TERRY DULLUM: The Dullum File — Mad Music

So, “Mad Men” has ended with a something of a whimper rather than a big bang. The series ends with the lives of most of the major characters taking somewhat uncharacteristically positive turns.

The one exception was poor January Jones’ character, who continues to die (beautifully) of lung cancer. She also continues to smoke in her final scene, but what does it matter when you have just six months to live? A cautionary tale for the rest of us, perhaps.

On the bright side, no one in “Mad Men” had to go rehab (except in real life), and no one had to attend gender sensitivity training classes.

Ginny had long predicted that Don Draper would jump from a New York City skyscraper, mimicking the animated open of the show. (Don did seem especially depressed in the final season. And that’s saying something.)

One of the things I will miss most about “Mad Men” is the music. A bit odd because throughout the series there seemed to be little or no noticeable “background” music in the show, unusual for a television drama. That is until the closing credits.

As the credits rolled and were shrunk into the corner of the screen small enough to be unreadable, we were hit with a different musical punchline each week. In just the final few episodes, Buddy Holly’s “Everyday” and Peggy Lee’s “Is That All There Is?” were heard. Little musical codas that fit the mood of each episode perfectly and that must have cost the producers a small fortune.

Thankfully, there is a whole slew of “Mad Men” soundtrack collections available with titles like “Mad Men: On the Rocks” and “Mad Men: Nightcap.” They would make good souvenirs of the series, for me, anyway.

Then, of course, there’s the final scene with DD supposedly meditating with a group at a California commune. A smile comes across his face. Cut to the famous “I’d Like to Teach the World to Sing” Coke commercial. Who among us saw that one coming?

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