Pop Culture

America’s decline in a Coke bottle

| November-December 1996

  • coca-cola

    Image by Flickr user: Omer Wazir / Creative Commons

  • coca-cola

God, this Coca-Cola is good. This bottle is an artifact, an icon of the American Dream, as timeless as an Ionic column, as final as an arch. It cannot be improved. Cool green and fleshy, the shape both phallic and feminine. Designed to be instantly recognizable even when it’s broken in the street, its lines recall the curve of a woman’s hip in full recline, the classic pose of prostitutes in Renaissance paintings and movie stars in pinups of the forties. It has been called the perfect container, second only to the egg, but what it holds is far more volatile.

In the first days of nursing, lactating mothers secrete an opiumlike fluid along with their milk. This allows the baby to imprint on the mother, to fix upon the breast. At what age did we substitute that cool wet nipple of glass? The original formula contained trace amounts of extracts from the coca leaf, but even before these were quietly removed, Coca-Cola knew what it was selling. “Nothing is so suggestive of Coca-Cola’s own pure deliciousness as the picture of a beautiful, sweet, wholesome, womanly woman,” said a turn-of-the-century ad. From its earliest days, Coca-Cola’s ads portrayed beautiful women—painted by some of America’s highest-paid and best-known illustrators and artists—sucking down, or about to suck down, the contents of that seductive bottle. In one from the mid-1920s, a rosy-cheeked flapper, her lips rounded into a perfect red O, lovingly regards with low-lidded eyes the Coca-Cola bottle in her hand. “Delicious and Refreshing”? Oh yes.

The generation that grew up immediately after World War II was nursed on Coca-Cola, nursed and never weaned. Norman Rockwell painted Coca-Cola ads. The Nelson family—Ozzie, Harriet, and the kids—endorsed the drink. Roger Staubach, football star and naval hero, rolled his flat feet hollow on Coca-Cola bottles so that he could go to war. Children who grew up wearing Coke-bottle glasses went on to refine the bottle’s shape into America’s most identifiably American car. The voluptuous body of the Chevrolet Corvette reproduces the lines of the Coca-Cola bottle, and its strange sexual ambivalence as well. A Corvette is shiny, long, hard on the outside, yet the cockpit is small and intimate and wraps around your trunk and legs—a man to show to the world, and a woman just for you.

A bottle of Coca-Cola provides the promise of infinity. No surprise that Andy Warhol chose Coca-Cola bottles as the most potent examples of repetition. He only had to paint one, however; a single bottle is an endless recursion in itself, a metabottle, calling to mind all other bottles in creation. The transformation of Robert Palmer’s “Addicted to Love” video, with its rows of identical-looking sex kitten models into a Coca-Cola advertisement was a perfect mating of process and product. Robert Palmer did not sell Coca-Cola. Coca-Cola sold Robert Palmer. Coca-Cola speaks for itself. You’re buying the power of a prick with the promise of the breast, the constancy of the female form with the explosive force of the male’s. The power of machinery with the soft, fertile yield of the plains. Potent men and corn-fed girls. America, abundant and overflowing.

With Coca-Cola you want to believe. You want things to go better, you want to add life, you want the pause that refreshes. The silken white curve beckons. You approach the machine once again.

The machine is huge, bigger than you are. You scan its face for the button that says “Coca-Cola.” It’s always the biggest one. You feed your coins into the slot, one after the other, and press that big red button. There is a moment of hesitation—will the little orange light come on?—then the machine gives a satisfying ka-chunk, and out drops your drink, red, silver, and white. The can is cool and wet. Condensation runs down that ribbon on the label like sweat on a woman’s thigh. For one moment everything is possible. It’s so close you can taste it.

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