Video of the Day: Wavves, “Post Acid”
That green guy can shred. Probably the most fun that’s been had with VHS tape, papier mache and spray paint in a long, long time.
– Lang
Video of the Day: Magic Kids, “Superball”
If you cannot have fun with “Superball,” you simply cannot have fun. You’re against fun. I think you’re a contra-fun.
“Memphis” came out Tuesday. Buy it now and it will be your soundtrack to what’s left of summer.
– Lang
Video of the Day: Yellow Ostrich, “Morgan Freeman’s Early Life”
Singer-songwriter Alex Schaaf was running low on ideas, so he wrote and recorded an EP based on Morgan Freeman’s Wikipedia page. Because that’s what you do.
– Lang
Yellow Ostrich - Morgan Freeman's Early Life from Panaframe on Vimeo.
Trailer for AMC’s “The Walking Dead”
“The Walking Dead” premieres on AMC on Halloween night, and this extended trailer indicates that the channel that plays host to “Mad Men,” “Breaking Bad” and “Rubicon” is on a roll. The spook factor in this adaptation of the popular graphic novel is accentuated considerably by the use of Scott Walker’s “The Son Ain’t Gonna Shine Anymore.” This one looks ripe for StaticBlog recapping.
– Lang
Video of the Day: MGMT, “Congratulations”
Andrew and Ben go on a tragic hike through the Tatooine desert and their cute-bizarre little dromedary friend literally falls apart.
Drugs.
– Lang
Video of the Day: Ra Ra Riot, “Boy”
Ra Ra Riot
Tags:
Ra Ra Riot, MTV Music
The Ra Ra Rioters are inundated with cats, tap dancers and illuminated balloons in this first video from “The Orchard.”
– Lang
“Mad Men” Recap: 405, “The Chrysanthemum and the Sword”
The title for our latest “Mad Men” episode comes from a sociological screed about Japanese culture written by Ruth Benedict at the behest of the U.S. Government and published in 1946 at the dawn of the United States’ occupation of Japan. Considering that the bulk was written during the war, the chance that any meaningful on-the-ground work was done in the research phase of “The Chrysanthemum and the Sword” is unlikely. But beyond what was apparently some fairly prejudicial mumbo-jumbo, the takeaway for our anti-heroes at Sterling Cooper Draper Pryce is that the Japanese businessmen possibly bringing the Honda motorcycle account to Pete Campbell (Vincent Kartheiser) are part of a “shame-based society” as opposed to our own “guilt-based society.” Of course, this is broad-brush stuff because, as we’ll see in this episode, shame is a major motivator in how Betty Draper (January Jones) goes about her parenting, and it does form the foundation for Don Draper’s climactic clever maneuver against Cutler Gleason and Chaough.
As Episode 405 opens, Don (Jon Hamm) receives a call from The New York Times’ advertising reporter, who is doing some press release reporting on the idea that CGC is always in SCDP’s “rear-view mirror,” that they just nabbed Clearasil after SCDP had to drop the zit cream because of a conflict with the more-lucrative Pond’s account and that they are now competing directly over Honda. Don claims not to know who Ted Chaough is, but we all know this game. CGC doesn’t really come off as serious competition in this episode — more like carrion birds feasting on SCDP’s roadkill. But at the meeting table, the threat is taken seriously and the importance of landing Honda is apparent to everyone involved except Roger Sterling (John Slattery). Roger, the World War II vet, is dead set against courting Honda, since he served in the Pacific and, 20 years later, still hates the Japanese and, at least in this case, seems perfectly happy with SCDP’s dependence on Lucky Strike and Lee Garner Jr. Bert Cooper (Robert Morse) tells Roger that “the war is over,” and while it’s been some time since we, as viewers, have been invited into Cooper’s office, we know the guy has a serious aesthetic leaning toward Japan, what with his shoji doors and everything. Roger, it seems, is going to be an issue, since he apparently hasn’t met a Japanese stereotype or insult he didn’t like.
Don, meanwhile, is taking Bethany (Anna Camp) to Benihana of Tokyo (a business-and-pleasure field trip that will probably be about as enlightening as Ruth Benedict’s book), and so Phoebe (Nora Zehetner) is babysitting Sally and Bobby at Don’s man cave — she brings her nursing equipment for Bobby to play with, but Sally is extremely displeased that Don is abandoning them to go on a date. After Don leaves, Sally goes into the bathroom and hacks off a good portion of her hair in emulation of Phoebe’s close crop. Apparently Sally thinks that short hair will make Daddy notice her and she asks Phoebe, “Are you and Daddy doing it?” Phoebe is, of course, apoplectic and knows exactly how this is going to play when Don comes home.
At Benihana, Don and Bethany are getting their lesson in Japanese cutlery use and Bethany is complaining about her hair smelling like fried food when Ted Chaough (Kevin Rahm) shows up to do his own research and give Don a kick in the ribs. Don is clearly irritated — he tells Bethany that Ted is a “fly I keep swatting away,” but that isn’t near the irritation Don experiences when he goes back to the man cave (still no sex from Bethany, who is apparently the mother of one of the authors of “The Rules” and is holding out until she theoretically becomes the next Mrs. Don Draper) and discovers Sally’s new ‘do. As predicted, Don goes off on Phoebe and hands her some money with a “severance” package. Then Don takes Sally and Bobby to Betty and Henry’s chamber of horrors, where Betty greets Sally’s hair with a whopping slap in the face. Betty’s always been a bit of a Mommie Dearest, but in seasons one through three, she was more passively Hellish. These days, an active nastiness is taking over, with Betty taking out her hatred of Don on the children she had with him. Henry convinces Betty to take Sally to get the hair fixed (Hayley Mills is all the rage anyway) and let her go to her planned sleepover, to which Betty tells him, “You’re soft.” Well maybe, but Tony Stark would be soft compared to Betty these days.
Back at the office, the partners who are willing to conduct commerce with Japanese companies are meeting with executives from Honda, and everything is going swimmingly until Roger shows up and starts making dark jokes about Hiroshima and Nagasaki and blatantly insulting the men. This scene had my skin crawling: I lived in Japan for two years when I was in the military, and not only are new residents cautioned about making hateful comments like these, the rule is that you just don’t talk about it. No drunken apologies for Fat Man and Little Boy — just shut up, sailor. Anyway, it’s pretty much a foregone conclusion that Roger has scuttled any chance SCDP had of landing the account, and Pete blows up at Roger for what he sees as a personal attack sabotaging Pete’s potential success, and Don is forced to not only intercede when Roger tries to physically attack our young weasel, but actually defend him.
And now things get a tad uncomfortable, even by “Mad Men” standards, as Sally sits on a couch at her sleepover and watches “The Man From UNCLE” while her friend Laura snoozes away. She gets a little, shall we say, flushed at watching David McCallum’s Illya Kuryakin, hikes up her pajamas and is promptly caught by Laura’s mother, who yells at her and takes Sally home. Needless to say, Betty is unsympathetic, mainly because word will get out that her daughter’s some kind of fast floozy (shame, anyone?). Betty tells Henry about it, and they decide Sally needs professional help because, as Betty tells Sally, you’re not supposed to do those kind of things, not in private or in public. Of course, Betty made utilitarian use of a washing machine in season one, but that was different, right? Right?
Back at SCDP, the men haven’t received the customary gift from Honda, which Far East scholar Bert interprets as a sign that SCDP is expected to bow out of competition for the account. It should be pointed out at this juncture that Honda went into this brouhaha with ground rules, including a proviso that none of the competing agencies could spend more than $3,000 on developing a proposal and that no finished work could be presented. At first, Don proposes that SCDP should just shoot the moon and create a spot, but bean-counting Lane puts the kibosh on that idea. In the middle of all this, Betty calls Don, tells him about Sally’s little indiscretion and informs him that she’ll be taking her to a child psychologist, and in short order Betty starts blaming Don for everything because of what she perceives as a constant stream of nubile Manhattan flesh parading through the man cave. Don shoots back, telling her, “You brought another man into your house.” Betty justifies it by playing the marriage card, but in Sally’s eyes, that doesn’t amount to much. Henry’s an interloper who’s making an unholy two-backed beast with Sally’s mom, whether the State of New York recognizes the union or not.
So anyway, Don’s got a shame-related idea that might not win SCDP the motorcycle account, but could allow them to save face: make CGC think that SCDP is producing a TV ad, which will force Ted Chaough to produce his own spot, thereby violating the spirit and the letter of the competition. What follows is a great deal of stagecraft, with Joan offering a directorial job to a helmer who they already know is under contract to CGC and having Peggy wheel around a Honda motorcycle in the hallway. Word gets back immediately to Chaough, who comes up with a spot involving a motorcyclist driving through subway stations and then whipping off the helmet to reveal — gasp! — a beautiful “California” blonde. Peggy and Joey then rent out a soundstage across the hall from where CGC is shooting, and Peggy does donuts with the motorcycle, just to make noise.
Don and Faye Miller (Cara Buono) share the bottle of sake that Chaough sent over as a nastygram, and Don wonders aloud why normal human beings always feel the need to share their emotions — apparently Don isn’t just being guarded: he really doesn’t know. Faye tells him that it makes them feel better, and over the course of drinking the rice wine, she reveals that she’s not really married. The ring is a flim-flam thing that helps Faye avoid distracting or complicating conversations (like, for instance, this one) with brooding chauvinists at client firms. Meanwhile, Betty goes to see Sally’s new psychologist, “Dr. Edna” Keener (Patricia Bethune) who seems more interested in the twisted mind of Betty Draper than in her 10-year-old daughter. Betty tells Dr. Edna that she thinks Sally did this to punish her, and so when the doctor schedules Sally for four days a week of therapy (gah!), it’s obviously because of the solipsist/narcissist sitting across from her.
Fresh from unveiling his lame-ass ad, Ted Chaough gloats to Don, who he thinks doesn’t stand much of a chance since Don is clearly traveling light. In the meeting room, Don withdraws from the “bake-off” and hands the Honda guys a $3,000 check, telling them that he and his firm did not feel right competing when others in the running did not follow the rules and, by extension, the Honda executives received the presentation from CGC without rejecting it outright as a violation. The Honda executives have, in fact, been shamed thanks to Don’s clever little jujitsu against Chaough, who we presume will soon be reduced to drinking Aqua Velva out of a brown paper bag on Avenue A. The result? SCDP saves face, and while they will not be selling motorcycles, Honda informs them that they will be first in the running to do ads for Honda’s entry into the car business.
There was a lot of fun to be had with “The Chrysanthemum and the Sword,” mainly because the “bake-off” added a note of whimsy after three episodes of Don’s “Days of Wine and Roses” spiral, but it also brings up a fair number of questions about where things are going in Betty Draper’s world. After Sally’s “UNCLE” situation, Betty actually revealed to Henry that she’d gone to therapy “years ago,” telling him she “was bored.” It seems Henry got sold on the Betty Draper concept when he saw her in the showroom and never bothered to look under the hood, so to speak. As she continues her transformation into the mother and, eventually, wife from Hell, Henry looks more and more temporary. Don, meanwhile, confided with Faye Miller that he always feels “relieved” when he drops the kids off at Betty’s, but he misses them. Because Betty is such an important character on the show, there stands the possibility that, if Don doesn’t marry Phoebe, Bethany or Faye by season’s end, Don and Betty will later reunite for a resoundingly bad, hateful and sexless remarriage, just in time for Sally and Glenn to run away to Woodstock.
– Lang
Photos: Blackwatch Studios hosts Norman concert series
Norman recording destination Blackwatch Studios invited local acts The Boom Bang and The Pretty Black Chains to play alongside Texas band The Burning Hotels. It’s definitely not the usual concert experience at The Deli, which is known for its local blues and country acts.
Regradless, it’s good to see Norman embracing Blackwatch which is becoming one of the most consistent music tastemakers in the state.
-Poppe
Music Review: Lissie, “Catching a Tiger”
Rating: 65
An exponent of Los Angeles’ neo-folk scene, Elisabeth “Lissie” Maurus’ full-length debut, “Catching a Tiger,” follows the still-unfolding trend (see Ra Ra Riot’s “The Orchard”) of the underground wrapping its arms around classic Fleetwood Mac. Recorded in Nashville, Tenn., with a number of producers, “Catching a Tiger” consequently feels inconsistent, like Lissie’s strong voice has been grafted into several crazy-quilted squares. So, some tracks succeed like gangbusters, and others feel like self-conscious stretches. But nearly all sound like they were cooked up in Laurel Canyon, before new wave and hair-metal took over the clubs down on Sunset Boulevard.
“In Sleep”
Lissie’s obvious high point on “Catching a Tiger” comes on “In Sleep,” in which her powerful vocals evoke Stevie Nicks in their early, less-histrionic phase and is complimented by an extended guitar coda that could have come directly from the fingers of Lindsey Buckingham. That Mac influence is also in full flower on the sunny pop of “Cuckoo” and on the more idiosyncratic “Stranger,” which echoes Buckingham when the odd genius is characteristically picking through Buddy Holly’s bag of tricks.
The one track that departs dramatically from the formula is “Bully,” a hook-laden ballad made roughly gorgeous by an orchestral wall of guitars. There are moments when Lissie can veer into generic blandness (“Loosen the Knot”), and her morose closing ballad written with Ed Harcourt, “Oh Mississippi,” has more moss growing on it than hanging over it. The lion’s share of “Catching a Tiger” is strong, but it cries out for a more unified production strategy, one that would have made this gold-dust woman’s dreams feel less like secondhand news.
– Lang
Video of the Day: Primary 1, “Princess”
British electro producer Joe Flory leads a line of Magrittes through a Thunderdome desert in this first video from Primary 1′s debut on Atlantic. As a side note, Atlantic is also releasing Chromeo’s new disc next month. It seems that Ahmet Ertegun’s classic label is getting a kind of electro makeover.
– Lang
