Let's Do The Twist!

Image credit: Screencapped from Netflix

In “The Hobo Code” Episode 8, Season 1 of Mad Men, we see for the first time most of the men and women of Sterling Cooper interacting outside of the office, in a bar. As they finish off their slow dance to the mellow song “Choo Choo Cha Cha” by the Rinky Dinks, someone inserts a coin into the jukebox and Chubby Checker’s “The Twist” blares onto the speakers. The women squeal and jump gleefully at the catchy tune and start to shuffle around the dance floor with the men as they twist their bodies and sway their angled arms along with their feet. The Twist was the dance craze of the 1950s and 60s which was created to go along with Chubby Checker’s popular song. Adolescent Americans took a liking to this dance immediately and soon The Twist became a song/dance that symbolized the bursting energy of young adults and culture of the 1960s. 

Image credit: http://www.guardian.co.uk/music/gallery/2011/jun/04/the-twist-50-years)

Interestingly enough, The Twist’s roots have actually come from forms of African Dance during the slavery era and has relations to jazz as well. At a time immediately following the end of segregation, it is fascinating to see that African dances had such a big influence on America’s dance culture. Not only that, The Twist seems to have been a sort of impetus for a different kind of social culture, one in which men and women could dance along carelessly together to a beat without it being considered too promiscuous. Since the creation of The Twist, many dances that have come afterward have been inspired by the upbeat, feel-good dance move. Dance moves such as The Chicken, The Carlton (from The Fresh Prince of Bel-Air), and most recently, The Dougie to name a few, have elements of The Twist. It is amazing to see that a dance move from the 1960s has influenced dance culture all the way up to this point and is a dance still recognized by most people today. In fact, as of October 11, 2012, the people of Deland, Florida hold the Guinness World Record for most people (around 4,000) twisting in the streets at once.

 

It’s difficult to say what dance move symbolizes 2012, or even 2000 for that matter because our generation has increasingly become consumed with viral YouTube videos of ridiculous dance moves that constantly changes the “fad.” Lately, music videos such as PSY’s “Gangnam Style” from South Korea has captured the attention of viewers around the world, and along with it, have people doing the oddly hilarious dance. These dances not only allow for a good time, but for cultural infusion as well. Similar to the Gangnam Style dance, The Twist was not just a song that people could dance along to. Yes, it was (and still is) a party favorite, but it was so much more than that. The moves of The Twist were a blend of two different backgrounds that have added to America’s cultural melting pot and changed elements of male and female interaction in the 60‘s. Along with its origins dating back to the slaves who came to the United States and widespread popularity, the Twist is truly more than just the swiveling of hips and shuffling of feet - it is a characterization of an era of budding cultural and social change in America. 

Sources referenced: 

http://www.news-journalonline.com/article/20121011/NEWS/310119937

http://en.wikipedia.org/wiki/Twist_(dance)

http://dance.lovetoknow.com/History_of_the_Twist_Dance

http://www.thestate.com/2011/09/23/1980172/the-twist-led-the-way.html#.UIHAxbQTtok

Hobo Lingo

In the eighth episode of Mad Men entitled “The Hobo Code,” we are introduced to different pieces of Don’s (Jon Hamm) tormenting past. Throughout the episode, one of Don’s childhood memories revolves around a hobo (Paul Schulze) working at his house for a day. In one of the scenes, the hobo is talking to Don (Dick) at night showing him different signs that make up the so called “hobo code.” This hobo code, however, is not something that was just created by the writers of the show to fit in the storyline of the episode.

Image credit: http://contemplatingmedia.wordpress.com/2011/04/07/mad-men-season-one-episode-8-the-hobo-code/ 

During times of economic hardships and distress, people have been known to leave their life behind and move on to find a new life somewhere else. To survive on a daily basis, hobos would (and still) need to travel from house to house looking for work in order to get paid (either in monetary form, a meal, etc.). Despite the work that hobos performed, there were always times when they were not exactly promised what they were originally offered. Not knowing the landscape of the region you are in could hinder oneself from making the right decisions at certain times. Also, going from house to house can waste a lot of time due to the unknown of whether or not going to each house is beneficial or not.

In order to stray away from inconsiderate households and less than desirable territories, a hobo sign language, now commonly referred to as the hobo code, was created. The signs were not hand signs, rather they were carvings and drawings imprinted on physical features near houses and landscapes to communicate to other travelers and hobos on what lies ahead. The messages that hobos were able to leave for one another ranged from simple descriptions of the land all the way to character traits of the members of a household. Whether a sign revealed that food could be offered for work or people were available to help you if you were sick, hobos had a system that, if used correctly, could cause problems to be avoided and fortune to be found.

Image credit: http://www.acontinuouslean.com/2009/01/29/the-hobo-code/ 

When the hobo in Mad Men shows Don (Dick) some of the signs, he shows him the marks for good food, watch out for the nasty dog, a dishonest man lives here, and tell a sad story. When the hobo leaves, he ends up carving the mark “a dishonest man lives here” on the gate to their front house. The fact that Don still remembers this moment as an adult reveals inherent feelings of distrust that Don (and hobos alike) felt from his father.

Just a Dance?

Mad Men presents many themes; perhaps the most notable of the episode entitled, “The Hobo
Code,” is the clash of individuals, particularly with regard to the relationship between the men and women of the office. However, as the scene at the bar shows, the dynamics between men and women extend far beyond mere office relations and demonstrate the conflict between Pete and Peggy’s attitudes.

The scene opens with an anonymous hand inserting a quarter into a jukebox. As the record is set, the music begins to play and the camera shifts to girls from the office as they jump and scream. The song, “The Twist” (or “C’mon, Baby, Let’s Do the Twist”), seems to inspire the women to begin dancing, though the men soon join the excitement. As the camera angle widens, the viewer sees Peggy at the focal point, giddy with excitement. In the same shot, conversely, is Pete’s silhouette, gloomy and shadowed. The opening sequence serves as a preview of the light-heartedness of the couples and the harsh reality Pete creates for his relationship with Peggy.

The shot then widens so the viewer’s focus is not on an object of the room but on parts of the
room. The increased focus on individuals (gives) the viewer a more in-depth look at each character’s personality. As the shot of the room is broken down, we see each separate couple, all of whom act slightly differently. The camera first catches Hildy with Harry Crane, with Hildy acquiescing to dance with Harry. Contrasting their innocent flirtations are Joan and Paul Kinsey, who through their facial expressions and sensual body movement seem to be attempting to seduce each other. Their dance is especially fascinating because Joan tends to play the leading woman (in the office and sexually) while Kinsey portrays the alpha- male, even if he is often undermined by other minor characters, like Cosgrove. The camera shifts back to Hildy and Harry who, while appearing to have fun, seem to have a sexual chemistry. Meanwhile Ken
Cosgrove dances promiscuously with a girl in a golden yellow dress. The sequence of couples emphasizes the relationship between men and women in the 1960’s as the battle for dominance in and out of the office begins. It is also a glimpse of the emerging sexual culture as the couples are all somewhat flirtatious, and even Hildy and Harry’s plays at being platonic are later shown to be more than simple flirtations when they wreck his marriage. Interestingly, the light-hearted, dancing couples are juxtaposed with the grim relationship between Peggy and Pete.

The camera then shifts back to Peggy, who though she appears to be having fun, is dancing alone
(or possibly with a couple of the other girls from the office). Doing “the twist," the camera once again distinguishes Peggy from the crowd as she turns to look at Pete (or so the camera shows). Pete, still sitting alone, stares morosely into the dancing crowd. He is completely detached from the merriment around him. Cutting back to a shot of Peggy’s face, she is filled with an air of confidence as she moves closer to Pete. This confidence may have been inspired by the alcohol she had consumed, or possibly, by the success of the Belle Jolie ad, which, if the latter, ironically, is also the downfall of her relationship with Pete. The shot becomes a full-length shot of her body, tempting and inviting. Pete still has not moved, but the camera moves closer as Peggy does, serving to distinguish them from the others. Peggy seems to notice his lack of movement but continues to be assured that he will dance with her as she whispers an invitation to him. Even as Pete answers, he remains stoic, signaling with only a shake of the head and shifting eyes. The lack of movement is made more dramatic by the music, the dancing behind Peggy, and Peggy’s attempt at seduction when she dances over to him. The camera bounces between the two as understanding dawns on Peggy. As she heads back into the crowd, the bodies that she was once isolated from now engulf her. In the same way, Pete’s departure is in the background of the gyrating bodies. To Pete, Peggy appears to be as anonymous as those dancing around her as he makes his departure, though the camera captures her shocked sadness. On the verge of tears, her body continues to move to the dance as she tries to blend back in with those around her.

The scene, although characterized by a seemingly trivial situation, displays deeper emotions and
the emerging culture of the 1960s. The dancing couples are flirtatious and lively, although the scene seems to hint at a subtle power struggle especially within the context of dance. The women may have begun the dance, but the men, traditionally, would be leading the dance, which gives rise to the question of who is actually in control. Pete and Peggy’s relationship, however, is characterized by a pervasive seriousness, which is mainly seen in Pete’s attitude. Unlike many of his male cohorts, Pete seems to be primarily dominated by an internal struggle for power, whether it comes as a result of being a husband, an elite upperclass, or a male, junior executive at a Madison Avenue, advertising agency. Peggy, on the other hand, as shown in her attempt at seduction is completely unaware of his struggle and her role in it. She fails to recognize and take part in the struggle for dominance that even many of the women, like Joan, notice. When Peggy blends back into the crowd, she seems to finally accept the struggle, though a bit late. The
next day, she goes back to her normal business, and she and Pete ignore each other for another day.

The first season of Mad Men is frequently lauded for its pitch perfect recreation of the early 1960s. Yet many fans of the show find that some of their favorite moments and scenes are actually set in the early 1930s. If the question we are all asking is how to tackle the living mystery that is Don Draper, the answer may lie in studying Dick Whitman. The writers and producers of Mad Men carefully crafted the scenes involving the Whitman parents and young Dick/Don to show how several aspects of Don’s life and character can be traced back to his unfortunate upbringing.

The first flashback scene in this episode shows a wondering hobo approaching the Whitman home, looking for a little work in exchange for a hot meal. As the Whitman "family" stands outside, the hobo says he is reminded of his younger self looking at young Dick. Abigail responds that she isn’t surprised. It becomes clear that Dick was raised in an environment where little was expected of him in terms of a successful future. The woman who raises him barks at him to "stop digging holes," and she means this in more than a literal sense. He is perceived as someone who will do nothing more in life than pointless, cheap labor and although Abigail Whitman tells him to stop, there is no real expectation that his existence will ever be worth more than the air he breathes.

At dinner that night, the hobo mentions he comes from back east, New York. Archie Whitman immediately tells us this is a sign of weakness and laziness, that it’s no wonder this man wound up a bum. Dick was raised in a home where the type of work they did in New York was seen as intellectual pointlessness, nothing compared to steady, independent farm living. His family saw the detractions but failed to see the possible benefits of a life with more possibilities and glamour. We can see why Dick had no choice but to run from this atmosphere if he was to ever embrace a dream of anything more, a dream that came true as Don Draper in New York City, for better or for worse.

The next scene featuring the hobo, played wonderfully by Paul Schulze (Jack’s boss Ryan Chappelle for those who remember the third season of 24), finds young Dick preparing a makeshift bed for the visitor by the light of an oil lamp. The hobo tells about his life before he became a "gentleman of the rails," claiming to have had a normal job and family. He hated the confines of being tied down, and one day just left his obligations for the open road. In this very episode, Don asks Midge to leave for Paris with him on a whim. Life at home and in the office is trying for him at this point, and he once again starts to consider escape a desirable option. The seeds of these thoughts can be traced back to the hobo who gave him hope of escape when he told young Dick that it was clear he is "one of us," one that cannot be tied down.

Immediately before the final Depression-era scene of the episode, we are treated to an emotional scene in which Don begs his young son to ask him anything, saying he will always be honest with his children. There is no way this doesn’t directly relate to the next flashback, in which Archie Whitman denies the hobo the coin he was promised the previous night for the work he did that day. The hobo draws a knife on the Whitman family fence post, to signify to other wanderers that a dishonest man lives there. As the hobo walks away, Dick fleetingly runs after him, before shooting a disturbed look back at his father.

Don’s glamorous lifestyle in the advertising industry suggests to the casual viewer that he is a million miles away from his grim, Depression-era upbringing. The flashback scenes in episode seven of the first season, “The Hobo Code," argue the contrary. We learn about what was expected of the young Dick Whitman, factors that prompt his drive to escape, the difference in how he was perceived by his mother figure and an extremely prescient hobo, and conflicts he has about honesty and integrity. As much as shots in the close of this episode (Don sleeping soundly like a rock, which the hobo said he would never due while holding a job, mortgage and family, and the closing image of the nametag on the office door to remind us who this man has become) suggest that Don is completely removed from his childhood, it is clear that elements of his life as the child Dick Whitman still impact the man Don is today.