Subaru: The Emotional Myths Behind the Brand's Growth
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Subaru: The Emotional Myths
Behind the Brand's Growth
SAL RANDAZZO Sawy marketers understand that they are not in the business of selling products or
ConsumerWorks
services. They are in the business of building and maintaining strong, enduring brands
srandaz20@
consumerworks.com that sell and sell and sell. The key to building and maintaining strong, enduring brands
is advertising with a compelling story and a strategic focus ("strategic storied
advertising"). Advertising with a compelling story and a strategic focus works to
create meaning for the brand and give it an appealing identity and personality that in
turn work to create an emotional connection with the consumer. We are storied
creatures. Our life is a story. We communicate through telling and listening to stories.
Strong, enduring brands use the power of story and/or mythic images to create (or
represent) mytho-symbolic brand building worlds. These mytho-symbolic worlds are
often drawn from archetypal (universal) stories, characters, beliefs, etc. that exist
within our culture . . . and our collective psyche. Storied brands come to represent
appealing mytho-symbolic worlds, with their own mythology, symbolism, and values,
that work to maintain and reinforce the brand's identity, personality, and emotional
connection with the consumer.
NOT SO LONG AGO . . . Subaru was an also-ran Soon after the Paul Hogan advertising began
third-tier Japanese car company, struggling in the running, Subaru showrooms began seeing an in-
shadows of Toyota and Honda. Not any more. crease in buyer traffic. And sales began to in-
Subaru has become a popular brand. Buyers have crease. In fact, Subaru enjoyed seven straight years
been lining up to buy the various models. Even of increasing sales during the time Temerlin Mc-
with a slumping economy, Subaru sales have been Clain was running its Paul Hogan campaign. The
on the rise. stunning comeback astonished the hard-nosed au-
The turning point came in 1993. Subaru was tomotive industry that had already given the car
limping along, with seven years of declining sales, company up for dead. What happened? What did
when George Muller, a Subaru executive, made Subaru do right?
two important decisions. He decided to focus Undoubtedly, there was a confluence of factors:
solely on importing all-wheel-drive vehicles to Muller's foresight and courage; the fact that the
America. And he hired a new advertising agency, all-wheel-drive Outback offered consumers the
Temerlin McClain of Dallas, which was charged safety and performance of an SUV—but on a
with creating an advertising campaign that would smaller, more fuel-efficient scale that seemed to
launch the all-wheel-drive Outback in America. make more sense; and of course, Temerlin Mc-
McClain decided to use Paul Hogan as the spokes- Clain's fateful decision to use Paul Hogan as the
person for the new Subaru Outback. spokesman for the Subaru Outback. Few would
DOI: 10.2501/S002184990606003X March 2 0 0 6 JDORflflL OF BDOERTISIOG HESEBRCH l lSUBARU: BRAND'S GROWTH MYTHS
argue that using Paul Hogan as spokes- Our life is a story, an uncertain, contin- goes on to explain that he uses the per-
man for Subaru was an important factor ually reworked narrative, part truth, part suasive power of story to " . . . speak eas-
in Subaru's amazing success story. The fiction, that is unfolding even as we live ily, openly, powerfully, to reach the heart
question is why? it. The stories we tell reveal a lot about zone . . . to touch us in those soft, unpro-
In an interview, Dennis McClain said, who we are, who we would like to be, tected places where our decisions are
"Paul Hogan was part of the conceptual- and what is important to us. We tell sto- made" (Spence, 1995, p. 118).
ization of the Outback proposition." And ries not only so others can come to un-
"right from the beginning," he saw "a derstand who we are, but also so that we MYTHMAKING ON MADISON AVENUE
natural tie-in between the Outback name can come to understand who we are. We At the core of strong brands, we often
and Paul Hogan," the Australian actor literally create our sense of self, our identity, find stories, myths, and mythic images
who became famous for his portrayal of through telling and listening to our own that resonate with consumers and that
the outback character, Mick Dundee, a.k.a. half true stories. help to give the brand an appealing iden-
Crocodile Dundee. Freud and Jung both believed that the tity and personality, which in turn works
In other words, McClain's decision to most important question we could ask is, to create an emotional connection with
use Crocodile Dundee was not only a "what is the myth [story] by which we consumers. Like Hollywood and Disney,
creative decision but also a strategic deci- live our lives?" We are all searching for Madison Avenue is in the mythmaking
sion, because consumers associate Paul meaning in our lives. And we look to business.
Hogan with the appealing Crocodile stories to help us understand the world In pretechnological societies, mythmak-
Dundee Outback character they remem- and find meaning. We are continually com- ing was the purview of the shaman or
ber from the movie. paring our stories with other people's sto- medicine man. Joseph Campbell, a disci-
Prior to the Crocodile Dundee Outback ries in order to try to get ideas and insights ple of Jung, said the role of the shaman
advertising, Subaru did not have a com- about how we should live our lives. Sto- was "to make visible and public the sys-
pelling story. And it had not yet estab- ries from books, movies, culture, religion, tems of symbolic fantasy that are present
lished a strong brand identity and etc. (and yes, advertising) also serve the in the psyche" (Campbell, 1949, p. 101).
personality. Subaru was selling an all- same purpose. In a modern, media-driven world, myth-
wheel-drive product—instead of a brand. But making is the role of the artist, Holly-
consumers buy brands. A brand is more THE PERSUASIVE POWER OF A STORY wood filmmakers, and yes, advertising.
than a product. A brand is ultimately a The goal of advertising (whether through Advertising has become one of the most
perceptual entity, a host of associations, building brands or otherwise) is ulti- visible and pervasive art forms in modern
feelings, imagery, symbolism, etc. that ex- mately to persuade consumers to buy a cultures.
ists in the mind and hearts of consumers. product or service. William Wells says
Paul Hogan's Crocodile Dundee char- there are basically two ways to persuade STRATEGIC STORIED ADVERTISING
acter and the Outback name gave Subaru people: "Lecture or Drama/Story" (Wells, The Crocodile Dundee Outback advertis-
a compelling story and its own unique brand 1988). The lecture approach uses logic, ing is a good example of strategic storied
identity and personality, which made sense reason, and rhetoric to persuade us to use advertising, advertising that combines sto-
for the brand and connected emotionally a product: "Buy this product because it rytelling with a strategy. Without an un-
with the American consumer. has all-wheel-drive." The story or drama derlying strategic focus, telling stories, no
approach is a more intuitive approach matter how compelling or entertaining,
WHY A STORY? that relies more on feelings and emotions. will usually not work to achieve advertis-
We are receptive to stories because telling Wells describes the story approach as ing's objectives. Strategic storied advertis-
stories and listening to stories seem to be "transformational"—it takes you inside the ing is about finding the right story, a
part of the human condition. Telling sto- story and delivers a message while creat- compelling story that makes sense for the
ries is a natural and compelling way to ing an emotional connection with the audience. brand and connects emotionally with the
communicate with consumers. We are sto- In his book How to Argue & Win Every consumer.
ried creatures. Storytelling is as old as Time, Gerry Spence, the highly successful Strategic storied advertising is a narra-
humankind. We tell and listen to stories criminal trial lawyer, says storytelling is tive fiction that uses fictitious (or real)
all the time. the secret to his phenomenal success. He characters, imagery, situations, symbol-
1 2 JOURIIIIL DF HDUERTISIIIG RESERRCR March 2 0 0 6SUBARU: BRAND'S GROWTH MYTHS
ism, etc. to not only inform (communicate One of the clearest, most interesting examples of a brand
product information), entertain, and ulti-
mately persuade, but more importantly, that has used the power of strategic storytelling to
to also create meaning for the brand and give
the brand its own unique identity and
represent a mytho-symbolic, brand-building world is the
personality.
The real power of strategic storied ad- now-banned Marlboro advertising.
vertising is ultimately in its ability to go
beyond communicating product informa-
tion, entertaining, or short-term selling
strategies. Savvy marketers understand that brands, creating an emotional connection exists in the American psyche, a world
they are not in the business of selling between the brand and the consumer is whose values are freedom, rugged indi-
products or services. They are in the busi- critical. vidualism, and the pioneering spirit.
ness of building and maintaining strong, It is important, however, to recognize
enduring brands that sell and sell and USING THE POWER OF STRATEGIC that the mythic cowboy-hero and the
sell The real power of strategic storied STORIED ADVERTISING TO BUILD mytho-symbolic world it represents is just
advertising is in its ability to build strong, STRONG BRANDS that—a compelling mythic image that has
enduring brands. Strong brands use the power of story, little to do with reality. The mythic cowboy-
myth, and mythic images to create (or hero that haunts the American psyche is
MYTHO-SYMBOLIC WORLDS represent) mytho-symbolic, brand-building largely fictive, a product of the human
Strategic storied advertising builds strong worlds that are often drawn from arche- imagination, wishful thinking, dime novel
brands by using the power of storytelling typal stories, characters, beliefs, etc. that stories, Hollywood movies, and Ameri-
together with a compelling message or exist within our culture and our collective ca's collective Jungian yearning for a hero.
idea to create or represent mytho-symbolic psyche. Sure, once upon a time in America,
worlds that have their own mythology there were real cowboys, but they had
(mythic imagery, ethos beliefs/values, sym- Marlboro little to do with the mythic cowboy-hero
bolism) and a powerful emotional appeal. If One of the clearest, most interesting ex- image that has become an American icon.
you click on the Budweiser website, you amples of a brand that has used the power Modern America grew up with cowboy
will enter the mytho-symbolic world of of strategic storytelling to represent a heroes like the Lone Ranger, with his white
Budweiser—a world that is about enjoy- mytho-symbolic, brand-building world is hat, stallion called Silver, and two six-guns.
ing beer, sports, partying, etc. It used to the now-banned Marlboro advertising. The But the reality is very different. Most
be almost exclusively a man's world, but, American cowboy is a mythic image that real cowboys were actually hard working,
in keeping with the times, it now includes represents the mytho-symbolic world of cowpoking, blue-collar workers with low
women. America's western frontier. Marlboro cre- paying, dirty jobs. And, although mythic
Paul Hogan's Crocodile Dundee Out- ated one of the strongest, most enduring cowboy heroes are almost always de-
back character and the Outback name used brands in the world by leveraging the picted as Caucasian, many of the real
in the Subaru advertising evoke the ad- powerful, emotional appeal of the mytho- cowboys were African or Mexican.
venturous mytho-symbolic world of the symbolic world represented by the cow- Even the term "cowboy" may be prob-
rugged Australian Outback. boy and the American west. lematic. In a recent article, Wuerthner (2004)
The mytho-symbolic worlds created The cowboy is a uniquely American cites several sources (Dary, 1981; Jordan,
through advertising work to give brands articulation of the "hero archetype," a uni- 1993) that trace the likely origin of the term
their unique identity and personality, versally appealing image that comes un- "cowboy": "The term cowboy most likely
which in turn work to create an emo- der many guises (cowboy, fireman, knight, came about on the Texas rangelands, which
tional bond between the consumer and etc.). It does not matter that there are very were largely controlled by wealthy Anglo-
the brand. In an overadvertised world, few real cowboys. The mythic cowboy- Americans from an antebellum south,
where consumers are confronted with a hero represents the mytho-symbolic world whose black slaves tending cattle were
staggering number of product choices and of the American west, a world that still often referred to as 'boy'" (p. 9).
March 2 0 0 6 JOUBUBL OF BDOERTISIOG BESEBOCH 1 3SUBARU: BRAND'S GROWTH MYTHS
No, it is not the image of the hard- success all around the world—the most back crocodile hunter, who is at home in
working, cowpoking cowboy that has successful Australian movie ever made. It the Australian Outback, suddenly finds
made a lasting impression on America's was extremely popular in America. In- himself in the middle of New York
soul; it is the mythic image of the cowboy deed, movie critics were surprised at the City.
as gunfighter, the wild-west warrior hero movie's enormous appeal, which was able While in New York City, Crocodile
that haunts our dreams and shapes our to cut across demographics, ethnograph- Dundee is confronted with a knife wield-
sensibilities .. . and our politics. Marlboro ies, geographies, etc. All of this undoubt-ing mugger, a bidet, a transvestite, pros-
has leveraged the powerful appeal of the edly added to the recognition and appeal titutes, kidnappers, etc. We all recognize
mythic cowboy-hero-gunfighter, a "killer of the Crocodile Dundee character used and delight in the laughable contrast be-
image," to create one of most recogniz- in the Subaru advertising. tween the laid back, "innocent" outback
able brands in the history of advertising. Interestingly, Paul Hogan actually wrote character of Crocodile Dundee, and the
the script for Crocodile Dundee, "longhand unfamiliar, fast-paced, strange, and, for
with a pencil." He drew from all the out- Crocodile Dundee, alien world of New
McDonald's York City. It is the "country bumpkin"
back characters, stories (crocodile and
McDonald's is another example of a brand versus "city slicker" story.
otherwise), as well as his own personal
that uses strategic storytelling (along with
outback experiences. He also drew from The highly regarded Hollywood screen-
promotional advertising) to create a very
his personal experiences as an Australian writer Robert McKee says flat out: the
appealing mytho-symbolic world. Mc-
who had once visited New York City, and "story is about archetypes." He goes on
Donald's strategic storied advertising has
how "it was the absolute opposite of the to explain why: " . . . the archetypal story
helped to create a wonderfully appealing,
Northern Territory Outback." Paul Hogan unearths a universally human experience
all-American brand, a mythical, family-
said he saw in this contrast a wonderful . . . its telling illuminates conflicts so true
oriented world, a wondrous, magical place
opportunity for humor. to humankind that it journeys from cul-
where everyone is welcome, safe, happy,
But of course, all of this only begs the ture to culture" (McKee, 1997, p. 4).
loved, kind, caring, sharing, and forever
question: what is the seemingly magical In other words, the powerful appeal of
young or young-at-heart. It does not mat-
appeal of the Crocodile Dundee movie and an archetypal story comes from a univer-
ter that sometimes when we go there it
the outback character portrayed by Paul sally recognizable experience, something
feels more like a cafeteria food fight.
Hogan? From whence comes the magic? we can all relate to and understand.
Strategic storied advertising has helped
And how did this magic help Subaru? At the same time, McKee also goes on
McDonald's create a brand with a mytho-
The Crocodile Dundee story is to explain that a really good archetypal
symbolic world that is a microcosm of all
archetypal—a story with a familiar arche- story also " . . . creates settings and char-
that is good about America—everything
typal (universal) theme: "the stranger in a acters so rare that our eyes feast on every
America is supposed to be.
strange land." The Crocodile Dundee story detail." Storytelling has two parts: the story
turns on a twist of fate, wherein a laid- and the "telling." You not only have to
Subaru
Like Marlboro and McDonald's, Subaru's
Crocodile Dundee Outback advertising
is another example of how strategic sto- The highly regarded Hollywood screenwriter Robert McKee
rytelling, archetypes, and mythic images
can be used to create appealing mytho- says flat out: the "story is about archetypes." He goes on
symbolic, brand-building worlds. An in-
depth analysis of Subaru's Crocodile to explain why: " . . . the archetypal story unearths a
Dundee Outback advertising reveals a
complex structure, with different story el- universally human experience . . . its telling illuminates
ements, and layered archetypal themes
and imagery that work together. conflicts so true to humankind that it journeys from culture
First, it is important to understand that
the Crocodile Dundee story was a huge to culture."
1 4 JDURnHL or HDUERTISIIIG HESEHRCH March 2 0 0 6SUBARU: BRAND'S GROWTH MYTHS
come up with a great story, you also have Here is this laid back Australian Outback character wearing
to tell/present it in a compelling way.
In the Crocodile Dundee story, we are a snakeskin jacket, a cowboy style hat festooned with
indeed introduced to the unfamiliar (for
most of us) little known, exotic world of crocodile teeth, and a really big hunting knife; he likes to
the Australian Outhack. We are also in-
troduced to this very interesting charac- tackle crocodiles with his bare hands, play with snakes,
ter. Crocodile Dundee, who, on the one
hand, seems to have some similarity to use dynamite to catch fish, hypnotize animals, whirl a
the American cowboy but, on the other
hand, is like nothing we have ever seen bull-roarer, and he feels most at home in the rugged
before.
Here is this laid back Australian Out- Australian Outback among the Bushmen, whom he regards
back character wearing a snakeskin jacket,
a cowboy style hat festooned with croco- as brothers.
dile teeth, and a really big hunting knife;
he likes to tackle crocodiles with his bare
hands, play with snakes, use dynamite to In a recent interview, Denis McClain, Like the mythic American cowboy-hero.
catch fish, hypnotize animals, whirl a bull- the creative director at Temerlin McClain Crocodile Dundee is a uniquely Austra-
roarer, and feels most at home in the rug- advertising, says he saw in Paul Hogan's lian articulation of an archetypal or mythic
ged Australian Outback among the native character "a charming and rugged person- image. Crocodile Dundee is a mythic Out-
bushmen, whom he regards as brothers. ification of this [Outback] vehicle—a bit back hero that evokes the mytho-symbolic
Well-told stories like Crocodile Dundee, of an unexpected hero, with a natural world of the Australian Outback, a rug-
that combine an archetypal or universal sense of humor, who brought a sense of ged, outdoors, untamed, adventurous
experience, with unique characters and adventure to the Subaru brand." world that is similar to the American west.
settings that introduce us to new worlds, Paul Hogan's charismatic Crocodile The powerful appeal of mythic or ar-
generally have a powerful cross-cultural Dundee character also exhibits what the chetypal hero images, represented in char-
appeal, which helps to explain why Croc- ancient Creeks called the "cardinal vir- acters like the cowboy and Crocodile
odile Dundee was so successful all over the tues." The cardinal virtues are the stuff of Dundee, are their universal appeal and
world. heroes: a man who possesses a sense of their emotional resonance. Like arche-
justice, what is fair, and just; wisdom, a typal stories, archetypal images resonate
The seemingly magical appeal of Paul practical intelligence—common sense; a in our psyche because they represent uni-
Hogan's Crocodile Dundee character. In disciplined and measured response to a versal yearnings. Jung believed that the
addition to the powerful, universal ap- problem or crisis; and the courage to take archetypes function somewhat like an in-
peal of the archetypal Crocodile Dundee action if necessary. stinct to drive and shape our behaviors.
story, there is the seemingly magical ap- But there seems to be something about Jung called them "the world's dreams."
peal of the Crocodile Dundee character. the Crocodile Dundee character that goes Sometimes, when the world seems like
Some of the magical appeal of Crocodile beyond Hogan's virtuous charm and hu- its closing in on us, when everything seems
Dundee is undoubtedly Paul Hogan's in- mor, something so universally appealing hopeless, and the world is a dark and
nate charismatic charm. In typical "out- that it cuts across time and disparate cul- scary place full of dragons and monsters
back" fashion, Hogan exhibits an openness tures. Women love him. Men want to be ready to swallow us up, we long for a
when meeting strangers, and "a playful, like him. He is a uniquely Australian char- hero who can save us from the dangers of
laconic sense of humor." He likes putting acter, and yet he is somehow familiar to the world and make us feel safe again.
people on. In his biography, Hogan says, us all. And a hero, in the form of a mythic or
"That's the way Americans see us—we archetypal image, emerges from the depths
might as well give them what they want" A mythic Outback hero. Yes, we have of our unconscious psyche. The hero is
(Oram, 1988). seen this character before—in our dreams. an extraordinarily, powerful archetypal
March 2 0 0 6 JDUflnHL OF (IDUERTISIOG RESERRCH 1 5SUBARU: BRAND'S GROWTH MYTHS
image because, like the firemen who ran Mythic or archetypal images like "the hero" 1950s, a lot of young baby-boomers wear-
into the World Trade Center, the hero is have a powerful, magical appeal because ing Davy Crockett hats wanted very much
courageous, selfless, and willing to risk they are truly enchanted. They have their to be like Davy Crockett, the mythic
his life to help a stranger. own innate power, which Carl Jung de- frontiersman-hero.
In one of his television interviews, Jo- scribed as "numinous," or psychically American frontiersmen like Daniel Boone
seph Campbell recounts an extraordinary charged. We become possessed by these and Davy Crockett, as well as fictive fron-
newspaper story about a heroic police- images. They fire up our imagination. The tiersman characters like James Fenimore
man who risked his life to save a stranger cowboy, knight in shinning armor, fire- Cooper's "Hawkeye," were bigger than
who was about to jump off a bridge. The man, and Crocodile Dundee are all differ- life heroes in the 1880s, who, like the
policeman runs to the edge of the bridge ent representations of archetypal or mythic cowboy heroes, were, and still are, re-
and grabs the jumper, but as he does, images that speak to our innermost need vered by Americans.
the man jumps, and the policeman is for a hero. Similarly, Crocodile Dundee's Outback
pulled over the railing with the jumper. But Crocodile Dundee is a special breed frontiersman-hero character is a mythic
Just as the jumper is pulling the police- of hero. He is not some bigger-than-life image associated with the mytho-symbolic
man over the bridge, the policeman's part- hero, but rather, a very down-to-earth hero, world of the rugged, Australian Outback.
ner grabs him and somehow manages to almost an anti-hero. Crocodile Dundee is Crocodile Dundee's mythic Outback
hold both of them until others come to a lot like us—except he has the courage to frontiersman-hero and the mythic Ameri-
their rescue. be true to himself, despite the world can western frontiersman-hero are both
Campbell goes on to explain that in around him. He also has the courage to men who are still close to nature and
that moment, the policeman, a young man confront his fears and the "dragons" that their natural instincts. They are both prim-
with his whole life ahead of him, a young threaten us all. His honesty and courage itive men who are at home in the wilder-
man with a wife and family, hopes and give us hope, lift our spirits, and give us ness and who can track animals, live off
dreams, risked everything to save a the courage to go forward. And his hu- the land, ride horses, etc.
stranger. Continuing, Campbell says that manity makes him all the more appealing. While there is a reality to both the Amer-
in this courageous, selfless act, the young ican West and Australia's Outback, they
policeman entered the world of the meta- Mythic Outback hero-frontiersman. In have been mythologized to a point where
physical, the world of Christ, Buddha, his biography, Paul Hogan talks about it is difficult to say where mythology ends
etc. what he believes is the mythic image rep- and reality begins.
The courage of the hero inspires us to resented by Crocodile Dundee: " . . . he's a
be courageous, to discover the hero within. mythical outback Australian who does ex- The "Noble Savage." Crocodile Dundee,
Crocodile Dundee is such a hero, Joseph ist in part—the frontiersman who walks the Outback frontiersman-hero, is also an
Campbell's "Hero with a Thousand Faces," through the bush, picking up snakes and example of what the French philosopher
the hero that dwells within us all—if only throwing them aside and living off the Jean-Jacques Rousseau called a wild man
we have the courage. land; who can ride horses and chop down or "Noble Savage." Rousseau argues that
trees, and has that simple, friendly, laid- man was essentially good in the state of
back philosophy" (Oram, 1988, p. 159). nature (just like the animals) before he
"And then a hero c o m e s along . . . " T h e
Crocodile Dundee, and the mythic was corrupted by society and the so-
lyrics in Mariah Carey's inspirational song
Outback-hero image he represents, is in- called civilized world. Crocodile Dundee,
"Hero" say it much more eloquently:
deed a frontiersman, similar in his appeal the Outback frontiersman-hero, is an ex-
to the "American frontiersman." The Amer- ample of "a primitive," "a wild man," an
. . . And then a hero comes along with ican frontiersman, like the cowboy, is a "innocent" who has not been corrupted
the strength to carry on and you cast mythic image associated with the mytho- by society.
your fears aside—And you know you symbolic world of the American western There is a wonderful moment in the
can survive—So when you feel like frontier. original Crocodile Dundee movie, where
hope is gone—Look inside you and be And, like the cowboy, the frontiers- his innate goodness and innocence comes
strong and you'll finally see the truth man was mythologized in dime store nov- to light. Crocodile Dundee, who is visit-
. .. That the hero lies in you. els, movies, television shows, etc. In the ing New York City, gets into a fight in
1 6 JOURimL OF RDUERTISIIIG RESEHRCH March 2 0 0 6SUBARU: BRAND'S GROWTH MYTHS
order to protect the honor of a couple of Outback advertising to the success of Sub- ters degrees in psychology and philosophy, and has
"ladies." Dundee does not realize the "la- aru. But at the very least, Paul Hogan and completed his course work for his doctorate in psy-
dies'" are prostitutes. He sees only the his Crocodile Dundee hero-frontiersman- chology. He has served as the chairperson for the
good in people. noble savage character, together with the Qualitative Research Council of the ARR Mr. Randazzo
Crocodile Dundee, the Outback Outback name, gave the Subaru brand a is also a prolific writer who has published numerous
frontiersman-hero, the uncorrupted inno- compelling story, and an appealing iden- articles on marketing and research. He has pubiished
cent, is also similar in his appeal to Tar- tity and personality that connected emo- a book titled, Mythmaking on Madison Avenue: How
zan, the character created by Edgar Rice tionally with the American consumer. Advertisers Use the Power of Mytti and Symbolism to
Burroughs, at the turn of the century Tar- The importance of creating an appeal- Create Leadership Brands.
zan and Crocodile Dundee are both "wild ing brand identity and personality is that
men" who are at home with nature, among they work to create an emotional connection
the animals. There is an innate goodness between the consumer and the Subaru REFERENCES
about them that has not been corrupted brand. Consumers begin to feel psycho-
by a world driven by greed and power. logically comfortable with the brand. The CAMPBELL, JOSEPH. The Hero with a Thousand
They are both "innocents," uncontami- Subaru brand begins to feel "rugged, ad- Faces. Princeton, NJ: Princeton University Press,
nated by the civilized world. venturous, and outdoorsy—like Croco- 1949.
Interestingly, like the Crocodile Dundee dile Dundee and the Outback." Some
movie and advertising. Burroughs' book, consumers even thought Subaru was an DARY, DAVID. Cowboy Culture: A Saga of Five
Tarzan of the Apes, was also hugely suc- Australian car company. Suddenly Sub- Centuries. New York: Alfred Knopf, 1981.
cessful throughout the world. Until he aru seemed like the right choice.
wrote the story of Tarzan, Burroughs was Of course, the naysayers will say, "it JORDAN, TERRY. North American Cattle Ranching
a man who drifted from job to job, strug- had nothing to do with Crocodile Dundee Frontiers: Origins, Diffusion and Differentiation.
gling to feed his family. In fact, he did not . . . I bought the Outback because it has Albuquerque, NM: University of New Mexico
start writing until he was 36 years old. He all wheel drive. ..." See, that is the funny Press, 1993.
was writing pulp fiction for a penny a thing about mythic images. We are not
word—until he somehow reached down always conscious that they are working MCKEE, ROBERT. Story: Substance, Structure, Style,
into depths of his unconscious and came . . . "except lately, I find that I have this and the Principles of Screen Writing. New York:
up with a uniquely compelling story: Tar- overwhelming desire to say 'G'day.'" Regan Books, 1997.
zan of the Apes.
Burroughs soon found himself holding SAL RANDAZZO began his market research career at ORAM, JAMES. C'Day America, The Paul Hogan
"a tiger by the tail," a mythic, archetypal, Young & Rubicam where he worked on brands such as Story. Topsfield, MA: Salem House Publishing,
hero character that took the world by Lincoln Mercury, Kodak, and Jeiio. He then served as 1988.
storm and made him one of the most strategic planning director at Backer & Spielvogei
famous, most widely-read, and highest where he worked with Bill Backer on the now famous SPENCE, GERRY. HOW to Argue & Win Every
paid writers of his time. Hollywood Lite All-Star campaign. After Backer and Spieivogel, Time. New York: St. Martin's Press, 1995.
quickly recognized the powerful arche- Mr. Randazzo moved to DMB&B as a senior strategist.
typal appeal of Tarzan and made a series Whiie he was at DMB&B, he was tapped by Peter Kim, WELLS, WILLIAM D . "Lectures and Dramas." In
of highly successful movies. More re- vice chairman at McCann-Erickson, to join McCann- Cognitive and Affective Responses to Advertising,
cently, Disney created an animated ver- Erickson as the woridwide planning director where he Pat Cafferata and Alice Tybout, eds. Lexington,
sion of Tarzan, a story that is still working developed the highly successful communications MA: D.C. Heath, 1988.
its magic on new generations. strategy for Lucent Technologies, for which he won a
gold AME award and silver EFFIE. Mr. Randazzo left WuERTHNER, GEORGE. "Beef-Real Food for Real
The contribution of Temerlin McClain's McCann-Erickson to start his own market research People. Cultural Perceptions of the Cowboy,
Crocodile Dundee advertising. It is dif- company (ConsumerWorks), which specializes in using Beef, and Its Influence upon Management of
ficult to assess the absolute contribution storytelling and archetypes to help clients develop Western Rangelands." Draft, Oregon, 2004: [URL:
of Temerlin McClain's Crocodile Dundee and maintain strong, enduring brands. He holds mas- www.rangenet.org/directory/wuerthnerg].
March 2 0 0 6 JOyilllllL DF HDUERTISIOG BESEHRCH 1 7You can also read
