The Cross-Country/Cross-Class Drives of Don Draper/Dick Whitman: Examining Mad Men’S Hobo Narrative
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Dec 2004 Current List
Fighter Opponent Result / RoundsUnless specifiedDate fights / Time are not ESPN NetworkClassic, Superbouts. Comments Ali Al "Blue" Lewis TKO 11 Superbouts Ali fights his old sparring partner Ali Alfredo Evangelista W 15 Post-fight footage - Ali not in great shape Ali Archie Moore TKO 4 10 min Classic Sports Hi-Lites Only Ali Bob Foster KO 8 21-Nov-1972 ABC Commentary by Cossell - Some break up in picture Ali Bob Foster KO 8 21-Nov-1972 British CC Ali gets cut Ali Brian London TKO 3 B&W Ali in his prime Ali Buster Mathis W 12 Commentary by Cossell - post-fight footage Ali Chuck Wepner KO 15 Classic Sports Ali Cleveland Williams TKO 3 14-Nov-1966 B&W Commentary by Don Dunphy - Ali in his prime Ali Cleveland Williams TKO 3 14-Nov-1966 Classic Sports Ali in his prime Ali Doug Jones W 10 Jones knows how to fight - a tough test for Cassius Ali Earnie Shavers W 15 Brutal battle - Shavers rocks Ali with right hand bombs Ali Ernie Terrell W 15 Feb, 1967 Classic Sports Commentary by Cossell Ali Floyd Patterson i TKO 12 22-Nov-1965 B&W Ali tortures Floyd Ali Floyd Patterson ii TKO 7 Superbouts Commentary by Cossell Ali George Chuvalo i W 15 Classic Sports Ali has his hands full with legendary tough Canadian Ali George Chuvalo ii W 12 Superbouts In shape Ali battles in shape Chuvalo Ali George Foreman KO 8 Pre- & post-fight footage Ali Gorilla Monsoon Wrestling Ali having fun Ali Henry Cooper i TKO 5 Classic Sports Hi-Lites Only Ali Henry Cooper ii TKO 6 Classic Sports Hi-Lites Only - extensive pre-fight Ali Ingemar Johansson Sparring 5 min B&W Silent audio - Sparring footage Ali Jean Pierre Coopman KO 5 Rumor has it happy Pierre drank before the bout Ali Jerry Quarry ii TKO 7 British CC Pre- & post-fight footage Ali Jerry Quarry ii TKO 7 Superbouts Ali at his relaxed best Ali Jerry Quarry i TKO 3 Ali cuts up Quarry Ali Jerry Quarry ii TKO 7 British CC Pre- & post-fight footage Ali Jimmy Ellis TKO 12 Ali beats his old friend and sparring partner Ali Jimmy Young W 15 Ali is out of shape and gets a surprise from Young Ali Joe Bugner i W 12 Incomplete - Missing Rds. -
Mad Men Is MEN MAD MEN Unquestionably One of the Most Stylish, Sexy, and Irresistible Shows on Television
PHILOSOPHY/POP CULTURE IRWIN SERIES EDITOR: WILLIAM IRWIN EDITED BY Is DON DRAPER a good man? ROD CARVETH AND JAMES B. SOUTH What do PEGGY, BETTY, and JOAN teach us about gender equality? What are the ethics of advertising—or is that a contradiction in terms? M Is ROGER STERLING an existential hero? AD We’re better people than we were in the sixties, right? With its swirling cigarette smoke, martini lunches, skinny ties, and tight pencil skirts, Mad Men is MEN MAD MEN unquestionably one of the most stylish, sexy, and irresistible shows on television. But the series and PHILOSOPHY becomes even more absorbing once you dig deeper into its portrayal of the changing social and political mores of 1960s America and explore the philosophical complexities of its key Nothing Is as It Seems characters and themes. From Socrates, Plato, and Aristotle to John Kenneth Galbraith, Milton and Friedman, and Ayn Rand, Mad Men and Philosophy brings the thinking of some of history’s most powerful minds to bear on the world of Don Draper and the Sterling Cooper ad agency. You’ll PHILOSOPHY gain insights into a host of compelling Mad Men questions and issues, including happiness, freedom, authenticity, feminism, Don Draper’s identity, and more—and have lots to talk about the next time you fi nd yourself around the water cooler. ROD CARVETH is an assistant professor in the Department of Communications Media at Fitchburg State College. Nothing Is as It Seems Nothing Is as JAMES B. SOUTH is chair of the Philosophy Department at Marquette University. -
Selling Nostalgia: Mad Men, Postmodernism and Neoliberalism Deborah Tudor [email protected], [email protected]
Southern Illinois University Carbondale OpenSIUC Neoliberalism and Media Global Media Research Center Spring 2012 Selling Nostalgia: Mad Men, Postmodernism and Neoliberalism Deborah Tudor [email protected], [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gmrc_nm A much earlier version of this project was published in Society, May 2012. This version expands upon the issues of individualism under neoliberalism through an examination of ways that the protagonist portrays a neoliberal subjectivity. Recommended Citation Tudor, Deborah, "Selling Nostalgia: Mad Men, Postmodernism and Neoliberalism" (2012). Neoliberalism and Media. Paper 4. http://opensiuc.lib.siu.edu/gmrc_nm/4 This Article is brought to you for free and open access by the Global Media Research Center at OpenSIUC. It has been accepted for inclusion in Neoliberalism and Media by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. Selling Nostalgia: Mad Men , Postmodernism and Neoliberalism Deborah Tudor Fredric Jameson identified postmodernism as the “cultural logic of late capitalism” in his 1984 essay of the same name. Late capitalism, or neoliberalism, produces a society characterized by return to free market principles of the 19 th century and cultivates a strong return to rugged individualism. (Kapur) Postmodern cultural logic emphasizes visual representations of culture as a dominant cultural determinant. It is this framework that opens a discussion of Mad Men, a series that uses a mid century advertising firm as a filter for a history that is reduced to recirculated images. In Norman Denzin’s discussion of film and postmodernism, he examines how our media culture’s embodies neoliberal, postmodern notions of life and self. -
Mr. Spock, Don Draper and the Undoing Project – Lessons for Investment Managers and Asset Allocators
August 2017 Mr. Spock, Don Draper and The Undoing Project – Lessons for Investment Managers and Asset Allocators TINA BYLES WILLIAMS CIO & CEO but are susceptible to certain biases. They then spent 30 plus years researching these biases through both thoughtfulness and experimentation which ultimately led to the development of a new field called Behavioral Economics. Lewis chronicles their journey brilliantly by detailing the duo’s work, relationship and thinking. One interesting aspect of the story is that economists did not wel- Michael Lewis’s latest book, The Undoing Project, tells the story come the new school of thought with open arms. Rather, they of Daniel Khanneman and Amos Tversky, two Israeli psycholo- defended their rationality assumptions so that the foundation of gists who studied how people make decisions and in the pro- their models would not be undone. However, Khanneman and cess changed the way many economists think. As good deci- Tversky were persistent in their quest, designing experiments sion making is at the core of good investment management, we to test their theories. Their experiments were built around un- thought it useful to spend some time on the topic, and hopefully derstanding why people made specific decisions. They gave in the process, shed some light on how good investment man- people problems to solve or choices to make and found that agers make decisions. people more often did not make the optimal or rational choice. What Khaneman and Tversky’s work showed was that humans’ First some background. Prior to Khanneman and Tversky the decision making process was fallible. -
Behind Every Mad Man There Is a Mad Woman
Behind Every Mad Man There Is a Mad Woman On Male and Female Representations and Sexuality in AMC’s Mad Men Ana Serediuc Supervisor: Paper submitted in partial fulfilment of the Prof. dr. Gert Buelens requirements for the degree of “Master in de Taal- en letterkunde: Italiaans-Engels” 2016 – 2017 Serediuc 2 Acknowledgements When I first started watching Mad Men it had never occurred to me that one day, I would write my dissertation about the show in order to obtain my master’s degree at the University of Ghent – and yet here we are a few years later. This pop-cultural topic of my choice did not always facilitate my research nor my writing process, but it did to a large extent made me greatly enjoy this entire journey. After experiencing some difficulties in finding a suitable subject matter, it was my supervisor who pointed me in the right direction. Therefore, I would like to express my gratitude to prof. dr. Gert Buelens, who not only helped me define my subject, but who has also put a lot of work in giving me thorough and supportive feedback. Furthermore, I would like to thank my friends and family for their amazing support not only during the realization of this master thesis, but throughout the entire duration of my academic studies. A special thanks to Kessy Cottegnie and Marjolein Schollaert for being such dedicated proof-readers and supporters. Serediuc 3 Table of Contents Acknowledgements……………………………………………………………………….. 2 Table of Contents …………………………………………………..…………………….. 3 List of Figures ………………………………………………………………………….… 4 Introduction ……………………………………………………………………………... 5 I - Male and Female Roles………………………………………………………………. 10 Chapter 1 • Traditional and Modern Women ……………………………………...... -
Examining Mad Men's Hobo Narrative
Journal of Working-Class Studies Volume 2 Issue 1, 2017 Forsberg The Cross-Country/Cross-Class Drives of Don Draper/Dick Whitman: Examining Mad Men’s Hobo Narrative Jennifer Hagen Forsberg, Clemson University Abstract This article examines how the critically acclaimed television show Mad Men (2007- 2015) sells romanticized working-class representations to middle-class audiences, including contemporary cable subscribers. The television drama’s lead protagonist, Don Draper, exhibits class performatively in his assumed identity as a Madison Avenue ad executive, which is in constant conflict with his hobo-driven born identity of Dick Whitman. To fully examine Draper/Whitman’s cross-class tensions, I draw on the American literary form of the hobo narrative, which issues agency to the hobo figure but overlooks the material conditions of homelessness. I argue that the hobo narrative becomes a predominant but overlooked aspect of Mad Men’s period presentation, specifically one that is used as a technique for self-making and self- marketing white masculinity in twenty-first century U.S. cultural productions. Keywords Cross-class tensions; television; working-class representations The critically acclaimed television drama Mad Men (2007-2015) ended its seventh and final season in May 2015. The series covered the cultural and historical period of March 1960 to November 1970, and followed advertising executive Don Draper and his colleagues on Madison Avenue in New York City. As a text that shows the political dynamism of the mid-century to a twenty-first century audience, Mad Men has wide-ranging interpretations across critical camps. For example, in ‘Selling Nostalgia: Mad Men, Postmodernism and Neoliberalism,’ Deborah Tudor suggests that the show offers commitments to individualism through a ‘neoliberal discourse of style’ which stages provocative constructions of reality (2012, p. -
Women and Work in Mad Men Maria Korhon
“You can’t be a man. Be a woman, it’s a powerful business when done correctly:” Women and Work in Mad Men Maria Korhonen Master’s Thesis English Philology Faculty of Humanities University of Oulu Spring 2016 Contents 1. Introduction ................................................................................................................................................... 3 1.1. History of Working Women .................................................................................................................... 5 2. Appearance .................................................................................................................................................. 10 2.1. Appearance bias ................................................................................................................................... 10 2.1.1 Weight ................................................................................................................................................ 12 2.1.2. Beauty ideals ..................................................................................................................................... 15 2.1.3. 1960s Work Attire ............................................................................................................................. 18 2.1.4. Clothing and external image in the workplace .................................................................................. 20 2.1.5. Gender and clothing ......................................................................................................................... -
Mad Men, Episode 10, "Hands & Knees" Tim Anderson Old Dominion University, [email protected]
Old Dominion University ODU Digital Commons Communication & Theatre Arts Faculty Communication & Theatre Arts Publications 9-29-2010 "Listen. Do You Want to Know a Secret?": Mad Men, Episode 10, "Hands & Knees" Tim Anderson Old Dominion University, [email protected] Follow this and additional works at: https://digitalcommons.odu.edu/communication_fac_pubs Part of the Television Commons Repository Citation Anderson, Tim, ""Listen. Do You Want to Know a Secret?": Mad Men, Episode 10, "Hands & Knees"" (2010). Communication & Theatre Arts Faculty Publications. 27. https://digitalcommons.odu.edu/communication_fac_pubs/27 Original Publication Citation Anderson, T. (2010, September 29). "Listen. Do you want to know a secret?": Mad Men, episode 10, "Hands & Knees" [Blog post]. Retrieved from http://blog.commarts.wisc.edu/2010/09/29/listen-do-you-want-to-know-a-secret-mad-men-episode-10-hands- knees/ This Blog is brought to you for free and open access by the Communication & Theatre Arts at ODU Digital Commons. It has been accepted for inclusion in Communication & Theatre Arts Faculty Publications by an authorized administrator of ODU Digital Commons. For more information, please contact [email protected]. “Listen. Do You Want to Know a Secret?”: Mad Men, Episode 10, “Hands & Knees” September 29, 2010 By Tim Anderson | The most striking use of pop music in this season of Mad Men appears at the beginning of episode eight, “The Summer Man”. Opening with a montage of Don Draper after he has begun to reclaim his life we hear The Rolling Stones 1965 summer release, “(I can’t get no) Satisfaction”. Arguably their signature song of the 1960s, the Stones’ three minutes and forty four seconds of audible discontent is layered onto a somewhat rehabilitated Draper who swims and takes on writing exercises. -
Stoneback Thesis.Pdf
“Women Usually Want to Please”: A Linguistic Analysis of Femininity and Power in Mad Men by Stephanie Stoneback A thesis presented for the B.A. degree with Honors in The Department of English University of Michigan Winter 2019 © 2019 Stephanie Christine Stoneback To my mom. Acknowledgments First of all, I would like to thank my thesis advisor, Anne Curzan, for her unwavering support, guidance, and understanding throughout this process. Anne, without your encouragement, listening ear, criticism, and patience, I would have never been able to produce such exciting analysis that I am proud of. To me, you embody what it means to be a powerful woman and you are such an inspiration as I complete my undergraduate work and enter a new phase of life. Thank you so much for that. Next, I must thank our program director, Adela Pinch, for her helpful tips and constant reminders that everything was going to be okay. Adela, in many ways, you have shaped my education as an English major at the University of Michigan—you taught me the Introduction to Literary Studies course, a course on Jane Austen, and both semesters of Thesis Writing. Thank you so much for the years of engaged learning, critical thinking, and community building. I would also like to thank some of the staff members of the New England Literature Program, who helped instill in me a confidence in my writing and in my self that I never knew I was capable of. Aric Knuth, Ryan Babbitt, Mark Gindi, Maya West, and Kristin Gilger, each of you had a distinct and lasting impact on me, in some unspoken and perhaps sacred ways. -
Mad Men Episode #107 "The Code Don't Lie" by Chris Provenzano
Mad Men Episode #107 "The Code Don't Lie" by Chris Provenzano First Draft March 28th 2007 Second Draft April 10th 2007 FADE IN: INT. ELEVATOR/STERLING COOPER AD AGENCY - DAY Elevator doors slide open to reveal a middle-aged, black OPERATOR. He nods a greeting as Pete ENTERS. PEGGY (O.S.) Oh, hold the doors, please! Peggy rushes up and squeezes through the closing doors. PEGGY (CONT’D) Thank you. PETE Well, well. PEGGY Good Morning. PETE Says who? PEGGY Twenty-three, please. (off his look) ...What? PETE Don’t you think I would have already said what floor? PEGGY I, I don’t know. PETE Besides, how long have you been working here -- how long have I been working here? The man recognizes us. PEGGY Right. Sorry. An awkward moment. Peggy breaks it, all nervous energy. PEGGY (CONT’D) I guess we’re two early birds here to catch a worm. MAD MEN EP#107 CP 2nd Draft "The Code Don't Lie" 9/5/07 2. PETE I can’t believe they let you write. PEGGY Are you in a bad mood or something? PETE Just because a guy’s not lit up like Luna Park doesn’t mean he’s in a bad mood. PEGGY You’re right, I’m sorry. Peggy can’t decide where to look. PETE I work. I have a busy day. PEGGY Of course. PETE ...All this other crap. God forbid I’m not there should one of the six Renzulli brothers need a hand. PEGGY Hunh? PETE I’m supposed to supervise the movers, whatever that means. -
The Three Faces of Mad Men
Cultural Studies Review volume 18 number 2 September 2012 http://epress.lib.uts.edu.au/journals/index.php/csrj/index pp. 151–68 Melissa Jane Hardie 2012 The Three Faces of Mad Men Middlebrow Culture and Quality Television MELISSA JANE HARDIE UNIVERSITY OF SYDNEY —THE REJUVENATOR An association between pleasure and the machine anchors the eleventh episode of Mad Men’s first season. Peggy Olsen is tasked with writing copy for a weight-loss contraption (the Rejuvenator) that she discovers operates more efficiently as a vibrator. A distant goal of reduction is supplanted by a more immediate satisfaction and amplification. Her slogan, ‘You’ll Love the Way It Makes You Feel’, alludes to the potential for pleasure the Rejuvenator holds, substituting feeling, and positive feelings at that, for the purported function of the device, streamlining the disciplinary regime of bodily reduction. The Rejuvenator models temporal reversion as the euphemistic pretext for self-pleasure: rejuvenation re-engineers a nostalgic version of the past as a future event. Within the parameters of a period drama this modelling has the collateral effect of demarcating Mad Men’s modus operandi as typically modernist, a utopian streamlining of history with incidental benefit for current pleasures. At the same time it offers a frame for the series itself as a form of nostalgic revision that pits ISSN 1837-8692 representations of the sluggish or reactionary past against its own modernising propaganda. It introduces feminine sexual pleasure as a metonym for the aesthetic, identifying another concern mid-century, the market dominance of certain kinds of women’s texts, and instating an allegory for the contemporary place of twenty-first century ‘quality’ television and shows like Mad Men as rejuvenated forms of the pleasing bestseller. -
Biographies of Boxing Officials Georgia Athletic and Entertainment Commission
Biographies of Boxing Officials Georgia Athletic and Entertainment Commission Brian Stutts, Head Referee Brian Stutts began his involvement with boxing as an amateur boxer in Charleston, SC, in the 1950s. He worked with boxers while in the United State Marine Corps from 1964 to 1968, when he was honorably discharged as a sergeant after serving for 18 months in Vietnam. After college he reentered the boxing community with United States Olympic Boxing, advancing to being the ring captain for boxing at the 1996 Olympics, held in Atlanta. Mr. Stutts began officiating professional boxing in 1988 and has officiated future and past champions such as Vernon Forrest, Paul Williams, Mike Tyson, Evander Holyfield, Mark Breland, Mike Dixon, Bert Cooper, Christy Martin, Layla Ali, Roy Jones Jr., Ray Mercer, Ray Whitfield, Ebo Elder, Hector Comacho Sr., and Hector Camacho Jr. Mr. Stutts has refereed on USA, Showtime, ESPN, and Sports South. He was inducted into the Georgia Boxing Hall of Fame in 2001. Irwin Deutsch, Head Judge Irwin Deutsch has been judging professional boxing for 31 years and is the senior judge in Georgia. He has judged major championship fights, featuring boxers like Lennox Lewis, Tim Weatherspoon, Tony Tubbs, Buster Douglas, Trevor Berbick, Greg Page, Michael Moorer, Leila Ali, Vernon Forest, and Roy Jones Jr. Mr. Deutsch was a member of the World Boxing Union, which chose him to judge championship fights in Atlantic City and Gulfport, MS. He has judged fights on HBO, Showtime, Showbox, and ESPN. While his experience is mostly professional, he also has judged amateur boxing bouts. Edward Kanner, Judge As a professional boxing judge for more than 20 years, Edward Kanner has judged world title fights and has appeared on ESPN, HBO, and Showtime boxing events numerous times.