Brazil Pop Art
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'New Yorker' Digs Up Its Own Ads From 'Mad Men' Era (Adfreak)
The mid-'60s was an anxious and uncertain period. Like Don Draper's tumbling
silhouette, those years were suspended between Eisenhower's monochrome
Americana and the kaleidoscopic revolution of the Woodstock generation. At its
best, _Mad Men_, which returns Sunday to AMC after a long hiatus, distills the
schizophrenic post-Kennedy angst in human terms. The characters wrestle with
their dreams, desires, faults and frailties while navigating increasingly
uncharted societal territory. These vintage _New Yorker_ ads from the period,
which the magazine is presenting online to salute the show's return, vividly
detail that time of change. The reassuring family tropes of Lees carpeting and
Kodak's carousel projector (which Draper so memorably pitched in the season 1
finale) now share space with the mod paisley pajamas of Fortrel (surely Hef
had a pair in '66) and the pop-art bravado of Brazil iced coffee, its
stiltedly sexist copy almost a put-on even when the work was new. Key word:
_almost_--because, as the ads make clear, this was still a man's world. Even
so, women were beginning to assert their independence (sorry, Royal, they
wouldn't stay in the typing pool for long), and the notion of defying
conformity and being true to oneself--a ...