long list of other settings.

The director of Volver turned the city into a film set, using to advantage real locations recognizable  to his audience and turning some spots into must-visit centres of pilgrimage for his fans. Touring these precincts involves venturing into Almodóvar’s passionate, architectural world, by way of an alternative tourist guide to Madrid. We now retrace some of the most emblematic spots on a route which you can round off by viewing the films directed by the creator of Women on the Verge of a Nervous Breakdown and jotting down new sites in your Almodovarian logbook.

Chicote Museum and La Bobia

One of the two bars that appear in Almodóvar’s films is the Chicote Museum, a chic cocktail bar with an eventful history sited on Madrid’s iconic Gran Vía. It opened in 1930 and its premises have been graced by a considerable number of contemporary stars and Hollywood classics, too. Its interior features in one of the main scenes of Broken Embraces, starring Blanca Portillo. La Bobia is another legendary meeting point in Madrid. It is hard by El Rastro flea market and was once a hotspot of La Movida (The Madrilenian scene). It was actually during those heady times that Almodóvar decided to set the opening scene of Labyrinth of Passion in La Bobia. The movie’s cast was headed by Imanol Arias and Cecilia Roth.

Cuartel del Conde Duque

A must-visit venue to see the spot where one of the Manchegan filmmaker’s most famous scenes was shot – when Carmen Maura takes a night-time shower with a hose in one of his masterpieces, Law of Desire. The scene was filmed in the doorway of the Cuartel del Conde Duque, one of Madrid’s largest and oldest palaces (it was built in 1717), which also boasts a highly valuable cultural and historical endowment. What’s more, once you’ve taken the snapshot de rigueur to relive Almodóvar’s shot, you can go inside and visit it, as it has been turned into a cultural centre featuring various temporary exhibitions throughout the year.

The M-30 Apartment Blocks

Pedro Almodóvar did not restrict himself to capturing only Madrid’s well-known city centre – he also turned his gaze to the suburbs. He did so in one of his best movies, the iconic What Have I Done to Deserve This? in which a long-suffering Carmen Maura is going through hell. She plays a woman who lives in one of the apartment blocks lining the M-30 motorway, a working-class residential area in the district of Moratalaz.

The Segovia Viaduct

One of the natural settings Almodóvar has used most often, both at the beginning of his career and even today. It appears in both Matador and the very recent I'm So Excited. In the latter, Paz Vega stars in an amusing scene shot against this backdrop. The Segovia Viaduct is located in Calle Bailén, near the Royal Palace, and is one of Madrid’s best known bridges.

Be sure to tour these Almodovarian settings – book your Vueling to Madrid here.

Text by Xavi Sánchez for Los Viajes de ISABELYLUIS

Berlin clearly lived through one of its most bizarre periods during the Cold War. Bizarre, in that erecting a wall dividing a city into two parts, separating families and neighbours and setting them in opposing universes, is an Orwellian experience to say the least.

Each part of the city obviously developed in a very different way. On the one hand, East Berlin stagnated within a system based on obsessive control by the regime, a pattern shared by the rest of the communist bloc. West Berlin, for its part, evolved in similar fashion to the rest of the capitalist world.

West Berlin – From the Mecca of the Underground to Hedonistic House

From the seventies on, in line with the new trends in England and the United States, a new musical scene began to gain currency in Berlin, based on creative freedom and the aesthetic of a clean break with the past. Berlin became one of the leading centres of punk and all its subsequent ramifications. Their outsider and underground art culture sediment attracted performers of the calibre of David Bowie, Brian Eno, Keith Haring and Lou Reed throughout the seventies. By then, a good number of bands were feeding such exciting circuits as those of London and Sheffield.

At the end of the seventies, the music of Joy Division and dabblers in electronic and industrial music were adopted as icons of the flourishing alternative scene of an open Berlin. Unlike the British or American varieties, German post-punk was characterised by a tension between politics and culture and aesthetically owes much to krautrock, as many of its themes are endless repetitions at a heady pace, notably Geld/Money by the arty band, Malaria, or the early recordings of DAF.

As of 1980, the exciting Berlin scene was always on the move, spawning an inexhaustible string of bands like Einstürzende Neubauten– headed by the controversial Blixa Bargeld – Die Unbekannten, Nina Hagen, Die Krupps, Mekanik Destrüktiw Komandoh, Die Tödliche Doris, Geile Tiere and Die Arztewith their punk funk distinguished by sarcastic lyrics.True to say, the scene was not made up of musicians alone, but by film stars and directors, writers, philosophers, artists and photographers, too. By the mid-eighties a process of disintegration had set in. Music became ever more commercial and groups began to sign up with multinationals. However, it was not long before a new sound revolution arose which had a marked impact on the city – the advent of acid house and techno. Recall that Berlin’s Love Parade was the first mass parade of electronic music in the world. The first Love Parade was in 1989. The event started out as a clamour for peace and mutual understanding through music. Just a few months later, the Wall came down and West Berlin was consigned to history.

The legendary SO36 was still going strong at that time. The club, located on the Oranienstrasse near Heinrichplatz in the Kreuzberg district, took its name from the area’s famed postal code – SO36. The district of Kreuzberg is historically the home of Berlin punk, and of other alternative German subcultures. SO36 was initially dedicated mainly to punk music. As of 1979 it attempted a crossover between punk, new wave and visual art. In those days the club rivalled New York’s CBGB as one of the world’s leading new wave spots. Others on the Berlin circuit included Metropol, the disco, Kino, the club 54 Kantstrasse and the Sputnik alternative cinema, where the cult film Christiane F. premiered.

Period Document on the Big Screen

The 13th Beefeater In-Edit Festival will be held in Barcelona from 29 October to 8 November. Prominent among the many films to be shown is B-Movie: Lust & Sound in West-Berlin 1979-1989, a documentary directed by Jörg A. Hoppe, Heiko Lange and Klaus Maeck on music, art and chaos in the Wild West of Berlin in the decade of the 1980s, the walled city that became a creative crucible for a special type of pop subculture which attracted brilliant dilettantes and world-famous celebrities of all kinds. However, prior to the fall of the Iron Curtain, artists, squatters, poets, music creators and hedonists came together to enjoy a highly unconventional lifestyle in Berlin. They all knew it would be short-lived but, who’s worried about tomorrow? It was a case of living for the here and now.

Featuring mostly unreleased television material and original footage, photos and interviews, B-Movie chronicles life in a divided city, a cultural interzone where anything seemed possible – a place different from anywhere else in Europe. It is a fast-moving collage of stories about a frenzied but creative decade starting with punk and ending with the Love Parade, in a city where days are short and nights are interminable.

Berlin is currently experiencing a youthful resurgence in terms of cultural activity – and music, too! Why wait to discover it all? Check out our tickets here.

Text by ISABELYLUIS Comunicación

Images by B-Moviem, SO36