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

by Thomas Frank (Author) "For as long as America is torn by culture wars, the 1960s will remain the historical terrain of conflict..." (more)
Key Phrases: creative admen, menswear industry, countercultural participants, Madison Avenue, Peacock Revolution, Advertising Age (more...)

Editorial Reviews

Amazon.com Review
In his book-length essay The Conquest of Cool, Thomas Frank explores the ways in which Madison Avenue co-opted the language of youthful '60s rebellion. It is "the story," Frank writes, "of the bohemian cultural style's trajectory from adversarial to hegemonic; the story of hip's mutation from native language of the alienated to that of advertising." This appropriation had wide-ranging consequences that deeply transformed our culture--consequences that linger in the form of '90s "hip consumerism." (Think of Nike using the song "Revolution" to sell sneakers, or Coca-Cola using replicas of Ken Kesey's bus to peddle Fruitopia.)

This is no simplistic analysis of how the counterculture "sold out" to big business. Instead, Frank shows how the counterculture and business culture influenced one another. In fact, he writes, the counterculture's critique of mass society mimicked earlier developments in business itself, when a new generation of executives attacked the stultified, hierarchical nature of corporate life. Counterculture and business culture evolved together over time--until the present day, when they have become essentially the same thing. According to Frank, the '60s live on in the near-archetypal dichotomy of "hip" and "square," now part of advertising vernacular, signifying a choice between consumer styles. --This text refers to the Hardcover edition.

Review
...provides an invaluable argument for anyone who has ever scoffed at hand-me-down counterculture from the '60s... a spirited and exhaustive analysis of that era's advertising... -- Wired, Brad Wieners --This text refers to the Hardcover edition.

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Product Details

• Paperback: 322 pages
• Publisher: University Of Chicago Press; 1 edition (December 1, 1998)
• Language: English
• ISBN-10: 0226260127
• ISBN-13: 978-0226260129
• Product Dimensions: 8.9 x 5.8 x 0.7 inches
• Shipping Weight: 1 pounds (View shipping rates and policies)
• Average Customer Review: 3.9 out of 5 stars See all reviews (17 customer reviews)
• Amazon.com Sales Rank: #338,656 in Books (See Bestsellers in Books)

Customer Reviews

Most Helpful Customer Reviews

31 of 32 people found the following review helpful:

5.0 out of 5 stars ..., April 11, 2001

By A Customer

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.

32 of 36 people found the following review helpful:

5.0 out of 5 stars Required Reading in Today's Corporate World, November 25, 2000

By	Edward Garea "Edward Garea" (Branchville, New Jersey United States) - See all my reviews (REAL NAME)

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.

10 of 11 people found the following review helpful:

5.0 out of 5 stars Great Book, August 7, 2002

By	David C. Anderson "fenrisbooks" (Baltimore) - See all my reviews (REAL NAME)

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.