The Pill

In the first episode of Mad Men, titled “Smoke Gets in Yout Eyes,” Joan sends Peggy to a gynecologist to receive a prescription for The Pill. During the appointment, one of the first doctor’s first comments was to question Peggy’s desire, as a single woman, to take the pill. Through the entire scene, he makes comments that judge Peggy, and other women, for their use of contraception. If these attitudes were so prevalent in the time period, why was the pill invented, why did it become so popular?

Development of the birth control pill began in the early 1950s at the urging of early birth control advocate Margaret Sanger. The activist believed that because of unreliable or inaccessible birth control many women and families were burdened with children that they could not possible take care of. Because of many retrictive laws, Sanger was unable to distribute a great deal of useful information on the topic. Despite delays in development, large scale clinical trials of the pill began in 1957. While earlier small trials had occurred in the United States, laws against birth control forced the developers to hold trials in Puerto Rico. Later that year, The Pill, called Enovid, was given FDA approval for the treatment of menstrual disorders. Three years later, it became the first drug approved for use by a healthy person when it was released as birth control. Within two years 1.2 million women were being prescribed The Pill and other companies are beginning to break in to the market.



Image credit: http://www.pbs.org/wgbh/amex/pill/timeline/timeline2.html

One problem with the early birth control pills was that they carried the risk of deadly side effects. These side effects, such as depression, blood clots and strokes, were often ignored by the drug company, the FDA and the prescribing doctors. Often, they were viewed as relating to outside causes and sufferers were referred to specialists. It took the publication of a criticizing book in the late 1960s before an investigation finally occurred. Despite these side effects, the number of women choosing to take the pill continued to increase: in 1973, 10 million women were taking the pill, and by the mid-1990s the number reached 80 million worldwide.



Image credit: http://www.pbs.org/wgbh/amex/pill/timeline/timeline2.html

This Pill’s main result was giving women more control over their bodies. They were able to decide when to have children and whether or not they wanted a career. This allowed women to remain in the workforce longer and develop a career. This is one reason that, by the 1980s, 60% of women of reproductive age were employed in the United States. It also meant women could be more spontaneous in their personal lives. The doctor clearly objected to that aspect.

Links referenced: http://www.nyu.edu/projects/sanger/secure/aboutms/index.html

http://www-scf.usc.edu/~nicoleg/history.htm

Don Draper: A Randian Hero?

“My philosophy, in essence, is the concept of man as a heroic being, with his own happiness as the moral purpose of his life, with productive achievement as his noblest activity, and reason as his only absolute.” - Ayn Rand 

The simplest summarization of the philosophy of Objectivism could strike someone as the implicit ideology of Don Draper.  The ethics of a rational man, according to Ayn Rand, author of the acclaimed novel Atlas Shrugged, determine the course of his life, through reasoning and his own objective observation and rejecting the notions of altruism and self-sacrifice.  Furthermore, happiness is only achievable to a rational man acting in accordance with these principles.  

Bert Cooper first makes reference to the similarities between Don Draper and Ayn Rand’s idealized rational man in the episode “The Hobo Code.”  “You are a productive and reasonable man, and in the end, completely self interested." But Don’s egoism is first presented to the audience in episode one, “Smoke Gets in your Eyes.”  By definition, the affair with Midge, once revealed as extramarital by the end of the episode, is an act of carnal and psychological selfishness.  Rand would argue that such an affair, if in accordance with one’s own morality, is a rational act, in addition to being an expression of positive self-esteem.  Once his life story is gradually revealed, Don’s rational egoism is further affirmed by his creating a new life for himself for his own selfish purpose.  He did so not at the expense of the real Don and Anna Draper, but as he eventually explains, he had to remove himself from his traumatic past, and he had to get out of Korea.  The only way to do so was to leave Dick Whitman behind.  

Don particularly resembles one character from Atlas Shrugged, Hank Rearden, an ambitious steel executive whose business is derailed by excessive government regulation.  Both men play the part of a solid provider, even when they receive little to no personal satisfaction from doing so.  Both men find the tenets of post-materialism to be illogical, such as when Don dismisses Midge’s friends’ criticism of his lifestyle in “The Hobo Code.”  Lastly, both men pursue intellectual and sexual relationships with independent businesswomen as a means of escaping the seemingly vacuous relationships they have with their wives.  It is because of these similarities that I believe the writers of Mad Men intended to have some basic axioms of Objectivism be prevalent in Don Draper’s life.  

In an attempt to avoid oversimplifying Don’s philosophical motivation, it should be fully recognized that he does not solely see through an Objectivist lens.  The whole notion of evading reality is asserted by his abandonment of his true identity.  Rand would argue that man should not act without knowing the purpose of his actions, which one could argue, that Don has never truly been cognizant of his immediate nor long-term future.  But there is something to be said for his individuality, his commitment to success, and his apparent rational egoism, even if it operates at the expense of Betty and his children.  Don is driven to make money for himself, not for others.  He strives to be the best ad man at Sterling Cooper, which makes his relationship with the aspiring Pete Campbell more contentious.  His mind operates within his definition of a sound business model, that which is the client is to adopt his idea. He uses his own objective, reasonable mind to govern his life and rarely accepts that which is fed to him by Roger, Betty, or Pete.  Rand writes in Atlas Shrugged that “Man's mind is his basic tool of survival. Life is given to him, survival is not. His body is given to him, its sustenance is not. His mind is given to him, its content is not” (1012).  There is no doubt that Don chose to live by this assertion when his life spun out of control; he chose to repair it through volition.  

In Episode Nine of Season One, entitled “Shoot”, we see a tense exchange between Peggy (Elizabeth Moss) as she returns Joan’s (Christina Hendricks) dress that she previously borrowed from her. It seems this confrontation has been building up all season as Peggy and Joan have often disagreed on many things. Peggy and Joan represent two very different types of women, with different goals, and very different ideas about what constitutes success. These differences eventually lead to jealousy and cruelty—an unfortunate side effect of success for women in the workplace.

Throughout the season, Joan attempts to offer Peggy advice on how to attract a potential male suitor, and while her intentions are good, this advice does not particularly work out well for Peggy (case and point: her extremely awkward attempts at flirting with Don in “Smoke Gets in Your Eyes”). Despite Joan’s attempts, Peggy is more interested in advancing her career at Sterling Cooper than landing a husband, something Joan finds difficult to understand. Joan’s power comes from her sexuality and her power over men, and she believes, like many women did at the time, that finding a husband was the most important thing in a young woman’s life.

As a result of this, she tells Peggy that her recent weight gain will prevent her from “doing well” and finding herself a husband. Peggy retorts with a prideful look on her face, “I’m the first girl to do any writing in this office, since the war.” To which Joan replies somewhat confused “Writing? Is that what this is about? I thought you were only doing that to get close to Paul.” This quote is another example of historical references in Mad Men as Peggy mentions that she is the first female copywriter since the war, referring to the mass employment of women during World War II.

With many of the men overseas, women had to fulfill traditionally male roles in the work place, including the advertising world. Despite the massive gains for women during the war (financial independence, learning new skills, putting their education to work), it was largely seen as a “special situation” that would only last until the war was over and the need for labor diminished. At the end of the war, many women were forced to give up their jobs to make room for returning veterans, and return to their domestic roles. The 1950’s were a large step back for the progress of women—though we begin to see that change in the 1960s, and Peggy Olson is a prime example.

However, from this point Peggy and Joan’s conversation grows increasingly cruel, as they each point out the others shortcomings. Joan essentially tells Peggy that the reason she was able to work on accounts is because the wife of a client was not worried about Peggy’s involvement (insinuating she is not a threat because she is not attractive). Peggy becomes defensive and retorts, “You know, you’re not a stick…I know what men think of you—that you’re looking for a husband, and you’re fun. And not in that order.” Peggy’s expression then softens, and she tells Joan, “I just realized something…you think you’re being helpful” to which Joan replies, “Well I’m trying dear.”

This short exchange between Joan and Peggy may seem only indicative of their relationship with each other, but it represents the pressures and dynamics between women at the time (though things haven’t exactly changed much). Joan’s way of thinking is more traditional in the sense that she feels a woman’s ultimate goal should be to get married and quit her job. Peggy, on the other hand, is more progressive in her views. Peggy truly enjoys working and wants to advance her career at Sterling Cooper and chooses not to focus on finding a husband. The two women continue to put each other down, not being able to understand their differing mindsets. This trend of pressuring and putting each other down is something women have been doing a long time—often at the cost of the mutual advancement. One of the reasons feminist movements did not happen earlier is because women were often isolated, and would oppress and criticize each other (usually out of jealousy). One could interpret Joan’s ‘concern’ as thinly veiled jealousy, as she has been working at Sterling Cooper for a long time but has yet to receive a promotion, or a husband. Despite her jealousy, Joan does try to help Peggy, albeit in a condescending way, and as Peggy realizes this she feels less hurt by Joan’s criticism. Their relationship is a complex one and a result of the restrictive and contradictory environment for women in the early 1960s.

The Real Peter Campbell

As we enter into the very first episode of Mad Men, “Smoke Gets in Your Eyes," it becomes clear that the initial moments that the audience spends with each of the characters are some of the most defining. For example, the first time the audience is introduced to Peter Campbell, we are able to better understand his character through his actions during and after a conversation with his fiancée, Trudy, on the phone. While seemingly menial, the exchange reveals that Campbell has somewhat of a disregard for the truth and that he and his future wife are not the picture of marital bliss that we later see in other couples on the show. These traits are exposed in this scene through a combination of his physical distance from Trudy, their discussion, and the entrance of his coworkers. The product is an accurate portrayal of the young Peter Campbell who continues to be a prominent character in the series.

At times some of the more important characters in a scene are those who we don’t see. In this scene, Trudy is part of the off-screen space, making her only presence her voice which is barely heard over the phone. Her lack of physical presence in the scene is significant in that it separates Campbell’s work life from his home life in the most obvious way, which in future episodes allows him to lead a sort of double life. This theme of keeping one’s wife and home outside of the city permeates the entire male population of the Sterling Cooper offices and thus allows the audience to infer that perhaps Peter Campbell is simply following in the footsteps of those who have come before him. Nonetheless, it is clear that Campbell’s relationship with Trudy will not be one of full-disclosure, as is highlighted in this scene.

In the scenes before Campbell’s entrance it is introduced that he is having a bachelor party that evening. As is hardly a surprise, the conversation between Campbell and Trudy touches upon Trudy’s wariness that this party will be lewd and wild. Campbell chooses to deal with his fiancée’s insecurities by lying to her, telling her that he and his friends will most likely end up watching My Fair Lady, knowing full well that their intention is to go to a strip joint. His lie to Trudy further accents the detachment that he feels physically from Trudy and now emotionally. The comments that he continues to make about his mother-in-law – “Your mother can check under my fingernails” – play up his flippant attitude about an evening that would be sure to offend Trudy. This allows the viewers to see a side of Campbell that continues to appear all through the series, making this scene a proper introduction.

One of the most interesting dynamics witnessed in this episode, and this scene specifically, is that between the Junior Executives at Sterling Cooper. In the scene preceding Campbell’s introduction, we witness the young men cajoling one another and Peggy in the elevator, joking about the night’s party and how to treat women. Upon entering Campbell’s office, the men continue the same “frat house” behavior, throwing a flyer for a strip club at Campbell. Additionally, one of the Junior Executives, Dick, comments after Campbell compliments Trudy, that “her old man's loaded," which Campbell doesn’t refute. Dick’s joke about Trudy’s father being wealthy not only adds to the office’s asinine atmosphere, but also adds to Campbell’s character. It would appear that the audience is meant to question whether Campbell really thinks of Trudy as a “great gal," or a sizable dowry.

While the entire transcript of this scene takes up no more than three inches on a page, the foundation that it gives the viewer on one of the more integral characters in the series is invaluable. His relationships with his fiancée and his closest coworkers are established, as well as his penchant for shirking responsibility and weakness before money. Knowing the basic elements of Peter Campbell’s character allows for a greater understanding of his motivation and portrayal throughout this first season and the subsequent seasons.

Where Do Betty and Don Live?

There are actually multiple answers to this question.

On the show, they live in a town called Ossining in Westchester County, New York. It is located about 30 miles away from Madison Avenue in New York City and would take no more than an hour to commute to. The choice of Ossining has raised eyebrows among Mad Men fans and history buffs alike because an ad man of Don's stature and a woman as society conscious as Betty would have most likely lived in Connecticut or the East Side, Chappaqua, Darien, Rye. This has led many to speculate that creator Matthew Weiner chose Ossining because it was the hometown of writer John Cheever who wrote many short stories dealing with suburban angst.

Of course the show does not actually film in Ossining. The home that we have come to call "the Draper Household" is actually located 632 Arden Road in Pasadena, California. Check out a street view on Google maps.

More surprising is the fact that the Drapers actually moved and forgot to tell us! In the Pilot episode, this is the house of Don and Betty:

When it is time for Sally's birthday in Episode 3, this is their home:

Whether their house is in Pasadena or Ossining, I'm sure we would all like to be invited over for dinner. But sorry Don and Betty, we can't bring the scotch.

Links referenced: AMCTV and Iamnotastalker.com.

Technical Problems

The Pilot episode, “Smoke Gets in Your Eyes," makes a few minor blunders in terms of technological history. The first time we meet Peggy, Joan introduces her to a typewriter and assures here it’s "simple enough for a woman to use." The typewriter in question is the IBM Selectric II, which was not released until 1971. Indeed the original IBM Seleca wasn’t released until 1961. As this episode was based in 1960, it was an artistic liberty taken by Mad Men, which allowed for technology to magically appear before it was developed.

The audience is once again confronted by the technological limitations of the time when Don claims that there is no "magic machine" that can make identical copies of documents. This is particularly interesting since the first Xerox machine was introduced in 1949. However, these are trivial details that pale in comparison to the overall spectacle that is Mad Men. Let’s draw the line at flying saucers.

Links referenced: TV.com and Wikipedia.

Toasted

We first meet Don in a restaurant, questioning a man about his brand of cigarettes. We are introduced to his intriguing personality and wit when he tries to convince the man to switch to Lucky Strikes. This brand of cigarettes was prominent in this time period and was first introduced in the early 1900s. Consistent with Mad Men, the slogan "It's Toasted" was a real campaign run to advertise how their cigarettes were made better than others. Like this strategy, Lucky Strike used various methods in an attempt to dominate the tobacco industry such as changing its design from green to white, using both images and radio to reach the public, and broadcasting testimonials. Mad Men gives us a look into the brains and ideas behind some of these campaigns and the process that goes into selling what is considered a "dangerous" product. Today unfiltered Lucky Strike cigarettes are still sold in the United States.

The ad image above appears at the following link: Adclassix.com. For another Lucky Strike advertisement, see this link at Cigarettespedia.