This week’s episode opens with Don Draper’s Cadillac methodically rolling down a dark, deserted highway. The hum of wheels on pavement is interrupted when he is pulled over by a patrolman that, once he’s confirmed the driver’s identity, cryptically says, “You knew we would catch up with you eventually.”
Of course the scene is only a dream and Don wakes in a modest motel room somewhere in Kansas, a long way from the luxury of Manhattan. His vision-quest through Middle America continues south only to be interrupted by car trouble in Oklahoma. He’s dropped at a hotel where he meets the owner, Del, and his wife, Sharon. Sharon tries to convince Don to stick around town for a VFW gathering to benefit a veteran whose kitchen burned down. A day later, Don reluctantly accepts despite a repaired Cadillac and his own rambling spirit. After several shots of Old Crow, a few cans of Lone Star beer, and some prodding from intoxicated vets, Don tells the table that he killed his Commanding Officer in Korea. Later that night, Sharon lets three angry vets into Don’s hotel room who are convince that he stole the cash from the donations jar. They leave without the money but with the keys to Don’s Cadillac which will be held as collateral until the money is returned. Don confronts Andy, a housekeeper at the hotel, about his theft of the money, demands its return, and suggests that he get out of town. Kindly, Don agrees to drive him to the nearest bus stop where he hands him the car keys and steps out of the car with some sage advice for the budding con artist, “don’t waste this.” His possessions whittled down to what will fit inside a Sears bag, Don looks content.
Pete bumps into Duck Phillips on the elevator at McCann and Duck asks for a private conversation in which he tries to convince him to help persuade Learjet to hire him as a headhunter. Pete reluctantly agrees to meet and, over the course of dinner, quickly realizes that he’s been tricked into an interview for the position. Despite Pete’s adamant lack of interest, Duck persists and tries to convince him to attend a second dinner with the spouses. Pete approaches Trudy about her possible attendance at the dinner and in the process reminds her how much she used to love client dinners. Trudy admires Pete for his ability to be sentimental about the past but adds that she, on the other hand, remembers things as they actually were. After Duck spins Pete’s no-show at the dinner as a reaction to Learjets initial salary offer they up it coniderably. Pete shows up at Trudy’s in the pre-dawn hours, tells her of his job offer in Wichita, professes his love, and invites her to move with him and reunite the family. Reluctant at first, she eventually accepts.
Betty struggles up the stairs at the university only to stumble and fall, injuring a rib and wounding her pride. At the hospital a doctor requests that she phone her husband as her condition appears to be more serious. In the car after the doctor’s visit, Francis has a tantrum and threatens to sue the hospital for frightening Betty. A second doctor, however, confirms the findings of the first: Betty has an aggressive form of lung cancer and is given months to live. Back at the house, Francis castigates Betty for refusing to seek treatment and accuses her of giving up. Against Betty’s wishes, Francis goes to Sally’s college, gives her the bad news, and enlists her to convince Betty to seek treatment. After brushing off Sally in the kitchen, Betty enters her bedroom that evening for a conversation. Sally accuses her of taking pleasure in the tragedy of her condition. After watching her own mother die slowly Betty simply wishes to spare Sally that same experience. She also hands her a letter with instructions to be opened after her death. Back in her dormitory, Sally reads the letter detailing practical matters such as burial site and Betty’s preferred dress, hairstyle, and lipstick. Betty says she loves her and knows that her life will be an adventure.
Last night’s episode featured references to apples, Learjet, and Old Crow whiskey among others. Enjoy our selection of highlighted ads that reference the brands and themes that Mad Men characters interacted with last night.
A gallery of our selected images may also be found on Flickr.
The characters at SC&P faced their worst fear last night as McCann Erickson planned to absorb and dissolve the agency. With 30 days to vacate their offices and 30 days for Don to find a new place to live, it truly is setting up to be the end of an era.
The episode opens on dinner as Ken enjoys toying with Pete and criticizing the work done by SC&P.
Roger receives a letter canceling the lease on the SC&P offices. After yelling at some of the secretaries, he calls McCann and discovers that it was not a mistake. McCann is planning to absorb the agency and move everyone into their own building. Roger, Don, Pete, Ted and Joan discuss the news with dread.
Stan and Peggy observe and audition children for a client. Stan comments that Peggy hates kids after she struggles working with them. Pete pulls her aside and tells her the bad news about the agency.
Lou calls Don and gleefully tells him that he is quitting and moving to Tokyo to work with Tatsunoko Productions on developing his comic into a cartoon.
The partners meet and come up with a strategy to move the agency to California where they could work on the clients that are a conflict for McCann. They rush off to see if they can get those clients to stick with them at “Sterling Cooper West.” Roger and Pete meet with Ken to get Dow to stay with them but he refuses and leaves.
Peggy meets with a headhunter who tells her that her best bet is to stay and work at McCann.
Pete and Trudy meet with the headmaster at Greenwich Country Day school, which rejected Tammy’s application. Pete says that it a family tradition for a Campbell to be at that school. The headmaster bears a grudge dating back to 1692 when his ancestors and Pete’s began a historic clan feud. He insults Trudi and Pete punches him before leaving. Later Trudi bemoans the fact that it is hard being a divorced woman because men try to take advantage of her.
Stan and Peggy have to babysit a girl who was left by her mother who had to pick up her son. The girl manages to staple her finger causing an argument between Peggy and the mother who returns. Later Peggy reveals to Stan that she gave a child up for adoption and says it is not fair that women have to make hard choices when men don’t.
The SC&P partners make their pitch to keep their conflicting clients and move to California, but Jim Hobart explains that they all will have great jobs at McCann working on top tier clients like Buick and Coca Cola. Only Ted seems happy to hear that he will get what he always wanted, to work on a pharmaceutical account. They all leave and commiserate over beer. The next day the partners announce the big news to the office and try to make it sound positive, but the staff quickly start taking over them and walk away.
Last night’s show featured references to toys, Dow, Buick, and first aid, among other things. Enjoy our selection of highlighted ads that reflect the brands and themes that Mad Men characters interacted with last night.
A gallery of our selected images may also be found on Flickr.
Last week, I saw a student production of A Streetcar Named Desire. The play, famously set in New Orleans, immediately ignited memories of my time in NOLA. One moment, I was sitting under the green and white striped awning of Café Du Monde where I eagerly waited for the arrival of a small mountain beignets. Then, I was savoring every morsel of a roast beef po’boy from Parkway Bakery, blissfully unaware that rivulets of au jus were trailing down my wrists. After that, I drifted off even further and was reliving my first slurpy spoonful of duck gumbo. That dish made my heart sing!
Gumbo is one of the oldest and most iconic dishes served in New Orleans. In its most basic form, gumbo is a soupy stew cooked slowly over a low flame. It is served in a bowl with a heaping spoonful of Louisiana long grain rice. The simplicity of that description is misleading, though. Recipes for gumbo are so diverse that it is nearly impossible to define the dish in formulaic terms. Peering into a simmering pot of gumbo, for example, you might see any combination of the following meats and seafood: crabs, shrimp, oysters, ham, chicken, duck, rabbit, and sausage. You might also spot roughly or finely chopped onions, celery, and bell peppers—the so called “holy trinity” of Louisiana cooking. Often, you’ll catch a glimpse of the swirling, willowy tendrils of okra slime. Or, you might see a bay leaf bobbing along the surface of the stew as it slowly releases its tangy, herbal flavor into the stock. Gumbo, then, is anything but formulaic and reflects the amazing complexity of New Orleans’ Creole food culture.
Gumbo is also a dish that invites experimentation. In fact, I might characterize it as a “playful” one. Inspired by the vivacious spirit of this dish, I chose to modify some aspects of the gumbo I found in the The Picayune’s Creole Cook Book (1916). I’ve included both the original recipe and my derivation of it below.
Shrimp Gumbo Filé Gombo Filé aux Chevrettes
50 Fine Lake Shrimp
2 Quarts of Oyster Liquor
1 Quart of Hot Water
1 Large White Onion. 1 Bay Leaf.
3 Sprigs of Parsley. 1 Sprig of Thyme.
1 Tablespoonful of Lard or Butter.
1 Tablespoonful of Flour.
Dash of Cayenne.
Salt and Black Pepper to Taste.
Shell the shrimp, season highly and scald in boiling water. Put the lard into a kettle, and, when hot, add the flour, making a brown roux. When quite brown, without a semblance of burning, add the chopped onion and the parsley. Fry these, and when brown, add the chopped bay leaf; pour in the hot oyster liquor and the hot water, or use the carefully strained liquor in which the shrimp have been boiled. When it comes to a good boil and about five minutes before serving, add the shrimp to the gumbo and take off the stove. Then add to the boiling hot liquid about two tablespoonfuls of the “Filé,” thickening just as desired. Season again with salt and pepper to taste. Serve immediately with boiled rice.
(Ashley’s) Shrimp Gumbo Filé
¼ cup of vegetable oil
¼ cup of flour
1 large white onion, chopped
2 quarts of unsalted chicken stock
1 pint of oyster liquor
1 ½ pounds of unpeeled lake shrimp
1 pound chopped chicken thighs
1 smoked ham shank
1 bay leaf
salt and pepper to taste
In New Orleans, there is a common phrase that marks the beginning of many gumbo recipes: first you make a roux. A roux is a combination of flour and fat (oil, lard, or butter) that is slowly toasted over a low flame, creating a rich, nutty flavor. For many people who are new to Creole cuisine, making it can be an intimidating process. After all, it takes at least 30 to 45 minutes to prepare a roux from scratch (no wonder people buy it in jars). The time investment is well worth it, though. The longer you toast your roux, the more complex and delicious the flavor of your gumbo!
I started off with a large soup pot (one with a thick bottom). Over medium heat, I combined equal parts oil and flour, stirring constantly (preferably with a wooden spoon). At first, the roux will be fairly thin and light yellow in color.
As the flour starts to toast, the roux will thicken slightly and air bubbles will begin to form on its surface. It will also appear slightly “gummy”—almost like mashed potatoes (if your roux is still thin, you can add another tablespoon or two of flour to thicken it). The key is to keep stirring.
After about twenty minutes, the roux will begin to smell like popcorn or toasted nuts. At this point, it will gradually begin to darken to a caramel color. Keep stirring! Over the next ten to fifteen minutes, the roux will become even darker. I always say that an ideal roux is almost the color of a Hershey’s chocolate bar (and that transformation can take over an hour). If you do not make it that far in the process, that’s OK. The most important thing is to cook the roux long enough to eliminate the “raw” taste of the flour.
Once you’ve reached your ideal coloring, add the chopped onion to the roux. You will hear a sizzling sound. Adding the onion stops the toasting process and will prevent your roux from burning. Allow the onions to cook for 10 minutes over medium heat, stirring occasionally. You want them to sweat and begin to brown.
Add the chicken stock, oyster liquor, shrimp, chicken, ham shank, and bay leaf. Bring the gumbo to a boil and then reduce the heat so that you have a steady simmer going for two hours. Stir every 15 to 20 minutes. You want the stock to reduce by a third.
A few notes: I prefer using unpeeled or partially-peeled shrimp because the exoskeleton gives the stock a really wonderful, shrimpy flavor. I also use smoked ham shank over hocks because the former has more meat, which I later pull off the bone and incorporate back into the gumbo before serving. In addition, I like to use the dark meat of chicken because it has a richer flavor that works well with the nuttiness of the roux. Last, but not least, if you cannot find oyster liquor, you can substitute it with unsalted chicken broth.
After the gumbo has reduced, take it off the heat. Add salt and pepper to taste. (The stock will already be fairly salty because of the smoked ham shank, so you may not need additional salt).
I like to serve my gumbo over ½ cup of long grain rice. I allow my guests to add a dusting of filé powder to their own bowls before digging into their supper. I also encourage them to get up close and personal with their gumbo. I often find myself calling out instructions and encouragement: “Pick up that shrimp right from the bowl! Don’t be shy! You’re supposed to eat gumbo with your hands as well as your spoon.” At least, that was how I was taught to eat my gumbo when I lived in New Orleans. Laissez les bons temps rouler!
Post contributed by Ashley Young, History PhD student and next year’s Graduate Student Intern for our Research Services Department.
The David M. Rubenstein Rare Book & Manuscript Library at Duke University has acquired one of the largest and most significant private collections on women’s history, documenting the work and intellectual contributions of women from the Renaissance to the modern era.
Carefully assembled over 45 years by noted bibliophile, activist and collector Lisa Unger Baskin, the collection includes more than 8,600 rare books and thousands of manuscripts, journals, ephemera and artifacts, including author Virginia Woolf’s writing desk.. Among the works are many well-known monuments of women’s history and literature, as well as lesser-known works produced by female scholars, printers, publishers, scientists, artists and political activists. Taken together, they comprise a mosaic of the ways women have been productive, creative, and socially engaged over more than 500 years. The collection will become a part of the Sallie Bingham Center for Women’s History and Culture within the Rubenstein Library.
The materials range in date from a 1240 manuscript documenting a respite home for women in Italy to a large collection of letters and manuscripts by the 20th-century anarchist Emma Goldman. The majority of materials were created between the mid-15th and mid-20th centuries. Other highlights include correspondence by legendary American and English suffragists and abolitionists Susan B. Anthony, Elizabeth Cady Stanton, Emmeline Pankhurst and Lucretia Mott; Harriet Beecher Stowe’s publicity blurb for Sojourner Truth’s Narrative, written in Stowe’s own hand; exquisite decorated bindings by the celebrated turn-of-the-century British binders Sarah Prideaux, Katharine Adams, and Sybil Pye; and Woolf’s writing desk, which the author designed herself.
Baskin and her late husband, the artist Leonard Baskin, were both avid book collectors. Leonard also founded The Gehenna Press, one of the preeminent American private presses of the 20th century. Lisa Unger Baskin began collecting materials on women’s history in the 1960s after attending Cornell University. She is a member of the Grolier Club, the oldest American society for bibliophiles.
“I am delighted that my collection will be available to students, scholars and the community at Duke University, a great teaching and research institution,” Baskin said. “Because of Duke’s powerful commitment to the central role of libraries and digitization in teaching, it is clear to me that my collection will be an integral part of the university in the coming years and long into the future. I trust that this new and exciting life for my books and manuscripts will help to transform and enlarge the notion of what history is about, deeply reflecting my own interests.”
Materials from the collection will be available to researchers once they have been cataloged. Some items will be on display in the renovated Rubenstein Library when it reopens to the public at the end of August 2015.
The Rubenstein Library’s research centers annually award travel grants to undergraduate and graduate students, faculty, and independent scholars through a competitive application process. Congratulations—we look forward to sharing our collections with you!
History of Medicine Research Grants
Lindsey Beal, MFA, for photographic research on late nineteenth and early twentieth century obstetric and gynecological instruments.
Elaine LaFay, PhD candidate in History and Sociology of Science, University of Pennsylvania, for dissertation work on “Weathered Bodies, Sickly Lands: Climate, Health, and Place in the Antebellum Gulf South.”
Jaipreet Virdi-Dhesi, PhD, for work on “Deafness is Misery: Advertised Cures for Hearing Loss in Early 20th Century America.”
John Hope Franklin Center for African and African-American History and Culture Research Grants
Wangui Muigai, Princeton University, “An Awful Gladness: Infant Mortality and Race from Slavery to the Great Migration”
Jessica Parr, University of New Hampshire at Manchester, “’Saved from My Pagan Land:’ the Role of Religion in Self-Making in the Black Atlantic, 1660-1820.”
Whitney Stewart, Rice University, “Domestic Activism: The Politics of the Black Home in Nineteenth-Century America”
Brandon Winford, University of Tennessee, Knoxville, “Building New South Prosperity: John Hervey Wheeler, Black Banking, and the Economic Struggle for Civil Rights”
John W. Hartman Center for Sales, Advertising & Marketing History Research Grants
Dana Alsen, Department of History, University of Alabama, “Changing Patterns of Food Consumption in North Carolina, 1945-1989”
Dr. Makeda Best, Dept. of Visual Studies, California College of the Arts, “Sensing Memory: Kodak Cameras, Class, the Haptic, and the Labor of Memory in Late Nineteenth Century America”
Cari Casteel, History of Technology, Auburn University, “The Odor of Things: Deodorant, Gender, and Olfaction in the United States, 1888-2010”
Dr. Victoria Greive, Dept. of History, Utah State University, “Childhood and the Ideology of Domestic Security: Advertising During the Cold War”
Kira Lussier, Institute for the History and Philosophy of Science and Technology, University of Toronto, “Managing Your Self: Personality Testing in Corporate America, 1960-present”
Dr. Einav Rabinovitch-Fox, Visiting Scholar, Institute of Research on Women, Gender, and Sexuality, Columbia University, “Ad Women in a (Mad)Men World: Negotiating Gender in the Advertising Business 1910-1930”
Dr. Rebecca Sheehan, United States Studies Center, University of Sydney, “The Rise of the Superwoman: How Sex Remade Gender in America’s Long 1970s”
Dr. Mark Tadajewski, Professor of Marketing, Durham University, “Jean Kilbourne: Recalling the Contributions of a Feminist Critic of Advertising”
Seth Tannenbaum, Department of History, Temple University, “Take Me Out…To the Concession Stand: Baseball, Food, and Citizenship in the Twentieth Century”
Sallie Bingham Center for Women’s History and Culture, Mary Lily Research Grants
Meaghan Beadle, Ph.D. candidate, history, University of Virginia, “This is What a Feminist Looks Like! Photography and Feminism, 1968-1980.”
Hanne Blank, Ph.D. candidate, history, Emory University, “Southern Women, Feminist Health: Activist Health Service and Communities of Radical Conscience in the Southeastern U.S., 1968-1990.”
Samantha Bryant, Ph.D. candidate, history, University of Nebraska at Lincoln, “‘Black Monster Stalks the City’: The Thomas Wansley Case and the Racialized Cultural Landscape of the American Prison Industrial Complex, 1960 – 1975.”
Jaime Cantrell, Visiting Assistant Professor of English, The Sarah Isom Center for Women’s and Gender Studies, University of Mississippi, “Southern Sapphisms: Race, Sexuality, and Sociality in Literary Productions, 1968-1994.”
Ariel Dougherty, Independent scholar, for book research on film teaching programs for young women, women of color, and queer women.
Anne Gray Fischer, Ph.D. candidate, history, Brown University, for dissertation research on the politics of prostitution in the US from 1960s – 1980s.
Anna Iones, Ph.D. candidate, English language and literature, University of Virginia, “Shocking Violence, Contested Consent: The Feminist Avant-garde from Kathy Acker to Riot Grrrl.”
Catherine Jacquet, Assistant Professor, history, Louisiana State University, Responding to Rape: Contesting the Meanings of Sexual Violence in the United States, 1950-1980.
Whitney Stewart, Ph.D. candidate, history, Rice University, “Domestic Activism: The Politics of the Black Home in Nineteenth-Century America.”
Mary Whitlock, Ph.D. candidate, sociology, University of South Florida, “Examining Forty Years Of The Social Organization Of Feminisms: Ethnography Of Two Women’s Bookstores In the US South.”
Leah Wilson, Master’s student, English, Iowa State University, “Fleeing the Double Bind: Subverting the ‘White Trash’ Label through Female Solidarity and Erotic Power in Dorothy Allison’s Cavedweller.”
The SFWA Southeast Reading Series will present a panel on science fiction and technology with authors Mark Van Name, Mur Lafferty, Richard Dansky, Jay Posey, Justin Achilli, and (via Skype) Tiffany Trent. The panel will be moderated by Hillsborough author and editor M. David Blake.
The panel will be followed by a question and answer session, and a chance to mingle with the authors.
Last night’s episode began and ended with scenes focusing on things that Don has lost in his life. At the Francis house, Don makes a milkshake for his sons. Betty and Henry come home and Don wistfully watches his family chatting together then leaves alone.
Megan calls to ask Don for $500 for the movers. She wants them to “just sign the papers and be done with this” and is tired of asking for an allowance.
Don tracks down Diana at a steakhouse. He wants to have dinner with her “even if it’s five minutes at a time.” Later she comes to his apartment in the middle of the night. They talk about their divorces and her past.
Peggy hires renowned photographer Pima Ryan for the Cinzano shoot. Stan scoffs at first, but then wants Pima to look at his work. Pima seduces him, and later makes a pass at Peggy. They both realize that Pima took advantage of them.
Megan’s mother, Marie, criticizes Megan for letting Don off so easy. Megan’s sister implies that Megan is a failure because of her divorce. Marie is left to supervise the movers at Don’s apartment and fills the whole moving truck with Don’s furniture. Marie calls Roger asking for cash to pay the mover. He arrives at Don’s apartment with the money and Marie rekindles their previous affair.
Harry and Megan meet for lunch to discuss her acting career. He flatters Megan, but then makes a pass at her. She leaves in disgust. She goes back to Don’s apartment, shocked to discover it empty except for Roger and Marie. Megan scolds them both and leaves.
Don and Megan meet in the attorney’s office. Megan accuses him of ruining her life. Don writes her a check for a million dollars. “I want you to have the life you deserve,” he says. She takes the check and gives Don her wedding ring.
Don arrives at Diana’s tiny apartment. He is ready for a new start and gives her a book about New York City. Diana insists that she can’t see him anymore because she forgot about the daughter she abandoned while with Don and she never wants to do that. Don goes home to find his apartment completely empty.
Last night’s episode featured references to blenders, Life Cereal, Cinzano vermouth, photography, Champagne, and Tab, among other things. Enjoy our selection of highlighted ads that reflect the brands and themes that Mad Men characters interacted with last night.
A gallery of our selected images may also be found on Flickr.
Mad Men is back! This half-season premier felt like an extended dream sequence with Peggy Lee’s eerie hit “Is That All There Is?” bookending the episode.
The episode opens with Don holding a cup of vending machine coffee and a lit cigarette while posing a woman wearing nothing but a pricy fur coat—Don, the eternal misogynist. The scene widens to reveal that he is in fact working a casting call at the office.
Mathis attempts to set up Peggy on a blind date with his brother-in-law. After some initial resistance she eventually acquiesces. While something of a milquetoast—he won’t even return an incorrect food order—the date goes well and, after some wine and a bottle of Galliano, the date nearly culminates in a spontaneous trip to Paris. Instead, the couple settles for a phone call in two weeks.
Fearing the toll that the advertising industry is taking on his psyche, Ken Cosgrove’s wife tries to persuade him to get out of the advertising business and focus on his writing. The following day, at the behest of a McCann-Erickson executive, Ken is fired by Roger. While expressing some bitterness at Roger’s lack of loyalty, he chooses to interpret the moment as kismet, an opportunity. Rather than focus on his writing he listens to his competitive instincts and accepts a position as director of advertising for Dow Chemical. Rather than pulling Dow’s business from the SC&P he vows to be a difficult client to please in the future.
Peggy and Joan have an encounter of their own with the heavy-handed and none-to-subtle staff of McCann. On behalf of SC&P’s client Topaz pantyhose, together they pitch the possibility of McCann introducing them to some of their department store clients. After a few minutes of crude innuendo from the McCann reps, Peggy finally persuades them to take a look at the proposal. Rather than a bonding experience the meeting results in an elevator argument between Peggy and Joan over the meeting’s takeaway lessons.
After a vision (dream?) of Rachel Katz, his brief fling from season 1, in Chinchilla fur, Don attempts to set-up a meeting with her under the auspices of a potential partnership between her department store and Topaz pantyhose only to learn that she has recently passed from an illness. Perhaps it’s the memory of Rachel that informs his continued attraction to the mysterious waitress at the late-night diner. With Rachel’s family sitting shiva, Don attempts to pay his respects only to be cast out. Finding his way to the diner, he attempts to connect with the waitress only to be told that the tryst was merely just compensation for the large cash tip from a previous evening.
Last night’s episode featured references to toasters, L’eggs hosiery, wine stained carpet, veal, pop tarts, and Paris.
A gallery of our selected images may also be found on Flickr.
Dispatches from the David M. Rubenstein Rare Book and Manuscript Library at Duke University