This week’s ep of MadMen “the strategy” (s7e6) was pretty straightforward & I felt moved things along. The theme of home & family was framed by the seeds of doubt that Don planted in Peggy’s mind about creative strategy for Burger Chef, which was about the dad giving approval for the mom not cooking, relieving family tension—an idea Lou loves.
-Pete visits his daughter, realizes he’s not a part of his daughter’s family, & that Trudy is moving on (while a nanny takes care of his kid)
-Don is trying to get Megan to think of NYC as home again.
-Peggy is starting to lament being 30 & not being a mom & homemaker.
-Bob is trying to create an ‘arranged’ home w/Joan to create a façade of being a family man for Buick.
This could have been dealt with in the blunt trope of a culture war with Lou representing antiquated notions of family, juxtaposed against the headiness of the sexual revolution of 1969. Instead, it’s clear that the idea of home, family, & the interpersonal isn’t so cut & dried. all of these characters struggle in their relationships to find happiness, but is that the problem?
The final scene has part of the Burger Chef team as a ‘work family’. Don is the dad & the (incestuous) kids are Peggy & Pete (whoops, this isn’t Lars Von Trier’s MadMen), but they’re at the table…a third space family table, in a restaurant that’s shaped like a house.
This blog is turning into a blog of missed connections and a celebration of the end of eras. The next post on Blossom Café (a restaurant, not a band) will solidify this. I missed Green and Glass, who (I think) had two shows in Brooklyn recently, one at The Manhattan Inn. I can’t remember how I stumbled upon them, but I’m glad I did. There’s a hint of Stereolab & Lætitia Sadier at their mellowest in their sound. The syncopated horns and very accessible vocals make for some interesting indie pop, but it might be a tad austere for some. They also remind me a bit of earlier Au Revoir Simone, sans harmonies. I think “cement & metals” is a fine example of what I (think) I’m talking about::
“Wash” has strings (harp) that add a crisp texture to the sound.
The band members are Sam Decker, Dave Flaherty, Andrew McGovern, Lucia Stavros, and Ryan Dugre. I wish I knew more about them
This intermittent installment of Newmusicmonday features Prince Innocence, consisting of Josh McIntyre and Talvi Faustmann. This short interview gives a brief introduction to the band, but I liken their synth pop sound to 80s Giorgio Moroder cleaned up and updated for 2014. One of my favorite tracks is “Dissipate” that slips around you with its sexy charm:
“Time Zones” (s7e1) was interesting, but I might be reading way too much into things, which I’m wont to do. So, I was looking for the current themes that Weiner et al. are projecting onto 1969 and I sensed two. One was “Lean In” & the other was the disposable male. While on the surface, there are a lot of transitions going on in the wake of the agency’s musical chairs, I think Joan & Peggy were the most interesting stories.
Peggy has always been about competence on the job, while Joan has a preternatural understanding of org politics and embeddedness. Peggy no longer has a mentor to watch over her and I don’t think she wants one. She feels she has the chops, but wants to put her imprimatur on the work she does. She doesn’t always connect with people well or play the political game cleanly (like with her new boss) and is smart enough to know it. Joan is tired of being treated like a secretary and while she has performed her role well at the agency, she now wants mastery of accounts, not ops. Both Peggy and Joan want what the other has. In “Lean in” speak, Joan got her seat at the table & now is seeking greater legitimacy. Peggy is navigating the “jungle gym” of org politics, particularly after the shakeup.
Don & Roger are having to tackle with their own obsolescence in their personal lives. Don always does his balancing act between control and destruction. His (what I call) “50 shades of Draper” escapade with the neighbor last season put a fine point on that. Don realizes he’s all dramaturgy (albeit talented), but he sometimes is having trouble controlling his masks. Megan doesn’t need him and doesn’t seem to really want him, at this point. Roger still wants to be the grand patriarch and has been able to smooth over his transgressions with cash. His control over his daughter is in jeopardy now she has found “truth, light, & forgiveness”, but another sticky wicket is his inability to control Joan and her love life.
OK, so while this was supposedly 1969, in my experience over many years of going to Canters on Fairfax, I never got a sandwich that fast.
“Mining the virtual bins” of CBC Radio 3, I found a gem this morning. The Pack a.d. hail from Vancouver, BC and at least to me represent where much of the 90s grrrl angst should have gone. Tuneful sneers by Becky Black with a solid percussive beat by Maya Miller are addictive. My ADD nature wants the songs around 2 minutes, but that’s quibbling. The bilingual/French songs evoke 80s French new wave acts and one of my favorite tracks, “BC Is on Fire” (2011) simply rocks like it should:
Currently on Nettwork Records & on tour, they hit Toronto on 3/8 (Horseshoe), Montréal on 3/26 (Casa de Popolo), & here in NYC on 4/2 (Mercury). Check out more music & videos on CBCradio3.