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It is easy to dismiss advertising as simply the background chatter of modern life, often annoying, sometimes hilarious, and ultimately meaningless. But Kerri P. Steinberg argues that a careful study of the history of advertising can reveal a wealth of insight into a culture. InJewish Mad Men, Steinberg looks specifically at how advertising helped shape the evolution of American Jewish life and culture over the past one hundred years. Drawing on case studies of famous advertising campaigns-from Levy's Rye Bread (\"You don't have to be Jewish to love Levy's\") to Hebrew National hot dogs (\"We answer to a higher authority\")-Steinberg examines advertisements from the late nineteenth-century in New York, the center of advertising in the United States, to trace changes in Jewish life there and across the entire country. She looks at ads aimed at the immigrant population, at suburbanites in midcentury, and at hipster and post-denominational Jews today. In addition to discussing campaigns for everything from Manischewitz wine to matzoh,Jewish Mad Menalso portrays the legendary Jewish figures in advertising-like Albert Lasker and Bill Bernbach-and lesser known \"Mad Men\" like Joseph Jacobs, whose pioneering agency created the brilliantly successful Maxwell House Coffee Haggadah. Throughout, Steinberg uses the lens of advertising to illuminate the Jewish trajectory from outsider to insider, and the related arc of immigration, acculturation, upward mobility, and suburbanization. Anchored in the illustrations, photographs, jingles, and taglines of advertising,Jewish Mad Menfeatures a dozen color advertisements and many black-and-white images. Lively and insightful, this book offers a unique look at both advertising and Jewish life in the United States.

This essay considers the use of period detail and historical reference in 'Mad Men' and the importance of periodisation to its mode of address. The embrace of period detail in 'Mad Men' is at once loving and fetishistic and it belongs, as in all period film and television, to the politics of the present. But how is it that we watch 'Mad Men' and think it represents a period? Flashes of patterned wallpaper, whiskey neat, contact lining for kitchen drawers, Ayn Rand, polaroids, skinny ties, new Hilton hotels, and Walter Cronkite all evoke a time when the world and how we might live in it was different in powerful ways. They comprise the evocative period setting for the series' central ethical dramas: Don Draper asks 'What do women want?' and dry old Roger Sterling can reply 'Who cares?' And it is as period drama that these ethical questions can offer a speculative political drama that at once disavows and proclaims its present-tense politics.