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Editor-in-Chief
Alex Carnevale
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Features Editor
Mia Nguyen
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Reviews Editor
Ethan Peterson

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is dedicated to the enjoyment of audio and visual stimuli. Please visit our archives where we have uncovered the true importance of nearly everything. Should you want to reach us, e-mail alex dot carnevale at gmail dot com, but don't tell the spam robots. Consider contacting us if you wish to use This Recording in your classroom or club setting. We have given several talks at local Rotarys that we feel went really well.

Pretty used to being with Gwyneth

Regrets that her mother did not smoke

Frank in all directions

Jean Cocteau and Jean Marais

Simply cannot go back to them

Roll your eyes at Samuel Beckett

John Gregory Dunne and Joan Didion

Metaphors with eyes

Life of Mary MacLane

Circle what it is you want

Not really talking about women, just Diane

Felicity's disguise

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Monday
Aug312009

In Which I'm Peggy Olson And I Want To Smoke Some Marijuana

Mad Men: The Musical

by MOLLY LAMBERT

 

Great episode. The viewers at home breathe a sigh of relief as Mad Men hits its stride in the third inning after two wobbly-kneed and tedious first attempts. All the gears are finally whirring. Everyone (Joan!) has shown up. Characters are mixed up and re-matched in new social settings. And so many GIF opportunities.

 

So Many GIF Opportunities:

Roger in blackface

Peggy getting high

Don Draper hopping over the bar

Sterling's wife v. Joan

Pete and Trudy's dance routine

Joan playing the accordion

Sally Draper stealing from grandpa

The Tigertones reunion

 

So many chances for things to go horribly wrong, and yet for the most part it went alright. Matthew Weiner clearly thrives on the narrative tension of awkward situations, and yet he does not go straight for the banana peel every time. Jane's alcohol induced collapsed was not followed up with one of Mad Men's trademarked "vomiting in public embarrassment" sequences.

 

Pete & Trudy's Charleston: America's Next Best White Dance Crew?

Are they setting the characters up to be happy just to twist the knife later? Joan's husband's lack of medical prowess being revealed with the suggestion that patients die on his table seems pretty ominous. As does the whole "Grandpa Gene" situation. Or is it possible that after two seasons of turgid misery the Mad Men ensemble's lives will finally achieve that "freeness" the sixties is so often associated with. Probably not.

the other contender: Monica and Ross's "Routine" from Friends

There were some overly long poetic monologues. That Sam Elliott type (Chelcie Ross) in the empty bar served no purpose other than to make me laugh with his rambling about "taking a johnboat down past the old mansion." Peggy's overly mothering secretary who won't go home was neither here nor there.

"IT'S MOHAIR!!! HE'S LIKE A TOTALLY IMPORTANT DESIGNER!!!!!"

But the Breakfast Club bit with Peggy and the other creatives holed up smoking reefer at Sterling-Cooper on a Saturday was delightful. Christina Hendricks may not be a real redhead, but she really plays the accordion. How she fits it comfortably over her massive (real) breasts is a mystery for the ages.

 

"I'm so hiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii"

The cut from Peggy smoking the joint to the hallucinatory nightmare of Roger singing "My Old Kentucky Home" was one of many such touches that made this episode feel like the show is the Sopranos successor it ought to be. At its finest, Mad Men is a slow-paced and richly rewarding character drama (like The Wire). At its worst it's a campy soap (like True Blood).

I see you Patrick Bateman, hitting on my Peggy Olson, don't even think about it man!

Here's hoping the season continues in this fashion. I'll admit the first two episodes left me a little cold compared to this one, which I loved. Mad Men — like The Sopranos — theoretically follows one antihero while remaining an ensemble show at heart. Don Draper is cool, but he is just one of the eight million reasons we love this show.

 

In the end, it's really Pete Campbell's show. We're just watching it.

 

Molly Lambert is the managing editor of This Recording. She tumbls & twitters. You can find her review of last week's Mad Men here.

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"Soil, Soil (demo)" — Tegan & Sara (mp3)

"Burn Your Life Down (demo)" — Tegan & Sara (mp3)

"Call It Off (demo)" — Tegan & Sara (mp3)

 

Sunday
Aug302009

In Which We See A Portrait of Ourselves

The Gloom Over New York

by ELEANOR MORROW

Portrait of Jennie is this weird movie starring Joseph Cotten that I haven't been able to fully remove from my brain. I first saw it when I was little, and it became the center of all my wants and desires. Let me tell you why exactly that should be.

Portrait is about a mediocre artist who paints still lifes and can barely sell anything. His muse appears to him one night in Central Park as a prepubescent girl. Like any opportunistic pedophile, he's eager to talk to her about her parents and her boyfriend. Always he suspects she's simply humoring an old man. 

Jennie appears and disappears to him. He researches her background and discovers she's deceased and their flirtations are actually hauntings. This bowls him over with erotic desire. Can you understand why I was confused this was a film I was allowed to see when I was only eleven?

I missed then what I don't now — the pristine visions of New York, the idea of art in any corner, no matter how dank or destitute.  

Portrait was directed by William Dieterle, a German actor in his younger days who always wore a white hat and gloves on the set. The film's producer was David Selznick, who originally wanted Vivien Leigh in the role of Jennie. Shirley Temple was even considered, for she could film her scenes over a number of years so as to appear older.

Jennifer Jones took the role of the dead young girl instead, and her excitability and friendliness with her body are unusual for a nun. Her face shimmers to ensure you never get a straight look at any part of it. Eager to involve this starving artist into her maudlin dance with death, she forces him to believe that he can save her from the New England tidal wave (?!) that took out her boat one salty evening.

It's never explained why exactly a nun would take a boat out solo during the worst storm of the year, but it doesn't need to be. Really she is doing nothing more than luring him to his own death.

Contrast this with my literary heroines of those days — Pollyanna and Nancy Drew, of course — and you can see why this disturbing vision of a lost soul pulling her lover into hell enraptured me so. For the first time I didn't feel empathetic towards characters I watched onscreen. I merely emanated a glowing pity.

Because this story hinged on the plausible denial of man-girl love, the Jew from Pittsburgh Selznick fired five writers who tried to adapt this "story" into a feature. Selznick himself was so taken by Jones' portrait that Cotten paints in the film that it hung on his wall until he died. Perhaps this reminded him that there was no such thing as a perfect object.

When Cotten's character goes up the coast to find the place where his not-so-Eric-Bana-esque time travelling love perished in the water, the film's black and white diegesis melts into salty green. It's a shocking transition — who knew that color could exist in a world of blacks and greys? (Like Oz, this underworld metes out its pecularities regularly.)

Like Dorothy, when Cotton wakes, his friends are there. She is his lover, too, in spirit. She owns a gallery destined to make his loving portrait real art. It's a good thing you told us where you were going, they say. It's the only thing that saved you.

Portrait of Jennie is a subtle suggestion that it's okay to tell lies, or else it was an explicit instruction to pursue the fantastic, what others found unbelievable. Such fancies put Mr. Dieterle on the Hollywood blacklist, even though he made one of the finest prewar films, Blockade. The pursuit of the fantastic also managed to kill Portrait of Jennie's cinematographer, Joseph H. August. For the film, he was nominated for a posthumous Academy Award, and rightly so.

His visions of the world are dark, never giving away their full breadth, like a pent-up glimpse of the underworld. We move among them like ants, and even as a girl, I was sure that wasn't all they were.

Eleanor Morrow is the senior contributor to This Recording. She tumbls here. 

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"Femme Fatale" — Beck (mp3) (Velvet Underground cover)

"Sunday Morning" — Beck (mp3) (Velvet Underground cover)

"Waiting for My Man" — Beck (mp3) (Velvet Underground cover)

The Very Best of Eleanor Morrow on This Recording

Destroying Harry Potter from the inside...

A spirit rose and fell...

The aliens of District 9...

The inspired joys of Don Draper...

She went into a lonely place...

...and rode the perilous turns of Thieves' Highway.

Saturday
Aug292009

In Which We Try To Simply Survive The Donner Party

Stranded

by ALEX CARNEVALE

Being stranded somewhere is my deepest fear. My nightmares come back after days away, and awakening from them is no easy task. I often have to strain to separate my dreaming life from my waking life. Once as a child I was left alone in a department store. Another time my house was perilously empty, and I heard a creaking on the stairs. No ghost or haint haunts these lonely places.

David Mamet's The Edge, otherwise a mad satire of what getting really lost feels like, keeps coming back to me. Trying to keep his only companion's mind from exploding after they miss their only chance at rescue, Anthony Hopkins tells him that most people die of shame in the woods. American history is riddled with these sorts of ordeals, because man could truly be farthest away from the very thing he needed most.

During the trek of the Donner Party, snow descended over all, and in the storm the mules ran away, not recovered or slaughtered for meat. At that moment, the opportunity was there, for certain, to cease being a human and become something else entirely.

It may not be commonly known that the Donner Party originated in Illinois, the state of our president. It is always great when historical events attain a new subtext in retrospect through the use of irony.

As C.F. McGlashan put it in 1897:

The delirium preceding death by starvation, is full of strange phantasies. Visions of plenty, of comfort, of elegance, flit ever before the fast-dimming eyes. The final twilight of death is a brief semi-consciousness in which the dying one frequently repeats his weird dreams. Half rising from his snowy couch, pointing upward, one of the death-stricken at Donner Lake may have said, with tremulous voice: Look! there, just above us, is a beautiful house. It is of costliest walnut, inlaid with laurel and ebony, and is resplendent with burnished silver. Magnificent in all its apartments, it is furnished like a palace. It is rich with costly cushions, elegant tapestries, dazzling mirrors; its floor is covered with Oriental carpets, its ceiling with artistic frescoings; downy cushions invite the weary to repose. It is filled with people who are chatting, laughing, and singing, joyous and care-free. There is an abundance of warmth, and rare viands, and sparkling wines. Suspended among the storm-clouds, it is flying along the face of the precipice at a marvelous speed. Flying? no! it has wheels and is gliding along on a smooth, steel pathway. It is sheltered from the wind and snow by large beams and huge posts, which are bolted to the cliffs with heavy, iron rods. The avalanches, with their burden of earth and rocks and crushed pines, sweep harmlessly above this beautiful house and its happy inmates. It is drawn by neither oxen nor horses, but by a fiery, hot-breathed monster, with iron limbs and thews of, steel. The mountain trembles beneath his tread, and the rocks for miles re-echo his roar.

If such a vision was related, it but indicates, prophetically, the progress of a few years. California's history is replete with tragic, startling events. These events are the landmarks by which its advancement is traced. One of the most mournful of these is recorded in this work--a work intended as a contribution, not to the literature, but to the history of the State. More thrilling than romance, more terrible than fiction, the sufferings of the Donner Party form a bold contrast to the joys of pleasure-seekers who to-day look down upon the lake from the windows of silver palace cars.

The scenes of horror and despair which transpired in the snowy Sierra in the winter of 1846-7, need no exaggeration, no embellishment. From all the works heretofore published, from over one thousand letters received from the survivors, from ample manuscript, and from personal interviews with the most important actors in the tragedy, the facts have been carefully compiled. Neither time, pains, nor expense have been spared in ferreting out the truth. New and fragmentary versions of the sad story have appeared almost every year since the unfortunate occurrence. To forever supplant these distorted and fabulous reports — which have usually been sensational new articles — the survivors have deemed it wise to contribute the truth. The truth is sufficiently terrible.

McGlashan summed up his prologue with the following:

Where conflicting accounts of particular scenes or occurrences have been contributed, every effort has been made to render them harmonious and reconcilable. With justice, with impartiality, and with strict adherence to what appeared truthful and reliable, the book has been written. It is an honest effort toward the truth, and as such is given to the world.

Lewis Keseberg was a European immigrant who had the bad luck to await Mrs. Donner just before she died. She made him promise to see her girls out of the crisis alive. For receiving these last wishes, Keseberg was accused of her murder and harassed by others in the group. McGlashan comes to no certain conclusion about Keseberg's culpability. His is a most unreliable narration, to put it mildly.

Let the God to whom Lewis Keseberg appeals be his judge. It is not the part of this book to condemn or acquit him. Most of the fourth relief party have already gone before the bar at which Keseberg asks to be tried. Capt. Tucker is about the only available witness, and his testimony is far more lenient than the rumors and falsehoods usually published.

If Keseberg be guilty of any or of all crimes, it will presently be seen that the most revengeful being on earth could not ask that another drop be added to his cup of bitterness. His statement continues:

These men treated me with the greatest unkindness. Mr. Tucker was the only one who took my part or befriended me. When they started over the mountains, each man carried two bales of goods. They had silks, calicoes, and delames from the Donners, and other articles of great value. Each man would carry one bundle a little way, lay it down, and come back and get the other bundle. In this way they passed over the snow three times. I could not keep up with them because I was so weak, but managed to come up to their camp every night. One day I was dragging myself slowly along behind the party, when I came to a place which had evidently been used as a camping-ground by some of the previous parties. Feeling very tired, I thought it would be a good place to make some coffee. Kindling a fire, I filled my coffee-pot with fresh snow and sat waiting for it to melt and get hot. Happening to cast my eyes carelessly around, I discovered a little piece of calico protruding from the snow. Half thoughtlessly, half out of idle curiosity, I caught hold of the cloth, and finding it did not come readily, I gave it a strong pull. I had in my hands the body of my dead child Ada! She had been buried in the snow, which, melting down, had disclosed a portion of her clothing. I thought I should go frantic! It was the first intimation I had of her death, and it came with such a shock!

Just as we were getting out of the snow, I happened to be sitting in camp alone one afternoon. The men were hunting, or attending to their goods. I was congratulating myself upon my escape from the mountains, when I was startled by a snuffling, growling noise, and looking up, I saw a large grizzly bear only a few feet away. I knew I was too weak to attempt to escape, and so remained where I sat, expecting every moment he would devour me. Suddenly there was the report of a gun, and the bear fell dead. Mr. Foster had discovered the animal, and slipping up close to camp, had killed it.

When the party arrived at Sutter's Fort, they took no pains to conceal their feelings toward Keseberg. Some of the men openly accused him of Mrs. Donner's murder.

Such drama is more fit for cinema than Tom Hanks batting a volleyball around while waiting to be rescued, surely. As you read the McGlashan's account of the Donner Party, it's hard for your mind to wrap itself around why some of the party immediately succumbed, and others lasted longer. Jared Diamond tries to explain away the ponderous mystery of why some of them died, and some of them lived:

First, men are bigger than women. Typical body weights for the world as a whole are about 140 pounds for men and only 120 pounds for women. Hence, even while lying down and doing nothing, men need more food to support their basal metabolism. They also need more energy than women do for equivalent physical activity.

Even for sedentary people, the typical metabolic rate for an average-size woman is 25 percent lower than an average-size man’s. Under conditions of cold temperatures and heavy physical activity, such as were faced by the Donner Party men when doing the backbreaking work of cutting the wagon road or hunting for food, men’s metabolic rates can be double those of women.


To top it all off, women have more fat reserves than men: fat makes up 22 percent of the body weight of an average nonobese, well- nourished woman, but only 16 percent of a similar man. More of the man’s weight is instead made up of muscle, which gets burned up much more quickly than does fat. Thus, when there simply was no more food left, the Donner Party men burned up their body reserves much faster than did the women. Furthermore, much of women’s fat is distributed under the skin and acts as heat insulation, so that they can withstand cold temperatures better than men can. Women don’t have to raise their metabolic rate to stay warm as soon as men do.


These physiological factors easily surpass male murderousness in accounting for all those extra male deaths in the Donner Party. Indeed, a microcosm of the whole disaster was the escape attempt by 15 people on snowshoes, lasting 33 days in midwinter. Of the ten men who set out, two were murdered by another man, six starved or froze to death, and only two survived. Not a single one of the five women with them died.

Alex Carnevale is the editor of This Recording. He tumbls here.

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