Når noget godt går hen og dør ud, bliver man nogle gange nødt til selv at tage initiativ. Det var det mine to veninder, Danielle og Michelle gjorde sammen med et par venner, da den populære klub Indie Night på Stengade 30 løb ud i sandet. Og med henblik på en hel festival i Råhuset til foråret, laver de derfor nogle prøveaftener inden under navnet The Banana Hold-Up, hvoraf den første foregår i aften på Jolene inde på Vesterbro. Hvor de fire venner vil stå bag pulten og spille en blanding af lækkert indiepop, C86, britpop, twee, 60′er pop, northern soul og yé yé, eller som de selv beskriver det på deres facebook gruppe:

Vi spiller en smuk blanding af forskellige rariteter, naturligvis af utroligt høj kvalitet og som helt sikkert vil få alle ud på dansegulvet!

Der er lagt i ovnen til en superfestlig aften, så kom friskt! Jeg håber i hvert at jeg selv kan nå og opleve noget af den.

Hvad: The Banana Hold Up
Hvornår: 14. november kl. 22-03
Hvor: Jolene, Flæsketorvet 81, Vesterbro.
Hvordan: Gratis

Mitch McCabe’s Youth Knows No Pain premiered at the Film Society on April 28th, and since then, the beauty obsessed denizens of LA have been deprived of it’s incisive, funny and personal probing of the business around the quest to stay forever young.

Angelenos, never fear–Mitch McCabe will be town to screen her doc at the Arclight in Hollywood on August 19th. Chris Kattan will be on hand for the Q & A. Don’t miss it!

Read more about the event

Read the filmlinc blog’s interview with Mitch McCabe

Ever wondered where the country’s grass-roots conservative movement came from, and whether the country is veering right, left or center? Join us on Thursday for What’s the Matter with Kansas? and get some clarity on exactly that issue. Plus, there will be an incredible panel discussion afterward.

The New York Observer national correspondent Joe Conason and The New York Times editor Chris Suellentrop will square off in debate against National Review Online editor Kathryn Jean Lopez and conservative author and editor Ryan Sager.  Filmmakers Laura Cohen, producer, and Joe Winston, director, will also serve on the panel, moderated by Frances Fox Piven, CUNY Graduate Center Distinguished Professor of Political Science and Sociology.

INDEPENDENTS NIGHT: What’s the Matter with Kansas
World Premiere
Thursday, August 6, 2009 at 6:30pm

Buy tickets>>

JUNE 9TH @ OLD QUEENS HEAD (ANGEL): My Tiger My Timing + Tristram + more TBC!

Coming up on June 9th we have another Oh, Inverted spectacular with the wonderful and hotly-tipped My Tiger My Timing taking residence on the Inverted stage, along with excellent newcomer Tristram opening up the night for us. There’s one more to be announced but we’re keeping our mouths shut for now ; )

My Tiger My Timing

Currently being wildly tipped by just about everyone with ears, MTMT released their debut single ‘This Is Not The Fire’ last month (recorded by Andy Spence of New Young Pony Club fame), swiftly followed by XFM and 6Music sessions, an NME Radar feature and are now in the studio with Joe Goddard of Hot Chip.

Clash describe them as “alternative pop with a dark heart that’s bursting with desire”, we reckon Talking Heads, Hot Chip and Blur. Make your own mind up here… www.myspace.com/mytigermytiming.

The daughter of a plastic surgeon, award-winning filmmaker Mitch McCabe has a particularly personal connection to the multi-billion dollar industry she investigates in her new documentary film Youth Knows No Pain. Before the film premieres at the Film Society on Tuesday April 28th at 6:30 as part of Independents Night, the filmlinc blog interviewed the filmmaker, who is also New York Film Festival and New Directors/New Films veteran.

How do you think attitudes about plastic surgery are changing and to what do you attribute that change?

Mitch McCabe: Whether it be growth hormone, anti-oxidant diets, $500 creams claiming to change your cells, Botox or the knife, there’s a huge market for anything tied to anti-aging or “reversing the clock.” My dad died in 1998, four years before Botox was approved by the FDA, and I know that the accessibility and affordability of Botox changed everything. When my dad was a practicing plastic surgeon, cosmetic surgery was a bit hush-hush, and limited to upper middle class. That’s not the case anymore.

But the most important theory I heard repeatedly from doctors and psychologists alike, is that we are an aging society. Our life expectancy is fast increasing, and hence so is the overall population. Therefore we no longer retire at 55 or even 60, and we need to stay in the work force longer. We’ll simply be in life longer, and the chances of being single and dating in our late 50s and beyond are greater than they were in the old days.

In all areas of life, we are becoming a more competitive society, and older people in their 50s and older have to compete with thirty and twenty-somethings for jobs. Easy retirements and pensions are increasingly a thing of the past. The dilemma is of course, that in our culture we instinctively doubt whether an older person will have fresh ideas, or even be alert. So, plastic surgery—and anything to keep one competitive with the young—has grown in popularity as an option for people to “look fresh and awake” and not tired or angry (their words!).

Your film combines elements of the personal with issues that have larger social implications. Can you talk about finding that balance?

I’ve made a number of personal shorts over the years, but this was the first time I incorporated the personal into a larger cultural issue. Thank God for the perspective of my editor and some great pairs of eyes! In the beginning my personal presence was very subtle, but with every rough cut viewing the feedback we received was that the thread of my own journey and my dad’s story needed to come forward more. Moreover, it was important to me as a filmmaker who was also in the film, to let the audience know that I did not judge these people, but understood them. So as risky as it felt at times, I felt I had to step forward into the film more. In the end, I think it made a better, more honest film, something that hopefully offers something beyond what the many articles and news shows on plastic surgery can offer the audience.

Was there any idea you had about plastic surgery that was challenged during the making your film?

To be perfectly candid, when I began the main filming in 2006, I was pretty against elective plastic surgery, and anything that pierced the skin. Dying gray hair and creams were okay, but beyond that was a questionable. I remember in October 2006, one 52-year-old woman who owned as makeup line in Dallas told me she had an eyelift at 45. She asked me, “Would you ever get anything done?” I looked her in the eye and defiantly said “No.” She laughed and said “Call me in 10 years.”

But over the course of filming the documentary, I met and interviewed—whether it be by phone, email or on camera—over 200 people. Some who said they’d “never do anything”; others who said the same but more ambivalently with loopholes, and of course, many who said “bring it on!” As I really started living with the characters in the film and following their stories, my perspective changed. I quite naturally became more empathetic.

One of my favorite interviews was with Simon Doonan. He said, “In the near future, not having your hair dyed or your face tweaked – that will be the new punk.”

Buy tickets to Youth Knows No Pain (which will include an onstage Q&A and reception with the filmmaker): Tue April 28: 6:30

Visit the filmmaker’s official site.

Produced by Felt Soul Media and Trout Unlimited, Red Gold is a gripping look at worlds colliding in Alaska, those of family fishermen, corporate interests and environmentalists. This is one film you’ll want to watch before you dig into another bagel with smoked salmon.

Which leads me to remind you about the culinary pleasures you’ll enjoy after this illuminating film and panel discussion. Savoy chef Peter Hoffman will be on hand on hand after the screening and Q & A to serve up scrumptious salmon-centric snacks comprised of sustainable ingredients and wild salmon provided by Ocean Beauty.

Buy tickets: Tue Jan 6: 6:30

Photo courtesy of Felt Soul Media’s blog.

Alaska and environmentalism are on the public’s radar more than ever thanks to the recent presidential race. But the issues affecting our northern neighbors are hardly limited to moose hunting and oil drilling. Produced by Felt Soul Media and Trout Unlimited, Red Gold tells the story of a group of small family-run fisheries trying to save their operation from the encroachment of a potentially extremely profitable gold and copper mine near the headwaters of the Bristol Bay watershed. It premieres at the Film Society of Lincoln Center on January 6th as a co-presentation of Green Screens and Independents Night.

The film takes in a wide range of perspectives from colorful local fishermen to corporate representatives, and paints a breathtaking picture of a point of conflict between small business and large, nature and man-made efficiency. “Red Gold is our attempt to give a face to the issue,” say the filmmakers, “and give a voice to the people of Bristol Bay who depend on this extraordinary fishery. We set out to create a different kind of environmental documentary—one that gives all sides a chance to be seen and heard.”

Red Gold is a film you’ll want to see before you take another bite of salmon, which is why it’s a good thing that we’ll have Savoy chef Peter Hoffman on hand on hand after the screening and Q & A to serve up scrumptious salmon-centric snacks comprised of sustainable ingredients and wild salmon provided by Ocean Beauty.

Buy tickets: Tue Jan 6: 6:30

Photo courtesy of Felt Soul Media’s blog.

In the Islamic Republic of Iran, homosexuality is punishable by death, yet sex-change operations have been legal for “diagnosed transsexuals” for more than 20 years. In this provocative documentary, get an up-close view of the Iranian citizens who are engaged in a human drama of the highest stakes imaginable: confronted with the dilemma of changing who they are in order to be with the person they love.

From our friends at FilmCatcher, please check out this video interview with director Tanaz Eshaghian.

Buy tickets: Thu Nov 13: 6:30

By: Fred Chin from Potential Problem

Indie Night, Timbre Music Festival
Timbre @ Arts House
September 25, 2008

Arriving at Timbre, we were greeted with soft candles and the pockets of people talking over the tunes played from Vertical Rush’s Of Real Dreams and Plain Sunset’s latest self-titled release. Hearing these played over the speakers while waiting for the ‘live’ performances to begin provided everyone a “preview” of what they were in for, and what they were going to get for their $32 worth.
To me, it was an outdoor experience of good music, overpriced fried food and drinks, and catching up with old friends whom I used to play share the stage with or meet at gigs.

The audience were mostly scene kids from the past, now working adults of all sorts, dressed in nice clothes. Having Vertical Rush and Plain Sunset tonight brought back me back to the old WakeMeUpMusic days, when the gigs were not infested with wannabe emo-bands. My table of overpriced beer (three bottles of Heineken for $44? Why?) and overpriced finger food did not help to alleviate the festered humidity levels at the open-air concept of Timbre, but fortunately the excellent sound quality provided by Jon Hemsley and the amazing music from the bands made it worthwhile.

Vertical Rush @ Timbre

Vertical Rush kicked off their set with an upbeat new song. As described by singer Esmond Wee, the opening song was “so new that it was untitled”. They moved into Your Last Song, a fast in-your-face and explosive song with riffs of guitar bends that definitely caught everyone’s attention. Angels with its atmospheric starting put the whole of Timbre into a dream-like state, before shifting to an upbeat chorus, with the repetitive line “I can see angels around me” in its ending that read indie rock in the way it captured the ending of One Dollar Short’s Another Day Away in its catchiness and Fairweather’s Slow To Standing in its melancholy combined together. Spaceman captured the curiosity of the audience with its palm-muted guitar at its beginning and brought the energy back into the song with its rhythmic release patterns that was sonically pounding.

At the extreme right of the band, keyboardist Shaun Soh gave a running lesson on how to look really into the performance when not playing anything. Beatkeeper Darren Goh, with his signature painful expressions and headswirls proved how consumed he was by the tunes. Esmond Wee’s whispery vocals with Marcus Lim’s extensive guitar effects brought out the mysterious side of the music. Guitar pros, no doubt, they were able to switch to a more intense and harder rocking feel when the choruses needed so.

Plain Sunset @ Timbre

Plain Sunset kicked off their set with Photos of Us, being one of the only two songs that are not from their latest release. My familiarity with that song from having seen them play it so many times reminded me that Plain Sunset is probably the country’s most experienced and active bands to date. They moved on to the new single, Johari Window, with its distinctive echoic drum toms that gave the song a very “big” feel to it like how a ballad would portray. The River Song was no stranger to everyone, thanks to its catchy chorus that anyone could easily sing-along to. Its melody at the start reminds me of Green Day’s Scattered : both bands have been around for a long time, they both started out fast and loud, they both made an album that mellowed down (i.e. Green Day’s Warning in 2000), and they both have changed their sound as a sign of maturity.

The band ended their set (and an eventful Thursday night for everyone) with the song Plain Sunset, a signature of theirs. Throughout every song, they maintained the energy level just like how they were years ago, and they certainly have not lost it. They made performing on stage look so effortless, which is no surprise to everyone. Ronny kept every single beat in place, and Nizam’s jumps at pauses of the songs are still as impressive as ever.

The whole experience watching these two bands showed me how much they have matured over the years. If it weren’t for them, Timbre’s night wouldn’t have been this successful, due to their ridiculous price tags on everything. Even the $32 entrance fee for the public was no exception. Well, at least it brought in the affluent crowd and kept out the undesirables, something which Timbre has always been capable of.

Photos of Indie Night

!!!

Ahoi!

Pflichtbewußt wie ein ehemaliges DDR – Kind nur sein kann, gibt es auch heute Tipps zum schwofen und dergleichen. Später am heutigen Abend spielen Delbo im Mau Club. Vorband sind Ikeria. Da müssen ja jetzt nicht so viele Worte drüber verloren werden. Spitzenmusik. Wer dann möchte, kann ja gleich auf der Indie Night bleiben und rumtanzen. Wem das zuviel des Guten (oder so) ist, kann ja mal die Augen im Rostocker Stadtbild aufhalten oder sich vertrauensvoll an mich wenden.

Morgen lasse ich dann meinen robosexuellen Gefühlen freien Lauf und gehe zu Schizophonic im Jaz. Solltest DU und DU und DU auch tun.