Paradigmatic here are Wieden+Kennedy’s memorable Nike advertisements, which eschewed all reference to particular qualities of the shoes and instead imbued them with various aspirational meanings, breaking with even the most “radical” advertising strategies of the 1960s and 1970s. In The Conquest of Cool, Thomas Frank advanced an important argument about how the touted “creative revolution” of 1960s advertising depended on an alliance between the 1960s counterculture and dissident fringes within the corporate world.15 Agencies such as Doyle Dane Bernbach (DDB) broke with the established practice of distinguishing commodities according to what Rosser Reeves (advertising guru of the period) called Unique Selling Propositions, plying the consumer with qualitative claims that differentiated their product from those of their competitors. Instead, advertisements by DDB and its fellow travelers made fun of the grandiose claims of their competitors, turning to minimal and understated declarations. These so-called revolutionary ads still made reference to particular features of the products they were selling, however. The famous “Think small” advertisement for the Volkswagen Beetle emphasized, through its use of white space, the car’s departure from the giant sedans of the time and the bloviating ad copy that sold them. But this modesty was associated with particular values: gas mileage, sturdiness, a distinctive look. Read as advertisement, O’Hara’s poem makes only one mention of the product. The Coke enters only as part of the grammatical subject of the first few lines, separated from the poem proper by the title, but quickly displaced by the welter of comparative predicates it spawns, predicates that have nothing to do with the propositional qualities of Coca-Cola itself but pertain rather to the singular experience that the drink enables. Compare this to the advertisement that introduced the famous “Just Do It” slogan, still in existence almost thirty years later. It begins with an establishing shot of the Golden Gate Bridge, then an image of the elderly running-community icon Walt Stack jogging across it, who we learn, through intertitles and voice-over, is eighty years old and “keeps his teeth from rattling in the cold” by leaving them at home.16 We find out that it’s an advertisement from Nike only in the final shot, when the tagline appears. Other advertisements, such as the famous pair-up between Michael Jordan and Spike Lee, might highlight the shoes only to point out how little they have to do with true athletic (or human) achievement, with Lee asking Jordan repeatedly and ridiculously, the wide-angle lens exaggerating the physical difference between Lee’s nerdy ungainliness and Jordan’s muscled poise, “Is it the shoes? Is it the shoes?”17