8.02.2006

Pray, Misty, for me

This accursed sun is turning me so brown, I'm blending in with the furniture. During summer, I usually prefer to stay inside where the A/C ensures I won't sweat just because I'm standing there. I'm an autumn guy. But this summer has already seen me enduring the great outdoors a lot, and it ain't letting up anytime soon. Recently, I went to the Bristol Renaissance Faire for the first time in more than a decade. It was fun, although almost prohibitively expensive. I had to talk myself out of buying a Viking drinking horn. Most of my dough actually went to food (amazing garlic mushrooms, nasty-ass mead, a curiously crustless shepherd's pie, Ye Olde Teriyaki Beef Jerky), although I did come home with a packet of incense because the pleasant scent was dubbed "Elven Joy." While waiting to purchase it, I honestly overheard a clerk asking one customer, "My Lord, may I have your zip code?" In a shaky British accent, no less.

For visual evidence of the festivity, look at the comments on my MySpace profile, where anti-meredith has been so kind as to post a portrait of the Prez and myself capering about, as well as several attempted images of one of three hot bald chicks I spied on the premises that day. (Stick around and listen to the Man Man tune I have playing there. "Van Helsing Boombox" is one of the best songs I've heard all year. Pretty much says it all.) And speaking of pictures of me and of sexy ladies... we're blurry, but here's the ultimate beauty and the beast snapshot:

Remember last November's rant about "The Screaming Dead"? Its star, Misty Mundae (now going by her real name, Erin Brown) arrived late to the first night of Flashback Weekend 2006. It was my first time attending this local horror/drive-in movie convention. Although I'm much more of a geek about this sort of stuff than I am about knaves and wizardry, I found the level of dorkery on display at Bristol much less embarassing than it was at some points here - chiefly the dorkery coming from me. See, I'm usually either nonplussed or extremely self-concious around celebrities I admire. While I did resist the temptation to strike up a conversation with such cool cult movie folks as Ken Foree, Marilyn Chambers, Sid Haig, Adrienne Barbeau, Robert Z'Dar or even "Hostel" babe Barbara Nedeljakova, I could not pass up the opportunity to speak with the small screen's most gorgeous Scream Queen since the '80s reign of Brinke Stevens. Misty became famous for starring in Seduction Cinema's softcore parodies of Hollywood hits. You might have seen a few of these mega-cheap whimsies on Skinemax, such as "Playmate of the Apes" or "Lord of the G-Strings." She's also in a lot of horror flicks, having started making them on video as a teenager, and has already directed a couple of distributed features at age 26. Like Brinke, her appeal comes from her affable screen persona and her striking but natural appearance. I've never seen any of her straight-up nudie flicks, but Misty's so much hotter than the plastic doll-women that usually populate soft-focus "erotic" cinema, which as far as I can tell is still dominated by an ugly '80s Playboy mindset.

I think I offended her by saying I was hoping she would be selling copies of "Spiderbabe"; she stared ruefully at me for a second, then said I should just rent it and save my money. I mumbled something lame about wanting a picture and how I hoped she'd have a nice weekend in Illinois (she informed me that she's actually from here) and other embarassing nonsense before stumbling away. This sun-dried SoulReaper couldn't bring himself to tell Misty/Erin that he had just purchased a bootleg with every "Masters of Horror" episode for the same price as she was asking for Anchor Bay's official release of her single Lucky McKee-directed segment. Other scores: a sweet Blind Dead t-shirt with art by Wes Benscoter, every episode of "Thundarr the Barbarian" burned onto four DVDs and Mikita Brottman's "Hollywood Hex: An Illustrated History of Cursed Movies" - bringing me one volume closer to my dream of owning every title in the Creation Cinema Collection.

I could not return for Flashback Weekend's more substantive second and third days because I was busy roasting outside. I was covering the Pitchfork Music Festival, a big to-do indie rock marathon tucked into a neighborhood park near United Center. Despite the heat and some technological complications, the story got filed and I had a hell of a good time - especially Sunday, when it was less hot and a bunch of people I knew were also attending. View a sketchy rundown of the musical offerings I witnessed here, and recoil at my attempts to describe bands I know little to nothing about. I must reiterate how totally beyond awesome Man Man was, and having picked up their first disc at the fest, I am now super psyched about their return next month at the Logan Square Auditorium. Still, between Peeping Tom last Thursday, Pitchfork last Saturday and Sunday, Genghis Tron tomorrow, Lollapalooza all weekend and Dr. Octagon next Thursday, I may soon be concerted-out for a while.

3 Comments:

Blogger SoulReaper said...

Hot days, cool nights at Pitchfork Music Festival

This weekend's inaugural Pitchfork Music Festival strengthened the ongoing push to turn Chicago's Union Park into a summertime mecca for sweaty hipsters. On the heels of last month's Intonation Music Festival, Pitchfork was another two days of indie rock, hip-hop, jazz and electronic music.

Pitchfork was founded by the Chicago-based online music publication of the same name, the staff of which selected the line-up for last year's Intonation. When the Intonation folks decided to go with New York's Vice Records as curators this year, Pitchfork spun off their own event. The result is that local fans of diverse, cutting-edge music now have two summer festivals of their own, both operating on a less imposing scale than next weekend's Lollapalooza in Grant Park.

Broiling bodies wandered the neighborhood park, where two main stages alternated acts throughout the day, enduring oppressive heat and sun to witness a set of spry, punky power pop from Ted Leo and the Pharmacists or Devendra Banhart's celebratory psychedelic folk rock. Water was plentiful, as were restroom facilities and reasonably-priced food choices; the worst lines led to the ATMs. Those seeking shade could find it under the tent where vendors hawked records and clothing, which wasn’t as stuffy as the tent housing Pitchfork’s third stage.

A pair of unsung legends accompanied the respite of cooler evenings. Nashville-based Silver Jews are not a household name, but command reverence due to both the band's history being tangled with that of seminal indie rockers Pavement and leader David Berman's mature songcraft. Headlining Saturday night, Silver Jews filled the park with chiming guitars and Berman's literate baritone, their plaintive jangle suggesting where REM could have gone had stadiums not lured them.

Sunday's headliners, Os Mutantes of Brazil, helped spearhead their country's tropicalia movement in the 1960s, blending tweaked indigenous music with American-style psychedelic rock as an artistic political statement. Reunited and playing live for the first time since 1973, the group's summery pop harmonies, funky samba rhythms and wailing guitars ended the fest with a joyous multicultural splash.

Among Saturday's highlights were The Futureheads, Brits whose bright vocal harmonies soared higher due to drummer David Hyde's propulsive post-punk rhythms, although they were really just a warm-up for Sunday's welcome blast of angular agit-prop by scene godfathers Mission of Burma. Dan Bejar, mastermind of the lush, classic rock-tinged Destroyer (and an occasional New Pornographer), employed a mannered delivery and cryptic/poetic lyrics evoking a younger and fussier Bob Dylan. Band of Horses battled the midday swelter with alternately gentle and surging guitar pop, Ben Bridwell's vocals sweetly reminiscent of The Flaming Lips' Wayne Coyne. Baltimore's Spank Rock was less fortunate; the humidity seemed to be neutering the volume of their booty-bass electronics and cheesy sex raps (which prompted the question: do we really need a male Peaches?). In compensation, MC Naeem Juwan handed beers to a few grateful frat boy types in the receptive audience.

On Sunday, Austin's Spoon cranked out edgy piano-driven pop to one of the weekend's biggest crowds, justifying their current perch atop the indie rock tree with a host of memorable tunes. This was the new guard, standing in contrast with the elder Yo La Tengo, the influential New Jersey trio who preceded Spoon with a cornucopia of quiet piano ballads, surging punk and loping groove tracks that seemed borrowed from a particularly suave jam band. Only DJ Diplo had a more varied approach Sunday night, his pavement-shaking beats wedding dancehall to krautrock to The Bangles, dancers steaming up the crammed tent stage. Germany's Dominik Eulberg set the stage for Diplo with a stentorian crescendo of pulse-pounding techno.

The only hip-hop set gracing the main stages came from crowd favorites Aesop Rock and Mr. Lif. The East Coast solo wordsmiths made a formidable team, spinning personal and political rhymes with idiosyncratic style, fueled by DJ Big Wiz's insistent beats. Aes and Lif anchored a rhythm-heavy Sunday afternoon, buffering the apocalyptic drum circle vibe of Berlin-based experimental punks Liars (made scarier when towering howler Angus Andrew stripped off his shirt and pants to reveal a ratty blue dress and what one hopes was a stuffed crotch) and Wilco drummer Glenn Kotche's proggy display of experimental live drums and electronics.

Man Man's theatrical early Saturday set found the brilliant Philadelphians employing confetti, toy instruments, unison leaps, face paint, falsettos and tennis player outfits to enhance their rollicking trashcan Tom Waits shanties. Those wandering from the sun-baked field housing the main stages to the tented stage stood awed as Matmos built funky IDM grooves and artsy sound collages alike from an intriguing mix of live instruments and "found sound" samples, Tarantula A.D. made film score-worthy post-rock for metalheads and the Chicago Underground Duo created thunderous and atmospheric jazz for post-rockers.

The UK's Art Brut were a low point, their repetitive and hammy dance-punk certainly catchy but operating under so many poses of ironic glam it was impossible to determine any sincerity. Somewhat better were Brazil's CSS (aka Cansei de Ser Sexy, or "Tired of Being Sexy"), whose monotonous fashion plate dance squeaked by on the charm of four attractive Latinas delivering energetic cheerleader chants.

7:36 PM, August 02, 2006  
Blogger Kitten said...

Wow. Os Mutantes, Spoon and Yo La Tengo at one event? I'm really sorry I missed it.

9:45 AM, August 03, 2006  
Anonymous Anonymous said...

You know "non-plussed" means confused or bewildered? I never knew that. I always thought it meant unenthusiastic.

5:26 PM, August 03, 2006  

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