This program is all about beauty and body image. Diana Weis will enlighten us about different feminist positions on beautification and after her talk we will screen a short film program.
Talk by Diana Weis:
Bluestockings & Bimbos: Feminist Positions on Beautification
“An inventory of public and academic opinions on the current state of the female body and its various tampering techniques. Diana Weis is a freelance author and lecturer on the subjects of fashion, body images and beauty culture.”
Short film program:
BeautyCULTURE / Lauren Greenfield / 2011 / USA / 31 min
Tits / Louisa Bertman / 2014 / USA / 5 min
Plastic / Sandy Widyanata / 2008 / Australia / 7 min
Semiotics of a model / Tabassom Habibzadeh / 2015 / Iran / 20 min
Hot Chicks / Ninja Thyberg /2014 / Sweden / 15 min
Time: Program starts at 8:30 pm (doors from 19:30)
Mobile Kino presents: Baby Blues
Entry From: 19:00 (The courtyard is open with music so come early and reserve your seat and relax a little)
Film Starts: 21:30
Baby Blues is a 2012 Polish drama film directed by Katarzyna Rosłaniec. The story is moving the problem of teenage mothers, which think that the baby is just an addition to clothes and hairstyle.
Natalie is 17 years old girl living in Warsaw. She has got a baby with Jackob, but both of the parents can’t take care of the baby.
Baby Blues Trailer (Toronto Film Festival 2012) from Jens Ramborg on Vimeo.
Join us for a drink afterwards and we can discuss the film.
If we have bad weather the screening will be held indoors at the same time.
The Rotterdam five-piece Iguana Death Cult first made a name for themselves with a twisted and hard-core garage punk including a hint of psychedelia, then the quintet grew into a band that incorporates post-punk, Krautrock, New Wave, soul and disco. Their second album “Nude Casino” will be released on October 25th on the label Innovative Leisure from LA. It shows the more top-heavy side of her songwriting and her sense for the absurd.
The frenzy of the early years can still be felt today: the band is a barely controllable force of nature. They have made their way from dark doldrums to the SXSW, and they prove that defiant dilettantism and real ability can be perfectly combined and lead to success. Opschoor used to play nimble flamenco ornaments on guitar, but would have broken his fingers on blues riffs. With Reek it was exactly the other way round: From wonderfully primitive punk rock he worked his way up to sophisticated retro soul, psychedelic rock and acid jazz à la Art Blakey. And so they meet in the middle, where Boer’s brawny bass competes against Van Opstal’s jazz-influenced licks.
Because the music scene in the Netherlands is very small and familiar, the rise of Iguana Death Cult to a legendary live act took place at an incredible pace. There is no difference for the band
between occupation and hobby, also because of that she was able to gain a big fanbase quickly. Her debut album “The First Stirring of Hideous Insect Life” was released in 2017.
In comparison, the successor “Nude Casino” sounds rather brittle and unembellished – a sceptical sound that also questions their own former hedonism. Jeroen Reek lets his neuroses run wild and oscillates between wild waking dreams and the narrow limits of reality. His lyrical abilities come to the fore on “Tuesday’s Lament”, the heart of the album: The song is a monologue in five parts, which self-confidently and in a good mood deals with such difficult topics as mortality and faith. The occasional seriousness that blends into the sound and lyrics doesn’t harm the daring of Iguana Death Cult, like the band that has grown into a quintet through Jimmy de Kok on keyboard.
from the first note on.
“Nude Casino” evokes claustrophobic and absurd moods and is dedicated to themes like sleep paralysis (“Half Frisian”) and lost innocence (“Castle in the Sky”). These songs are based on earthly fears like neuroses and conflicts. That’s why the album is permanently jerking with nervous energy, which also comes from the wilder songs dominated by heavy hooks like “Carnal Beat Machine” with its dry disco pulse. Iguana Death Cult celebrate the art of rocking the shit and turning everything on 11. They dig their claws into the music and don’t let go. And they also have fun.
The David Watts Foundation presents:
IMARHAN (ALG) – Tuareg funk, fuzz, disco, rock
+ Support Sundays & Cybele (JAP) – psych, kraut
When Imarhan released their self-titled debut album in 2016, their tender, soulful, intense vision of a genre of music that was already flooded with talent and exposure still managed to float to the top and be heralded as a pivotal record of the “New Wave Of Tuareg Music”.
“Temet” is a huge leap forward in the creative sound and production for the band. Whereas their debut was anchored in the meditative desert blues tradition, Temet blows clear of any such notions, finding bounce and drive by stirring their sound with funk, fuzz, disco and rock.
This is not an alien mood to the band: any of the (thousands?) of people who have danced at their live shows will attest to the disparity between their emotional and thoughtful first release and the raucous, ecstatic live shows the band ripped through, for hours at a time, in their 2017 tours. While “Temet” is decisively more eclectic than their debut, their wisdom and singular vision is as manifest as it was in their first offering. Imarhan’s experience as a touring band since the first album has only honed their focus and meaning behind their music: Their focus in this case is a Nomadic traveller’s reflection on today’s struggles. “Temet” in Tamashek means “connections” – It’s an energetic wake up call for unity, reminding people that we are all are connected and that only through the acceptance and uptake of this union will we be able to solve the troubles all cultures seem to be dealing with in this important moment in time.
“People should love each other. They need to know each other, we need to know each other, everyone should get to know their neighbour. We need to have the same approach as our elders. You will stumble across an old man who knows the world and will hand down his knowledge to his children.” Iyad Moussa Ben Abderahmane – aka Sadam
Presenting the release of their new album
BAILE BRUJA MUERTO !
LIVE on stage :
Reverend Beat-Man & Izobel Garcia
+++ Support Act : Trixie & The Trainwrecks !!
The master of Blues Trash and sister Izobel finally released their hit-album.
Let’s celebrate a mass !
Come tall, come small to the church of Rock’n’Roll !
Get down to the sounds of Voodoo Rhythm !
Reverend Beat-Man Teams up with Los Angeles/ Mexican Femme Mysteria and Voice of the Century Izobel Garcia and gives you the full blast in Blues Trash Folk Noir and Dark Cumbia incl. obnoxious Cover Versions from: Venom, the Doors and Chavela Vargas.
Tickets available here.
20.02.2019 Berlin – Urban Spree
Einlass: 20:00 Uhr, Beginn 21:00 Uhr
Tickets ab Freitag, 26.10.2018
2011 gegründet, haben The Murlocs aus Melbourne, Australien bereits gemeinsam mit Bands wie Thee Oh Sees, Graveyard Train and Dave Graney auf der Bühne gestanden. Der Sound der fünf Jungs ist inspiriert durch die Bluesmusik ihrer Jugend. Lässiger Psychedelic-Blues-Garagenrock, den man am 20.02. live im Berliner Urban Spree erleben kann.