Pinup, vintage fashion, vintage home, Jane Austen's Emma, and Miracles from Molecules!
Content dealing with fashion and fashion history.
From the CBC archives, a look at life in the Playboy Bunny outfit…
I’ve been paying a lot of attention to the Emma Adaptations Pages recently, which means I’ve rediscovered quite a bit of content. After over twelve years, there’s a ton of stuff about which I’ve entirely forgotten. Worse, much of it is sorely in need of revision. My perspective has changed a TON since 1997; seriously, a lot of the crap I wrote back then screams “21 and dumb” – you know, kinda like Emma herself. Or maybe just clueless, which is also apropos.
Anyway, here’s my little review of the Emma 2 soundtrack, circa 1997 with additions circa 2007. You can read the full article, which includes soundclips, here.
The Emma2 score (runs Runs 42’53”) – composed, orchestrated, and produced by Rachel Portman – is a breathtaking example of musical storytelling.
The main theme is a romantic, bittersweet, and haunting motive, airy and distant, which takes us back to a time and place when life was quiet and cheerful, if not completely happy. It at once encompasses the universality of Austen’s work and themes in its broad, sweeping strings, while at the same time capturing the intimate essence of snug, country community in its gentle woodwinds, harp, and quartet components. “Three or four families in a country village is the very thing to work on,” Austen once wrote.
Other themes, most notably the forbodingly driving horns and strings of the “Elton’s Rejection” and “Emma Insults Miss Bates” themes, bring home the very pressing and real horror of Emma’s blind mistakes in contrast to the gentle propriety of the main theme. Paired with the melancholy variation of the Main motive which follows it in “Miss Bates” and “Mr. Knightley Returns,” this “Blunder” Theme comes to signify both her anxious revelations and their wretched aftermath.
“The Dance” also perfectly parallels the emotions played out on-screen. As Mr. Knightley rescues the partnerless Harriet, the small sound of the dancehall ensemble is magnified into a glorious, fully-symphonic triumph.
You can buy this soundtrack through Amazon.com. If you order through this link, we will get a portion of the proceeds. You can get the piano sheet music for the End Titles and Frank Churchill Arrives in a collection of Austen film music (Emma2,S&S, P&P2, and Persuasion). It’s available from Faber Music for about five bucks a set. ISBN 0 571 51793 5.
A fun note – The End Titles track is included in the queue area music loop for the Soarin’ attraction at Walt Disney World’s Epcot park. The piece is not, however, included in the Condor Flats or Soarin’ Over California queue area loops at Disney’s California Adventure at the Disneyland Resort.
Updated: See part two of this saga here!
Okay kids.
Awhile ago I bought an old, rare-ish LP of Hawaiian string exotica arranged by famed Disney composer (and traditional jazz trombonist and tubaist) George Bruns. This is the guy who wrote the tune part of “Pirates Life for Me” (X Atencio wrote the lyrics). The album’s called “Moonlight Time in Old Hawaii,” and it includes several tracks from the later Adventureland Veranda restaurant area loop at Walt Disney World’s Magic Kingdom (I know of two different loops playing in that location; this material is from the second incarnation, ca. 1980s-1993). The title track – “Moonlight Time in Old Hawaii,” one of three tracks on the album that are original Bruns compositions – was actually featured in the International Gardens area loop at the 1964-65 World’s Fair’s Ford Pavilion (You can buy a copy of the “Walt Disney at the World’s Fair” CD set, which includes the fair version of the piece, here).
I’m not sure if the “Moonlight Time” track actually made the Adventureland Veranda (update: it did), but if you remember hearing it playing in situ, please tell me. So far, I’ve IDed a grand total of three songs from the album as AV area loop definites. If you know more, TELL ME. 😀 If you have even crappy snippets of live audio from your vaycay videos, pleeeease let me know!
I’ve bolded the three tracks that I know were used. Side one, tracks 2 and 3 apparently ran in order in the AV loop.
Side One:
1. South Sea Island Magic
2. Hawaiian Paradise (the tailend of this track shows up at the beginning of http://www.youtube.com/watch?v=nkYXoCgXqwA)
3. Moonlight and Shadows (it’s the track that comprises the bulk of this clip: http://www.youtube.com/watch?v=nkYXoCgXqwA)
4. To You, Sweetheart, Aloha
5. Paradise Isle
6. Song of Old Hawaii
Side Two:
1. Blue Hawaii (http://www.youtube.com/watch?v=BZEBkZUb0uw – the piece in the video is obviously Blue Hawaii, even if it doesn’t match the album version…but it seems to)
2. Moonlight Time in Old Hawaii (seems identical to the Ford Pavilion/International Gardens version released on the WF box set…no clue if the track was ever part of the AV loop)
3. Sweet Leilani
4. Aloha Nui Hawaii
5. My Tane
6. Ka Pua (The Flower)
Anyway, you can download my full album rip as a torrent via Mousebits.com, here. For individual tracks, see this torrent.
Groovy Adventureland Veranda area loop links:
Have fun!
This past weekend, I went back down to OC for my friend Cindy’s birthday. It was a wonderful few days! For her party, a group of us went to the Tea House on Los Rios in San Juan Capistrano, the same place Cindy and I went back on November 1. Here are a couple of photos from the event…
Cindy wore a mid-Edwardian dress she made herself. I wore my 1912 tea/luncheon gown (made by Tracie) and the 1911ish “Lunardi revival” hat I’d put together for the GBACG “My Fair Lady” event last August.
A new gown! Or is it? Actually, it’s a new variation on an old theme of mine: Winona Ryder’s Newport archery ensemble from Martin Scorsese’s 1993 Age of Innocence adaptation.
The ensemble is fiercely cute, with little faux pannier-looking things radiating out over the hips from a shirred panel on the skirtfront and layers of eyelet ruffles cascading down the skirt. It’s a little reminiscent of the gown on the left in this French fashion plate from the early 1880s:
My friend Tracie Arnold of Past & Present Creations made the fresh iteration of my original, beloved version of this gorgeous natural-form era ivy dress. The first dress – constructed by Victoria Riddenour, hand-embroidered by me, and photographed beautifully by Lani Teshima – had become too small to even THINK about wearing.
I wore the new ensemble to San Juan Capistrano on Halloween weekend, where my pal Cindy and I had tea and generally caroused around the old town area. Cindy wore a beautiful, embroidered black velvet ball gown that she’d made for Bat’s Day.
Outfit notes: The straw skimmer is a Victoria Riddenour original. My corset is Denise Nadine‘s late Victorian “Nettie” style. I made the combination undergarment (which you can’t see) from Truly Victorian’s 1876 combination pattern (TV105). My garnet earrings are from Lacis.
I get lots of email requesting ad link exchanges/sales and product/service reviews, so I felt it was time to officially present my policy on the matter to save us all time and hassle.
1. No one-sided link requests. I will only free-link resources which I either personally endorse or feel provide useful, pertinent content to my visitors. Sometimes I will do a link exchange, but only if the site in question meets the above criteria and maintains a reasonably visible link back to Strangegirl.com. Despite my best efforts to present truly useful outside links, I cannot personally guarantee the quality of any outgoing link presented on my site. This is particularly true as time passes (sites disappear, change, &c.).
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2. In general, I do not free-link commercial sites. On occasion, I will free-link a commercial site that I feel has significant free content OR has provided me with excellent service, but this is relatively rare. Don’t ask for it.
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As part of her “Go Gothic!” tribute to Northanger Abbey, my friend Laurel Ann invited me to do a light look at the costuming in the 1986 and 2007 television adaptations of the novel.
Anyway, I hope people enjoy it.