The Conquest of Cool: Business Culture, Counterculture, and the Rise of Hip Consumerism

by Thomas Frank

Book Overview

While the youth counterculture remains the most evocative and best-remembered symbol of the cultural ferment of the 1960s, the revolution that shook American business during those boom years has gone largely unremarked. In this fascinating and revealing study, Thomas Frank shows how the youthful revolutionaries were joined--and even anticipated --by such unlikely allies as the advertising industry and the men's clothing business.

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• Format: Paperback
• Language: English
• ISBN: 0226260127
• ISBN13: 9780226260129
• Release Date: December 1998
• Publisher: University of Chicago Press
• Length: 322 Pages
• Weight: 1.04 lbs.
• Dimensions: 0.7" x 6.0" x 9.0"

Customer Reviews

How do you co-opt a revolution you invented?

Being familiar with Thomas Frank's cultural criticism of the 1990s (see his brilliant _One Market Under God_, along with the two _Baffler_ anthologies), when I saw the title of this volume I immediately assumed it was yet another expose of how the culture industry co-opts the trends and fashions of genuinely cool youth. I was completely wrong -- what Frank has done is far more fascinating. In this volume, Frank goes back to the "template" of all modern stories of revolution, the 1960s, and takes a look at things from the point of view of the corporate executives. What he finds is shocking: executives weren't trying to co-opt the counterculture language of revolution, they were actually there first! They genuinely believed in shaking things up and continued to promote these ideas even when the public wasn't into them. Growing out of his dissertation, the book is a little more dry than some of Frank's other work, but his brilliant prose shines through the academic form. Through meticulous historical research, excerpts from period documents and books, and interview with the players involved, Frank reconstructs the story of the generation, telling the tales of ad executives who quit The Organization to pursue their creative whims and the fashion planners desperate to kill the gray flannel suit. The result is a book that changes the way you think about the generation.

Great Book

An excellent examination of consumer culture and the way that corporate America has tried to deal with, understand, and co-opt youth culture (or did youth culture co-opt advertising?) Frank gets to the bottom of it all in an always entertaining look at advertising from the Madison Avenue years through the sixties. His examinations of various ad campaigns - such as Volvo who insisted in their ads that their cars were ugly and at least not as filled with defects as the cars they used to make - are insightful and well researched. In fact, this book is a necessary primer for anyone doing research on youth culture. It helped to change the way that I think about these issues and has become a text that I refer to often.

Great history of advertising...

This was Tom Frank (founding editor of the Baffler, for those in the know) University of Chicago dissertation on advertising, and is absolutely fascinating. Frank's main focus is a Frankfurt School/classical Marxist critique of how the early 60s anti-advertising of people like Bill Bernbach (the guy responsible for the classic early VW beetle ads) worked to help create our ideas of 60s counterculture. As such, it's of interest to anybody fascinated by cultural theory, 20th c. American history, or corporate cultures and advertising. However, it's also useful to anybody involved in marketing, planning or advertising (even if your political views aren't of the college Marxist with capitalist parents school), simply because it's just a great history of advertising in the 20th century, and shifting attitudes towards advertising as a profession, from the idea that advertising was a hard science (propounded by David Ogilvy and others) to the idea that advertising was "an art." Most importantly, it's a fantastic read-Tom Frank is a great writer with a fantastic turn-of-phrase, and is better thinker than 90% of academics in the humanities today.

...

in fact, Frank's point is that advertising did NOT necessarily co-opt counterculture. if he labors over anything, it's his assertion that the Creative Revolution in business practically preceded the existence of a widespread counter-culture movement. as far as his scorn, it was rather obviously directed only at the baby-boomers and historians with bad memories...the ones who insist that 60s youth culture was completely non-commercial, the ones who need to believe in The Man (especially the man in the gray suit). i thought that the book was extremely engaging. frank is very insightful, and his writing is entertaining. i laughed a lot, and said, "Right, exactly!" so many times. i did not get any sense that frank had any real trouble with the conquest of cool or even consumer culture. he develops his thesis so precisely that there was no room for censure. as far as offering a solution--the book doesn't present any Problem to be solved. it's an examination of the relationship between commercial and counter culture. Most importantly, it's a rethinking of that relationship through the lens of the late 50s and 60s.

Required Reading in Today's Corporate World

Thomas Frank has written one of the most important, and yet baffling, works on understanding the Megamachine and like others of his type (Lewis Mumford, Jacques Ellul), it will strike so close to home as to be actually uncomfortable to read and digest and still view the world as before. The thesis that Madison Ave. invented the counter-culture by co-opting the hip underground culture of the time is both brilliant and obvious; so obvious, in fact, that its very simplicity caused it to go unnoticed for years. That is the very essence of the Megamachine, the ability to absorb humanist and revolutionary trends, only to revise them in the very image of the machine and counter to their intended purposes. Only when up against another machine (fascism, Soviet Marxism, Chinese Marxism) does the Megamachine have to posit counter values. (i.e., Hollywood propaganda: "Why We Fight," Red Scare films, why Hiroshima and Nagasaki, as well as Dresden, were necessary for freedom, etc.)I remember an interview with a rock star of the 60s who boasted that by publishing his music the Establishment was laying the very seeds for its own destruction. Nonsense. Nothing truly subversive would ever be allowed to pass through those hallowed commercial halls. Frank's book shows just how insidious the Megamachine is in its cultural hegemony.