Actor Packet How to Succeed by Maegan Clearwood

How to Succeed in Business Without Really Trying

Dramaturgy Actor Packet Compiled by Maegan Clearwood Dramaturgy Apprentice, 2014

Table of Contents Introduction .......................................................................................................... 3 Part I: About the Play Abe Burrows ..................................................................................................... 4 Frank Loesser .................................................................................................. 4 The Creation ..................................................................................................... 5 Production History ........................................................................................... 6 Source Material ................................................................................................ 7 Part II: American Business History of American Business ........................................................................ 9 Horatio Alger and the American Dream ....................................................... 11 The Success Manual ...................................................................................... 11 Workplace Satire ............................................................................................ 12 Defining Success ........................................................................................... 13 Part III: The World of the Play The 1960s Corporate Culture Office Etiquette for Men ........................................................................ 16 Women in the Workplace Office Etiquette for Women................................................................... 18 Secretarial Work ..................................................................................... 20 Part IV: The American Dream Today Economic Mobility.......................................................................................... 22 Defining the Dream ........................................................................................ 22 The Office Today ............................................................................................ 23 Part V: Glossary of Terms ................................................................................. 25 Part VI: Bibliography, Additional Reading ...................................................... 27

INTRODUCTION “A WORD OF CAUTION! This book will be beneficial only to those who bring to it purity of thought. It is designed solely to show you how to succeed in business and to make money and will be effective only to those who read it with these aims in mind. Those who bring with them selfish motives will receive small comfort and scant benefit.” – Introduction to How to Succeed in Business Without Really Trying by Shepherd Mead

A Message from Your Dramaturg Greetings from the Olney Theatre Center Education Office! As dramaturg for this production, I am your resource for any and everything you need to know going into this exiting artistic process. A dramaturg’s responsibilities vary depending on each production and director’s needs, but the following is a broad definition of the role, courtesy of the Literary Managers and Dramaturgs of the Americas: “Dramaturgs contextualize the world of a play; establish connections among the text, actors, and audience; offer opportunities for playwrights; generate projects and programs; and create conversations about plays in their communities….They work with their other artistic collaborators to hone their vision, focus their goals and find outlets for their creative work on new and classical plays and dance pieces. [They] serve the field as experts on our dramatic past and as advocates for writers of today and the important work of the future.” Along with determining how to best contextualize this story and introduce the audience into its world, I am an advocate for the artists throughout the rehearsal process. I aim to facilitate conversation among the performers and production team and challenge them with the ever-important question, “Why this play now?” Hopefully, this packet will be the start of this dialogue. It is not meant to overwhelm you with facts; rather, it should inspire you to look at the musical through a fresh, nuanced lens. I intend to continue the conversations sparked from this packet throughout the rehearsal process, through an image and idea board in the Actors Hall, as well as individual discussions and notes. If you have any questions throughout this process—about the world the play, the musical itself, or a particular word or phrase you find in the text—please do not hesitate to contact me. I will try to make myself as available as possible throughout rehearsals, but if you need to reach me, my email address is education@olneytheatre.org. Feel free to stop by the Education Office in Crawford during the weekday to see me in person. I also encourage you to follow my dramaturgical blog, which will be made available to interested audience members as well. Any comments or suggestions for further exploration are welcome. You can find the blog at olneyhowtosucceed.wordpress.com. – Maegan Clearwood OTC Dramaturgy Associate

PART I: ABOUT THE PLAY “The fact is that comedy is actually too serious to be taken seriously. It may be that comedy touches such deep emotions that people feel better if they can just dismiss it as trivial. Just take a big belly laugh. I have watched people laughing, and for a moment they look–and are–absolutely helpless. Vulnerability. You can be assaulted while you are laughing.” – Abe Burrows

Abe Burrows Radio personality, songwriter, singer and pianist, television personality, playwright, and stage director Abe Burrows (1910– 85) is perhaps best known for his work with Frank Loesser, but he was an established humorist and entertainer in his own right well before meeting his collaborator. Born Abram Solman Borowitz, Burrows’ early career hardly seemed that it would lead to a life in the arts; after graduating from New York University, he worked as a Wall Street runner, then as an accountant. He broke into the entertainment business several years later after partnering with comedy writer Frank Galen to write jokes for nightclubs and radio broadcasts. Burrows’ first independent success was as head writer for Duffy’s Tavern, a popular radio program, the guest stars of which eventually inspired the characters in Guys and Dolls. He performed his own satirical songs (“Darling Why Shouldn’t You Look Well-Fed, ’Cause You Ate Up a Hunka My Heart?” and “The Girl with the Three Blue Eyes”) at Hollywood parties and ultimately as a guest on CBS programs, and by 1948 had his own Abe Burrows Show. The program director of station KNX, where Burrows’s radio show originated, suggested that Burrows try his hand at playwriting. Although initially worried that his style would not translate effectively onstage, he was persuaded to take over writing most of the script for Guys and Dolls. His collaboration with Frank Loesser was a popular and critical success, earning him a Tony and a New York Drama Critics Award. Its nomination for the Pulitzer Prize in Drama, however, was vetoed because Burrows was under investigation from the House of Un-American Activities Committee. Burrows credited much of his theatrical success to George S. Kaufman, the legendary comic writer (for the Marx Brothers, among others), and he wrote, directed, and doctored a wide variety of plays throughout his Broadway career.

Frank Loesser Although he never studied music formally, Loesser (1910–69) developed a passion for pop music at a young age; he wrote his first song at the age of six, and he taught himself to play the harmonica and piano. Forced to drop out of college during the Depression, Loesser supported himself with an array of jobs that included selling newspaper advertising, working as a process server, and, his favorite, city editor of a short-lived newspaper in New Rochelle. Intrigued by word play, Frank began to write songs, sketches and radio scripts; he collaborated with composer William Schuman to write his first piece, “In Love With a Memory of You” in 1931.

Over the next two decades, Loesser quickly established himself as a popular Hollywood songwriter, produced his major wartime hit, Praise the Lord and Pass the Ammunition, and founded Frank Music Corp., his own publishing company. He created his first score for a Broadway musical, Where’s Charley?, in 1948, the success of which immediately landed him a songwriting position on Broadway’s next huge smash, Guys and Dolls. Loesser wrote the score for five Broadway musicals over the course of his career, including The Most Happy Fella, Greenwillow, and, of course, How to Succeed. An unrelenting worker, Loesser continued to write songs for film and stage throughout his career. Frank Music Corp. was instrumental in discovering and developing new composers and lyricists during the 1950s and ‘60s, and was acquired by CBS in the 1970s.

The Creation Abe Burrows and Frank Loesser’s first collaboration with Guys and Dolls was resoundingly successful, but it was not for another 10 years, when their producers proposed the idea of adapting Shepherd Mead’s book into a stage musical, that the two worked together again. Burrows first read the satirical guidebook when it appeared in paperback in 1956. His agent suggested a musical adaptation, but Burrows initially rejected the idea: “I enjoyed the book, but who the hell would want to see a show about Big Business? Besides, even though the book was funny, there was no plot, no story to build on.” Instead, two writers—Jack Weinstock and Willie Gilbert—wrote a straight play based on the book. Finally, with a broad storyline and a basic comic structure off of which to work, Burrows agreed to tackle the project. Convincing his friend and colleague to collaborate, however, proved a challenge: not only did the source material lack a clear storyline, but the partners’ philosophies seemed in complete opposition with each other. Loesser was accustomed to a romantic, wistful style of music, in contrast with Burrows’ more humorous background—together, however, they struck a balance that proved invaluable to the production. Burrows was excited about the comedic possibilities in Finch’s journey up the corporate ladder, but Loesser refused to collaborate unless the character was given a love story. Loesser insisted not only because he was adept at writing such subject matter, but also to establish a sympathetic side to Finch’s character. Although the romance prompted the creation of one of the musical’s most memorable characters, Rosemary, who does not appear in the book, the story’s satirical style is what set it apart from other Tony and Pulitzer contenders that year. Both Loesser and Burrows had experience in the business world—Loesser with his music company, and Burrows in his early years as an accountant and Wall Street runner—and by extension, had a well of experience to tap into. The result, while satirical, was less bitter and cynical than it was mocking. As Burrows later described it: “I hadn’t written the show out of hatred. If you really hate something, you can’t satirize it…I’ve always had that qualified love for Big Business. I enjoyed the excitement of my days on Wall Street, I liked my involvement with the big radio and television networks and big companies. But I did see a lot of funny things

happen in those corporate giants.” The writing process took off after Loesser and Burrows created “Coffee Break,” not part of Mead’s original book. It established the comedic style for the rest of the production, or as Burrows put it: ”It was a helluvva a number and suddenly we saw daylight." The unique structure and subject matter lent itself to an unconventional style and aesthetic, as well. Choreographer Bob Fosse, for example, recognized the kinetic possibilities for original choreography in a set of jerky, angular moves that parodied buttoned-down, uptight office attitudes. Set designer Robert Randolph's created two-dimensional, linedrawn, flat-colored sets, their exaggerated cartoon qualities according with the show's satirical style. The most iconic part of the original staging, however, was Robert Morse’s performance as Finch. Burrows knew Morse from earlier projects, and the performer was cast before a script was even finalized. The character was very much written with its performer in mind, as was Rudy Vallee, who originated the role of J.B. Biggley. The production was supposed to open in the spring of 1961, but because the script was still a work-in-progress, it was postponed until the fall. When rehearsals began, the final two scenes were nonexistent. Burrows and Loesser had no idea how to resolve the story after Finch’s treasure hunt goes awry. They were ultimately inspired by the Bay of Pigs invasion in April of that year, America’s abortive attempt to invade Cuba, and President Kennedy’s subsequent public statement in which he, as his country’s figurehead, accepted all blame. “Here’s a mighty nation caught in a jam and everybody except the President is blaming everybody else. And everybody else is blaming everybody who’s blaming everybody else,” Burrows said. The final two scenes mirror this national blame game, particularly Biggley’s heartfelt speech in which he asserts that “anything that happened is not my fault.” Audiences immediately recognized and responded to the allusion to Kennedy’s speech, and the play ended as unrealistically as it began.

Production History For production images, please visit olneyhowtosucceed.wordpress.com. Broadway (1961–65): The original Broadway staging opened at the 46th Street Theatre on October 14, 1961, to immediate critical and popular success. At the forefront of critics’ adulations was Morse’s performance. “Rubber-faced” and charming, he performed Finch with such physical dexterity that he was essentially defined by the role for the rest of his acting career. As one reviewer described it: “Mr. Morse is charming—in an alarming sort of way…Whether he is darting around high on a windy penthouse or taking off from the horizon as in a very spiritual movie, he is a magnificent (if cunning) shambles. Of course, Mr. Morse is a spastic. But they'll probably never be able to cure it, and he'll go right on being as funny as he is at the 46th Street." President Kennedy chose How to Succeed as his first presidential theatrical outing in January 1962. According to Burrows, he liked the show so much that he recommended it at a cabinet meeting. A contingent of the American Mercury program astronauts, led by John Glenn, also attended the show, as well as New York Giants quarterback YA Tittle, much to Morse’s delight. The production ran for 1,417 performances. Awards: Eight Tony Awards, including Best Musical, Best Author, and Best Performance by a Leading Actor in a Musical (Morse); Pulitzer Prize for Drama.

Cast: Robert Morse as Finch; Charles Nelson Reilly as Bud Frump; Bonnie Scott as Rosemary; Virginia Martin as Hedy LaRue; Rudy Vallee as Biggley. Production Team: Direction: Abe Burrows; Book: Abe Burrows, Jack Weinstock, Willie Gilbert; Music: Frank Loesser; Lyrics: Frank Loesser; Musical Staging: Bob Fosse; Choreography: Hugh Lambert. West End (1963–64): The production opened at Shaftesbury Theatre and ran for 520 performances. Also directed by Burrows, it featured a new cast, which included: Warren Berlinger as Finch; Billy De Wolf as Biggley; Patricia Michael as Rosemary; David Knight as Bud Frump. Film (1967): Released by United Artists and directed by David Swift, many of the original Broadway performers reprised their roles for the film adaptation, including Morse and Vallee. Although some of the musical’s songs were cut, including “Happy to Keep His Dinner Warm,” “Cinderella Darling,” and “Paris Original,” the film stayed true to the heart of the stage version, with no small help from Morse’s over-the-top performance. Broadway Revival (1995–96): The production opened at the 46th Street Theatre again, where it ran for 548 performances. Awards: 1995 Tony Award for Best Performance by a Leading Actor in a Musical (Matthew Broderick); Nominated for four other awards, including Best Revival of a Musical. Cast: Matthew Broderick as Finch; Megan Mullally as Rosemary; Ronn Carroll as Biggley; Walter Cronkite as Book Voice. Production Team: Direction by Des McAnuff; Choreography by Wayne Cilento; Wardrobe by Susan Hilferty. Broadway Revival (2011–12): The production opened at the Al Hirschfield Theatre and ran for 473 performances. Awards: 2011 Tony for Best Performance by a Featured Actor in a Musical (John Larroquette); Nominated for nine other awards, including Best Revival of a Musical, Best Performance by a Leading Actor in a Musical (Daniel Radcliffe), and Best Direction of a Musical; Drama Desk Award for Outstanding Featured Actor in a Musical (John Larroquette), and four other nominations. Cast: Daniel Radcliffe as Finch (later replaced by Darren Criss then Nick Jonas); Rose Hemmingway as Rosemary; Tammy Blanchard as Hedy LaRue; John Larroquette as Biggley; Anderson Cooper as Book Voice. Production Team: Direction and Choreography by Rob Ashford; Costume Design by Catherin Zuber; Lighting Design by Howell Binkley.

Source Material Bio adapted from the official Shepherd Mead website, www.shepherdmead.com: Shepherd Mead (1914–94) was one of those men dogged by success. At 22, the quiet Phi Beta Kappa from Washington University left his native St. Louis for New York and joined the mailroom of a large corporation, the ad agency, Benton and Bowles. Like J.P. Finch, Mead rose to the top, and became head of radio copy at the company and,

eventually, Vice President. While there, inhabiting a huge office with four windows, he wrote How to Succeed in Business. It remained 12 weeks on the bestseller list and was followed by several novels on big business, one of which, The Admen, sold more than two million copies. He wrote a variety of other satirical “how to” books, including How to Stay Medium-Young Practically Forever Without Really Trying, How to Live Like a Lord Without Really Trying, and How to Succeed with Women Without Really Trying: The Dastard’s Guide to the Birds and the Bees. Mead’s most famous book, of course, is How to Succeed in Business Without Really Trying. Written in the guise of a self-help guide, the short book—just over 150 pages— provides step-by-step instructions on how to climb from the mailroom all the way to a corner office. Notable chapter titles include: “How to Delegate Responsibility,” “How to Write Memos,” “How to Make More Money,” “How to Keep Money,” “How to Play Company Politics,” and “SEX in Businesses, its Uses and Abuses.” Although the book has no plot, it uses the character of Finch as a shining example of how the rulebook may be used successfully. Mead notes in the introduction that, although a character, “there will be few among you who won’t break into a sly smile of recognition as his career is unfolded,” and that “these illustrative bits were taken from life, indeed form the career of a man who was living monument to the precepts of this work”; in other words, Finch’s climb up the corporate ladder is not all that different from the author’s own.

An illustration from the original publication.

PART II: AMERICAN BUSINESS History of American Business Prior to the Second Industrial Revolution, the locally oriented American economy did not need offices as they are defined today. The early merchant was his own importer, exporter, banker, wholesaler, retailer, even ship-owner. At most, a successful business owner had no more than three men helping him with administrative tasks. The nature of American business shifted radically, however, between 1850 and the early 20th century. A range of technological innovations, including the telegraph and railroad, increased production and allowed for more large-scale organizations. Many iconic American businesses, including Johnson & Johnson, General Motors, Carnegie Steel, Coca-Cola, and Campbell Soup, were established during this period. At the same time, rising incomes, population growth, and urbanization radically altered the demand side of the economy. The following timeline broadly examines the nature of American work from the Second Industrial Revolution, when the modern organization was established, through the 20th century, and up to a 21st century corporate world dominated by Apple and Google. 1830: The American railroad industry begins with the first 13-mile track. The railroad was at the cusp of the economic and labor revolution, and its radical corporate structure almost singlehandedly redefined American labor. The system demanded operational activities and budgets on an entirely new scale, and raising, investing, and managing funds on such an enormous scale had important ripple effects. For one thing, such activity helped create American capital markets, particularly the New York Stock Exchange. Railroad companies also employed thousands of workers nationwide— conductors, engineers, construction workers, clerks, and more. The companies developed a vast interoffice communication system, and, probably more importantly, a large-scale system of management. Railroad organizations established an enormous hierarchical system, with clearly defined positions and responsibilities, which included individual managers to oversee operations. 1836: Massachusetts becomes the first state to pass a law restricting child labor. 1871: J.P. Morgan establishes Drexel, Morgan & Company on Wall Street in NYC. He is soon earning over half a million dollars a year. 1882: Engineer Frederick W. Taylor performs time studies at Midvale Steel. This work lays the foundation of Scientific Management, a tightly organized system of labor aiming to achieve greater efficiency. Its four principles were: 1. Determine the most efficient way to perform specific tasks; 2. Match workers to jobs based on capability and motivation, and train them to work at maximum efficiency; 3. Monitor worker performance and provide instructions and supervision throughout; 4. Allocate work between managers and workers so that the managers spend their time planning and training. Although efficient, this system stymied potential for creative growth and had a negative impact on worker morale. 1906: Upton Sinclair publishes The Jungle, detailing gruesome conditions in the Chicago meatpacking industry. Congress passes the Pure Food and Drug Act and the Meat Inspection Act the same year. 1908: Henry Ford introduces the Model T car. During the next 10 years, his assembly

line production of this automobile will be widely copied and drive production costs down. By 1927, mass-production techniques will be capable of manufacturing a Model T in 24 seconds. In six years, he announces that workers for the Ford Motor Company will be paid $5 a day and have a shortened workday. The new wage more than doubles an average worker's salary. 1920: Only one-fourth of the population work as farmers, compared to three-fourths of the labor force at the end of the 19th century. The rest of the population works in manufacturing, trade, transportation, and domestic service. 1939: WWII begins. The draft causes a sudden depletion of workers, and women begin fulfilling nontraditionally female roles. At the beginning of the war, 12 million women comprised 25 percent of the workforce; by the end, 18 million women comprised onethird of the workforce. 1945: WWII ends. Consumer demand skyrockets, and office and management environments change to attract more workers. Factory jobs paid far more for unskilled and semi-skilled labor than were office jobs; in response, clerical systems emphasized the respectably and status of office work. Advertisements for jobs described "friendly" offices and bosses; attractive health insurance and retirement plans became part of the financial rewards for working; and offices were physically being "landscaped." They became color-coordinated with attractive furniture and comfortable music and lighting, not only for executive and upper management workers, but even for the office clerks and secretaries. 1956: White-collar workers become the majority of the workforce for the first time, as the number of service jobs surpasses those involved in producing goods. In fact, between 1950 and 1960 more new office space was added to New York than existed in the rest of the world at the time. In one decade that one city more than doubled the world’s available office space. 1963: Congress passes the Equal Pay Act in the hopes of abolishing wage disparity based on gender. 1960: Robert Propst introduces the Action Office, a layout of desks and workspaces meant to allow freedom of movement for optimal productivity. The second version of the Action Office was composed of mobile wall units, eventually dubbed Cubicles. The cubicle came to represent bureaucracy at its worst, the exact opposite of what Propst intended–"monolithic insanity” as he described it. By 1980, half of American white-collar workers are situated in cubicle farms. 1974: Congress passes the Employee Retirement Income Security Act, providing for the regulation of most pension and health funds established by private employers. 1980: The Equal Employment Opportunity Commission issues regulations defining sexual harassment and declaring that it is a form of sexual discrimination banned by the 1964 Civil Rights Act. Six years later, the Supreme Court recognizes this as well. 2001: The ratio of average pay between a CEO and an average production worker (that is, non management) worker is 525:1, a major jump from 42:1 in 1982. 2004: Mark Zuckerberg launches Facebook. He drops out of Harvard University due to the company’s resounding financial success, making his rise to fame something of a modern day Horatio Alger story. By 2013, his personal wealth is estimated to be about

$19 billion. 2007: Higher education becomes increasingly important as qualification for work. In this year, nearly 29 percent of Americans over the age of 25 have completed four years of college, up from about 20 percent in 1987, 10 percent in 1967, and 5 percent in 1947. 2011: Steve Jobs, co-founder of Apple, Inc. and worth more than $8 billion, dies. A biography and film quickly appear, revealing his unique and controversial management style. Described as an “egomaniac,” “perfectionist,” “aggressive,” and “colder than an ice cube,” he was both feared and respected as a leader.

Horatio Alger and the American Dream The name Horatio Alger Jr. (1832–99) remains synonymous with success; although his books are considered overly sentimental by modern standards, their influence on the American dream mythos is enormous. Alger’s own life was not as dramatic as those he crafted in his books. Born in Chelsea, Massachusetts to a Unitarian minister and his wife, Alger’s family encouraged his early passions for reading and writing. After graduating from Harvard University, he worked as a schoolteacher and magazine writer, then enrolled in divinity school. His career as a minister was brief (he was asked to leave after only two years following allegations of abuse) but it reinforced the morals and themes that appeared in his novels. The first of his books, Ragged Dick, or Street Life in New York with the Bootblacks, was serialized in 1867. It told the story of a poor shoeshine boy who, despite his vices, is determined to “win a respectable position in the world” and begins his climb up the social ladder after rescuing a wealthy man’s son from drowning. Alger’s novel was overtly didactic; Dick’s success hinged on his “honesty, hard work, and cheerfulness in adversity." Alger published more than 100 similar novels, all of which followed the same basic outline: a poor hero is forced to struggle for a livelihood; he moves to the city, where he must clear his or another’s name of false accusations; he manages to earn a degree of economic independence; he earns the admiration of an adult patron who reward him with a respectable job and social position. Alger described his heroes as: “Manly boys, bright, cheerful, hopeful, and plucky. Goody-goody boys never win life’s prizes. Strong yet gentle, ready to defend those that are weak, willing to work for their families if called upon to do so…such boys are sure to succeed, and deserve success.” Alger’s novels were immensely successful, and are considered a majorly influential component of the American dream cannon.

The Success Manual Shepherd Mead blatantly satirized Alger’s “rags to riches” philosophy, and he had plenty of material to parody; ever since Benjamin Franklin, arguably America’s first iconic success story, wrote The Way to Wealth in 1758, authors and businessmen have written how-to guides for ambitious young workers. The 1950s and ‘60s were particularly rife with such manuals, written by established businessmen hoping to pass on their secrets to the next generation of businessmen. Below are some of the success manuals to which Mead may have been responding: 1948: The Magic of Believing, by Claude M. Bristol

“[Belief] is the element or factor which causes people to be cured by mental healing, enables others to climb the ladder of success, and gets phenomenal results for all those who accept it.” 1959: The Magic of Thinking Big, by David J. Schwartz “The size of your success is determined by the size of your belief. Think little goals and expect little achievements. Think big goals and win big success. Remember this, too! Big ideas and big plans are often easier—certainly no more difficult—than small ideas and small plans.” 1951: How to Be Rich, by John Paul Getty “To be truly rich, regardless of his fortune or lack of it, a man must live by his own values. If those values are not personally meaningful, then no amount of money gained can hide the emptiness of life without them.” 1960: Success through a Positive Attitude, by Napoleon Hill and W. Clement Stone “You were born to be a champion, and no matter what obstacles and difficulties lie in your way, they are not one-tenth so great as the ones that have already been overcome at the moment of your conception.” 1962: The Dynamic Laws of Prosperity, by Catherine Ponder “Let us be done with thinking of poverty as a virtue. It is a common vice.”

Workplace Satire A popular literary and artistic device, satire is more than a comic medium. Although most satirical pieces are humorous, satire is first and foremost a method of social criticism. The genre–which can be found in everything from poetry and fiction to film and TV– utilizes a variety of literary devices to expose societal and political shortcomings. These devices may include hyperbole, parody, exaggeration, imitation, and sarcasm. The genre has a rich literary history, English examples of which can be found as early as medieval England. It was especially popular in the 18th and 19th centuries, and many renowned writers, including Alexander Pope, Jonathan Taylor, Charles Dickens, and Mark Twain, established themselves as biting satirists. Today, the genre has expanded into all forms of media and literature. The workplace is one of the most popularly satirized subjects; it is something with which nearly everyone can relate, and it serves as a metaphor for consumerism and society as a whole. Shepherd Mead’s How to Succeed and the subsequent Broadway musical are part of a long tradition of workplace humor. Below are some other popular examples of comedic office films, books, stories, and more: 1936: Modern Times. Charlie Chaplin stars as an assembly-line worker driven insane by the monotony of his job. After a long spell in an asylum, he searches for work, only to be mistakenly arrested as a Red agitator. Released after foiling a prison break, Chaplin makes the acquaintance of orphaned gamine (Paulette Goddard), becomes her friend and protector, and must take on several new jobs for her benefit. The film permits ample space for several of the comedian's most memorable routines: the "automated feeding machine," a nocturnal roller-skating episode, and Chaplin's double-talk song rendition in the nightclub sequence. 1956: The Man in the Gray Flannel Suit. A cinema adaptation of Sloan Wilson's best-

selling novel The Man in the Grey Flannel Suit stars Gregory Peck as an ex-army officer, pursuing a living as a TV writer in the postwar years. Hired by a major broadcasting network, Peck is assigned to write speeches for the network's president (Fredric March). He comes to realize that the president's success has come at the expense of personal happiness. 1960: The Apartment. Jack Lemmon plays C.C. Baxter, a go-getting office worker who loans his tiny apartment to his philandering superiors for their romantic trysts. He runs into trouble when he finds himself sharing a girlfriend (Shirley MacLaine) with his callous boss (Fred MacMurray). Directed and co-written by Billy Wilder Later adapted by Neil Simon and Burt Bacharach into the 1969 Broadway musical Promises, Promises. 1994: The Hudsucker Proxy. Tim Robbins stars as Norville Barnes, a dull-wit from Muncie, Indiana who wrangles a job with the big Hudsucker Industries. He has a singular idea for a new children's toy that he wants to present to corporate executive Sidney J. Mussberger (Paul Newman). As he makes his way up to Mussberger's office, the company president Waring Hudsucker (Charles Durning) is on his way down—through the window of the forty-fourth floor boardroom. Hudsucker's death sets off a panic that Mussberger sees as an opportunity for taking over the company—by installing a total incompetent in Hudsucker's place and devaluing the stock. 1999: Office Space. Directed by Mike Judge, this cult classic takes a dark and comedic look at the world of cubicle farms and bureaucracy. After a botched hypnosis session, Peter Gibbons (Ron Livingston), a disillusioned computer programmer, decides to take revenge on his soulless company 2005–13: The Office: Based on the UK program of the same name, the American TV show follows the daily activities of office employees at the Scranton, PA branch of the fictional Dunder Mifflin Paper Company.

Defining Success According to Horatio Alger, all it takes it a bit of luck and pluck to rise out of poverty and up the social ladder. Real-life success stories were far less common than Alger’s books implied, but many Americans still managed to embody this rags-to-riches storyline. The following businessmen were both admired for their success and despised for their exploitative practices and supposed immorality. The term “robber baron” came to derogatorily describe these individuals, and some critics continue to use the term for modern day capitalists as well. Along with a brief biography, below is a quote from each of these individuals, summarizing their idea of success or how to achieve it: Andrew Carnegie (1835–1919): Born into a family of destitute laborers in Dunfermline, Scotland, Carnegie received little schooling before his family emigrated to America in 1848. Arriving in Pennsylvania, the 13-year-old soon got a job in a textile mill, where he earned only $1.20 per week. Carnegie went on to labor as a messenger boy and factory worker before eventually winning a job as a secretary and telegraph operator at the Pennsylvania Railroad. By 1859, the enterprising young worker had become superintendent of the railroad’s western division. Carnegie invested his newfound wealth in a variety of businesses including a bridgework company, a telegraph operation and— most famously—a steel mill. Proclaiming that, “the man who dies rich dies disgraced,” Carnegie spent his later years donating his fortune to charitable causes, eventually giving away some $350 million.

“While the law of competition may be sometimes hard for the individual, it is best for the race, because it ensures the survival of the fittest in every department.” John D. Rockefeller (1839–1937): Rockefeller created Standard Oil, revolutionized the petroleum industry and created the structure of modern philanthropy. Born in Richmond, NY, His father, William was a lumberman and then a traveling salesman, whose reputable business dealings and infidelity made life for the six Rockefeller children particularly difficult. Eliza, John’s mother, taught him and his siblings the value of thrift hard work. Rockefeller began his career as a bookkeeper at the age of 16, and attributed much of his later success to his devotion to religion and abstinence from tobacco and alcohol. He is often regarded as the richest man in history. Rockefeller’s net worth was $663.4 billion. “The ability to deal with people is as purchasable a commodity as sugar or coffee and I will pay more for that ability than for any other under the sun.” Henry Ford (1863–1947): A farm boy who went on to revolutionize transportation industry in America, Ford was interested in mechanics from a young age, when he dismantled and reassembled a pocket watch his father had given him at the age of 15. A self-taught watch repairman who graduated to being an apprentice machinist, Ford started his personal experiments on gasoline engines which was the beginning of his vast Ford empire. And his net worth, as per Forbes in 2008, was $188.1 billion. “Business is never so healthy as when, like a chicken, it must do a certain amount of scratching around for what it gets.” Sam Walton (1918–92): During the Great Depression, Sam Walton and his family lived on a farm in Oklahoma where he milked the family cow and delivered bottles to customers to make ends meet. He joined J.C. Penny three days after graduating from the University of Missouri with a BA in economics. After WW II, with capital of $25,000 that he borrowed from his father along with the $5,000 that he saved from the Army, he bought a Ben Franklin variety store which he expanded into the retailer giant Walmart and the membership-only retailer warehouse Sam’s Club. "Capital isn't scarce; vision is." Oprah Winfrey (1954—): Born to unwed teenage parents in Mississippi, this media mogul wore dresses that her grandmother made out of potato sacks. After an abusive childhood, she ran away at the age of 13 and became a mother at 14, but her son died in infancy. Sent to live with his father, a barber in Tennessee, she got a full scholarship in college, won a beauty pageant and was discovered by a radio station. Her empire is now worth $2.7 billion which she shares with the world through her philanthropic works. “What I know for sure is that if you want success, you can’t make success your goal. The key is not to worry about being successful, but to instead work toward being significant, and the success will naturally follow.” Steve Jobs (1955–2011): Jobs was given away for adoption by his biological parents and he became interested in electronics after his foster father showed him the joys of technical tinkering in their garage. He was forced to drop out of college because of the financial strain on his foster family, and he used to return Coke bottles for money and live on free meals at the Hare Krishna temple. Eventually, Jobs went from a technician in

Atari, Inc. to becoming the CEO of Apple Inc. Although his leadership style was controversial, his is considered the epitomic modern Horatio Alger story. “I’m convinced that about half of what separates the successful entrepreneurs from the non-successful ones is pure perseverance.” Mark Zuckerberg (1984—): Although born into a financially stable home in White Plains, NY, Zuckerberg’s precocious and risk-taking personality made him one of the youngest business legends in American history. He began writing computer programs in middle school, and was already dubbed a “programming prodigy” by the time he enrolled in Harvard University. In only a few years, his college social networking project was so financially successful that he left school. Today, Facbeook’s company value is $104 billion, and Zuckerberg’s net worth is $16.8 billion. “Move fast and break things. Unless you are breaking stuff, you are not moving fast enough.”

PART III: THE WORLD OF THE PLAY “It was the best of times, it was the best of times. To be white, male, and healthy in New York in the 1950s was to be as blessed as any individual at any time in history. The booming wartime economy had given way to a booming peacetime economy, fueled by full production to meet the voracious demand from buyers nourished by the innovation and choice now available in their bounteous new ‘supermarkets.’…While Europeans still shivered, exhausted, in their damp monochrome deprivation in the aftermath of the ruinous war, New Yorkers assumed world leadership with a cool sophistication that they'd previously granted to Paris, Rome, or London. In the excited, urgent chatter in the new air-conditioned offices, in the packed bars and increasingly worldly restaurants, in the crammed theater lobbies and fifth avenue stores there was a new confidence gained from global domination. New Yorkers basked in the health and wealth reflected back at them in the glass and chrome of their elegant, bustling streets. they revealed in their status as citizens of the busiest, noisiest, fasted growing, most advanced, most cosmopolitan, coolest, most desirable, and most photogenic city in the world.” — Excerpt from The Real Mad Men by Andrew Crackwell

1960s Corporate Culture The office of the 1950s and ‘60s was, in many ways, the embodiment of the American dream; it allowed for a comfortable salary, an independent lifestyle, and room for advancement. From a 21st century perspective, corporate culture of the mid 20th century seems contradictory: it was hierarchical, with a strict code of etiquette among all staff; despite these formalities, however, drinking, smoking, and socializing on the job were commonplace, even encouraged. Amy Vanderbilt, a popular expert in manners throughout the 1950s and ‘60s, published her Complete Book of Etiquette: A Guide to Gracious Living, in 1959; its contents reveal how structure and expectations defined corporate culture. From Chapter 20: A Man’s Manners in the Business World: Young men who want to become executive material must do more than apply themselves to the technique of their jobs. They must school themselves in social as well as in business manners if they want to get ahead. They must learn how to dress, how to conduct themselves on various social and business occasions, how to communicate their ideas to others in concise, well-chosen language. We have all known successful businessmen whose grammar was bad, whose taste in clothes was atrocious, and who broke every rule of good manners, if indeed they knew any existed.…The great corporations invariably practice a most formal business etiquette. Their façade is imposing, they employ well-dressed, softspoken receptionists, they provide private offices and interoffice communications to cut down on noise and traffic. They usually exercise considerable control over the behavior and appearance of their employees. When Does a Man Rise? In business a man does not rise when his secretary enters his office to take dictation, although if she is newly assigned to him as his personal secretary he does rise to greet her and to shake her hand if he offers it. He rises if he has a woman caller—unless she is a job applicant for a nonexecutive position. If he is

on the telephone or dictating when she enters, he nods, indicates a chair, and rises when he has concluded his conversation. If he is at his desk and a superior, man or woman, enters, he rises and waits until he is asked to be seated again or the caller leaves. If a male co-worker enters his office, he does not rise unless, perhaps, to greet him after an absence, for gentlemen always rise to shake hands—even with a man—or excuse themselves for being able to do so for some reason. Who Precedes Whom? In leaving a room in a business office a man always steps back to allow his superior to go first if the other is about to leave too, or, if there seems to be some delay, asks his permission to go first. From the standpoint of superiority, the top executives certainly have the privilege of leaving before their inferior women employees, but I have noticed that, even in business, most gentlemen step aside, no matter what the capacity, to permit the women present to go first, even women in nonexecutive capacities. Smoking in the Office A superior, man or woman, calling upon another employee may, of course, smoke without asking permission, but an outsider may not smoke in the office of someone else unless he is asked to do so. A Man’s Secretary A really experienced and urbane executive keeps his relations with his secretary on a friendly but purely business basis even after years of association. In very informal offices a secretary is sometimes called by her first name, especially in small towns where everybody knows everybody else. But to an outsider—and remember, such business may grow to be big, impersonal corporations in time— it seems less than businesslike and sometimes a shade too intimate for a man to call his secretary “Mary” instead of “Miss Jones,” at least in office hours. The Pretty Secretary It is only human for a man to want his secretary to be neat, attractive, and, if possible, pretty. He has to look at her all day long. But the more attractive she is, the more, for his own and her protection, he must treat her with careful, polite objectivity. The quickest way to trouble, a straight line into the maze of gossipy office politics, is for a man to pay more than business attention to his secretary. If it happens that both are free to have some social life together, if they wish, they should still maintain formal relations in the office if their efficiency is not to suffer. Even at that, it is difficult for the woman, especially, not to show others that she has her boss under rather special control. The Executive on the Telephone In a personal service organization—one that depends on its daily contact with others for its business—an executive should answer his own phone, if at all possible. Many a deal has been queried by a snippy secretary's self-important announcement to the telephone caller, "This is Mr. Brown's secretary speaking. What did you want to talk to him about?" It is always that awkward and infuriating past-tense phrase, too. Mr. Brown is probably right there swaying back in his

swivel chair and quite able to pick up the phone himself. If he's any kind of an executive, he can dispose of unwanted callers with tact and dispatch and he does not run the risk of cutting off his business blood supply. But in case a man or woman executive is really busy, actually out of the office, or for the moment can’t be disturbed, it is vital in almost any kind of business for the intermediary to handle the call in a way that will not hurt the firm’s public relations. Humanly enough, many secretaries built up their employers’ importance in their own minds in order to bolster their own egos, and this reluctance to let the outside world—no matter how important the call is—at the Great Being is all too apparent. Is it Necessary to Meet Socially with One’s Employees? From the employer's standpoint it is rarely essential except perhaps in a small community for him and his wife to pay serious social attention to the families of junior executives. Business luncheons, an occasional drink, perhaps, with a younger man, or a few rounds of golf often suffice. Executives who are too close socially often work less well, rather than better, together, for they lose their objectivity or at least feel they should repress it. It is a good thing in business to be able to speak out fair and valuable criticism without thought of close friendship. Staff promotions, too, are better handled when the owners are on relatively formal terms with all employees rather than intimate with a chosen few. To paraphrase Ben Franklin, "Love your business associates but don't pull down your hedge."

Women in the Workplace From Chapter 23: A Woman’s Manners in the Business World However competent she may be in business no woman should conduct herself in any but a dignified feminine manner. The brusque, unwomanly woman is anything but attractive in or out of business. And, equally, of course, the overlyfeminine, coy female is just as uncomfortable to have around. …Business leaders are quite conscious of the fact that women in business are also pulled in the direction of domesticity. Either they are in the marriage market, with few exceptions, or involved in the dual and difficult role of marriage plus a career. Today more married women than single women are in business. They are there to earn their livings or to help out the family income. And most of them have complete management of their homes as well…It's hard to face this, but no woman can find happiness in putting career above her husband and family. Once she has taken on woman's natural responsibilities, whatever work she undertakes must be done in a way that deprives the family the least for some deprivation they must endure if she works at all. Once encumbered she must have something very special in the way of talent to offer an employer to make hiring her worth while, at least while her children are young. Everywhere we meet women who seem to overcome the difficulties of the dual role, but the hard truth is that more women with young children fail at making happy homes while working full time than succeed. With this in mind let us go on to the problems of women in business.

Secretarial schools send forth their fresh young graduates well equipped with elementary rules of office etiquette. As a result the American secretary is usually a well-mannered, poised young woman. The girl who has not gone through business school, however, and who comes to a firm in a junior executive capacity often has much to learn. Appearance Appearance is of primary importance, of course. Neatness and quietness of apparel are important. Conservative hairdressing, makeup, and a minimum of jewelry are equally so. Sunback dresses, evening-sheer stockings, French heels, Mandarin nails, sweaters, and overwhelming perfume are taboo. Promptness Employers are paying for time on the job, so women executives, junior or senior, should get to their work promptly and once in the office start the day with a minimum of primping and colloquy in the restroom. Make-up repair should be in private, never at a desk, except in a private office. Taking Orders One of the most important things a woman in business can learn is to take an order and carry it out. This requires listening to the order without interruption, then asking any necessary questions that may clarify it. The woman who cultivates the ability to listen, to grasp instructions, and to carry them out without chatter or argument gets on in a man's world. Smoking and Eating in the Office Most organizations have rules concerning smoking on the job and eating at desks. If smoking is permitted, women should smoke in such a way that it does not interfere with work output. A chain-smoking woman is much more likely to be criticized than is a man with the same habit. Candy eating or coffee drinking, when permitted at a desk, should be done during a work-pause, then wrappers or containers removed from sight. Telephone Calls Even a well-placed woman executive limits her incoming and outgoing telephone calls. Social chit-chat in an office annoys other workers and, even when indulged in by an employer, sets a poor example. Personal Letter Writing and Callers Personal letters should not be written on office time, unless they are done during lunch hours. Friends and relatives should be strongly discouraged from visiting employees or even top executives. When such a visit does occur it should not be made a general social occasion. The Woman Executive A woman who achieves executive status of some kind must guard against being dictatorial at home as well as in the office. Men meet with their frustrations on the way up but not to the same degree, that is, on the ground of sex, as women. Therefore when a woman does arrive she tends to become irritatingly important.

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When she gives an order she wants action, and never mind the human element. It is very hard sometimes for a woman to continue to be warm and feminine and kindly once she has received business or professional recognition. Actually, she needs all these qualities more than ever if she is to keep on advancing and if her marital chances or relations are not to be harmed. The very important woman is a tempting target for a jealous male associate. She rubs him the wrong way, threatens his position, overrides his suggestions, and tramples on his pride. She forgets the feminine graces and cajoleries and tries to meet him man-to-man. If women in business would only remember that they are women in businesses they would meet so much less resistance from men. No amount of professional conditioning will ever overcome the very real fact of femaleness. Attitude Toward Other Women It has been said many times that women have difficulty as executives because they treat other business women associates as implacable rivals, as if they were competing on a sexual rather than an intellectual level. This does seem to be true, that there is little real solidarity among women. It helps to be conscious of the competitive feeling and thus make an effort to modify it. Secretarial Work In 1950, the most common jobs for women were ranked as follows: 1. Secretary 2. Bank teller, dispatcher, clerical worker 3. Sales clerk 4. Private household worker 5. Teacher According to the Census Bureau, 1.7 million women worked in a category defined as "stenographers, typists or secretaries.” Although secretarial school was a common choice for young women at the time, it took a particularly high-quality worker to climb the ladder to personal secretary for a top executive. The following questions are from a 1950 personality quiz at the Secretarial Training Program in Waco, Texas: 1. Do I have a natural flair for organizing activities of others? 2. Do I smile readily and naturally? 3. Do I make friends easily? 4. Am I fastidious about my appearance at all times? 5. Do I avoid “bossing” other people? 6. Do I refrain from making sarcastic remarks? 7. Do I control my impulse to meddle in other people’s business? 8. When necessary to give constructive criticism, can I do so without giving offence? 9. Do I go out of my way to help others?

10. Am I thoughtful and considerate of the feelings of other people? 11. Is my voice pleasing and well-modulated? 12. When people bore me, do I conceal it? 13. Am I usually cheerful? 14. Am I sincere in what I say and do? 15. Do I refrain from showing off how much I know? 16. Can I talk to the boss as easily as the office boy? 17. Can I put people at their ease? 18. Do I refrain from talking about myself? 19. Am I always on the alert to improve my vocabulary, pronunciation, and grammar? 20. Am I a good listener? 21. Do I feel at ease in a group of people whom I have just met? 22. Have I a good memory for names and faces? 23. Do I avoid making fun of others behind their backs? 24. Can I be depended upon to do what I say I’ll do? 25. Do I avoid gossiping? (4 points for each yes) A score of 80 percent reveals a good personality rating for the business world. Study the points you missed and determine to work toward personal improvement.

PART IV: THE AMERICAN DREAM TODAY Economic Mobility From the PEW Economic Mobility Project, 2012: Pursuing the American Dream •

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Eighty-four percent of Americans have higher family incomes than  their parents had at the same age,  and across all levels of the income  distribution, this generation is  doing better than the one that came before it. Ninety-three percent of Americans whose parents were in the bottom  fifth of the income ladder and 88  percent of those whose parents were  in the middle quintile exceed their  parents’ family income as adults. While a majority of Americans exceed their parents’ family incomes,  the extent of that increase is not  always enough to move them to a  different rung of the family income  ladder. Americans raised at the bottom and top of the family income ladder are  likely to remain there as adults, a  phenomenon known as “stickiness at  the ends.” Forty-three percent of Americans raised in the bottom quintile remain  stuck in the bottom as adults, and  70 percent remain below the middle.  Forty percent raised in the top  quintile remain at the top as adults,  and 63 percent remain above the  middle. Only 4 percent of those raised in the bottom quintile make it all the way  to the top as adults, confirming that  the “rags-to-riches” story is more  often found in Hollywood than in  reality.

Defining the Dream From the Center for the Study of the American Dream at Xavier University, 2012. • • • • •

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Sixty-three percent of Americans remain confident that they will reach their American Dream. Seventy-five percent have attained some measure of it. Twenty-three percent believe America is “on the rise,” down from 32 percent in 2010. Forty-five percent believe the American Dream is in “poor condition.” Twenty-eight percent are “extremely confident that they can achieve their American Dream. Sixty-nine percent believe the American Dream is harder to reach now than it was for prior generations. Fifty percent believe it will be much harder for the next generation. Forty-five percent define “family” as their American Dream, making it the most common definition, followed by opportunity, freedom, national security, happiness, having a good job, homeownership, and finally, wealth, at 8 percent.

The Office Today From Susanne Gargulo’s 2012 CNN article, “Generation Y” Set to Transform Office Life: It could be out with old meeting rooms and in with new social spaces, as Generation Y is set to transform the way we work in the next 10 years. In the U.S., those born between 1979 and 1997 are predicted to make up the largest part of the workforce within a decade and with it change offices and the nature of work itself. "We are facing a huge generational shift, as baby boomers (born between 1946 and 1964) leave the workforce, and that means we have to rethink our workspace," says Michael O'Neill, senior director of workplace research for Knoll, Inc. By the end of the decade, the balance in the U.S. will flip from approximately 50% baby boomers and 25% Generation Y workers to 25% baby boomers and 50% Generation Y workers, according to a 2010 report from Knoll, a workplace furnishing company. "That is a massive shift, and it will happen in less than eight years," says O'Neill. To understand how workspaces will need to change to accommodate and attract this new generation of workers, O'Neill and Knoll looked at the work patterns and preferences of more than 15,000 employees in 40 countries, and across four generations. Their findings reveal a number of generational differences. For example, Generation Y rates the importance of having an "engaging workplace" highest and the "quality of meeting rooms" lowest, while baby boomers rate these features opposite, with high importance on meeting rooms. "Baby boomers like structured, face-to-face meetings," says O'Neill. That's how they usually get things done. And if that's how you get things done, the quality of meeting spaces will be important to you." Generation Y on the other hand, likes quick, casual and socially-tinged meetings. Their use of technology in interaction further undermines the importance of lengthy meetings and formal spaces, according to O'Neill. As for their top priority on an engaging workspace, Generation Y blends their personal and private life, and they like a workplace to feel residential and like home, says O'Neill, explaining that baby boomers don't expect or want spaces that evoke the emotional connectedness of home. "They tend to separate their work life and their personal life," he says, adding that their focus is more on function and on efficient spaces. So how will this play out in the office of the future? "It already does," says Alison Maitland, co-author of "Future work: How business can adapt and thrive in the new world of work".

"It is the idea of work being an activity and not a place. That is more important," she says, "and it is already happening in companies like Unilever's Hamburg office and Microsoft's office in Amsterdam. "The focus there is on collaboration and innovation, nobody has a permanent desk, and employees are encouraged to move around and work in a space that best suit their activity at any given time." However, she emphasizes that the generational shift is just one of many variables pushing us into a new world of work. Changes in technology, the economy and businesses are all part of the shift. "There used to be formulas for how to crank out an office building for a certain amount of people," says O'Neill. "Now, designers are building a wider variety of rooms tailored to each company's function and direction. You are seeing more open meeting spaces, lounge furniture near circulation spaces and that type of thing. It is a shift from a 'me' to a 'we' workspace." However, tearing down all these walls can be a challenge to baby boomers. "It hurts when you take the office away," says O'Neill, "because you feel like you have worked your whole career, and you've earned that. To baby boomers, the office is a status marker. To Generation Y, a status symbol is more likely to be whether or not it has the new iPad or a certain level of freedom." Generation X (those born between 1965 and 1978) is a group that grew up with financial and work insecurity and has little in common with Generation Y or baby boomers, believes O'Neill. "They tend to be more skeptical. Their focus is on security; they are more the 'show me the money' generation," he says. So, how does a company maneuver this field of different generations and preferences? "Be aware of your workforce and your employees' needs and wants," says Laura Sabattini, senior director of research at Catalyst, a non-profit organization that works to expand business opportunities for women. "Assess the specific group because there is so much variation. That is a way to start creating a workforce that is inclusive." Maitland agrees: "Companies that are going to have three or four generations in their workplace really do need to think about those different work styles and different preferences. Falling over to accommodate only Generation Y would not be the most productive way and could backfire.â&#x20AC;?

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PART V: GLOSSARY OF TERMS Wicket: World Wide Wicket’s actual product is intentionally left ambiguous. (Page 1) J. Pierrepont Finch: An allusion to JP Morgan (1837-1913), the legendary banker and financier who dominated corporate finance during the mid-nineteenth century. (Page 7) Metrecal: A popular diet program from the 1960s. The product originally came as a powder, high in protein but low in taste, which dieters mixed with water. The Metrecal plan consisted of four self-made shakes per day. (Page 7) New Rochelle: A city in southeast New York state. Nicknamed “the Home Town” for its large number of single-family developments, it is still one of the most affluent suburban areas in the country. (Page 11) White Plains: A suburban city north of New York City. (Page 12) Typewriter (machine covers): Invented in the 1860s, typewriters quickly replaced traditional letterpress printing, for both personal and professional writing. Dust covers were used to protect machines when not in use. (Page 13) Adding machine: A mechanical calculator used for bookkeeping, they were indispensible office tools until the 1970s, when they were replaced by calculators and computers. (Page 13) Expense account: Expenses with the right to reimbursement to the employee. 1960s businesses were notorious for their supposedly infinite expense accounts, which, along with transportation and lodging, were used to wine and dine clients. (Page 37) Playboy: An American men’s magazine, founded in 1953. Along with fiction and nonfiction articles, it is famous for its photographs of nude women. (Page 38) Hedy Larue: An allusion to Hedy Lamarr (1914–2000), an actress known for creating scandal on and off screen. Her first picture, a European film called Ecstasy, featured her having an orgasm and running naked through a field; her subsequent Hollywood roles were often promiscuous as well. Off-screen, she was equally controversial, and was married six times before abandoning men and Hollywood altogether. (Page 39) FAO Schwartz: The oldest American toy store, founded in 1862. Its flagship store is located on 5th Avenue and 58th Street in Manhattan. Acquired by Toys R Us in 2009, it remains a major tourist attraction, known for its life-sized stuffed animals and iconic floor piano. (Page 43) Erector set: A metal construction toy set, first sold in 1913, which included pulleys, gears, wheels, and electric motors. Also a not-so-subtle sexual innuendo…. (Page 43) Gavotte: A French peasant folk dance (Page 44) Stouffers: The New York City branch of Stouffer Corporation’s restaurants opened in 1936. (Page 51) Helena Rubinstein (1870–1965): A cosmetics business mogul, whose line of beauty products made her one of the richest women in the world. (Page 53) Betty Crocker: A trademark company of General Mills, founded in 1921. Betty Crocker was not an actual person, but her fictionalized image became an American cultural icon. (Page 53) Stenographic pool: Usually at larger companies, a group of stenographers unassigned to specific executives to do basic office dictation and transcription work. (Page 53) Cigarette girls: Especially common in nightclubs, bars, and casinos in the early and mid 19th century, they sold cigarettes and novelty items from a tray held by a neck strap. (Page 54)

The Copa: Referring to the Copacabana, a famous nightclub in New York City. (Page 54) Vassar: A small liberal arts college in Poughkeepsie, New York. Founded as a women’s college in 1861, it became coeducational in 1969. (Page 64) BBDO: An allusion to Batten, Barton, Durstine & Osborn, a worldwide ad agency headquartered in New York City. One of the country’s forerunners in advertising innovation in the 1950s and ‘60s, it was named the Most Awarded Agency Network in the World in 2005. (Page 70) Mimeograph: A printing machine used to make copies of typed pages. (Page 73) Ne’st-ce pas: Translated from French into “Isn’t it so?” (Page 73) Fortune Magazine: A global business magazine, founded in 1930. Popular for its annual ranking of companies. (Page 86) Carbon paper: Paper coated with ink or coating on one side, used for making simultaneous copies with a typewriter. (Page 95) Chintz: A glazed fabric, often printed and brightly colored. (Page 95) Bergdorf Goodman: A luxury goods department store, founded in 1899, located on Fifth Avenue in Manhattans. By the 1950s and ‘60s, it expanded to include a bridal, fur, and men’s department, as well as a beauty salon. (Page 97) Elizabeth Arden (1884–1966): A businesswoman who founded the cosmetics company Elizabeth Arden, Inc., making her one of the wealthiest women in the world during her lifetime. (Page 97) Tarrytown: A neighborhood in Greenburch, NY, about 25 miles north of Manhattan. Wildroot Cream Oil: A popular, lanolin-based men’s hair tonic (page 112). Boeing 707: The first commercially successful jetliner, it was the most popular form of air transport in the 1960s. (Page 119) Gatling: Richard Gatling (1818-1903) invented the Gatling gun, the forerunner to the modern machine gun, around 1861. (Page 119) "The Untouchables": A popular television crime drama that ran from 1959 to 1963 on ABC that followed the adventures of a Chicago prohibition agent in the 1930s. (Page 119) Elizabeth Taylor (1932–2011): A screen actress from the Hollywood Golden Age; some of her notable works include Cat on a Hot Tin Roof, Cleopatra, and Who’s Afraid of Virginia Woolf? (Page 122) SEC: Probably referring to the US Securities and Exchange Commission, which is responsible for regulating America’s stock exchanges and security industry. (Page 122) FCC: Probably referring to the Federal Communications Commission, which regulates American media, radio, and communication. (Page 122) Elks: Short for the Benevolent and Protective Order of the Elks. Founded in 1868, it remains one of the most popular American all-male fraternities. (Page 139) Shriners: Short for the Ancient Arabic Order of the Nobles of the Mystic Shrine, it was established in 1870 as an order of the Freemasonry. (Page 139) The Diners: The first independent credit card company, established in 1950. (Page 139)

Part V: BIBLIOGRAPHY AND FURTHER READING For full bibliography of all sources referenced in this packet, please visit the dramaturgy blog.

Books Burrows, Abe. Honest Abe. Brown, 1980. Butler-Bowden, Tom. 50 Success Classics. Nicholas Brealey Publishing, 2004. Donkin, Richard. The History of Work. New York: Palgrave Macmillan, 2010. Koehn, Nancy Fowler. The Story of American Business: From the Pages of the New York Times. Harvard Business School Publishing, 2009. Loesser, Susan. A Most Remarkable Fella. New York, 2000. Mead, Shepherd: How to Succeed in Business Without Really Trying. New York: Simon & Schuster Paperbacks, 1952. Means, Howard. Money and Power: The History of Business. John Wiley & Sons, Inc., 2001. Maas, Jane. Mad women: The Other Side of Madison Avenue in the ’60s and Beyond. New York: Thomas Dunne Books, 2012. Saval, Nikil. Cubed: A Secret History of the Workplace. Doubleday, Scharnhorst, Gary. The Lost Life of Horatio Alger, Jr. Indiana University Press, 1985. Vargas-Cooper, Natasha. Mad Men Unbuttoned: A Romp Through 1960s America. New York: HarperCollins, 2010. Web Horatio Alger Society: http://www.horatioalgersociety.net Mad Men Unbuttoned: http://madmenunbuttoned.com Frank Loesser: http://www.frankloesser.com/ Shepherd Mead: http://www.shepherdmead.com/ Forbes Magazine’s Horatio Alger Index: http://www.businessinsider.com/horatio-‐

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The 1960s: http://www.history.com/topics/1960s