tag:blogger.com,1999:blog-28612913351217986572024-03-15T18:10:21.962-07:00Retro ACTIVE CritiquesBecause Current Is ObsoleteKlara Tavakoli Goeschehttp://www.blogger.com/profile/15477552306113383773noreply@blogger.comBlogger136125tag:blogger.com,1999:blog-2861291335121798657.post-54589229508606112552016-01-14T11:02:00.001-08:002016-10-14T16:22:40.632-07:00VIDEO: I've Got The Music In Me (Music Artist Mashup)<div dir="ltr" style="text-align: left;" trbidi="on">
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'Grab ahold of my blues and just play them.' I began this project in December 2015. We lost two legends featured since I started, so this is now dedicated to David Bowie and Lemmy Kilmister. This video is a celebration of when musical artistry was all about the music––showcasing a great song by Kiki Dee, the first white, female, 'blue-eyed soul singer' from the UK accepted by a Motown label. </div>
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Klara Tavakoli Goeschehttp://www.blogger.com/profile/15477552306113383773noreply@blogger.com0tag:blogger.com,1999:blog-2861291335121798657.post-23236909525049351892016-01-11T17:05:00.002-08:002020-04-13T01:45:08.677-07:00Thank You For My Spine, David Bowie<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: medium;"><b>David Bowie gave me strength of spirit when I set out to shape-shift/fix my back years ago. And again, years later, when we decided to move to Berlin.</b></span></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">A back issue I had as a kid solidified to something problematic by the time I graduated from college. In my early 20s, a recent grad, I was living in New York and realized I should fix my back before it managed to instruct (or obstruct) my life. I luckily had the foresight to know that I didn't want to wake up one day, middle-aged, and realize it was too late to adjust, so I figured I should work fast. I had enormous tension in my back which had gotten to the point where my nerves had grown numb, losing all feeling (a.k.a. I could not feel a chair––or even a cement bench––when I sat down, and it was starting to scare me.)</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b><span style="font-size: medium;">Turn And Face The Strange</span></b></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Without guidance, I decided to start my own treatment. It would prove to be a challenge. After years of being extremely self-motivated and working hard in school, here I was––young and in New York––but instead of feeling carefree I had this new, most vital and troublesome responsibility. Nevertheless, I found that I was able to visualize my back in a relaxed state and breathe accordingly to physically achieve that vision. A lot of breathing, expanding my core (instinctually), to the point where I'd get extremely relaxed and all built-up tension would gradually release. But moments later––since I wasn't physically used to having the tension gone––my back would tighten up again and it was painful. This would often lead to a sort of anxiety attack which was physical, not emotional––understandably, since I was trying to expel years of tension trapped within my physical form. </span><b style="font-family: "helvetica neue", arial, helvetica, sans-serif;">I listened to Bowie's 'Hunky Dory' album every day during that difficult stage. Bowies' songs and spirit helped and inspired me. It was a physically grueling process, but I kept at it.</b></div>
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<span class="s1"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: medium;"><b>It's The Freakiest Show</b></span></span><br />
<span class="s1"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">I had already seen that the release of tension was possible in an extreme and transformative way, and I knew it would just take time to adjust to the changes. It took three years of diligence in total until my relaxed back 'stuck' in a way I could maintain. A lengthened back also meant more length to adjust to, and I wanted the process to be gradual enough so that the difference wouldn't freak my friends and family out too much. I was lucky to have the support of my then-boyfriend. It felt like a science-fiction story. The resulting changes were indeed evident––in a good way. It was obvious that the changes in my form were healthy, and of course my quality of life would be so much better with a comfortable back. </span></span><br />
<span class="s1"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: medium;"><b>'Cause We Believe In You</b></span></span><br />
<span class="s1"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">To this day I have a comfortable, tension-free back. I've always been thankful for David Bowie for being a source of strength during that difficult time. He gave me courage to do something unusual, but highly necessary. Because of David Bowie, I had more gumption to go through something isolated, shape-shifting, unusual. A metamorphoses. He gave me the figurative spine to correct my physical one.</span></span></div>
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<b style="font-family: 'helvetica neue', arial, helvetica, sans-serif;"><span style="font-size: medium;">Just A Mortal With The Potential Of A Superman</span></b><br />
<span class="s1"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">I have always been glad I came out on the other side of that experience perfectly fine, in no small part thanks to Bowie and those daily Hunky Dory listenings. A few years later, also while living in New York (by then also free of back tension) I passed Iman pushing their daughter in a stroller in the street in Soho and it made me feel ridiculously happy. </span></span><br />
<b style="font-family: 'helvetica neue', arial, helvetica, sans-serif;"><span style="font-size: medium;">Will You Stay In Our Lovers' Story?</span></b></div>
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<span class="s1"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">I often credit <a href="http://retroactivecritique.blogspot.de/2012/06/la-question-other-transcendental.html">Francoise Hardy</a> (who's also had a huge impact on my life) with my <a href="http://retroactivecritique.blogspot.de/2013/01/the-united-states-of-capricorn.html">marrying a Capricorn</a>, because I Ioved her calm, grounded demeanor. But before her, David Bowie was my favorite Capricorn and I was intrigued by the idea of being with one because of him. So I'm also indebted to him for my being so immediately drawn to the person who would become my husband. </span></span><br />
<span class="s1"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: medium;"><b>When we made our decision to move to Berlin a year and a half ago, I had one simple thought: David Bowie. Even at this stage of life, Bowie was an effective inspiration. His love for Berlin gave me courage when it came time to create a life in this city.</b></span></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="line-height: 19.32px;">Every year in recent memory I have posted something to celebrate '<a href="http://retroactivecritique.blogspot.de/2013/01/happy-birthday-king-thin-white-duke.html">Elvis/Bowie day</a>'. But for whatever reason, this year on his birthday I felt like being silent. I had no idea he was not well, I just know something made me take pause. </span><span style="line-height: 19.32px;">While heartbroken at this loss, I thank him from the bottom of my heart––and my spine––for the quality of life I've been able to have since I fixed my back. On top of all that, there's the music, the films, his incredible legacy. Everything. I hope he is resting peacefully. </span></span></div>
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Klara Tavakoli Goeschehttp://www.blogger.com/profile/15477552306113383773noreply@blogger.com0tag:blogger.com,1999:blog-2861291335121798657.post-69103489237190052962015-11-01T11:53:00.000-08:002016-01-18T19:18:32.951-08:00Knight Rider For Halloween (Couple Costume)<div dir="ltr" style="text-align: left;" trbidi="on">
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This year we dressed as Michael Knight ('high-tech crime-fighter') and Bonnie Barstow ('lead design engineer for Knight Industries') from Knight Rider. KITT was also on hand. </div>
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I couldn't resist re-editing the Knight Rider opening to include us. ;)
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We had a good time with this theme. Here are a few more photos. </div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 12.8px;">Knight Rider For Halloween</span></td></tr>
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Klara Tavakoli Goeschehttp://www.blogger.com/profile/15477552306113383773noreply@blogger.com1tag:blogger.com,1999:blog-2861291335121798657.post-32177106933252354082015-08-21T12:57:00.000-07:002015-08-21T18:26:06.915-07:00Lauren Hutton's Bucket Hat, Vegan Flats (at 'Just Easy Nice')<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="http://justeasyniceherbivore.tumblr.com/post/127112346375/grandpalauren-hutton-bucket-hat-vegan-flats">http://justeasyniceherbivore.tumblr.com/post/127112346375/grandpalauren-hutton-bucket-hat-vegan-flats</a></div>
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Klara Tavakoli Goeschehttp://www.blogger.com/profile/15477552306113383773noreply@blogger.com0tag:blogger.com,1999:blog-2861291335121798657.post-616413776397629412015-06-05T01:38:00.003-07:002015-06-09T07:55:21.059-07:00VIDEO 'Last Dance: The Supercut'<div dir="ltr" style="text-align: left;" trbidi="on">
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This video showcases the inherent trepidation, exhilaration, and physical thrill of DANCING while highlighting some of the best dancers in films: Ann Reinking, Rita Morena, Cynthia Rhodes, Leslie Browne, Mikhail Baryshnikov––even Bob Fosse himself.<br />
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As an editor who’s also a dancer, this was a joy to make. I hope every dancer––or dance enthusiast––will enjoy watching it. The song 'Last Dance’ was featured in the disco film ‘Thank God It’s Friday’. It won an Academy Award for Best Song in 1978.<br />
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Dance that dance.<br />
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Klara Tavakoli Goeschehttp://www.blogger.com/profile/15477552306113383773noreply@blogger.com0tag:blogger.com,1999:blog-2861291335121798657.post-87141144428631154482015-05-22T15:06:00.000-07:002015-05-23T08:13:25.957-07:00VIDEO: A View To A Kill––Revisited (30th Anniversary Retrospective) <div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="text-align: left;">A View To A Kill held its world premiere 30 years ago today on May 22, 1985 at the Palace of Fine Arts in San Francisco. </span></div>
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<span style="text-align: left;">This is one of the most derided of the Bond movies, but time has been good to A View To A Kill. So I decided to create a video retrospective of the film for its 30th anniversary. </span></div>
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<span style="text-align: left;">Featuring Sir Roger Moore, Duran Duran, John Barry, John Glen, Christopher Walken, Tanya Roberts, Grace Jones, Patrick Macnee––and some of the San Francisco locations used in the film.</span></div>
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Klara Tavakoli Goeschehttp://www.blogger.com/profile/15477552306113383773noreply@blogger.com0tag:blogger.com,1999:blog-2861291335121798657.post-39844697130275214782015-04-13T13:16:00.001-07:002015-06-05T01:39:28.736-07:00VIDEO '7x007: Roger Moore as James Bond'<div dir="ltr" style="text-align: left;" trbidi="on">
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Sir Roger More played the role of James Bond for the Bond franchise seven times. This video tribute is comprised of 7 short-form music videos. Each segment highlights Moore's presence as 007 within each film, along with its corresponding title song: Live And Let Die, The Man With The Golden Gun, The Spy Who Loved Me ('Nobody Does It Better'), Moonraker, Octopussy ('All Time High'), For Your Eyes Only, and A View To A Kill.<br />
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Fellow Moore fans will agree that nobody does it better. Also evident is wherein my 007 film loyalties lie. The Man With The Golden Gun, The Spy Who Loved Me and Moonraker are showcase pieces here, including memorable sound bites. The Spy Who Loved Me captures all that epitomizes the franchise.<br />
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Klara Tavakoli Goeschehttp://www.blogger.com/profile/15477552306113383773noreply@blogger.com0tag:blogger.com,1999:blog-2861291335121798657.post-65173656267598789402015-03-10T09:59:00.002-07:002015-04-07T14:29:12.403-07:00VIDEO Supercut: A Century Of Leading Ladies<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="background-color: #eeeeee; font-family: inherit;">This supercut features a selection of leading ladies from a century of motion pictures (from the 1910s to the 2010s.) Titles in era-appropriate typeface include decade(s) during which each cinema queen reigned. The song is 'She's A Lady' by Tom Jones. </span><br />
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<span style="background-color: #eeeeee;">Notable takeaways: Starting with Ann-Margret, several ladies break the fourth wall, ushering in the new wave; Catherine Deneuve has had most longevity as a leading lady.</span></span><br />
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Klara Tavakoli Goeschehttp://www.blogger.com/profile/15477552306113383773noreply@blogger.com0tag:blogger.com,1999:blog-2861291335121798657.post-30998365425151064242015-01-28T06:15:00.000-08:002016-05-15T16:52:11.157-07:00Retro Active Compassion: Lifelong Vegetarians<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit; font-size: small;">Martha with Paul & Linda McCartney</span></td></tr>
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<b><i><span style="font-family: inherit; font-size: large;">What Is It Like To Be Vegetarian For Decades?</span></i></b><br />
<span style="font-family: inherit;">Being a vegetarian (or a vegan) is not a new, unique, special concept. Plenty of people throughout history have been 100% vegetarian. It's neither complicated, nor difficult. <a href="http://en.wikipedia.org/wiki/List_of_vegetarians">Here is an incomplete list of people of renown who've been vegetarians throughout history</a>; while lengthy, I immediately see some missing.</span><br />
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I've been 100% vegetarian, and then vegan, for a solid lifetime at this point––despite the fact that no one immediately around me has been. It's not a lifestyle I acquired from or consistently shared with anyone. Good thing I was never concerned with 'fitting in' and never gave the alienation aspect much thought. I'd always had a live and let live, free-will attitude, so I was never too concerned with other people's choices. Nor were they with mine, since I never really talked about it.</span><br />
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Being a vegetarian was never a 'phase' or a decision, it's just who I am and I never felt like it was a big deal. However, if one were to 'calculate' the number of lives spared by my dietary choices, being a vegetarian/vegan in itself can be a rather significant animal rights contribution (approximately <a href="http://vegetariancalculator.com/vegetarian-calculator-yearly">4,700 beings designated as 'farm animals' have been spared</a> in my case.)</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEEqcdiag10IPSu3HgKpRlFnEY5nYMEP_DA4Ti66CVfJrswZEIe5GnpcGZ9XAiJCL8ZifBLpZ8VtkMNlxnWU-BBM4QJ1YAZ1v3n-uCJccBGvTnSi26u3KOL2NS9N7S0Q2msLO2vGyn2Sc/s1600/stella-mccartney-and-animals-david-montgomerygetty-images.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEEqcdiag10IPSu3HgKpRlFnEY5nYMEP_DA4Ti66CVfJrswZEIe5GnpcGZ9XAiJCL8ZifBLpZ8VtkMNlxnWU-BBM4QJ1YAZ1v3n-uCJccBGvTnSi26u3KOL2NS9N7S0Q2msLO2vGyn2Sc/s1600/stella-mccartney-and-animals-david-montgomerygetty-images.jpg" width="392" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit; font-size: small;">The vegetarian McCartney family on their farm in the 1970's</span></td></tr>
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<span style="font-family: inherit;">I feel increasingly discomforted that, given our access to information and exposure to what goes on in the sadistic meat and dairy industries, more people are <i>not</i> becoming vegetarian/vegan (and at a faster rate.) This global love of animal flesh, en masse, supports monstrous industries and a human obsession with 'culture' and 'traditions'. Not reality, not truth.</span><br />
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Entire cultures throughout human history have lived as vegetarians. Longtime vegetarian and animal rights activist <b>Mary Tyler Moore </b>once said she believes a meat-free diet will sooner or later be the norm. "It may take a while,” she told Time magazine. "But there will probably come a time when we look back and say, 'Good Lord, do you believe that in the 20th century and early part of the 21st, people were still eating animals?'"</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit; font-size: small;">Animal rights activist/lifelong vegetarian Mary Tyler Moore</span></td></tr>
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<span style="font-family: inherit;">Hard to believe we're no closer to this eventuality now than back when MTM said it. Her past optimism is similar to mine during my 20's, and we share the same beliefs. But my optimism has waned in recent years. Today, apathy and ignorance are inexcusable. People consciously choose cruelty when they have other choices. Which is unsettling for me, personally. </span></div>
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<span style="font-family: inherit;">Think to how long ago <b>The Smiths</b> recorded <b>'Meat Is Murder'</b>. <b>Morrissey</b> has been an impressive pioneer, speaking out on the topic of this exploitative behavior without fail, while others haven't. </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit; font-size: small;">The Smiths, Meat Is Murder; Morrissey has been consistent</span></td></tr>
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<span style="font-family: inherit;">The reason these outdated behaviors, ones entirely lacking respect for the nature and the lives of our fellows, have continued––and even expanded to outlandish, mass proportions––is that there are bullying industries out there who want to profit from the choices people are willing to make.</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit; font-size: small;">Paul & Linda McCartney, lifelong vegetarians/animal rights activists</span></td></tr>
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<span style="font-family: inherit; text-align: left;">All anyone really needs to do to make a big difference is to stop supporting those industries immediately. And to say something about it. Live and let live (and free will) applies to all species. So I do talk about it these days. I stayed quiet for a very long time. </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit; font-size: small;">Paul McCartney continues to share the compassionate message</span></td></tr>
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<span style="font-family: inherit;"><span style="text-align: left;">I'll take this one out with lifelong vegetarian and animal rights activist </span><b style="text-align: left;">Paul McCartney</b><span style="text-align: left;"> with his co-veggie, </span><b style="text-align: left;">Linda McCartney</b><span style="text-align: left;">––who together raised anti-fur/anti-cruelty fashion designer </span><b style="text-align: left;">Stella McCartney</b><span style="text-align: left;">.</span></span></div>
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Klara Tavakoli Goeschehttp://www.blogger.com/profile/15477552306113383773noreply@blogger.com0tag:blogger.com,1999:blog-2861291335121798657.post-78675299949544131302015-01-23T08:14:00.004-08:002020-04-13T01:50:18.720-07:00Retro Active Compassion: Respect For (Non-Human) Animals In 1990's TV/Films<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit; font-size: xx-small;"><b>Jingle All The Way (1996); Frasier; Switch (1991); Grosse Pointe Blank (1996)</b></span></td></tr>
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<span style="font-family: inherit;"><span style="font-size: large;"><b><i>Compassion in Mainstream 1990's TV/Films (Following </i></b></span><i><span style="font-size: large;"><b>Decades of Activism)</b></span></i></span></div>
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<span style="font-family: inherit;">I had only seen 'Grosse Pointe Blank' (1996) once, years ago. I watched it again recently and noted how its rhythm, screenplay, soundtrack all have a distinctively 90's feel. All in the best way possible. </span></div>
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<span style="font-family: inherit;">I also appreciated something else: Several times in the course of the film, the characters express concern and compassion for animals. In dialog, alone. For example, when the two leads are getting reacquainted after a 10-year gap, John Cusack's (professional assassin) character explains he doesn't have a wife but he has a very nice cat, and when Minnie Driver's character tells him that's not the same thing, he responds: 'You don't know my cat. It's very demanding.' To that, Driver's character asks (baffled): 'It? You don't know if it's a boy or a girl?' For someone who believes in respecting all species –– because non-humans are their own persons, not things –– this pointed dialog in the midst of conversation in an action-comedy film was refreshing to hear. </span></div>
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<span style="font-family: inherit;">Later, when Dan Akroyd's character (Grocer) meets with Cusack's (Blank) for a surprise breakfast, they discuss the controversial error Cusack's character made during a previous job which cost an innocent dog, called Budro, his life. Cusack's character is noticeably upset and says: 'Budro was never a target. Budro was acting on instinct. I would never hurt an animal. I'm offended at the accusation.' Another welcome surprise. This is how two tough assassins can talk in an action-comedy film? Seems like a different world than the one we have today when people shamelessly brag about 'hunting' and killing other species in various capacities. But the clincher was how they ordered their breakfasts! Here's the script from the point when the waitress enters the scene:</span></div>
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<span style="font-family: inherit;">WAITRESS: Hi, my name is Melanie. Let me tell you about some of our specials. Today there's the Alfalfa on My Mind. That's our featured omelet. Or there's Gatsby's West Egg Omelet. If in the mood for something different, there's the I Left My Heart in San Francheezie.</span></div>
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<span style="font-family: inherit;">BLANK: What'll you have? </span></div>
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<span style="font-family: inherit;">GROCER: Two poached eggs. Scrape off the milky white stuff. Hash browns well done. English muffin for the bread, and a coffee.</span></div>
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<span style="font-family: inherit;">BLANK: Wholegrain pancakes and an egg-white omelet, please.</span></div>
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<span style="font-family: inherit;">WAITRESS: What would you like in your omelet?</span></div>
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<span style="font-family: inherit;">BLANK: Nothing in the omelet.</span></div>
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<span style="font-family: inherit;">WAITRESS: That's not technically an omelet.</span></div>
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<span style="font-family: inherit;">BLANK: I don't wanna get in a semantic argument. I just want the protein, all right?</span></div>
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<span style="font-family: inherit;"> Their options and their choices are not vegan –– but it's all decidedly vegetarian. This is a far cry from what any action-comedy film would include in a food discussion between two manly assassins. There would be plenty of talk about slaughtered animals without the slightest semblance of concern for their welfare. I was frankly amazed to hear this sort of food conversation casually taking place in a mainstream film. And it wasn't that their vegetarian food choices were an issue. This was obviously just normal for these characters.</span></div>
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<span style="font-family: inherit;">This past Christmas, my husband and I decided to watch a Christmas movie we hadn't seen before. We were in the midst of watching a 90's mainstream (awkward, inconsistent) family film called 'Jingle All The Way', starring Arnold Schwarzenegger, when something remarkable happened; a supporting character emphatically told a woman on the street: <i>'You shouldn't wear fur!'</i> Just like that. In a mainstream-Arnold Schwarzenegger-family-comedy-from-the-90's. The lady was undoubtedly considered a villain. </span></div>
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<span style="font-family: inherit;">And then I remembered: This was typical in the 90's. And, as I've shared in frustration before, <a href="http://retroactivecritique.blogspot.de/2013/11/five-fashionable-actresses-spoke-out.html">animal rights activists in the 70's (and 80's) made terrific strides</a> to help alleviate any interest in fur until it seemed only the cruel, heartless older woman was the sole participant in a bygone industry. So what happened?</span></div>
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<span style="font-family: inherit;">I saw this again in one of the most successful and mainstream TV shows for the 90's, 'Frasier'. In one episode, Frasier mentions how he knows Maris will react dramatically (as the never-seen but oft-discussed Maris was prone to do.) He says: "She doesn't deal with confrontation very well. I once questioned the political correctness of her serving veal. An hour later, we found her locked in the garage with the engine running on her golf cart!' A TV character known to be food snob was willing to discuss the cruelty involved in serving veal in the 90's. We never hear anything remotely like this on TV today. So again, what happened?</span></div>
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<span style="font-family: inherit;">Here's another example I noticed recently in the midst of what I consider to be a dismally bad film. In the film 'Switch' starring Ellen Barkin, the character played by JoBeth Williams wears a fur coat, and an alarmed woman passerby stops her and says: "<a href="http://youtu.be/7oRjAl4-j_g?t=35m9s">Do you know how many poor animals they had to kill to make that coat!?</a>" Again, this relatively mainstream Blake Edwards film was released in 1991. Following diligent activism decades prior, the 1990's upheld an existing narrative and everyday people were disenchanted by the entitled and self-serving woman who was willing to wear a fur coat. So what happened since, allowing the fur industry to seep back into fashion?</span></div>
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<span style="font-family: inherit;">With these separate, random examples, it's quite obvious that compassion reached the masses decades ago, despite the fact that today we have far more knowledge and exposure to the tragic cruelties that exist in industries that exploit the lives of non-human animals. I am so grateful for the activists who struggled to build that level of awareness so that people were choosing to be relatively conscious back in the 90's. It's heartbreaking that a couple of decades later, we see how entitlement and greed came back full force to eliminate all of the progress that was made before, taking us many steps backwards. </span></div>
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<span style="font-family: inherit;">Indeed, we should be looking back at the 90's and seeing how much we have progressed from that time to be coexisting respectfully along with our fellow Earth-dwellers –– instead, we have this. Things are for worse today. Farm factories, fur factories, even canned hunting factories. It's truly abominable to see where we are today. Those struggling to encourage a compassionate lifestyle must constantly swim against a tide of overwhelming force. </span></div>
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Klara Tavakoli Goeschehttp://www.blogger.com/profile/15477552306113383773noreply@blogger.com0tag:blogger.com,1999:blog-2861291335121798657.post-62530325954632104632015-01-02T14:58:00.002-08:002020-04-10T13:57:24.165-07:00Greed Slaughters Innocents: Haunting Tragedy of Badfinger Still Resonates <div dir="ltr" style="text-align: left;" trbidi="on">
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<b><i><span style="font-family: inherit;">Heartbreaking Plight of Badfinger, Not Unlike That of Other Exploited Animals</span></i></b></div>
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<span style="font-family: inherit;">Innocents who suffered terribly for the sins of those in power, Badfinger were like factory farm animals of the music industry in the 1970's. This footage (below) is deeply sad if you look closely. They are so pale. There is no joy behind their eyes. Here was the first group to be signed by Apple Records, until Stan Polley tricked them into leaving and ruined them. They were incredibly respected by their peers, for years. And yet, they appear to be embarrassed on camera. It's the look of poverty.</span><br />
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They were working on recordings at a country home where this promotional footage was filmed. At the time when this was shot, they couldn't afford much food, let alone spiffy clothes. T<span class="text_exposed_show" style="display: inline;">hey certainly don't look like hit-making rock stars, although they very much were. </span><span class="text_exposed_show" style="display: inline;">They seem weak as they play their instruments. And they are painfully shy in the exterior shots. </span></span></div>
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<span style="font-family: inherit;">Theirs is the darkest 'behind the music' nightmare story. These sensitive, gentle artists did not put up a fight or make their struggles public. They were so young. They had hit records. They should have been enjoying their success. Their records sold big, and made a few greedy people plenty of money. There's so much joy in their 'power-pop' song, 'No Matter What'. </span><br />
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<span style="font-family: inherit;">The band was trapped into evil contracts by abusive management. And no one helped them. There were those who could have helped them. (People knew, but kept quiet, kept living their good lives.) Those who knew (Macca? Lennon? Nillson?) must have carried plenty of guilt for after sweet, talented Pete Ham killed himself, following years of this trouble. Pete Ham felt responsible for his bandmates and worried that he couldn't take care of his little family financially, all whilst he had hits on the radio.</span><br />
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Imagine hearing your chart-topping songs everywhere –– even one that became a 'standard', recorded 200+ times by other artists, 'Without You' –– and being too poor to buy a pint at the pub. They were famous rock stars unable to afford to care for their loved ones. Meanwhile, their contemporaries partied, rode around in limos and wasted all their money. The two guys from Swansea and two from Wales who made up <a class="profileLink" data-hovercard="/ajax/hovercard/page.php?id=112550572094011" href="https://www.facebook.com/pages/Badfinger/112550572094011" style="color: #3b5998; cursor: pointer; text-decoration: none;">Badfinger</a> were trapped in music industry hell. Tom Evans took the same distressing route of departure some time after Ham.</span><br />
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<span style="font-family: inherit;">This is so-called 'humanity'. Those in power (i.e. Big AG –– and in the case of Badfinger, evil Stan Polley) take advantage of those who are gentle. The ones who should be defended, and protected. Not slaughtered. Human greed is a serial killer as every industry proves. The fact that we live in a world in which sadistic factory farms, canned hunting farms, fur farms, etc. are <i>legal</i> is beyond disturbing.</span><br />
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Meanwhile, the blissfully ignorant choose to remain blind to all of this suffering. Apathy helps maintain the cycle of cruelty. There is no difference which species suffers quietly. It's always tragic, always preventable. One only has to look to see.</span><br />
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Badfinger is the band that died for all the sins of the music industry. Just one industry in this sick, twisted world filled with humans who destroy one another –– and more troubling, humans choosing to destroy the lives of all other species.</span></div>
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Klara Tavakoli Goeschehttp://www.blogger.com/profile/15477552306113383773noreply@blogger.com0tag:blogger.com,1999:blog-2861291335121798657.post-78101418316425400802014-06-19T14:04:00.002-07:002015-04-07T14:29:26.807-07:00MTM-Style Dress (Mary Richards | The Mary Tyler Moore Show | Season 1)<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: inherit;">While I was in the process of putting together my final 'dress up & review' for the mid-season finale of 'Mad Men' –– <a href="http://www.examiner.com/vintage-fashion-in-san-francisco/klara-tavakoli-goesche">a series published at Examiner.com recently</a> –– I dabbled with the year 1970 again. This dress has the semblance of a blouse, belt, and long skirt combo, but it is actually a one-piece gown. The dress immediately reminded me of MTM's mid-western American style on '<a href="http://www.examiner.com/topic/the-mary-tyler-moore-show">The Mary Tyler Moore Show</a>'.</span></div>
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<span style="font-family: inherit;">Mary Richards (<a href="http://www.examiner.com/topic/mary-tyler-moore">Mary Tyler Moore</a>) wore a very similar look for her (disastrously funny) party in the wonderful S1E2 episode, 'Today I Am A Ma'am'. The episode aired on September 26, 1970. Despite being only the second episode of the esteemed sitcom, it is one of the funniest of the entire series –– which ran from 1970 until 1977. </span></div>
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<span style="font-family: inherit;">In it, Mary and Rhoda (Valerie Harper) fret over being single and having crossed over into the 'ma'am' territory. They decide to invite dates to Mary's apartment on the fly. Rhoda invites someone she barely knows, only to realize that she had unwittingly invited a married couple as her 'date'. Hilarity ensues.</span></div>
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<span style="font-family: inherit;"><span style="line-height: normal;">Watch the episode on Hulu.com: </span><a href="http://www.hulu.com/watch/684" style="line-height: normal;">http://www.hulu.com/watch/684</a></span></div>
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Klara Tavakoli Goeschehttp://www.blogger.com/profile/15477552306113383773noreply@blogger.com0tag:blogger.com,1999:blog-2861291335121798657.post-21324369660139649492014-06-15T23:11:00.000-07:002015-04-07T14:29:36.573-07:00Brady Bunch Blow-Up (Video)<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz6IMPKBfBP8zCGYrw6AkmFRGwkC0WcX3a6h4KgDtw_lZP0R8osV9TpHUuHYgPmQLwMge5Mou5UrLJee4k_HuKarkMWHBaFV5oEBh3iKhwUBtQqEdGs0eUAOG_-ibyVSKqncvz0uFvu2Y/s1600/Screen+Shot+2014-06-15+at+11.06.40+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz6IMPKBfBP8zCGYrw6AkmFRGwkC0WcX3a6h4KgDtw_lZP0R8osV9TpHUuHYgPmQLwMge5Mou5UrLJee4k_HuKarkMWHBaFV5oEBh3iKhwUBtQqEdGs0eUAOG_-ibyVSKqncvz0uFvu2Y/s1600/Screen+Shot+2014-06-15+at+11.06.40+PM.png" height="153" width="400" /></span></a></div>
<span style="background-color: #eeeeee; font-family: inherit;"><span style="font-size: 14px; line-height: 20px;">My latest video creation –– 'Brady Bunch Blow-Up' –– is heavy and far-out. Super-dad Mike Brady helps his son Greg uncover a bad referee call! </span><span style="font-size: 14px; line-height: 20px;">Antonioni might as well have directed the episode of 'The Brady Bunch' entitled 'Click'. </span></span><br />
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Klara Tavakoli Goeschehttp://www.blogger.com/profile/15477552306113383773noreply@blogger.com0tag:blogger.com,1999:blog-2861291335121798657.post-78096257161833538522014-06-02T23:57:00.000-07:002015-04-07T14:29:52.811-07:00Red, White and Blue (Bandanna) Dress | The Mad Men Mid-Season Finale<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7Z-3W50RcADAKNsMy5L0Cu5gqJWq293JLoNXb8NAe82WuO-xmUWGg6qeXFkfWnkoOEGE06UIstgT7X54rMVWFY-T_Q9GIwmuNIGMADsENDLZ9L4Sl3_-Lkl7IhXs8wH-muJlEy8I_de0/s1600/R+W+B+2.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7Z-3W50RcADAKNsMy5L0Cu5gqJWq293JLoNXb8NAe82WuO-xmUWGg6qeXFkfWnkoOEGE06UIstgT7X54rMVWFY-T_Q9GIwmuNIGMADsENDLZ9L4Sl3_-Lkl7IhXs8wH-muJlEy8I_de0/s1600/R+W+B+2.png" height="400" width="392" /></span></a></div>
<span style="font-family: inherit;">(Originally published for <a href="http://www.examiner.com/article/red-white-blue-bandana-mini-dress-the-mad-men-mid-season-finale-waterloo">Vintage Fashion</a> at Examiner.com.)</span><br />
<span style="font-family: inherit;"><strong>THE LOOK~ </strong>The dress looks like a giant bandanna: Red, white, blue, and all-American. The look I went for was 'Made in
the U.S.A.' This is sportswear. My hairstyle remains a nod to a Brit, Jean Shrimpton. But the cut of this dress is very 1969 California
girl (strikingly similar, even, to what Bonnie wore on her shopping spree
in S7E6.)</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">While the 1960s were heavily influenced by British and French
pop culture juggernauts––The Beatles, The Rolling Stones, Mary Quant,
Shrimpton, Twiggy, Bardot, etc.–– the decade that immediately followed was all about the
Americans.</span><br />
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<span style="font-family: inherit;">In the 1970s, where 'Mad Men' is heading fast,
British bands channeled American country-western, and rhythm and blues. One British band decided to call themselves America. The Eagles soared.
Karen Carpenter's voice graced the airwaves. Steve McQueen was the
world's biggest movie star. Mary Tyler Moore, 'The Brady Bunch' and
'Charlie's Angels' took over television.</span><br />
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<span style="font-family: inherit;">Speaking of which, there were
those natural blondes: Farrah Fawcett, Cheryl Tiegs, Christie Brinkley.
Fresh-faced, tan, sporty. Their look was all the rage, and Halston was
the king of fashion.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi93jJ8f4dQH3NtclwJAPMvlpLNHkGggloC6DoShoMMBUS8V8tZeQX2-z4DVXchh_yYuXRKZRjs5f2jjIxpkpp-sU5PHByY_O0B__PjPNXRs3TcSf5clAG8JgFYVrVtI5P-N3fLBSfdBUU/s1600/americans.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi93jJ8f4dQH3NtclwJAPMvlpLNHkGggloC6DoShoMMBUS8V8tZeQX2-z4DVXchh_yYuXRKZRjs5f2jjIxpkpp-sU5PHByY_O0B__PjPNXRs3TcSf5clAG8JgFYVrVtI5P-N3fLBSfdBUU/s1600/americans.png" height="400" width="400" /></span></a></div>
<span style="font-family: inherit;">The transition from the 1960s to the 1970s
brought about a cultural shift towards all things sporty and American––but 'Mad Men' has always decidedly been about Americans. Megan, the
Canadian, has been one of few exceptions, and we might see much less
of her when the show returns. The other notable foreigner was Lane
Price, who worried about the status of his residency in the U.S. until
he (sadly) let his British stiff-upper-lip mentality get the best of
him. And since the mid-season finale aired over Memorial Day weekend,
this red, white, and blue bandanna dress also felt like a great fit for
that American holiday. Especially because Vietnam War continues to loom
heavy in 1969. What else might this dress signify?</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><strong>THE ANECDOTE~</strong> The 'Mad Men' mid-season finale, entitled 'Waterloo', notably features
the moon landing––a major coup for The United States. Apollo 11 landed
on the moon on July 20, 1969. (My personal connection with this is substantial: my father was an aerospace engineer for NASA in the early-to-mid-1960s. His mission was helping to build the Apollo space shuttle.)</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Meanwhile, when thinking about this
bandanna dress, I started to think about biker counterculture in 1969.
We're sure to see or hear about Altamont when 'Mad Men' returns next
year, either peripherally or directly. The Altamont Speedway Free
Festival took place on December 6, 1969, and it came to symbolize the
final nail in the casket of the peace-and-love movement of the
late-1960s.</span><br />
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<span style="font-family: inherit;">But let's take a closer look at July, 1969, where the mid-season finale left off... 'Easy Rider' was released on July 14, 1969, exactly <em>one week before</em>
the moon landing. Now it all makes sense. We know Ted Chaough goes to
the movies. It's very likely he saw 'Easy Rider' the week it
was released. Right before his big move of frightening clients while
flying them in his plane. And what about his being adamant about wanting
out of the advertising industry altogether?</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Supposing someone like Ted had
just seen 'Easy Rider'––kindly, idealistic Ted would've certainly identified with
Peter Fonda's character, Wyatt, who was also called Captain America(!). As
in, the captaining of a plane. Just like Ted. Or the captain of a space
shuttle on its way to the moon.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB2P-EmU_moDSWlwG18_S6jC_1Ja9kpW9FgxpGczScmJTGwcurIdR4G7Ic34it2l7oaEn4qPOQ8VoF5qZvucxf8awiEV2LMGi-tSXEVgx84ZhzvsU2OsahaC4b3pFI0qy8X8pmF3uE2eA/s1600/Easy+Rider.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB2P-EmU_moDSWlwG18_S6jC_1Ja9kpW9FgxpGczScmJTGwcurIdR4G7Ic34it2l7oaEn4qPOQ8VoF5qZvucxf8awiEV2LMGi-tSXEVgx84ZhzvsU2OsahaC4b3pFI0qy8X8pmF3uE2eA/s1600/Easy+Rider.png" height="225" width="400" /></span></a></div>
<span style="font-family: inherit;">'Easy Rider' had a profound
impact on men who longed for personal freedom, men who fancied the idea of being cowboys riding away on steel horses. While Ted's predicament could
have been explored much more deeply, there didn't seem to be adequate
time to explore every vital character's life in the span of those seven
episodes. He was undoubtedly displaying this particular type of longing
before he reluctantly agreed to 'sell out' again for the sake of the other partners.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">None of this was addressed in 'Waterloo', but I strongly suspect Matthew Weiner and the
'Mad Men' writers were alluding to this counterculture mentality (one
further catalyzed by the mainstream popularity of 'Easy Rider') via Ted
Chaough's behavior.</span><br />
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<span style="font-family: inherit;"><strong>THE REVIEW~</strong> ‘Waterloo’, the mid-season finale of ‘Mad Men’, begins and ends with
Bert Cooper. We first see Cooper sitting alone, watching the televised
lift-off of Apollo 11. He stares in awe as the space shuttle launches,
then utters a childlike, happy sigh.</span><br />
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<span style="font-family: inherit; text-align: left;">Cut to Ted Chaough, captaining his small plane, containing two nervous fellas from Sunkist. They talk about the Apollo 11 mission; Ted suggests that the astronauts might die, before he shuts off the engine mid-flight. While the clients freak out, Ted shrugs and says: ‘You wanted to go up in the plane. We went up in the plane.’ Cutler and Pete (needless to say) are furious with Ted when they discuss the incident later on the phone; Ted explains that he doesn’t want to die, he only wants out of the business.</span></div>
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<span style="font-family: inherit;">Betty’s
college friend, Caroline, arrives at the Francis home along with her
entire family. This visit must be Betty’s way of driving home the fact
that she went to college to Henry, and to her kids; she’s following up
on her earlier declaration of intellect by introducing physical evidence
of her academic history. Caroline has two sons: a nerdy teenager named
Neil (in a much-too-direct correlation with Apollo 11) who’s upset
because he can’t find his telescope, and the older teenager –– a tan and
highly athletic type named Sean who’s considering football
scholarships. Sean and Sally give each other the heavy look-over when
introduced. Betty reminds Bobby that he has a telescope and Neil’s face
lights up. Back at SC&P, The Burger Chef team meets for a final
run-through of their big pitch. When Harry asks, Don recommends that he
take the partnership deal he’s been offered, without negotiating. If
only Harry had run out to sign those papers, then and there.</span><br />
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<span style="font-family: inherit;">Peggy
gets a date with Nick, the handsome repairman installing her drop
ceiling tiles at home. ‘It’s so hot in here,’ she says. Ceilings in this
episode (again, too-directly) allude to the space pioneers heading to
the moon, as well as the glass ceilings that female pioneers like Peggy
are tackling. Betty chats with Caroline in the kitchen; when the subject
of Don comes up, Betty explains their current relationship: ‘I’m
starting to think of him as an old, bad boyfriend. Someone a teenage
anthropologist would marry.’ As if on cue, shirtless Sean (or mini-Don
Draper) walks into the kitchen. Sally (or mini-Betty) also stops by,
sporting a freshly styled ‘big’ hairdo and makeup on her way to
life-guarding.</span><br />
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<span style="font-family: inherit;">Clueless Meredith (apart from her obvious social
limitations, the poor girl also has notably terrible taste in clothes)
shows Don the Cutler-initiated ‘breach-of-contract’ letter –– which will
quickly escalate into huge changes at the agency. Don, furious,
confronts Cutler, then calls out all of the partners from their offices.
When Harry shows up, Joan reminds him he’s not a partner yet. Bert
yells at Cutler: ‘You had no right to put my name on that!’ They take a
vote to keep Don. Pete is also infuriated by Cutler’s tactless move.
Despite being the only other partner to vote against Don, Joan
disapprovingly tells Cutler: ‘You shouldn’t have done that.’ Peggy has
an emotional moment with Julio, the neighbor boy to whom she’s been a
surrogate mother. He tells her he has to move away to Newark and that he
doesn’t want to go. They hug and cry. While her ceiling now looks
pristine, some aspects of Peggy’s inner life still need attention.</span><br />
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<span style="font-family: inherit;">Don
calls Megan, who's sitting on her deck in a bikini, drinking white
wine, reading a script. She also has a telescope nearby. It's another
thematic image –– one of looking out into the distance or the future ––
that repeats in this episode. When Don brings up the possibility of a
permanent move to L.A., something Megan seemed to have wanted for so
long, she essentially ends their marriage on the phone.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih-T1CkQhyphenhyphenvT_-xbGgu-lTYiTwMpVgoXNpPVa6Bh-8wjHUOCWG0TmZiFYiTr3X-UAxtelz75ijKmH81z5fMs-v_SnrgAA4EN4zrgvU96raNjI6rw2uc9P13or3eQXV-SP-mgJntbszXzc/s1600/Screen+Shot+2014-06-02+at+11.14.14+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih-T1CkQhyphenhyphenvT_-xbGgu-lTYiTwMpVgoXNpPVa6Bh-8wjHUOCWG0TmZiFYiTr3X-UAxtelz75ijKmH81z5fMs-v_SnrgAA4EN4zrgvU96raNjI6rw2uc9P13or3eQXV-SP-mgJntbszXzc/s1600/Screen+Shot+2014-06-02+at+11.14.14+PM.png" height="220" width="400" /></span></a></div>
<span style="font-family: inherit;">There will be
speculation as to why Megan did this: why now, why this way? But Megan
is pragmatic, focused. There has been a distinctive pattern with Megan
during this season, and it rings true with a determined actress trying
to make it in Hollywood. As an unknown starlet, being married would've
never been a great selling point in landing her a role. Sad as it is to
say, Megan is more focused on her career than on saving her marriage.
</span><br />
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<span style="font-family: inherit;">(After all, being self-absorbed is a prerequisite for success in
Hollywood.) While Megan had it in her to be an empathetic, connected
human being, successful in some other type of creative field, this is
the path she has chosen. And she is trying to stick with it. With their
bi-coastal marriage, she felt like she could juggle both worlds; when
Don offers to move (something she claimed she wanted, during times of
frustration over her career) she immediately cuts off that part of her
life in favor of the other. Which is why she cries and looks so terribly
sad (and terribly sorry) when she tells him: ‘You don’t owe me
anything.’ She feels guilty, because this is her choice. And she still
loves Don. But again: she is being pragmatic. It’s a crushing scene for
Don, and for those of us who rooted for them.</span><br />
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<span style="font-family: inherit;">Roger and Bert have
their final conversation, in which Bert is intentionally discouraging
enough to compel Roger to rise to the occasion and prove himself a
leader. Bert mentions Napolean and Waterloo. The Burger Chef team flies
to Indianapolis. Pete compares Ted to Lane Price and suggests that Don
heads up the L.A. office, and Don lets Pete know that ‘there’s no reason
to go to L.A.’ Pete realizes Don and Megan have ended it and gives us
another Pete Campbell nugget: ‘Marriage is a racket!’</span><br />
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<span style="font-family: inherit;">The moon
landing happens. Everyone watches Neil Armstrong take his first steps on
the moon from their respective homes, with their respective families.
Important to note: every member of the Burger Chef team watching TV
together from their Indiana hotel room (Pete, Harry, Peggy, and Don)
would have watched the moon landing alone, otherwise. So, as Peggy’s
Burger Chef pitch suggests, Burger Chef even brought this team together,
in this moment, as a pseudo-family. </span><br />
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<span style="font-family: inherit; text-align: left;">Roger and his family watch together, minus ‘Marigold’. Bert Cooper watches with his maid, and he says what becomes his last word on the show (until he sings us out): ‘Bravo.’ At Betty’s house, Sean sours the mood for everyone by sharing a popular sentiment among angst-ridden youth of the time: the cost of this mission was too steep. Don, being the loving father he is, calls to speak with his children so they may share this important memory together. Sally (ever the teenage girl) immediately adopts the cynical P.O.V. Sean just blurted out, but Don quickly manages to reverse this by asking Sally if she wants her little brothers to think that way.</span></div>
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<span style="font-family: inherit;">Roger
also receives a phone call in the midst of the moon landing and finds
out that Bert Cooper, his father figure, has passed away. Cutler’s
determination to rid the agency of Don, which he immediately mentions
again, prompts Roger to take action against Cutler’s vision of the
future, which consists solely of computers instead of people. (‘It’s the
agency of the future.’) Speaking of futures, out in the backyard, Sally
kisses the teenage scientist named Neil as if to reverse any indication
that she is like her mother, someone who makes herself pretty and
adopts a handsome guy’s thoughts instead of thinking for herself. When
she kisses Neil, she offers herself hope that she has another future in
store. Roger tells Don about Bert and they console one another. Don
tells Peggy to deliver the Burger Chef pitch. Despite her trepidation,
he insists she’s ready. He believes in her. Don is certainly doing
everything right, and it’s inevitable that his luck is about to change.</span><br />
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<span style="font-family: inherit;">And
that change (for the future) does come, in the form of Roger as leader.
Roger makes a deal with McCann Erickson to buy out SC&P. Meanwhile,
Peggy delivers a flawless pitch and wins the Burger Chef account.</span><br />
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<span style="font-family: inherit;">The
next day, Roger tells the partners they will be rich if they take the
McCann deal. When Joan finds out just how rich, she’s immediately on
board, and ecstatic. (Harry pops in for the meeting, but misses the
boat, again. A huge boat this time. ‘I’ll take the deal! But he's too
late.) Cutler argues against the deal, and Don. Again. Roger explains:
‘All they care about is me, Don and Ted.’ Ted insists he doesn’t want to
be in the business. But Don talks Ted into it by candidly describing
his own recent struggles in trying to regain his career. They move to
vote and everyone, including Cutler, votes yes. To everyone's surprise.
But Cutler explains: ‘It’s a lot of money!’ Consistent indeed.</span><br />
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<span style="font-family: inherit;">The mid-season finale ends with a surreal ‘soft sock’ dance and song by Bert Cooper. It's an appropriate send-off for an actual song-and-dance man: ‘The moon belongs to everyone. The best things in life are free!’</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvV22LJa0rvjyf2zPK7e9cW4z3ZP3M5voSKP4jmRMJCKvCXZxQ4fZKfrFnAtqGfIlU4IQuUOY3cC577Nm0K509qVdaZM4XgCm5XJk8_Xq0LgqcGVrYyL81urjykX13YLC-YvKdMowgCIs/s1600/Screen+Shot+2014-06-02+at+11.28.33+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvV22LJa0rvjyf2zPK7e9cW4z3ZP3M5voSKP4jmRMJCKvCXZxQ4fZKfrFnAtqGfIlU4IQuUOY3cC577Nm0K509qVdaZM4XgCm5XJk8_Xq0LgqcGVrYyL81urjykX13YLC-YvKdMowgCIs/s1600/Screen+Shot+2014-06-02+at+11.28.33+PM.png" height="221" width="400" /></span></a></div>
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Klara Tavakoli Goeschehttp://www.blogger.com/profile/15477552306113383773noreply@blogger.com0tag:blogger.com,1999:blog-2861291335121798657.post-67296726342281976732014-05-24T19:33:00.001-07:002015-04-07T14:30:10.322-07:00Decade-Transitional Beaded Dress + Double Recap of Mad Men (Episodes 705 & 706)<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkd4NSjmccs8gIbPB116tJBC3mO2160qsKdu32lB-hEN_k5XE__EalaJUlmY2Ng4sBOZv7_xNUC8uwD2BvFJPIGPFAFcXdTdxLHLXDlDpdEzb15RD0G5Yl6mRXocI6SO1SMeKyA-eoowY/s1600/Me+2.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkd4NSjmccs8gIbPB116tJBC3mO2160qsKdu32lB-hEN_k5XE__EalaJUlmY2Ng4sBOZv7_xNUC8uwD2BvFJPIGPFAFcXdTdxLHLXDlDpdEzb15RD0G5Yl6mRXocI6SO1SMeKyA-eoowY/s1600/Me+2.png" height="400" width="400" /></span></a></div>
<span style="font-family: inherit;">(Originally published for <a href="http://www.examiner.com/article/transitional-beaded-dress-double-recap-of-mad-men-episodes-705-706">Vintage Fashion</a> at Examiner.com)</span><br />
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<span style="font-family: inherit;"><strong>THE DRESS ~</strong> This dress has a distinctively
decade-transitional appeal: its heavy beading, lacy-sheer arms, and straight-shift style are
pure 1960's; however, the longer skirt, wide lapel collar and cuffs take
it right into 1970 –– and beyond. The cut of the top captures the
moment well, <a data-cke-saved-href="http://timelifeblog.files.wordpress.com/2013/07/post_1266170.jpg" href="http://timelifeblog.files.wordpress.com/2013/07/post_1266170.jpg">and
it looks incredibly close to the one worn by the girl in the
(wonderful) image that appeared on the cover of LIFE Magazine from
August 22, 1969.</a></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvTU_exHf085OVPZ4I32GhThtTDGVQKBn2jMexaKBZg8qsrMIzG_WBRxwhfww985EncnZdGoMWlVpWuNYchopz4b3ikzJf6z-LhncmIALbAqB0NmPkJguWV4q15nk8wlIC2WluYcicVEU/s1600/girl.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvTU_exHf085OVPZ4I32GhThtTDGVQKBn2jMexaKBZg8qsrMIzG_WBRxwhfww985EncnZdGoMWlVpWuNYchopz4b3ikzJf6z-LhncmIALbAqB0NmPkJguWV4q15nk8wlIC2WluYcicVEU/s1600/girl.jpg" height="400" width="308" /></span></a></div>
<span style="font-family: inherit;">Essentially a shirt dress, this is a more
conservative look for 1969 as it eschews any sign of the trendy hippie
(flowery prints, crocheted outfits, soft organza fabrics, prairie style,
etc.) It's a dress for the 1969 gal who knows she'll stand out at a
party by not blending in with the latest fads. She may even be a
free-spirit taking a break from all of the freedom 1969 has afforded
her, opting for a look that recalls 1966 –– a sparklier time just before
all of the current 1969 madness. (Peggy, in Episode 706, recalls 1965
as being a very good year, while Don shares the same sentiment for
1955.) Trudy might wear this dress. Or someone like Bonnie –– who is far
from a dirty hippie; she was disgusted by how dirty her feet were
(literally) after shopping in her sandals in Manhattan all day. Much
like the girl on the cover of LIFE Magazine.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIaE-bQFyQMSkyDQRTsZCXiZT1OEd3lsVGFPxmoO7z60Q1oHADZZbKaATDu6G0HVDQH34PKSH9alpK3Q9YUuQeMpiT5_Rilgkk_Z_Oh5tM7ECWQrhHXBinxwxAxVjiDDnyS85HbqtkRdg/s1600/Me.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIaE-bQFyQMSkyDQRTsZCXiZT1OEd3lsVGFPxmoO7z60Q1oHADZZbKaATDu6G0HVDQH34PKSH9alpK3Q9YUuQeMpiT5_Rilgkk_Z_Oh5tM7ECWQrhHXBinxwxAxVjiDDnyS85HbqtkRdg/s1600/Me.png" height="400" width="386" /></span></a></div>
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<span style="font-family: inherit;"><strong>THE ANECDOTE ~</strong>
As someone who's managed to incorporate the 1960's into her significant
life experiences, thus far, this dress reminds me of the one I'd
originally planned to wear for my wedding –– years before I had plans to
be married. The dress I kept in mind to wear was a <a data-cke-saved-href="http://pleasurephoto.files.wordpress.com/2012/04/la-modella-inglese-jean-shrimpton-7.jpg" href="http://pleasurephoto.files.wordpress.com/2012/04/la-modella-inglese-jean-shrimpton-7.jpg">shimmery, light yellow-gold, long-sleeved number worn by Jean Shrimpton </a>in
the 1967 film 'Privilege' (a film that's painfully under-seen
state-side.)</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkGT4eq8j7Sjlfh9qJWCBWOs8h9Mi8L8DL3tXGhYp7A07RVVDrgCm2jOLGV9LHoIg_pIWM4-7AxycRDSDHG1Pm4msCvpvEgKmFwMxIJEd_Y7WJxT_nYrXadxVjvz41ckivftcZjay1Xao/s1600/JS1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkGT4eq8j7Sjlfh9qJWCBWOs8h9Mi8L8DL3tXGhYp7A07RVVDrgCm2jOLGV9LHoIg_pIWM4-7AxycRDSDHG1Pm4msCvpvEgKmFwMxIJEd_Y7WJxT_nYrXadxVjvz41ckivftcZjay1Xao/s1600/JS1.jpg" height="640" width="449" /></span></a></div>
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<span style="font-family: inherit;">I couldn't find anything even remotely similar to that
dress when the time actually came to get married. With too little time,
and finances, I couldn't have a replica made. Then I found an
alternative look for my wedding, this one was based on another image of <a data-cke-saved-href="http://www.fashionisingpictures.net/photoshoots/jeanninaricci.jpg" href="http://www.fashionisingpictures.net/photoshoots/jeanninaricci.jpg">Jean Shrimpton (no surprise!) wearing Nina Ricci in 1966</a>.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlA1-2jMKFzeBGgiAsT7-08I0t2IvG-FBCNg5aFn5yxEhyphenhyphenXA70tOxrN8m0K_U6mEN090nHB4w1J6i62CknG6OaacaCiOPIr3BGNph3_zj_CizPeHkL-6MFT-eHGxXt-K5ti7HrNuDXtzI/s1600/jeanninaricci.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlA1-2jMKFzeBGgiAsT7-08I0t2IvG-FBCNg5aFn5yxEhyphenhyphenXA70tOxrN8m0K_U6mEN090nHB4w1J6i62CknG6OaacaCiOPIr3BGNph3_zj_CizPeHkL-6MFT-eHGxXt-K5ti7HrNuDXtzI/s1600/jeanninaricci.jpg" height="640" width="457" /></span></a></div>
<span style="font-family: inherit;">I finally ended up with two dresses, two looks, both inspired by Jean Shrimpton. This dress also reminds me of an image of <a data-cke-saved-href="http://media.fashionaddictsla.com.s3.amazonaws.com/wp-content/uploads/2012/08/francoise-hardy-doir.jpg" href="http://media.fashionaddictsla.com.s3.amazonaws.com/wp-content/uploads/2012/08/francoise-hardy-doir.jpg">Francoise Hardy from 1969 in which she's wearing a yellow beaded turtleneck gown</a>.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju6163cB0b55PuZJAcRtc-AUDp5FJUWqYjYLnib-VXyG4dnHexmGHwYaD3Qyjh0Rz3zF0wcM-tkL1mnY1JRJKIX05_5b9FQp7dHfGdPMPcKrMCoh75b4TUnim4nefNYf-3RDtgyp117B4/s1600/francoise-hardy-doir.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju6163cB0b55PuZJAcRtc-AUDp5FJUWqYjYLnib-VXyG4dnHexmGHwYaD3Qyjh0Rz3zF0wcM-tkL1mnY1JRJKIX05_5b9FQp7dHfGdPMPcKrMCoh75b4TUnim4nefNYf-3RDtgyp117B4/s1600/francoise-hardy-doir.jpg" height="640" width="444" /></span></a></div>
<span style="font-family: inherit;">Like Shrimpton, Hardy was the type of gal who could go to a party in
1969 wearing something conservative and classic, unlike the most current
trends –– only to stand out because of her non-conformity. The dress
also recalls the type of beaded, buttoned-up (but fashion-forward) looks
<a data-cke-saved-href="http://www.examiner.com/article/movie-stye-christmas-special-on-her-majesty-s-secret-service-1969" href="http://www.examiner.com/article/movie-stye-christmas-special-on-her-majesty-s-secret-service-1969">Diana Rigg's character, Tracy –– the only Mrs. Bond –– wears in 'On Her Majesty's Secret Service' from 1969</a>.
Tracy even wore a heavy-on-the-lace jumpsuit for her wedding to James
Bond (a wink to Rigg's memorable turn as perpetually jumpsuit-clad Mrs.
Emma Peel in the 'The Avengers'.)</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><strong>THE RECAP(S) ~ Episode 705 </strong>begins
with Stan discovering evidence to Lou's side ambition at the copy
machine. Plenty can be said about the hilarity that ensues over 'Scout's
Honor', as well as Lou's curmudgeonly grievances towards his
subordinates' lack of appreciation for his humor and talents. However,
I'd like to focus for a moment on what actor/comedian Allan Havey, <a data-cke-saved-href="http://www.esquire.com/blogs/culture/mad-men-lou-avery-allan-havey-interview" href="http://www.esquire.com/blogs/culture/mad-men-lou-avery-allan-havey-interview">who plays Lou Avery, said in a recent interview</a>.
It is one of the funniest, simplest, and most accurate things I've ever
heard an actor say about his character: 'Lou has a love interest on the
show and it's Lou.' Meanwhile, Ginsberg shows signs of his upcoming
breakdown, the final result of which has become one of the most
memorable moments on 'Mad Men'.</span><br />
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<span style="font-family: inherit;">Don gets a call from Stephanie
Horton, the 'niece' he inherited from his marriage to Anna Draper. She
tells him from an L.A. payphone near Capitol Records that she's pregnant
and that she could use his help. Don's immediate reaction is
heartwarming. He seems thrilled at the prospect of helping out this
'family member'. He enlists Megan, who is game and just as sweet as Don
about the idea of helping Stephanie out. Stephanie arrives at Megan's
place, friendly preliminaries give way to real conversation –– and
Megan's disposition sours when Stephanie innocently suggests the deep
bond she has with Don. Megan, grows more insecure by the day while
living as a struggling actress in L.A., and she takes most things far
too personally as of late. Don arrives the next day, Megan has a party.
The party is so incredibly different from the one Betty has for Henry at
their home in this episode. The two parties offset one another visually
in a wonderful way. The menage a trois at the end of the evening is not
much of a gain for reluctant Don; the information he gets from Harry
Crane during the course of the evening is far more valuable to his
livelihood.</span><br />
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<span style="font-family: inherit; text-align: left;">The episode ends with two men taking charge of their
oppressive predicaments in very different ways, with very different
results. Poor Michael Ginsberg. Everyone realized too late how badly he
needed help. He was not being eccentric; mental illness was rapidly
taking over. And all the while, he blamed the giant computer. That
paranoia is probably what accelerated his condition. So he took
initiative and cut off 'the valve' so that he could release the pressure.
The valve being his nipple. 'The most talked about scene' of this
season (at least, if not several seasons) is a truly sad one. (Side
note: Pink Floyd's 'Brain Damage' from 1973 and its 'lunatic'
protagonist had been on my mind earlier the very day this episode aired;
I was deeply saddened to see that Ginsberg had actually become the
lunatic.) Don also takes charge of the pressure-cooker his place of
employment had become –– and he releases that pressure by crashing a
cigarette meeting with bold suggestions, subsequently positioning
himself back on steadier ground with adversaries Lou Avery and Jim
Cutler, whether they'd like to admit it or not. After quite an eventful
episode, Waylon Jennings sings us out triumphantly with 'Only Daddy
That'll Walk The Line'.</span></div>
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<span style="font-family: inherit;"><object class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="https://ytimg.googleusercontent.com/vi/CPv5NZR_Wtk/0.jpg" height="360" width="420"><param name="movie" value="https://youtube.googleapis.com/v/CPv5NZR_Wtk&source=uds" /><param name="bgcolor" value="#FFFFFF" /><param name="allowFullScreen" value="true" /><embed width="420" height="360" src="https://youtube.googleapis.com/v/CPv5NZR_Wtk&source=uds" type="application/x-shockwave-flash" allowfullscreen="true"></embed></object></span></div>
<span style="font-family: inherit;">* * * * * *</span><br />
<span style="font-family: inherit;"><strong>There is a lot to cover in Episode 706.</strong>
The episode begins with a hurried mother in a station wagon with her
kids in the parking lot of Burger Chef getting grilled by Peggy for
information and insight into why she chose get her family's dinner there
–– the big takeaway of the interaction turns out to be that she feels
guilty about feeding her family greasy fast food, and that she wants to
stop answering questions and get them home. This entire episode is about
longing –– and about how each individual has a different perception of
his or her own failings. Bonnie and Pete fly to New York together; we
discover that Bonnie is a divorcee. She makes it clear to Pete that
she'd like for him to get a divorce from Trudy so their relationship has
a chance to move forward, before she invites him to join her in
becoming a member of the mile-high club.</span><br />
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<span style="font-family: inherit;">Peggy explains the pitch
she's been piecing together to the team. Her position is that mothers
feel guilty, so their job will be to give them permission to feed their
families with Burger Chef. Lou jumps in and says, 'Well, who gives moms
permission? Dads.' (Oh, Lou...) She runs through the proposed ad, her
idea is adequate, and everyone is satisfied. But her ad's cookie-cutter
family appeal gnaws at Peggy's own sensibilities, the idea that times
have changed and the family she was depicting no longer exists. In Lou's
office, Pete asks Peggy to let Don pitch to Burger Chef. He has more
confidence in Don's ability to win the account, which bothers Peggy
deeply, but she concedes. Her unraveling begins to show, but it had
started before this account ordeal –– she later reveals to Don that she
recently reached a milestone birthday, 30, without telling anyone.
She'd kept her birthday a secret. Despite her level of success, she is
still treated as a woman on the job and she's given limits at every
turn, and she feels unfulfilled in her private life.</span><br />
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<span style="font-family: inherit;">Bob Benson
returns to the office with their clients from Detroit; Clara, Cosgrove's
secretary is suddenly very pregnant. There's some small talk between
the Detroit guys and Ken, with his eye patch a reminder of the harm they
caused him. He's asked about his little boy, and Ken wins with this
line: 'Are you kidding? He's crawling all over the place. You really
gotta keep an eye on him.' Joan and Bob are clearly very happy to see
each other again. Megan stops by to visit Don at the office and Peggy is
the first to welcome her. One of the newer secretaries tells Megan she
didn't know Don was married –- which shouldn't matter, considering the
lack of communication at that office, and the fact that Don had been
M.I.A. for quite a while –– but Megan takes it badly, as evidenced by
the sudden discoloring of her face. She, too, is unraveling; she is
filled with angst, longing, worry. This is not the Megan from 1965 or
1966 who breezed through life and had everything good happen to her so
naturally.</span><br />
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<span style="font-family: inherit;">After rescuing the closeted Detroit client from a
late-night arrest, Bob gets word that Buick will be hiring him, which
means he would have the leave the agency. He whips up a plan to propose
to Joan so that he can have a ready-made family and create an
appropriate front for himself. Joan lets Bob know that she knows he
isn't into women; he adjusts his proposal to ask whether she'd still
consider the fact that, as a single working mother, she is not likely to
find another husband. She refuses his not-so-great offer, again. Now
their friendship is forever tainted. Pete shows up to see his little
girl –– and Trudy. But Trudy stays out for the entire time he visits.
When she finally comes home, his relaxed, giddy, southern California
demeanor is nowhere to be found, replaced by bitter, angry Pete who
reminds her that they're still married. Trudy holds her own, as she
always, always, always does. Trudy is one cool woman, truth be told. She
is quite possibly the most perfect individual on 'Mad Men'. She's whip
smart, she has progressive and open-minded views, she's accepting, she's
pretty, she's fun, she's a great daughter, wife and mother. A true
lady. We don't see her very much, but she is always respectable, sweet,
and lovely. It's no wonder Pete does not want to divorce her –– the idea
that she could become a divorcee, with mile-high club potential for
another man, is suddenly too much for Pete.</span><br />
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<span style="font-family: inherit;">Don wakes up to see
Megan on the terrace and the happy expression on his face, as he looks
at her without her knowledge, speaks volumes. He loves Megan. He loves
having her near him. He puts his arms around her and says: 'Tell me you
didn't miss this.' Megan, surprised by his good mood and not entirely
comfortable with the idea of being back in New York says: 'I missed <em>you</em>.'
Don offers to take her shopping, she agrees, and the little bit of joy
that's in her heart shows in her face. Meanwhile, Peggy stews as she
works in the office while others are enjoying the weekend. She doesn't
trust her strategy and she doesn't trust her abilities. She calls Stan,
then Don, and complains and barks at them both. Megan's packing and the
search for her fondue pot the next day is indeed a tell-tale sign. Don
says he thought she just needed summer clothes to take back to L.A. and
she replies, sheepishly: 'I miss my things.' Don tells her he sleeps
better when she's there, in New York. (Awww...) Don offers to take some
things back with him when he visits at the end of July, and Megan
suggests they meet somewhere next time that's not New York, and not L.A.
Bonnie returns after a day of shopping to find Pete having ordered and
eaten room service. Disappointed, she shows him her dirty feet from
wearing sandals in the city. 'I look like a hobo,' she says. She also
tells Pete she doesn't like him in New York, since he's been so
preoccupied with work and Trudy, etc. while the trip was meant to be her
vacation. Mainly, she's jealous of Trudy –– and senses a distance has
come between her and Pete.</span><br />
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<span style="font-family: inherit;">Don visits Peggy at the office, who's
still working on a Sunday. She is snippy from the get-go, but he takes
it all in stride. When Don jokes that he's 'still scandalized' from
seeing 'I Am Curious (Yellow)' that afternoon, Peggy grumbles, 'Of
course Megan would want to see a dirty movie.' Don mentions the pros of
the work: it's almost done; it's good; the account man is overjoyed; and
the client is on board. Peggy quips that he knows those are the cons.
(Clever bit, that one.) And so the thawing of an old friendship finally
begins. Don tells her: 'Well, when I'm really unsure about an idea ––
first, I abuse the people whose help I need.' To which they both smile.
'And then I take a nap.' And Peggy says: 'Done.' So they get to work.
They reminisce about earlier years –– Don says 1955 was a good year, and
Peggy says she loved 1965, to which Don says: 'I got married.'</span><br />
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<span style="font-family: inherit;">When
Peggy suggests the ad could be about a working mom, instead, Don tells
her the idea is too sad for an ad. The realization that keeps coming
back to Peggy is that the family unit that existed back in 1955, or even
in 1965, has become obsolete. If families are still together, they
watch TV while they eat. With Don's kindness and support, Peggy manages
to find the idea she was looking for: that family can be whomever you're
sitting with, across from the dinner table. The episode ends with the
work 'family' of Don, Peggy, and Pete –– sitting together around a
Burger Chef table to eat fast food and discuss the new strategy.</span><br />
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Klara Tavakoli Goeschehttp://www.blogger.com/profile/15477552306113383773noreply@blogger.com0tag:blogger.com,1999:blog-2861291335121798657.post-57096444881081619952014-05-14T00:10:00.002-07:002015-04-07T14:30:28.266-07:00Mad Men Viewers, Expand Your Minds: Other Megan Associations (i.e. Ali MacGraw)<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: inherit;">(Originally posted for <a href="http://www.examiner.com/article/plenty-of-style-associations-for-megan-draper-on-mad-men-i-e-ali-macgraw">Vintage Fashion</a> at Examiner.com)</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">This is for 'Mad Men' viewers who care to put a pause on (or a full stop
to) the exhausted Sharon Tate theories. (Why would the show writers
give viewers an outcome they've so heavily predicted, after all? They
won't.) Any late-1960's aficionado can tell you that there are plenty of
other associations to be made. To viewers who are incessantly fixated
on just one 1969 reference, especially in terms of Megan: stop limiting
yourselves.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Behold something
new. Megan Draper, the struggling starlet, is being fashioned after
several actresses from 1969-70, but the one who jumped out (for me) is <a data-cke-saved-href="http://en.wikipedia.org/wiki/Ali_MacGraw" href="http://en.wikipedia.org/wiki/Ali_MacGraw">Ali MacGraw</a>,
who essentially began her suddenly stratospheric acting career at 30.
Megan is pushing 30, and looking for her big break. (MacGraw was also a
New Yorker who moved to LA.)</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">The photo of MacGraw (on the left) is
from 1969. Megan wore this exact look in the season premiere, 'Time
Zones', as she was getting ready to go to her acting class. MacGraw's
photo appeared in the August 1969 issue of Vogue. The image was a big
deal at the time: she's wearing her own clothes, standing outside of
her NYC apartment, barefoot, after it had rained. This was not the photo
Vogue originally intended to use, but they found it charming. Ali
MacGraw was about to become Hollywood's it girl and star in 'Love
Story'.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Moreover, Ali MacGraw's first film was <a data-cke-saved-href="https://www.youtube.com/watch?v=0M2xLSsy1XM" href="https://www.youtube.com/watch?v=0M2xLSsy1XM">'Goodbye, Columbus'</a>,
in which she starred alongside Richard Benjamin. 'Goodbye Columbus' was
based on a novella by Philip Roth. Roth also wrote 'Portnoy's
Complaint' –– and its film adaptation starred Richard Benjamin, as well.
'Portnoy's Complaint' is incidentally <a data-cke-saved-href="https://www.nypl.org/sites/default/files/portnoys%20complaint.JPG" href="https://www.nypl.org/sites/default/files/portnoys%20complaint.JPG">the book Don was reading in 'The Monolith' episode of 'Mad Men'</a>
–– which foreshadowed Michael Ginsberg's terrible predicament in the
following episode, 'The Runaways' (since Roth's story deals with issues
related to Ginsberg.)</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">If viewers choose to fixate on just one
upcoming event (like the Manson murders), they are sure to miss out on so
many other worthwhile details. Think back to the way 'Mad Men' dealt
with comparably game-changing events, concepts and moments –– like The
Beatles, JFK's assassination, Martin Luther King's assassination: they
occurred peripherally, and there was no lingering on the topic. And
through certain characters, viewers identify with feelings evoked
by the event.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Megan Draper happens to be an actress living near where the murders will
inevitably take place. It's L.A., it's the canyons. Of course there were
actresses and other such neighbors who felt particularly traumatized by
what happened. Of course it will be terrifying for Megan –– and for
everyone else –– afterwards. And that is all. Ultimately, there are
plenty of connections to mull over. 1969 was a kaleidoscope of people
and events. Viewers should 'expand their minds' and just enjoy the show!</span></div>
Klara Tavakoli Goeschehttp://www.blogger.com/profile/15477552306113383773noreply@blogger.com0tag:blogger.com,1999:blog-2861291335121798657.post-16325730003431395552014-05-12T00:04:00.000-07:002019-04-10T15:01:51.806-07:00Festival (Woodstock) Dress + Double Recap of 'Mad Men' (S7E3 & S7E4)<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: inherit;">(Note: This is a recap for the 2nd episode of Season 7 of 'Mad Men', originally published for <a href="http://www.examiner.com/article/festival-woodstock-look-double-recap-of-mad-men-s7e3-s7e4">Vintage Fashion</a> at Examiner.com.)</span></div>
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<span style="font-family: inherit;"><strong>THE LOOK ~ </strong> This dress is an up-cycled sari,
redesigned to be a lady-like 'hippie' festival frock. Dark blue and
floral, the dress fits particularly well with S7E4 –– since Marigold and
friends could conveniently (being well within proximity) attend
Woodstock, arguably the most influential music festival in our
collective history. The gang of hippies will likely want to keep their
one (debated) vehicle on the premises, after all.</span></div>
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<span style="font-family: inherit;"><strong>THE ANECDOTE ~</strong>
Not long before I'd meet my now husband, in 2003, I dated someone who
tried to provoke me by saying he believed the legacy of Woodstock is a fabrication. In a conversation once (after I raved about how The
Zombies' song 'Hung Up On a Dream' is touchingly indicative of how
people were feeling about the 'peace and love' movement as it was transitioning) he insisted
that the concert event that got countless young people to travel, in whatever
manner possible, to one locale to experience music and freedom en masse
was not 'as big a deal' in its own time as it's been made to be in
retrospect. </span><span style="font-family: inherit;">This
person simply liked to push people's buttons. Who has time or energy for button-pushers? Lucky for me, I met 'the right
one' immediately following that one.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><strong>THE RECAP(S) ~ </strong><b>S7E3 starts with Don at the movies (smoking and watching 'Model Shop') </b>and ends with <a data-cke-saved-href="https://www.youtube.com/watch?v=7iaJWrLsJlI" href="https://www.youtube.com/watch?v=7iaJWrLsJlI">Jimi Hendrix's 'If 6 Was 9'</a>.
It also ends with a punch to the gut (for some viewers) after seeing
Don get a relentless whooping from his partners.</span><br />
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<span style="font-family: inherit; text-align: left;">In S7E3, both Megan and Don are struggling with not easily getting what they want. They've both experienced enough success in their respective careers to feel worried when their talents are not immediately sought after. Don flies to LA to surprise Megan –– and try and console her and advise her to be more patient (at her agent's request.) </span></div>
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<span style="font-family: inherit; text-align: left;">There is a deep level of understanding and love between them, but while Megan is raw from a sense of struggle, her angry reaction to Don's confession about his job is heightened. The normally easy-going Megan might have been irritated, but she would've managed to brush it off. This frustrated version of Megan has a fit and tells Don to go home. She practically asks for a divorce, even. (But not quite.)</span></div>
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<span style="font-family: inherit; text-align: left;">We also see Betty and Bobby spend the day together on his
school field trip. In cheerfully agreeing to attend the trip, Betty has
set out to prove to herself she loves handling her duties as a mother.
Bobby beams with pride and joy in her presence. As usual, Bobby is such a
painfully sweet child –– he's both heartwarming and heartbreaking to
watch. But much like what is about to happen in his father's world, to
some extent, the person whose acceptance he values so deeply turns cold
to Bobby after he makes one mistake during the picnic. Bobby is terribly
sorry for giving away Betty's sandwich to a classmate. He loves his
mother and desperately wants to be close to her. But Betty holds a
grudge against him for the rest of the day –– and even hours later, she
mentions what he did. Poor Bobby. He even tells Henry he wishes it was
yesterday. He wishes he could start the day over with his beloved
mother, mistake-free.</span></div>
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<span style="font-family: inherit;">When Don returns to New York, he sensibly
shops and considers a move to another agency. But just as he's refused
the advances of the flight attendant on the way to LA –– and that of a
woman who stops by his table during dinner with his potential new
colleagues –– he refuses the chance to work at a different agency. He'd
rather patch things up with Megan, and with SC&P. In many ways, Don
is proving himself a new man, but he wants to return to what he's known.
When he gets the official offer to switch agencies, Don takes it over
to Roger and tells him he'd prefer returning to the agency he helped
create. Roger agrees –– and what ensues is painful to watch.</span><br />
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<span style="font-family: inherit;">Don's
return to the office the next day turns into one of the most chilling
occurrences of the series. Chilling mainly because his colleagues
(especially his partners) are so incredibly cold to him. A few are
notably compassionate and warm: Ken Cosgrove is very welcoming to Don,
and even speaks to him with reverence by telling him that going to the
carousel with his kids reminded him of Don, in reference to his
game-changing pitch in the first season. Ginsberg is also happy to see
Don and immediately invites him to help out with their current pitch.</span><br />
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<span style="font-family: inherit;">Don
feels eager to roll up his sleeves and get to work, and cheerfully
makes small talk. And he waits. He waits for a dreadfully long time. He
sits there like a bull in a china shop. When the moment of truth finally
comes, the partners sit with Don and treat him like a troubled child by
listing off the stipulations for his return. These rules made me
uncomfortable to hear or even imagine for Don –– I found myself hoping
he'd refuse.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6iPFYC-p0484Ld__tHh6AWHJqCTQK3V55hyphenhyphenlYTQnPLQQ2bg7k4cLC5ZosqypUBbwWhH-aqhDe42zl9RXd7SBmkilcwrthwFrq3BrbIhVMkPenP_PC0_CVGFVCLoUy_LAtva6_5zupIUU/s1600/Screen+Shot+2014-05-12+at+1.21.55+AM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" height="222" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6iPFYC-p0484Ld__tHh6AWHJqCTQK3V55hyphenhyphenlYTQnPLQQ2bg7k4cLC5ZosqypUBbwWhH-aqhDe42zl9RXd7SBmkilcwrthwFrq3BrbIhVMkPenP_PC0_CVGFVCLoUy_LAtva6_5zupIUU/s1600/Screen+Shot+2014-05-12+at+1.21.55+AM.png" width="400" /></span></a></div>
<span style="font-family: inherit;">But surprisingly, Don agreed. My next hope with this
decision was that Don actually feels so confident and ready to work, he
doesn't care what challenges are presented to him. He believes he can
handle anything –– even this terribly cold behavior from people he
expected to be happy to see him.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho0djiRJNbdxzUpVXk5WMHyJ0kthGuvqS0OmJQ7iq71NfyiKecjD7NVmQ4tGXGzEijQ8-iHLr1aLnloxrQPPKC849sdqVv6mvrvFQbfSpV2pbEAa57oNivPLzPdOnuUnTvxhwnWn0BnrU/s1600/Screen+Shot+2014-05-12+at+1.20.32+AM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" height="222" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho0djiRJNbdxzUpVXk5WMHyJ0kthGuvqS0OmJQ7iq71NfyiKecjD7NVmQ4tGXGzEijQ8-iHLr1aLnloxrQPPKC849sdqVv6mvrvFQbfSpV2pbEAa57oNivPLzPdOnuUnTvxhwnWn0BnrU/s1600/Screen+Shot+2014-05-12+at+1.20.32+AM.png" width="400" /></span></a></div>
<span style="font-family: inherit;">Maybe he's so at peace with himself
that, as Jimi says: "If the sun refused to shine, I don't mind, I don't
mind."</span><br />
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<span style="font-family: inherit;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='400' height='340' src='https://www.youtube.com/embed/7iaJWrLsJlI?feature=player_embedded' frameborder='0'></iframe></span></div>
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<span style="font-family: inherit; text-align: left;">* * * * * *</span></div>
<span style="font-family: inherit;"><strong>~ S7E4 </strong><b>begins
with Pete and Bonnie having dinner and chatting about planning a
getaway </b>–– possibly to Palm Springs. (Coincidentally, the photos
accompanying this piece were taken this past week in Palm Springs,
during our own little getaway.) An interruption (George, who previously
worked for Vicks) leads to a possible new account with Burger Chef. Pete
also discovers during the conversation that his father-in-law has
suffered a stroke.</span><br />
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<span style="font-family: inherit;">Don's first official day back that office begins awkwardly due to lack of communication. The entire office had gathered upstairs for a big announcement that a gigantic computer will be soon be joining them. Roger wants a drink, Ginsberg wants the couch, and Don just wants to know what's going on. Sadly, this lack of communication continues throughout the episode to a distressing degree. </span></div>
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<span style="font-family: inherit;">The
partners gather to discuss Burger Chef without inviting Don, who is now
very much present in the office. We viewers were privy to the tough
stipulations of Don's return, none of which were that he's not to be
invited to partner meetings. Don is mentioned in the meeting as Roger
champions for their in-house 'creative genius' to take over the Burger
Chef account. Cutler agrees, and that seems to be that. Until Lou
(feeling competitive with Don) decides on his own to hand the account to
Peggy and to offer her a raise. This seems highly inappropriate, but no
one is communicating with Don. The first Don hears about Burger Chef is
when Peggy –– awfully smug Peggy –– informs Don he is to work on the
account with her as the lead. But Don is a partner, still –– and as
Harry points out to the computer guy, Don is also one of three creative
directors.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0JiFmHNPS8EJLyVlaZUmQ1WPUDCSpxVap6L9ivyojKC3OdL043JhCaZNOaBUN_jpb80f6HcoCkWNhIv2jRGQY6ex_ju5eczbBuq4p8Rpr_B4H5wTL0PB4Wo0R9OsMmMgLE4WJKAE7ty4/s1600/mm4.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0JiFmHNPS8EJLyVlaZUmQ1WPUDCSpxVap6L9ivyojKC3OdL043JhCaZNOaBUN_jpb80f6HcoCkWNhIv2jRGQY6ex_ju5eczbBuq4p8Rpr_B4H5wTL0PB4Wo0R9OsMmMgLE4WJKAE7ty4/s1600/mm4.png" width="400" /></span></a></div>
<span style="font-family: inherit;">Don and the computer guy get chummy. They talk about
the stars and the moon in relation to how humans are dealing with
sharing their lives with these giant computers. Don realizes this guy
could be a great new account for them. With Roger absent from the office
(more on that soon, of course) Don shares his excitement about this
idea with Bertram Cooper. Cooper's reaction is so cruel, I won't even
revisit it here in this recap –– but as a viewer, I remain heartbroken
over how Don (a person who's clearly trying, being vulnerable, and
excited to begin anew) is being treated by his colleagues. He is not
simply their equal; in many ways, he deserves reverence for all he's
admitted, and endured. Aren't creatives allowed to be somewhat
eccentric, after all? Here's a creative who's also a founding partner of
the agency. It's without a doubt disgraceful the way they're behaving
towards Don. But I digress.</span><br />
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<span style="font-family: inherit;">Roger, meanwhile, has gone on a road
trip with his ex-wife in an attempt bring their daughter Margaret, now
Marigold, to her senses. Marigold left her four-year-old son and husband
to live in the classic 'dirty hippie' sense within a commune of new
friends. This storyline is far more interesting than it seems on the
surface –– in that it represents how confusing this era was for all
kinds of young people. Margaret and her husband married in the
mid-1960's (viewers: you may recall that President Kennedy was shot on
the day of her wedding; Pete and Trudy were too distressed to attend;
etc.) And as her mother indicates to Roger, maybe their daughter could
have married better. We know that Margaret has asked Roger for help
countless times since her marriage. Roger's son-in-law has needed
assistance in his attempt to fulfill expectations.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaxafG6Ad0CKVX6k_BXNrIOSzwIDVDmiJ7nFfzdA8emFu-ubdeq7Tmjur_z05NRWDCQxubvF5Ak8Y5kC-7EV99QTEs24B-jFFV_pS3aalGc7LTA2jjoaN1NTd2bfJkkA_rTMs9LqjiksU/s1600/mm3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaxafG6Ad0CKVX6k_BXNrIOSzwIDVDmiJ7nFfzdA8emFu-ubdeq7Tmjur_z05NRWDCQxubvF5Ak8Y5kC-7EV99QTEs24B-jFFV_pS3aalGc7LTA2jjoaN1NTd2bfJkkA_rTMs9LqjiksU/s1600/mm3.jpg" width="400" /></span></a></div>
<span style="font-family: inherit;">Expectations
for upper crust, higher society youths had to have been confusing when
their values were being questioned in the midst of young marriage.
Margaret has had to worry about her husband's career, and their welfare,
but she was not raised to know how to handle anything but frivolity. It
all became too much for her at some point, and we've witnessed her slow
descent; so when an opportunity presented itself for her to escape what
has become a confusing life, via a new way of thinking, she was
vulnerable and took the risk. So Margaret's becoming Marigold and living
in a commune (heartbreaking, in that she is refusing to take
responsibility for her innocent, young child) is not even surprising. In
fact, one can easily argue that it's Roger's own fault she ended up
there. She had reached out for his help repeatedly, and he refused her
every time. But this is also a great look into how the 1960's affected
youth who came from money to want to reject everything and escape into a
life of simplicity –- particularly those who felt vulnerable and
confused, like Margaret.</span><br />
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<span style="font-family: inherit;">One also has to wonder how Don's workday
might have gone if Roger, his one supportive partner, had been around
the office. After Don secretly succumbs to having a few drinks to deal
with what has been a hellish day, he calls the one person he's come to
trust: Freddy Rumsen. Don then redirects and spews his anger and
frustration towards the bewildered computer guy. Don is a guy who needs
friendship and understanding at the moment, more than anything, and no
one has been caring enough. No one except Freddy, who advises him to get
back in there, roll up his sleeves and prove himself by doing the
exceptional work for which he's known.</span><br />
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<span style="font-family: inherit;">This is exactly what I
hoped would happen when Don bravely returned to the agency he helped to
create –– head down, delivering the goods, with a new 'bring it'
attitude. With nothing to hide now, the partners would be wise to try
and see what new level of genius can come forth from this raw
individual. It was deeply satisfying to see him resolve to do just this
at the end of S7E4. The Hollies' 'On A Carousel' begins to play to close
this episode out –– the 'carousel' having been referenced twice now
this season. We know it has come to represent not only to Don's
game-changing pitch, but also his life. And with that, Don is officially
back at work. Cruel partners and competitive attitudes be damned.</span><br />
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<span style="font-family: inherit;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='400' height='340' src='https://www.youtube.com/embed/f-EKGsrq39E?feature=player_embedded' frameborder='0'></iframe></span></div>
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Klara Tavakoli Goeschehttp://www.blogger.com/profile/15477552306113383773noreply@blogger.com0tag:blogger.com,1999:blog-2861291335121798657.post-88100008296698377652014-05-12T00:01:00.000-07:002015-04-07T14:31:11.356-07:00'Spruced-Up Protester Look' & Recap of 'Mad Men' S7E2<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: inherit;">(Note: This is a recap for the 2nd episode of Season 7 of 'Mad Men', originally published for <a href="http://www.examiner.com/article/mad-men-s7e2-spruced-up-protester-look-review">Vintage Fashion</a> at Examiner.com.)</span><br />
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<span style="font-family: inherit;"><strong>THE LOOK ~</strong> While we have yet to see very much about
the Vietnam War –– or its protesters –– on 'Mad Men' so far, there have
been references and plot lines connected with the war and the draft, and
we saw Nixon taking office via Don's TV in S7E1. I expect a
great deal more on the topic to come in the final season, and refer to
this look (pictured) as the 'spruced-up protester look' (or what
someone like Megan Draper might wear, were she to go out and protest the
Vietnam War.) The vintage empire waist top is circa
1969-1970. The top features lace sleeves and delicate flower motif on
its ribboning. The black bell-bottom pants are made of velveteen. And
the vintage black boots are circa 1967. The look is both feminine and
functional. And it's fine to walk in for hours on end.</span><br />
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<span style="font-family: inherit;"><strong>THE ANECDOTE ~</strong>
When I was too young to know there was a word for it, I believed in
reincarnation. Certain incidents point to it (and there has never been a
better explanation.) When I went with my family to see 'Born on the 4th
of July' in the theater, I started crying throughout, during random
scenes not meant to be sad –– especially to a kid; scenes of protesters
felt like memories, they triggered an intense reaction. I was crying so
hard that I couldn't breathe and had to be taken out of the theater for a
while. Other suggestive incidents in my youth, during high school,
college, and even after college, sealed the notion. I felt a deep
connection with the Vietnam War –– but particularly with its American
protesters. Either I was an American soldier who desperately wanted to
return, or someone killed during protest (perhaps even one of the four
students who died at Kent State.)</span><br />
<span style="font-family: inherit;"><strong><br /></strong>
<strong>THE RECAP ~ </strong>The
second episode of Season 7 takes place on Valentine's Day and begins
with Don's out-of-office life. It's very touching to see him dress up in
his usual work suit for what seems to be a meeting –– when it's
actually just to welcome Dawn, who is covertly delivering him
information.</span><br />
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<span style="font-family: inherit; text-align: left;">Speaking of Dawn, there's a great deal in S7E2 about race relations in the SCP office. Dawn and Shirley greet one another in the break room bemusedly with the other one's name. 'Hello Dawn.' And: 'Hello Shirley.' This says so much, and so simply. The oddest behavior in this episode belongs to Peggy, who is both irrational and unprofessional all day: she immediately assumes the flowers on Shirley's desk are hers, and takes them to her office; next, she assumes the flowers are from Ted, then calls and leaves a cryptic, confusing message for him; finally, upon listening to Shirley that the flowers are in fact from Shirley's fiance, Peggy has a fit, and demands (to Joan) that Shirley be removed from her post.</span></div>
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<span style="font-family: inherit; text-align: left;">Meanwhile, Joan expertly shuffles the gals around the office (Dawn had also be forced to leave her desk) and moves upstairs to her own account executive office. Good thing Jim Cutler has his moments of clarity to simply offer her this deserved transition. Dawn's bad day results in her getting Joan's previous role, which is a huge coup for her –– and for Joan, having shown progressive wisdom in this decision. Equally progressive Pete feels ignored in LA.</span></div>
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<span style="font-family: inherit; text-align: left;">But this episode really belongs to Don and Sally, who slowly rekindle their father-daughter relationship over the course of a short road trip. The result is beautiful and a real tearjerker. When Don drops Sally off at school, she gets out of the car, turns and says, 'Happy Valentine's Day. I love you.' </span></div>
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<span style="font-family: inherit;">And the Zombies'
'This Will Be Our Year' (from their wonderful Odessey & Oracle
album) begins to play: 'The warmth of your love, is like the warmth of
the sun, and this will be our year, took a long time to come.'</span><br />
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Klara Tavakoli Goeschehttp://www.blogger.com/profile/15477552306113383773noreply@blogger.com0tag:blogger.com,1999:blog-2861291335121798657.post-54200355476768826952014-04-15T15:55:00.000-07:002015-04-07T14:31:41.663-07:00Dressed Up to Watch TV: 'Mad Men' S7E1 –– Psychedelic Neon Gown + Review<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: inherit;"><b><b>THE LOOK ~ </b></b><span style="text-align: justify;">Back in the day, people dressed up to board a plane or go to the
cinema. These days, I spend a great deal of time watching TV at home. Why not dress up in my late 1960's-era garb to watch the show that
turned me back on to TV? For this final (split) season of 'Mad Men', I
will. And for the season premiere, I went for a full-on color
celebration by donning a neon psychedelic Lanz gown (from </span><a href="https://www.etsy.com/shop/ElectricLadyland1/about?ref=announce" style="text-align: justify;">Electric Ladyland</a><span style="text-align: justify;">.)</span></span></div>
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<span style="font-family: inherit;"><b>THE ANECDOTE ~</b> <span style="text-align: justify;">As
someone who spent her formidable years, plus a couple more decades,
deeply immersed in the gritty, progressive, kaleidoscopic world of the
1960's, particularly enamored with the latter part, one would say I've
been dedicated. If dedication is work, I've earned a
celebration. For most of the 2000's, I did not even own a TV; I was
thoroughly entertained via films, shows and music that have existed for </span><a data-cke-saved-href="http://retroactivecritique.blogspot.com/2010/11/retrospective-how-technology-tore-roof.html" href="http://retroactivecritique.blogspot.com/2010/11/retrospective-how-technology-tore-roof.html" style="text-align: justify;">decades in our collective archives</a><span style="text-align: justify;">.</span></span></div>
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<div style="text-align: justify;">
<span style="font-family: inherit;">In
2007, a TV show depicting the very era that had been my 'personal
culture' came along. Now is the beginning of the end of that series ––
one that, fortunately, (thanks in large part to the dedication of
Matthew Weiner) has never missed a beat or disappointed this disciple of
mid-to-late 1960's culture.</span></div>
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<span style="font-family: inherit;"><b>THE REVIEW ~</b> <span style="text-align: justify;">In S7E1, it's January 1969. The
story picks up shortly after last season's events. The first face on
screen is surprisingly Freddie Rumsen's, giving a terrific pitch ––
another surprise –– although we discover later he is Don's proxy. So
those first moments are actually Don Draper delivering stellar
work despite being so coldly (and cruelly, IMO) shut out by SC&P, formerly SCDP.</span></span></div>
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<div style="text-align: justify;">
<span style="font-family: inherit;">Making
plot predictions can be enticing, especially with the often non-subtle
hints on 'Mad Men', but let's just watch and see what happens to these
characters in this final season. Yes, as predicted: darkness looms heavy
in the canyons, where Megan now resides –– very near, in time and
place, to where Sharon Tate meets her doom.</span></div>
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<div style="text-align: justify;">
<span style="font-family: inherit;">Don remains smitten
with his wife, despite whatever marital problems they've had and their
current bi-coastal situation. That point is driven home in this episode
by Spencer Davis Group in the (now famous) airport pickup scene: 'I'm a
man, yes I am, and I can't help but love you so!' (See below. I had originally
planned to include Traffic's <a data-cke-saved-href="https://www.youtube.com/watch?v=eN9_G8XMi8E" href="https://www.youtube.com/watch?v=eN9_G8XMi8E">'Dear Mr. Fantasy'</a> for this piece.)</span></div>
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<div style="text-align: justify;">
<span style="font-family: inherit;">The
unexpected bits in the premiere are what I particularly enjoyed, like
the protective conversation Weiner seemed to be having with his bullying
audience members on the very topic of Megan (and the beautiful actress
who plays her, Jessica Pare.) Megan has been a strong contributing
character since Season 4 –– or since 1965. It's been difficult to avoid
noticing the pointedly angry and cruel remarks certain viewers have made
about her during this time.</span></div>
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<div style="text-align: justify;">
<span style="font-family: inherit;">The writers of the show have made it
plain, time and again, that Megan Draper is to be loved. Don loves Megan
(in his way; and at times, even obsessively.) Megan was never just
'going away'. She has been integral to many of the transitions that have
occurred during that progressive era.</span></div>
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<div style="text-align: justify;">
<span style="font-family: inherit;">Included in the script for
S7E1 were inside jabs directed at Megan-haters during the dinner scene,
when her agent announces that she got her first Hollywood callback. 'I
thought the guy hated me!?' She exclaims. 'But his boss <em>loved</em> you,' he says. (Megan-hate-viewers vs. Matthew Weiner, right there.) He adds: 'I'll say one thing about this girl. She evokes <em>strong</em>
feelings.' And I have to hand it to Jessica Pare –– she has seemed to
keep herself, (and her confidence), well in tact, despite the bullies.
Megan's agent says next: 'We can hold off on fixing your teeth.' To
this, Megan gives a sad and very professional nod: 'Okay.' Proving yet
again that while Hollywood can be cruel, today's online bullies are just
as bad. It might have seemed odd to bring this level of reality into
the show, but I delighted in this decision on the part of the writers.</span></div>
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<div style="text-align: justify;">
<span style="font-family: inherit;">We
also caught up with what's happening in the lives of Pete (he's tan and
happier in L.A.), Joan (the unlikely partner has become a rather gutsy
businesswoman) Peggy (misses both Don and Ted), Roger (so hip, it hurts;
still acts like a square with his daughter), Stan (such a cool cat),
Ted (bi-coastal Mr. Professional.)</span></div>
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<span style="font-family: inherit;">Meanwhile, TV itself even
played a large role in the Season 7 premiere. Don watches a lot of it,
with too much time on his hands out of the office. He gifts Megan with a
very large TV set, to her dismay. I enjoyed celebrating the return of
'Mad Men' this way –– so I'll be dressing up to watch TV, again, when
S7E2 airs next Sunday.</span></div>
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<span style="font-family: inherit;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='420' height='360' src='https://www.youtube.com/embed/POCUgBSVENQ?feature=player_embedded' frameborder='0'></iframe></span></div>
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<span style="font-family: inherit;">(Originally posted for <a href="http://www.examiner.com/article/dressing-up-to-watch-tv-mad-men-s7e1">Vintage Fashion</a> at Examiner.com.)</span></div>
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Klara Tavakoli Goeschehttp://www.blogger.com/profile/15477552306113383773noreply@blogger.com1tag:blogger.com,1999:blog-2861291335121798657.post-87886903522087465092014-03-20T18:36:00.002-07:002015-04-07T14:32:10.000-07:00'The Americans' –– Cold War Cool (If Looks Could Kill, They Probably Will) <div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2BgEi11VQWw-j0pSySrTp_B7VsYijmguIvQPZv8dsHaQMpng-qbRNimnYqGGfJWBdMcLg4nqych_Th5WS1xu6npx_oC-Ybyb1d_ol9bNkZ5J0Xex0TZCrqXH9VMqqs_O16N95Xx594cE/s1600/TheAmericans.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2BgEi11VQWw-j0pSySrTp_B7VsYijmguIvQPZv8dsHaQMpng-qbRNimnYqGGfJWBdMcLg4nqych_Th5WS1xu6npx_oC-Ybyb1d_ol9bNkZ5J0Xex0TZCrqXH9VMqqs_O16N95Xx594cE/s1600/TheAmericans.png" height="400" width="341" /></span></a></div>
<span style="font-family: inherit;">(Originally posted for <a href="http://www.examiner.com/article/the-americans-depicts-cold-war-cool-if-looks-could-kill-they-probably-will">Vintage Fashion</a> at Examiner.com.)</span><br />
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<span style="font-family: inherit;">'The Americans', now in its second season on FX, is the only Cold War era spy thriller series on television. Here's what can happen: you begin to watch 'The Americans' for its early 1980's style and appeal; stay for the pacing and storytelling; discover you've become an avid fan of the series itself.</span><br />
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<span style="font-family: inherit;">Having spent years poring over fashion from the late 70's & early 80's, in all of its understated elegance, I am happy to find any manner by which to pass the time in the early 1980's. Meanwhile, the first season begins with <a href="https://www.youtube.com/watch?v=umjYHLt56kg">'Tusk'</a> and ends with <a href="https://www.youtube.com/watch?v=3xZmlUV8muY">'Games Without Frontiers'.</a> Even its musical bookends couldn't have been better.</span><br />
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<span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgXIfFTMSXlIIzMSrPgzh0CXampWG9UIHmSjpqWlik1tJGu_vwBM01apBFWi2N4mPoE30G0xoiIJWa8PFm-lRzjoOiF8btVLzkBb10EKA7P9WYkck4nCtFjADJcqRrpwTJu9gxyLbZAAg/s1600/la-et-st-wednesdays-tv-highlights-the-american-001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgXIfFTMSXlIIzMSrPgzh0CXampWG9UIHmSjpqWlik1tJGu_vwBM01apBFWi2N4mPoE30G0xoiIJWa8PFm-lRzjoOiF8btVLzkBb10EKA7P9WYkck4nCtFjADJcqRrpwTJu9gxyLbZAAg/s1600/la-et-st-wednesdays-tv-highlights-the-american-001.jpg" height="266" width="400" /></a><span style="text-align: left;"> </span></span></div>
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<span style="font-family: inherit;">In terms of fashion, the early 1980's was a unique time of classic and tailored looks. Form-fitting. There were no unusual shapes or colors. Everything was wearable. From office garb to weekend wear, these were clothes in which people could live, work and play. And for a pair of spies (Keri Russell and Matthew Rhys) living in the Cold War era, understated they must be, as they manage their covert affairs with great skill. They are not just a couple of spies; they are two excellent spies living as a married couple, with two very real children.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyneaB_OcJdK-p62bfShT2v_ea0Ys9VxYtfQXI-rZNZO4-xnRpWUBF7cUOefupd0X3szczszDG9eFM1hh-jNmRZkIOn6Spp9auhSuWhJLnZxaSpA4LKLTnDxki3jGDeqNPi2MS-0xHwQ8/s1600/keri-russell-trunk-the-americans-main.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyneaB_OcJdK-p62bfShT2v_ea0Ys9VxYtfQXI-rZNZO4-xnRpWUBF7cUOefupd0X3szczszDG9eFM1hh-jNmRZkIOn6Spp9auhSuWhJLnZxaSpA4LKLTnDxki3jGDeqNPi2MS-0xHwQ8/s1600/keri-russell-trunk-the-americans-main.jpg" height="266" width="400" /></span></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju0JyzQ1MS6qQRl0bFDa77GV5uaJo6FCZRwIdUhi7wUQXPSE-NEabkStLWrsLmhjXs3drxRkEKUPpcO_BGc8_UDljFywLywkn7hDeWFZTFZlYkPz3PI8s8y0n8e15jgODzmD8UHF3D3pE/s1600/keri-russell-disguise-the-americans.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju0JyzQ1MS6qQRl0bFDa77GV5uaJo6FCZRwIdUhi7wUQXPSE-NEabkStLWrsLmhjXs3drxRkEKUPpcO_BGc8_UDljFywLywkn7hDeWFZTFZlYkPz3PI8s8y0n8e15jgODzmD8UHF3D3pE/s1600/keri-russell-disguise-the-americans.jpg" height="350" width="400" /></span></a></div>
<span style="font-family: inherit;">The early 80's were a transitional period and some remnants of late 1970's silhouettes were still in play. This depiction is also one of a conservative location and time, since the couple's home is in the suburbs of Virginia. We have characters working at the FBI HQ office; others who work for the KGB. The action happens in or around Washington, D.C., during the Reagan administration.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiDwsLfFQ8m3bbILJkfZIBK9eP7UevWX9KMbemYu_KGqmNY_y0i4HWwv08pX-nQb7P1hpL1bCgX8HdbERONuKacNIJXjucoqr3wyzYtXiFecBrccVVMhhHsBZqrNvo_rOxTQHpqMeU8bQ/s1600/Keri%252BAmericans.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiDwsLfFQ8m3bbILJkfZIBK9eP7UevWX9KMbemYu_KGqmNY_y0i4HWwv08pX-nQb7P1hpL1bCgX8HdbERONuKacNIJXjucoqr3wyzYtXiFecBrccVVMhhHsBZqrNvo_rOxTQHpqMeU8bQ/s1600/Keri%252BAmericans.jpg" height="266" width="400" /></span></a></div>
<span style="font-family: inherit;">It is fascinating to see actors playing people who act in their daily lives as if they are 'normal', hoping their true abilities go undetected so they may infiltrate by drawing as little attention to themselves as possible -- overcompensating by being extremely casual in their manner of talking and walking. So casual, they're often too casual, and therefore strange. Factor in the multiple disguises they must wear for their various undercover tactics (they are spies, after all.) It's evident just how juicy the roles of Elizabeth and Phillip Jennings must be for Russell and Rhys to play.</span><br />
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<span style="font-family: inherit;">As for the dream role of being the costume designer for the show, Jenny Gering has her work cut out for her. Anyone who has shopped vintage knows that while the most wonderful items can be found in vintage stores or by shopping online, difficulties can arise in finding that item in great quality or the right size. Having to do that for an entire cast for a series, including extras, would certainly be a challenge. But what a dream job. I could have only dreamed that another show might delve deep into period storytelling, taking us where 'Mad Men' has taken us before -- but within this other fascinating era, the early 1980's. Given all of their dramatic aesthetic changes, the 1960's and the 1980's are both of great interest.</span><br />
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<span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3dE82w20evS7TdAJsmeUvVgLyGOoFv7zSPEUnA-iLzqVNmQF_W8u1X45DvwCv8S0YRRHJV8Wu82YWDVtSIUxHfZc8VQun16k0N9onMOCmmSj1cJQwUGgtn9rRlCxllYDpp_CfEKm4-_o/s1600/o-THE-AMERICANS-COMINT-facebook.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3dE82w20evS7TdAJsmeUvVgLyGOoFv7zSPEUnA-iLzqVNmQF_W8u1X45DvwCv8S0YRRHJV8Wu82YWDVtSIUxHfZc8VQun16k0N9onMOCmmSj1cJQwUGgtn9rRlCxllYDpp_CfEKm4-_o/s1600/o-THE-AMERICANS-COMINT-facebook.jpg" height="260" width="400" /></a><span style="text-align: left;"> </span></span></div>
<span style="font-family: inherit;">Presumably, the show could cover further ground into the 1980's as long as it continues to be this captivating. (Here's hoping!) 'The Americans' could return for enough seasons to take us into the colorful, vibrant, BIG eighties.</span><br />
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<span style="font-family: inherit;">For now, the subtlety that exists in the transitional early 1980's is what has kept me transfixed. And the quiet, stoic pacing of the series ties incredibly well with the covert lives of its characters, making 'The Americans' an altogether streamlined, distinguished, and deeply exciting experience.</span></div>
Klara Tavakoli Goeschehttp://www.blogger.com/profile/15477552306113383773noreply@blogger.com0tag:blogger.com,1999:blog-2861291335121798657.post-60203467076847737932014-02-06T01:22:00.001-08:002014-02-06T01:31:50.908-08:00Cats In Films (Year Of the Cat) -- VIDEO<div dir="ltr" style="text-align: left;" trbidi="on">
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I'm someone who is generally considered a 'cat person'. I would take it farther, however, in that I respect all species equally; I am entirely against speciesism. But yes, I am a cat person.<br />
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After seeing 'Inside Llewyn Davis' last month, and falling deeply for Ulysses the cat who I consider the hero of that Coen brothers film, I had an inkling to piece together a (hopefully) beautiful and especially respectful tribute to cats who've appeared in films. I immediately knew I'd want to use Al Stewart's song 'The Year Of The Cat'. As a music-and-film-driven videographer who loves cats, and also loves that particular song, this was all an inevitability.<br />
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After gathering all the media I could find, I created the video over the course of a few days. I wasn't entirely satisfied when it was completed last Sunday. But I waited, then shared the video on my social media channels on Monday. This video meant a great deal to me, so I asked and practically pleaded (for the first time, ever) for friends to watch and share. A few did and I was appreciative for their support of my efforts (as this sort of 'super-cut' video does take some effort!)<br />
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By Tuesday afternoon, I noticed the views were creeping up slightly. And faster. I found out Tuesday night that the video had been posted on <a href="http://www.neatorama.com/pet/2014/02/04/Cats-in-Film/#!uxOtC">Neatorama</a>, which was a wonderful surprise. By Wednesday, in the early afternoon, I discovered that <a href="http://www.slate.com/blogs/browbeat/2014/02/05/cats_on_film_watch_a_supercut_of_cinematic_felines_video.html">Slate.com</a> had picked it up as well (via Neatorama.) An even bigger surprise. I'm happy the video has gotten some traction since it was meant to be seen and enjoyed by other like-minded cat lovers. I hope it might even instill a sense of respect for all species, somehow.<br />
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Here is my celebratory tribute to cats in films –– 'Cats In Films (Year Of The Cat)'.</div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='420' height='360' src='https://www.youtube.com/embed/FPaWwAnoj7M?feature=player_embedded' frameborder='0'></iframe></div>
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Klara Tavakoli Goeschehttp://www.blogger.com/profile/15477552306113383773noreply@blogger.com0tag:blogger.com,1999:blog-2861291335121798657.post-3888089494325821002014-02-05T01:10:00.002-08:002018-06-01T07:22:16.268-07:00Vintage Ads: How Sanderson's Home Decor & Wallpaper Brand Appealed To The 'Me Decade' <div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "trebuchet ms" , sans-serif;"><a href="http://www.examiner.com/topic/sanderson">Sanderson</a> is an English wallpaper, interior design and decorating company. It is the oldest surviving English brand in its field. The Sanderson brand is known for its coordinated fabric and wallpapers.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-EMfHwEsO3zSIkcb-NBjIoX3C9Abr7RSPHIMOqdMYcIgXMhjb82fBSqa41MVErd1grmRaqfKOdm92mcJOwYBTkuSHzzJyPNMfeqFbVsSnA6LDrTX7nrt4f8yJSdfgs0xgEhvt8Cb6v-w/s1600/harp-ad-04.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-EMfHwEsO3zSIkcb-NBjIoX3C9Abr7RSPHIMOqdMYcIgXMhjb82fBSqa41MVErd1grmRaqfKOdm92mcJOwYBTkuSHzzJyPNMfeqFbVsSnA6LDrTX7nrt4f8yJSdfgs0xgEhvt8Cb6v-w/s1600/harp-ad-04.jpg" width="297" /></a></div>
<span style="font-family: "trebuchet ms" , sans-serif;">In the 1970's, Sanderson's print ads included a series featuring some famous Brits and one Swede, Britt Ekland, who was also a resident Brit. The ad copy says simply: 'Very Britt Ekland, very Sanderson.'</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">Ekland's ad is from around 1973. She had yet to appear as a Bond girl and would soon play Mary Goodnight in 'The Man With The Golden Gun', which was released in 1974. Other ads from this print campaign feature Ekland's fellow Bond girl, <a href="http://www.examiner.com/topic/diana-rigg">Diana Rigg</a> (the only Mrs. Bond, Tracy Bond, in 'On Her Majesty's Secret Service' in 1969); the singer and actress <a href="http://www.examiner.com/topic/petula-clark">Petula Clark</a>; and famed British chef Robert Carrier.</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">The standard in 1970's home decor entailed matching one's wallpaper with fabrics, like the curtains and sofa covers. Sanderson had enough clout to suggest a connection between its brand name and a one's ability to decorate his or her home to reflect a distinctive style.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr_ybva9xCdumeb10qSYRKQ2lzYqkU5EYDeGlpt2tKlsQK_qOMaEswgexKVPg8TCCqip6P4hD7_KdqFBn00zi_La52sgOJPyByE9H2MCuN-VgNPDnlQSrd3cPlEDcapjINeNfpi_VYVkk/s1600/sanderson-carrier.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr_ybva9xCdumeb10qSYRKQ2lzYqkU5EYDeGlpt2tKlsQK_qOMaEswgexKVPg8TCCqip6P4hD7_KdqFBn00zi_La52sgOJPyByE9H2MCuN-VgNPDnlQSrd3cPlEDcapjINeNfpi_VYVkk/s1600/sanderson-carrier.jpg" width="311" /></a></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">If a home is 'very' someone, but also very Sanderson, this indicates Sanderson values (and can accommodate) each person's unique design preference. In the midst of the 'Me Decade', the idea of a brand being able to cater to one's individual taste had to have been a novel and appealing concept. </span><span style="font-family: "trebuchet ms" , sans-serif;">Which is why these Sanderson print ads are a strong time capsule. They capture not only the look and feel of the 1970's, but also a concept that Sanderson, as a company, perceived to be desirable to the people of that era.</span></div>
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Klara Tavakoli Goeschehttp://www.blogger.com/profile/15477552306113383773noreply@blogger.com0tag:blogger.com,1999:blog-2861291335121798657.post-88479492193490650032014-01-06T02:22:00.000-08:002014-01-07T18:30:02.743-08:00Music From The 1980's That Dazzled Me In 2013 (A Strange Year-End List)<div dir="ltr" style="text-align: left;" trbidi="on">
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This is a very different sort of year-end list. </div>
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As they say, what's old is new. The 'Retro Active' outlook with which I began this blog is my standard. Still, 2013 stands out. It was a year of 1980's (re)discoveries that felt incredibly fresh & vibrant. Some of these I already knew but hadn't seen or heard in a while; some I'd yet to experience. Each has made an imprint on my life & I'm happy to carry these gems with me into 2014 & beyond.</div>
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<b>6.</b> <b>The Belle Stars | Sign Of The Times</b></div>
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People talk about girl power. This band is comprised of girls, girls, & more girls. There are so many ladies working together in this group, it's impressive. This song should've had more airplay, stateside, back in its day. (I'm not sure it did.) Glad I've begun to enjoy it now, I've listened to it at least 30 times. (I have some catching up to do!)</div>
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<b>5.</b> <b>Banarama | Aie e Mwana</b></div>
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According to the Guinness Book Of World Records, (their Wikipedia page has pointed out), Banarama still holds the title of all-female group with the most chart entries in the world. I did not know that! I also did not know their first hit 'Aie e Mwana'. This one I heard on iTunes Radio, a recent godsend for new discoveries. The lyrics –– aside from the title (which is said to be nonsense) –– are sung in Swahili. The intro is long, but it's all so worth it. Listen & enjoy.<span style="font-family: sans-serif; font-size: x-small;"><span style="line-height: 19px;"> </span></span></div>
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<b>4.</b> <b>Adam Ant</b> <b>|</b> <b>Strip</b><br />
I'd somehow forgotten about this! I'll remember it from now on. </div>
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<b>3. Talk Talk | Life's What You Make It</b></div>
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This 'bass piano' knocks me out. The song just floors me. Who focuses their bass on piano? Works really well for the mood of this song. ('Everything's all right.') And the video is beautiful.</div>
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<b>2. Heaven 17 | Penthouse and Pavement</b><br />
This next one was a thrilling discovery for me –– again, first heard on iTunes Radio. I've enjoyed many Heaven 17<b> </b>songs, but their 'Penthouse & Pavement' was new for me in 2013. Now it's my favorite of theirs. I'm not sure how many times I've listened to it by now; it gets better every time. I'm baffled (and dazzled) by the fact that this is from 1981. This band was ahead of its time. The video also captures the early 80's mood very well. </div>
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This TV performance of 'Penthouse & Pavement' is also worth watching. I suppose they had to have a fill-in for the female vocalist whenever they performed it (the original singer was a session performer.) When I first saw this video, I was blown away by the fabulous gal who performs with them –– she's so charming –– so I was a little disappointed to find out she isn't the actual singer. But it's fun to watch her OWN the song during this performance.</div>
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<b>1.</b> <b>Wham! | Ray Of Sunshine</b></div>
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When I listened to my Wham! Fantastic cassette tape as a kid, I'd often fast forward and rewind to listen to a few songs in particular. I enjoyed <b>'</b>A Ray Of Sunshine' –– just not nearly enough. I heard it after having had quite some time away from it in 2013. This tune is so sadly overlooked –– and it's rare to hear it anywhere. It didn't even appear in an extensive Wham! karaoke song list, I recently discovered –– but again, iTunes radio was my friend in 2013 & there they played it. Since then, I keep listening to it and loving it. It's made it's way into my all-time favorites list. 'Ray Of Sunshine' is literally, very possibly, one of my Top 10 favorite songs of all time. What a huge leap this song has made into my heart :)</div>
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I have to include this video, with footage from the Wham! film 'Foreign Skies' set to 'Ray Of Sunshine'. No other piece of media in 2013 (aside from the many, many adorable videos of non-humans) charmed me quite as completely –– and utterly –– as seeing this! </div>
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I should add that in 2013 I watched three <b>very significant movies</b> from the 80's f<b>or the very first time in their entirety</b>: '<b>E.T.', 'Poltergeist' & 'Gremlins'</b>. I also watched <b>'A View To A Kill'</b> in its entirety after not having watched it for many years –– and realized how worth revisiting that Bond film happens to be (much more on that soon!) 2013 certainly was a good year to be inspired by the 80's.</div>
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Klara Tavakoli Goeschehttp://www.blogger.com/profile/15477552306113383773noreply@blogger.com0tag:blogger.com,1999:blog-2861291335121798657.post-8232986712809901382013-12-29T16:31:00.001-08:002014-12-31T17:37:31.285-08:00New Year's Eve Is Real & Inclusive –– & Why Chariots Of Fire Is A Quintessential NYE Movie<div dir="ltr" style="text-align: left;" trbidi="on">
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New Year's Eve has gotten a bad rap for a long time. People often complain that they don't have exciting plans for the night, or grow despondent if highly anticipated plans prove lesser than they had hoped. Some feel like being alone on New Year's Eve is indicative of personal failure. It's all a matter of perspective. Just remember: In the midst of all the holidays that pass during the fall-winter season, this is the only one that is inclusive and universal. It is 'real'. New Year's Eve bears no real conflict for anyone, in truth. No politics or religious denominations. No questionable history.<br />
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Despite the fact that some parts of the world celebrate a different calendar –– and therefore a different day that signals the new year –– everyone can relate to that transition. Whether your year has been a good one, or a difficult one, (for some it may have been one they can't wait to leave behind), New Year's Eve is a day for everyone.<br />
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Whether you're surrounded by friends and family or spending the night entirely alone, it is your night. It is everyone's night. Make the most of it in any way you can. It's a night to celebrate. Or reflect. Whichever makes sense in your particular predicament.<br />
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Two years prior, we wanted to spend New Year's Eve relaxing at home. The plan was to watch a movie and play board games. By happy accident, I had a craving for one film: 'Chariots Of Fire'. That was my movie pick, so we watched it. And by 'happy accident', I mean I had no idea when I chose 'Chariots Of Fire' that I'd soon consider it the quintessential New Year's Eve/New Years' Day movie. Every aspect of life –– and what drives people in living it –– is represented in 'Chariots Of Fire'.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuElBSOISN002ujP90hJW8K174edctm8OyMAyzzn7oup4DUz2_hIoGcv7cIZekEk2d9mCkkUhLYgtxyV0Ua1B-gMR4BVghmOyIe0jxCvim8yA4M2wSi1M64xSg8Wx4qeZUxWLMU07NG50/s1600/Chariots-Of-Fire-2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuElBSOISN002ujP90hJW8K174edctm8OyMAyzzn7oup4DUz2_hIoGcv7cIZekEk2d9mCkkUhLYgtxyV0Ua1B-gMR4BVghmOyIe0jxCvim8yA4M2wSi1M64xSg8Wx4qeZUxWLMU07NG50/s400/Chariots-Of-Fire-2.jpg" height="225" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lord Lindsay</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxNEnuq3j7du__SdPudY1_WOqIDHXtxLEYt0RuQlm3vlDGUbzOV3FOMiCtJkut3zRdBuy-aIDI3dJg1Me5Raej3wbfYCylQfwyh2TBL_dVzJRWi0hFS5w0YsXfEw4CLgT7Rao9koxiy9M/s1600/chariotsoffire.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxNEnuq3j7du__SdPudY1_WOqIDHXtxLEYt0RuQlm3vlDGUbzOV3FOMiCtJkut3zRdBuy-aIDI3dJg1Me5Raej3wbfYCylQfwyh2TBL_dVzJRWi0hFS5w0YsXfEw4CLgT7Rao9koxiy9M/s400/chariotsoffire.jpg" height="283" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Harold Abrahams</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Eric Liddell</td></tr>
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If you are like Eric Liddell, you feel a sense of purpose and you're driven in life by a power you consider greater than yourself. You are running for what you consider to be your God, whatever you aspire to. If you're like Harold Abrahams, you are running to prove something to others –– you are running because of the shear force of competition. If you're like Lord Lindsay (Burghley), you run because you are privileged enough to do so, and only because you can, which minimizes a sense of purpose in your efforts. But whichever force is driving you to be part of the race, you are in it.<br />
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<tr><td class="tr-caption" style="text-align: center;">The real Eric Liddell</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQfmHLlfmwNq2SfbllaFbMO7abe0XWv5gADvoltWDkwJtwrCwHfDJg62K-LSV07UWQMtNk8wOg6-MphbPsP5DpHTHjILhfDdn2bUcFzvgsKJhMfjwVwXe8rI9reJuefXTo1LjZ3AATXFY/s1600/harold+abrahams.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQfmHLlfmwNq2SfbllaFbMO7abe0XWv5gADvoltWDkwJtwrCwHfDJg62K-LSV07UWQMtNk8wOg6-MphbPsP5DpHTHjILhfDdn2bUcFzvgsKJhMfjwVwXe8rI9reJuefXTo1LjZ3AATXFY/s640/harold+abrahams.jpg" height="640" width="304" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The real Harold Abrahams</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">The real Lord Burghley (Lord Lindsay in 'Chariots Of Fire')</td></tr>
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Of course, there are also those on the sidelines. There are the cheerleaders and supporters. And there are the coaches. Whichever role you most identify with, there is no denying the strength of 'Chariots Of Fire' in capturing the way we exist by way of running (or standing by to watch) our own particular heat in the game of life.<br />
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And I can attest that it is a uniquely inspiring experience to watch this movie –– one that is as unfairly and oft-derided as New Year's Eve itself –– as you transition into the new year.</div>
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Klara Tavakoli Goeschehttp://www.blogger.com/profile/15477552306113383773noreply@blogger.com0tag:blogger.com,1999:blog-2861291335121798657.post-9621748575009099642013-12-24T13:45:00.000-08:002014-02-13T19:30:11.584-08:00Christmas Special | Movie Style: On Her Majesty's Secret Service (1969)<div dir="ltr" style="text-align: left;" trbidi="on">
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'On Her Majesty's Secret Service', released in 1969, is arguably the
very best film of the entire franchise for countless reasons. The focus here will be on giving a rundown some of the great styles that are worn in the film. A good
deal of the plot occurs during Christmastime –– and the designs captured in 'On Her Majesty's Secret Service' are the epitome of
late-1960's fashion sensibilities.<br />
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<b>Lady In Distress (In THAT Dress)</b><br />
Diana Rigg, as Tracy, first appears wearing a beautiful mermaid-like sea-colored, paisley-pattered sequined gown with bell sleeves. The dress shimmers in a scene that occurs on a beach at night while Tracy is in danger. Bond, wearing a white shirt and tuxedo trousers, saves her life -- and their fates are sealed forever.<br />
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<b>Suited & Booted, Beaded & Needed</b><br />
'Why do you insist on rescuing me, Mr. Bond?' Bond's next encounter with Tracy occurs in the hotel casino where they are both staying when he bails her out. 'Tracy, next time play it safe, and stand on five.' She counters with, 'People who want to stay alive play it safe.' Lazenby's Bond feels a genuine concern for this doomed lady. 'Please stay alive… At least for tonight.' In this scene, Tracy wears a white dress, its shoulders and low neckline intricately beaded with small white pearls. Bond wears a sleek and classic tuxedo. His white shirt has front ruffling that would soon be more common for tuxedo styles in the 1970's.<br />
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<b>A Leisure Suit, Tweed & Dual Equestrian Styles</b><br />
Tracy's father, Draco, asks Bond to marry his daughter -- to help keep her grounded. Bond is reluctant to make such a personal deal, but information from Draco can be useful in tracking down the whereabouts of his nemesis, Blofeld. When Bond has this discussion with Draco, he wears an actual leisure suit. It is a dark tan-colored leisure suit and he wears an orange mock turtleneck underneath. This is a very neat, late-1960's transitional look. Next, Bond joins Draco at his birthday party, where Tracy insists that her father gives Bond the information he needs without any more talk of marrying her off to him. From that point on, Bond and Tracy fall in love with one another legitimately, without ulterior motives on either side. In this scene, Bond wears a tweed jacket to top off his equestrian style, complete with riding boots; Tracy wears a high-collared white lace shirt with a black riding suit, hot pink cummerbund-like belt, black hat, gloves and boots.<br />
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<b>'We Have All The Time In The World' Sequence</b><br />
'On Her Majesty's Secret Service' is in many ways the epitome of the Bond franchise. The action sequences. The cinematography. The aesthetics, from the the cars to the buildings, to the interior design. Peter Hunt's impeccable direction. George Lazenby -- who played Bond only once but left a lasting impression. He is the only 007 who looks and behaves not like an actor playing a spy, but instead like a capable man who could have actually been a spy in real life. Diana Rigg -- the only Bond girl to become a Mrs. Bond -- who was already beloved at the time for having been Emma Peel. Telly Savalas as Blofeld. John Barry's musical score, Louis Armstrong's beautiful tune. The locations. The fashion from 1969.<br />
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And the romance –– which is unlike any other in the series, since James Bond actually marries Tracy. The sequence that follows Draco's birthday is also unlike anything that's ever occurred in the Bond series. We see glimpses of James and Tracy's blossoming love to the lovely sound of Louis Armstrong's 'We Have All The Time In The World'. Immediately following the sequence, during which the new couple shops for an engagement ring, Bond, Tracy and Draco share a car. Draco sits awkwardly and cramped in the middle as Tracy and James look at each other adoringly from either side of him. The chemistry between Lazenby and Rigg in OHMSS is palpable. Tracy wears a 20's-inspired ensemble of yellow tweed, complete with silk scarf and a smart hat. James wears another beautifully tailored gray suit with light blue-gray shirt and a black tie. When they drop 007 off, he says: 'I'll get cracking on this appointment and catch up with you later.' Tracy, casually and amused: 'The story of our life, James?' James: 'Just keep my martini cold.' There is an easiness and casualness to their rapport that lends to their wanting to be married to each other. It's touching, and believable.<br />
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During the sequence, Tracy wears an ice blue mini dress while James wears his tuxedo; Tracy wears a white, light green and yellow color block mini-dress while James wears a navy inspired military-style blazer with gold buttons, navy tie and khaki slacks; Tracy wears a light pink mini-skirt suit with a purple scarf and light pink hat while James wears a beautiful light gray suit as they shop. Throughout the sequence, in each moment together, James Bond puts his arm loving and adoringly around Tracy's shoulders. It is the most romantic sequence in all of cinema. At least in this Examiner's estimation (and it would've been perfect, except for my wanting to hug -- and free -- the adorable bears who appear very briefly in a zoo at the very end of the sequence.) 'Nothing more. Nothing less. Only love.'<br />
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<b>A Spy In Disguise, The Angels Of Death & Christmas At Blofeld's</b><br />
In OHMSS, Bond goes undercover. He poses as genealogist Sir Hilary Gray in order to get close to Ernst Stavro Blofeld. For these scenes, Bond amusingly dresses in Sherlock Holmes style, complete with caped wool coat, tweed cap, horn-rimmed glasses and pipe. He also assumes a stuffier British accent. He dresses for dinner in his (Sir Hilary's) proper Scottish Highland dress with kilt -- where he meets the beautiful patients at Blofeld's 'allergy-research institute'. Each one is lovely and they're dressed as if they've walked right off of a runway, in silks, beads, jewels, brocades, pearls, bright colors. The interior of the institute looks like the most elegant ski resort drawing room. Bond might be in a pickle, surrounded by these incredibly lovely, vulnerable ladies (not only accessible, they're more than willing) while he's engaged to the loveliest of them all. And Tracy is far away at the moment.<br />
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After a couple of trysts (this is Lazenby's Bond, after all, not poor Dalton's) Bond's cover is blown, the 'angels' are hypnotized and sent off to perform their actual missions, and Bond is left to spend Christmas with Blofeld and his henchmen. During some of the scenes, Bond wears a tan cardigan, tie and slacks. Another timeless men's look. During his getaway, Lazenby as Bond dons a chic blue ski suit, and his stunt man performs perhaps the most incredible ski chase sequence in the history of film set to John Barry's incomparable score. He's rescued by Tracy at a skating rink. Tracy is dressed in a caramel-colored skating ensemble, with matching quilted headband. After spending a night getting reacquainted in a shack, James and Tracy make a run for it (or ski-for-it to be exact); James wears the same blue ski suit from the previous day and Tracy maintains her color-coordinated wardrobe by wearing a caramel-colored ski suit. Tracy can keep up with James as they race away on skis, which is yet another testament to their being a perfect match.<br />
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<b>Attack At Blofeld's & Tracy's Rescue</b><br />
The furs worn in OHMSS would be nice if replicated using synthetic materials. The first one is Tracy's coat when she rescues Bond; she wears it over her caramel-colored skating outfit. And one truly worth noting is Tracy's leisure outfit when she is held captive by Blofeld. It's an all black ensemble, save for the gray trim (a replica of this look would be nice with fake fur) along the neck, hood and sleeves. Blofeld tells Tracy before taking and kissing her hand: 'Now, if you're very, very nice to me -- I could make you my countess.' Tracy replies, taking her hand away: 'But I'm already a countess.' Blofeld, irritated by her insolence: 'Whereas if you displease me I can promise you a very different estate.' When Tracy realizes 007 and her father are on their way to rescue her, she feigns interest in Blofeld, just until the attack. During the attack, Tracy, a.k.a. Diana Rigg, demonstrates her Emma Peel-like fighting skills and holds her own against Blofeld and his men.<br />
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All of the action here is superb, again. And it all ends on a happy note when an adorable St. Bernard pads over in the snow, drops and rolls next to James Bond to offer him his hand in affection. 'Never mind that,' Bond jokes. 'Go and get the brandy, huh? Five star Hennessey, of course.'<br />
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<b>A Beautiful Wedding & A Most Tragic Ending</b><br />
James Bond parks his Aston Martin DBS in front of the jewelry store. He wears a sky blue suit. He chooses the ring he and Tracy had eyed before, a unique band of silver and gold melted into each other. The ring was designed for the film -- and it actually spells out 'All The Love In the World'.<br />
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For his wedding, James Bond wears a black morning coat over gray waistcoat with matching gray trousers, light gray silk tie, and a white carnation in his lapel. He also has a bowler hat. Tracy wears what appears to be a dress entirely of a daisy motif lace, with a white gauzy chiffon coat over it; however, she does not marry James Bond in a dress. The lace beauty she wears is, in fact -- and incredibly -- a wide-legged trouser jumpsuit. She is a very modern woman. For Diana Rigg to be married in a jumpsuit on film, at that time (and the jumpsuit is only evident in publicity photos, not in the film) would have surely been an ode to Emma Peel -- with her iconic jumpsuits -- as well.<br />
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It is painful to watch the final moments of this film. Any couple, especially one as happy as James and Tracy, should have the chance to live an entire lifetime to love one another. Indeed, they should have had all the time in the world.</div>
Klara Tavakoli Goeschehttp://www.blogger.com/profile/15477552306113383773noreply@blogger.com2