Best of July

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The best movie I saw in July was also the only movie I saw in July (or the only one I saw for the FIRST time anyway…). It was The Dark Knight and it was pretty fantastic. I had reservations, but they weren’t “I don’t love you” reservations. More like “I do love you, but I probably wouldn’t marry you, because I know you’ll only hurt me in the end.”

The best book I read in July was Absurdistan by Gary Shteyngart, which was just outrageously fucking funny.

The best gig I went to in July was either the Fleet Foxes set at Pitchfork or the Earlimart show at the Hideout. Probably have to tip the hat to Earlimart since the sound was better (purely by locational happenstance), but I remain equally entranced by both.

My favorite tunes in July were Fleet Foxes and (more) Joseph Arthur and The Kills and Nana Grizol “Love It Love It”(which you sooo need) and this totally awesome mixdisc/playlist I made for Juno. My question for you is*: What would you give me to get a copy of that?

Random personal highlights: Visit from the Nipper. Secret Family Craft Project.

Lowlights? Long slow stressful month. This summer has sucked some fucking rotten ass, let me tell you. I mean, except for that it’s all shit I can’t tell you.

*Do you remember when I used to use this phrase ALL THE TIME? Dang, I miss it.

In Concert: Earlimart

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It’s almost dangerous seeing a band you like this much at a tiny place like the Hideout.

Dangerous like you might accidentally touch them or start raving about how awesome they are and do they need groupies because you could quit your d-a-y-j-o-b at ANY TIME. (No, I didn’t. Ask or quit.)

Mentor Tormentor kept me under its dreamy seduction for many, many months. The new release Hymn & Her is a bit subtler. Sparser in arrangement, tauter.

Comfortable stage banter, lovely harmonies, introspective lyrics. What a wonderful evening.

Note: Opener billed as “Peter & the Rabbits” was actually “The Office” a much buzzed-about Chi-town band. And they were good!

This Summer at Ravinia

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Robert Plant & Alison Krause. Turns out I felt the same way about the concert as I did about the album. I like individual songs, some are really pretty, but as a whole I just feel kinda “eh, OK” about it. Nothing that really grabs me. Good Ravinia music, since (for me, anyway) Ravinia is soooo not really about the music. It’s about the food and the drink and the friends and the conversations and the candles and the trees and… Yeah, it’s just kindof a “thing”. If there’s good music in the background, it enhances it. If the music is bad, you just ignore it and carry on with your night.

Lyle Lovett and His Large Band. This is our “must buy” for Ravinia, we go see Lyle every year. I don’t even own any of his albums, but there are songs I recognize now. Always enjoyable. Gets people moving. Kindof a real “family” night at Ravinia. Fun.

Feist. You know, she just doesn’t have THAT MANY SONGS. And the horrific Metra commute there and back just really blew the night. I guess they weren’t prepared for every 20- and 30-something in Chicago to be going to Ravinia since that’s not the usual crowd. Didn’t get home until after midnight (maybe even 1:30? can’t quite remember now, thank goodness) from a concert that ended before 10. Sure “1, 2, 3, 4” sounded good. But that wasn’t enough to overcome the transit issues. We were ALL very annoyed.

I was supposed to go to Aimee Mann and Squeeze in August but turns out I’ll be giving my ticket up as I have to go meet my future husband that weekend. Priorities, people, priorities.

Big Screen: The Dark Knight

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I liked it a lot, it definitely lived up to the hype for me, which these days is almost harder to do than to just make a decent movie.

  • Loved Bale despite his (as always) weird gray all-the-same-length-across the-top front teeth. He continues to invest this character with an amazing sense of grim grief. It was just etched onto his face from scene 1.
  • Loved Heath Ledger. Loved. Outstanding performance. Certainly worth the praise it is getting. No question. On the one hand, it makes it even sadder that he’s dead now; just think what he could have done. On the other hand, to go out on the back to back performances of Brokeback and this? Wow. Talk about going out on a high note. Overall the performance just blew the fucking top off, but I have to say his mannerisms when he visits Dent in the hospital were just pitch fucking perfect. And when he walks out and is waiting for that last explosion? The move he makes with his arms there? Oh, Heath.

But I thought the last half hour dragged, too much time setting up the Two Face character. If he lived to be the villain of the next movie then it would make sense to me. But since he didn’t, it made it feel long. I thought they could have edited some of that down. Yes, I understand that bringing him down was certainly one of the Joker’s goals, but I thought the whole bit with the bombs on the ships just lagged. Didn’t need it, we already KNOW the things that pointed out to us (or we should) and it just seemed like wasted time. While neither Iron Man nor Wanted made me get shifty in my seat, the last half hour of this had me really feeling the time. There was stuff they could’ve cut (and I think should’ve). Coulda been a little tighter.

That said, still tremendous. Super dark and delightfully so. Really a tour de force in the sequels department; takes the first movie and ratchets up quite a few notches. The additions of Ledger and Gyllenhaal really sent it over the top. Kudos. I’ve seen it twice already, I wouldn’t be reluctant to see it again. But then that’s nothing new for me and good movies; I am a repeat big-screen viewer and proud of it.

Pitchfork: Day Two

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The Dirty Projectors: Didn’t hear their whole set but what I did hear sounded good. Might have to do some research on this band!

Boris: Thrasher metal = so NOT for me.

The Apples in Stereo: Awesome! Probably my #2 favorite of the weekend, definitely Jenn’s fave and was Tracy’s fave as well. Lots of fun. Upbeat, good banter, nice set.

Ghostface Killah & Raekwon: They seemed a little worn out and apparently came straight to Pitchfork after a 9 hr flight back from Europe (“Our balls are still smelly!” was one comment). Some of it sounded really good, but I was too tired to move and get to a better spot. So I just enjoyed it from afar.

Occidental Brothers Dance Band International: Not for me. But I was too tired to move.

Bon Iver: Too tired to move closer/further (recurring theme, eh) but since this is my third Bon Iver concert in 2008, I was OK with that. What I could hear: sounded just as fucking beautiful as ever. But there was a LOT of noise competition from the other stage. Don’t think outdoor fests are a great venue for these dudes.

Spoon: These guys played two or three Lollapaloozas in a row so I didn’t really feel the need. We stayed for a few songs and then headed home before the crowds.

Pitchfork: Day One

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A Hawk and a Hacksaw: Unusual instrumentation. Sometimes enjoyable, but sometimes too much “orchestra jam band.”

Caribou: Not for me.

Fleet Foxes: Yay!! My favorite performance of the weekend. They are lush and layered and lovely and I really really loved it, despite the sound completely dropping out for a song in the middle there. (But you’ve got to expect that with outdoor festivals.) Their harmonization is just wonderful.

Dizzee Rascal: So much fun!! I’ve heard it argued otherwise, but in my opinion rap is generally a more reliable performance at these outdoor fests because it just plain doesn’t matter how crappy the “music” in the background sounds / distorted, dropping in and out, what have you. With actual bands, that’s a problem. But as long as the rapper is loud and lively, he can still sound awesome despite those kinds of outdoor fest problems.

The Hold Steady: Pretty sizzling set…the bromance* crowd was really into it. But I’ve never listened to their follow-up albums the way I did to their first, and I’ve seen them a ton of times (this was the 4th or 5th, but I’ll go with 4th). So while it seemed high energy and the crowd was excited, I felt more laidback about the whole thing.

Jarvis Cocker: Somehow the sound was completely screwed up and I could barely hear the dude at all. So we left.

*Seems this word is in the air these days. First Joss Whedon going on about his bromance feelings toward Tahmoh at ComicCon. Then this post over at NPR Monitor Mix. EVERY Hold Steady show I’ve been to has been a total bromance and you’ll see many of her commenters suggested it as well.

Poetry: Unmentionables, by Beth Ann Fennelly

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Funny, wry and matter of fact. Cow tipping, Berthe Morisot, Kudzu (vine) creep, and John Berryman: her subjects are flung far and wide but always treated with the same intense gaze.
You can feel the Mississippi humidity seeping off the pages. These poems are fresh, verdant and fecund.

Similar to Billy Collins, she writes simply, but deeply.

Sci Fi/Fantasy: Peeps, by Scott Westerfeld

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Very, very different than the other YA vampire fiction out there these days.

Male protagonist, certainly interested in romance/sex but not consumed by it the way Bella (Twilight) is. A more realistic/scientific look at the phenomenon, if you will, despite the fictionalness of it all. Lots of cool Manhattan stuff: underground, bureaucratical, conspiratorial.

Certainly pulls you right along. Enjoyable easy reading. I mean, other than the bug stuff. If you are bug, insect and gross-phobic the way I am…well, let’s just say it was hard for me to even let my fingers touch the pages of the Parasite chapters as a) soooooo nasty and b) some of my worst nightmares CONFIRMED!!!

But on a separate note, as I said with the other: It kinda cracks me up how every “new” installment to vampire lore needs to put their own tweak on the legends. This rewrites a different part of the legend, but I still fail to understand the reason to need to make those tweaks to what are centuries old “beliefs” (if you can call them that). Your writing should stand out as something special, even without that tweaking; if you feel you have to tweak aspects of the overall Vampire legends in order to stand out, maybe you’re concentrating on the wrong thing. I’m not saying that’s Westerfeld’s problem (I think this book is certainly well written, which I can’t say about the other series, which is much more superficial and really only works on an emotional level), but why the need to change the mirror bit of the mythos? Yeah, in YA speak, I don’t “get” that urge.

Fiction: Absurdistan, by Gary Shteyngart

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Mindblowingly fucking hilarous. Truly comedic. Completely non-PC, an equal opportunity satirist taking on everyone/thing. Smart and sarcastic, yet willing to show a softer side on occasion. Brilliant.

In the tradition of “Confederacy of Dunces”, but I enjoyed this more. Takes it a few steps further, less bitter, more fun. And in addition to the narrator and (anti-)hero Misha Vainberg, the author himself plays a bit part in this book (from afar), the emigre writer “Jerry Shteynfarb” author of “Russian Arriviste’s Hand Job” [Shteyngart wrote “The Russian Debutante’s Handbook”]. Poking fun at yourself equally as to others = always fertile ground for hilarity.

This is in no way one of the funniest quotes in the book, but it’s emblematic of the general tone: “We give these American schmendricks a map of the world and say, ‘Point to the general area where you think Congo is located.’ Nineteen percent point to the continent of Africa. Another twenty-three percent point to either India or South America. We count those as correct answers, because Africa, India and South America all start out wide and then taper off at the bottom. So, for our purposes, forty-two percent of respondents sort of know where Congo is.”

So the book. Yeah. It’s really crude, and often gross, and TOTALLY AWESOME.

Fiction: Trespass, by Valerie Martin

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Family tension, even in other people’s families, can really set me on edge. This book had me anxious from page 1, just waiting for Bad Stuff to Happen as the tension and anxiety of each character grows and grows. Definitely had me on the edge of the seat.

Really neat characterization and very finely detailed: the mom’s art (so cool), the dad’s writing. The intricacies of the familial relationships were so well plotted: you love someone, but you see their weakness; you hate when they act a certain way, but you know how to handle them when that’s the case; etc.

When the moment of crisis comes, it was not at all what I expected, and that includes the follow-up events.

But I have to wonder what the blurb writer was thinking. Because the last sentence on the front flap blurb? Yeah, that’s NOT what I got out of this at all.