Belle Jolie – Lipstick

Brainstorming, is what they called it!
During this infamous scene, Peggy impresses Freddy with her line “basket of kisses”, and her take on not wanting to be one of a hundred colors in a box. Peggy’s line and her perspective become the campaign’s nucleus, marking the first time others from Sterling Cooper recognized her potential beyond her role as Don Draper’s secretary. But let’s not get ahead of ourselves…

“Lipstick” original score from AMC’s Mad Men

The copywriters asked her to create copy for the Belle Jolie ad campaign with Freddy Rumsen presenting it to the client. He had been at Sterling Cooper since Roger Sterling’s father was in charge, making him a veteran in advertising. His pitch, “Mark Your Man,” did not impress the client, so Don Draper (Jon Hamm) intervened and re-presented that idea much more convincingly than Freddy.

Joel Murry as Freddy Rumsen in Mad Men
Belle Jolie lipstick ad in Mad Men

“Every woman wants choices, but in the end, none wants to be one of a hundred in a box. She’s unique. She makes the choices and she’s chosen him. She wants to tell the world he’s mine. He belongs to me, not you. She marks her man with her lips. He’s her possession. You’ve given the gift of total ownership.”


Hershey’s Chocolate

Jon Hamm as Don Draper in Mad Men

In the season 6 finale, Don meets with Hersheys for a business discussion. However, Cutler, Roger Sterling, and the Hershey’s team are unaware of Don’s strong emotional connection to them, which ultimately leads to Don losing his job. The story also delves into Dick’s tough childhood, a rarely explored aspect of Mad Men. This is likely the most emotional pitch since Don’s presentation to Kodak in season one.

“Closest I got to feeling wanted was from a girl who made me go through John’s pockets while they screwed. If I collected more than a dollar, she’d buy me a hershey bar. And I would eat it alone in my room with great ceremony (softly) feeling like a normal kid. I would eat it, alone, in my room, with great ceremony. Feeling like a normal kid. And it said ‘sweet’ on the packet.
It was the only sweet thing in my life.“

Don Draper, played by Jon Hamm in Mad Men

Heinz Ketchup

Don suggests a ketchup ad that highlights “passing the ketchup” instead of showing the bottle.
Even though Don Draper created the ‘Pass the Heinz’ campaign almost 50 years ago, the communications still really work in today’s world. Mr. Draper really understood the one thing every Heinz fan knows, which is to never settle for the foods you love without the great taste of Heinz. So in 2017, Heinz brought the “Pass the Heinz” campaign to life, running the ads almost exactly as Draper intended, in print, social media, and on billboards in New York City. 

Don Draper (Jon Hamm) and the crew from Sterling Cooper
Don Draper (Jon Hamm) pitches Heinz

Don Draper, “What’s missing? Pass the HEINZ”
Client, “You mean Heinz Ketchup.”
Don, “It’s Heinz, it only means one thing.”
Don, “The greatest thing you have working for you, is not the photo you take or the picture you paint, it’s the imagination of the consumer“

But the Heinz guys still want to see the bottle.


The Jaguar Pitch

Stan suggests an ad using the word “mistress”, but Don Draper reminds him the client would not want to hear that word in an advertisement. It’s Ginsberg that comes up with concept likening the car to an unattainable woman: “Jaguar: At last, something beautiful you can truly own.” 

In the pitch for Jaguar, Don plays on the allure of desire and power. He encapsulates the car’s appeal with a sharp, memorable phrase that strikes a chord with potential buyers, perfectly balancing luxury and aspiration. The pitch plays off of how marketers sell women as sleek, unattainable objects, but it places this in a context meant to be “acceptable.”
Meanwhile…
Joan makes an unspeakable sacrifice to help secure the Jaguar account.

Don Draper (Jon Hamm) in the Jaguar Pitch
The Jaguar Pitch, original score from AMC’s “Mad Men”

Oh, this car, this thing, gentlemen,
what price would we pay?
What behavior would we forgive?
If they weren’t pretty, if they weren’t temperamental,
if they weren’t beyond our reach
and a little out of our control,
would we love them like we do?
“Jaguar. At last, something beautiful you can truly own.”


In this classic pitch for Kodak, Don really nails the emotional vibe of nostalgia. He rolls out this slide projector he dubs “The Carousel,” which totally brings back those warm family memories and connections. His storytelling hits home, making it one of the most unforgettable moments of the show.
As the show’s composer, I felt that Jon Hamm’s voice always captivated me, and influenced the way I composed for the show, read more about my score…

Don Draper (Jon Hamm) in "The Carousel pitch
Don and Betty Carousel Pitch

“My first job, I was in house at a fur company with this old pro copywriter, Greek, named Teddy. And Teddy told me the most important idea in advertising was ‘new.’ Creates an itch. You simply put your product in there as a kind of calamine lotion. But he also talked about a deeper bond with the product: nostalgia. It’s delicate, but potent.” – Jon Hamm as Don Draper



How I came to compose “Lipstick” for Mad Men.

“Lipstick” is one of my most loved music cues from the series “Mad Men.” The funny thing is that I never composed music for that famous scene in season 1. It’s true but hard to believe, right? After scoring the pilot episode, I worked on episode 102, the second episode in the series titled “Ladies Room.”

Mad Men's Lipstick

“Office Tour”

In “Ladies Room,” Paul Kinsey gives Peggy Olson a tour of the office, and they make a lunch date for another day. When I went to the early cut of the episode, I decided that scene could use a bit of upbeat score to accompany Paul and Peggy through the scene, pausing for his quote of Rod Serling’s “submitted for your approval,” which I would never ever step on! So I scored it with a medium swing small big band sound to give it a bounce, as the actors had when walking through the set. I was happy with the cue and was expecting it to easily go into the final cue. So I sent it to the editor to show producer Matthew Weiner, expecting the best.

Ladies Room Mad Men, Peggy Olson and Paul Kinsey
Mad Men’s Paul Kinsey and Peggy Olson

It didn’t go well 😔 – rejected. I tried again, but “no” once more! I gave up, and the scene remains “dry”, without music. Honestly, I needed a few episodes to learn what worked for Mad Men. This was an early lesson that I needed to learn – only so much underscore could be tolerated by the producers of the show. I myself have a light touch in scoring, so I had a good start, but there is always a learning curve.


Mad Men’s “Office Tour” returns as “Lipstick”

Ladies Room Mad Men, Peggy Olson

In episode 6, I was surprised to find that my cue from the “Office Tour” fitted perfectly with the montage of the “Belle Jolie” lipstick.

The editor, Malcolm Jamison, later told me that Matthew Weiner felt sorry for me because Malcom’s temporary music was so good. But it turned out that my cue worked even better! He was stunned when he learned it was a Carbonara original! So, although the process for “Lipstick” was not traditional, it all worked out for everyone. And in fact, the cue was used more than once in the Mad Men series.

So, thank you Malcom and Director Andrew Bernstein for transforming “Office Tour” into “Lipstick”.


“Lipstick” on Spotify

Okay, less about Lipstick and more about “Mad Men” here:

And check out the infamous Mad Men Christmas Conga!


“Nostalgia” says Don Draper in Mad Men’s carousel pitch, “it’s delicate but potent. Teddy told me that in Greek, ‘nostalgia’ literally means ‘the pain from an old wound’. It’s not called the wheel, it’s called the carousel. It lets us travel the way a child travels – around and around, and back home.”

Mad Men’s Carousel Scene. One of Don Draper’s finest pitches.

Many have considered Don Draper’s powerful pitch for the Kodak Carousel to be his greatest pitch. And yes, it certainly was to my ears. Jon’s voice always captivated me, and he influenced the way I composed for the show. As a result, I focused more on scoring Don Draper’s scenes than the others. Just have a look at the YouTube video above. Also, check out his other pitches here.


From CollinsReview.com:


The product in question, a slide projector with a rotary tray for storing photographs, is tentatively called the Wheel. But Don believes it is capable of something more. “It’s not called the Wheel,” he says. “It’s called a Carousel.” As he flips the projector from slide to slide, he contemplates the memories onscreen. A picture of him pushing his son Bobby on a swing set in the park, lying with his daughter Sally on the couch on Christmas morning, a younger version of himself kissing his wife Betty on their wedding day.

Don’s presentation is beautiful, nostalgic, genuine. He uses anecdotes, invokes the memory of Rachel Menken and even throws in some Greek for good measure. All the while, he thinks of his family and how he’s neglected them throughout the years. His half-brother just took his own life. He longs for better days.
“It takes us to a place where we ache to go again …. It lets us travel the way a child travels. Around and around and back home again, to a place where we know we are loved.”
It’s the greatest sales pitch of all time.


From Emily St. James, AV Club

“The Wheel’s” greatest stroke is that it takes the way that back-story motivates Don and moves it from the theoretical to the achingly tangible. On the one hand, the centerpiece of “The Wheel”—a long, masterful pitch from Don that lands Sterling Cooper the Kodak account—is complete and utter hokum. Designed solely to provoke an emotional response that will be so undeniable the company will reach up and land business with a firm far larger than it deserves. On the other, it’s a pitch so good, so nakedly emotional, that Don actually sells himself. He runs home to be with the family he could use to backfill those happy memories, maybe, only to find the house empty.


Noel Murry, AV Club

My favorite scene: Back in the boardroom, pitching Kodak on “The Carousel” slide projector–not “The Wheel,” as the episode is pointedly called. Don describes the difference between the newness that advertising tries to sell and the nostalgia that it simultaneously tries to speak to. In addition to encapsulating one of the key themes of the series, Don’s speech sums up a lot of Mad Men’s appeal. It’s at once a classic TV drama with a sense of retro style and a sophisticated one in look and tone, on the cutting edge of elliptical television storytelling in the same manner as The Sopranos and The Wire.

Mad Men is only a perfect show in that forgiving TV realm where 80% is as good as perfect. But I’m ecstatic that it’s been renewed for a second season, because with this cast, these writers, and this premise, next year Mad Men might clear 90.


Jon Hamm in The Carousel from Mad Men as Don Draper pitching the Kodak carousel

Final Thoughts

The Carousel from Mad Men is a brilliant piece of writing by Matthew Weiner, as well as creative editing by Malcolm Jamison. But if it wasn’t for Jon Hamm’s performance, I don’t think I would have scored the scene as well as I did. I will forever remember the Carousel scene in Mad Men as one of the greatest moments in television history. It showcased the brilliance of the show’s writing, directing, and acting, leaving a lasting impact on all who watched it. As a composer who had the privilege of scoring Don Draper’s scenes, I am grateful for the opportunity to be part of such a remarkable piece of television artistry.


Don and Betty Draper in The Carousel pitch from Mad Men


And finally, check out on YouTube and scroll through some of the comments and you’ll see how this scene has touched many people. Also, my video page here.



Mad Men’s Second Season Premier

Mad Men Valentine’s Day – Don takes Betty to the Savoy Hotel. While there, they run into Juanita (Jennifer Siebel Newsome on Mad Men) an old roommate of Betty’s from her modeling days, accompanied by an older business executive. Don points out to Betty that Juanita is clearly now working as a call girl. 

We all remember Betty’s entrance!

“Song of India” which I recorded for this scene in Season 2 premier had to do two things for it to work. The first was it was to be used as playback for the on camera actors at the hotel. It was decided on a trio, Violin, Harp & piano. The second task was to become gigantic in orchestration to underscore Betty descending the hotel staircase to meet Don for their special Valentine’s date, as a result we can’t for get her entrance.

Here’s her entrance:

“Song of India” by Nikolai Rimsky-Korsakov, recorded and produced for Mad Men by David Carbonara

Later that night, Mad Men Valentine’s Day turns into Nightime

In the Drapers’ hotel room, a more confident Betty shows Don a sexy merry widow she has bought. The boldness throws Don, and when they try to have sex, he is impotent. The evening ends with Betty and Don watching the Jackie Kennedy TV special, A Tour of the White House with Mrs. John F. Kennedy. Also watching the special is Joan Holloway and her new doctor-boyfriend, and Salvatore Romano, who is newly married. Pete sits alone watching cartoons, eating the chocolates he purchased for his wife.

The season premier ends with Don reading the Frank O’Hara poem Meditations in an Emergency. “Now I am quietly waiting for the catastrophe of my personality to become beautiful again.” The underscore is a call back to season 1, specifically “The Carousel“.