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The paper examines the advertising myth construction process for the Hummer campaign over a period of several years. The analysis studies the emergence of cultural fissures in the U.S. that serve as a necessary condition for acceptance of the Hummer origin myth. Authorship of the Hummer myth is reviewed and is situated in the context of reception and retransmission by the culture industries. A detailed narrative analysis of select television executions is offered to illustrate the crafting of the cultural branding strategy. Finally, the demise of the Hummer myth is examined in the context of new emerging cultural fissures in the U.S. and the decline of the popularity of militaristic adventurism in the popular imagination of market segments.

By the mid 1990s the Humvee (predecessor to the Hummer/H2) had become the motorized equivalent of the Statue of Liberty, the American flag, and the Liberty Bell all rolled into one (Padgett, 2004, p. 10). How did a mechanical behemoth, with a menacing front stance, become a defining icon for a generation of lawyers, stockbrokers, surgeons, and eventually, affluent soccer mums? This paper examines advertising narrative strategies employed in constructing the myth of the Hummer. The advertising myth construction process is situated in advertising’s parasitic relationship to emerging trends in the populist world (Holt, 2004, p. 9). These cultural trends are refracted by the culture industries, among which, commercial advertising is shown to be a key player. A narrative analysis of key television commercials reveals how advertising can feed on cultural fissures and emerging ideologies in society to fashion identity segments for core Hummer audiences. First, we will look to the cultural source material with which the narrative of the Hummer advertising strategies is fashioned. hummer ev owner's manual,hummer h2 manual transmission,2004 hummer h2 manual,2003 hummer h2 owners manual,2004 hummer h2 service manual pdf,hummer h3 manual for sale,hummer models.

In the late 1980’s the professional and entrepreneurial classes were making substantial financial gains in society while feeling that they received little recognition or respect for their achievements (Frank, 2001, p. 29). Indeed, popular culture portrayal of the professional and entrepreneurial class in mass media was mostly negative, focusing on the darker side of excessive individualism and self-interest. Oliver Stone’s movie Wall Street depicted a financial subculture in New York that seemed to epitomize the excesses of capitalism. The entrepreneurial and professional classes were portrayed in the popular media as ego-centric, dismissive of charity, lacking in compassion, loners, greedily amassing fortunes,hostile to the environment, hostile to consumers, victim-blaming, winner-takes-all mentality. The entrepreneurs and professional class however saw themselves differently; as the new inheritors of the frontiersman boon1 (Lauer, 2005, p. 151). They saw themselves as mobilizing vast resources and creating wealth, as defenders of freedom and the “American-way” (Frank, 2001, p. 118). They believed themselves to be risk-taking individualists, ready to make bold decisions to buy or sell hundreds of thousands of dot-com stock, or make life and death decisions on the surgeons’ operating table.

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Popular animosity to Humvee owners peeked in 2003 with revelations of a loophole in the Jobs and Growth Act of the Bush Administration that permitted owners to deduct up to $100,000 as capital equipment depreciation on their Humvees (Landrews, 2004, p. C1). Media reports of acts of vandalism against Hummers proliferated. The most extreme act of vandalism was carried out by the Earth Liberation Front on August 23, 2003 when more than 20 Hummers were destroyed in West Covina, California (Dixon, 2004, p. A20). So how did a single, late-to-the-game SUV, come to evoke such destructive emotions? To address this question we have to delve into the origins of the powerful myth surrounding the Humvee and its later sibling the Hummer.

Humvee: myths of origin and the role of the culture industries. The story is told how in 1990, on the set of Kindergarten Cop, Arnold Schwarzenegger saw a military Humvee pass the set. Schwarzenegger would later declare “I needed a vehicle that matched my personality” (Padgett, 2004, p. 91). He inquired of AM General – the original manufacturer of the Humvee before it was acquired by General Motors – if a civilian model could be made available (Lamm and DeLorenzo, 2002, p. 21). AM General agreed, after having dissuaded Schwarzenegger from the version with the gun turret (Padgett, 2004, p. 76). Schwarzenegger, a former bodybuilder, understood that the emergent ideology in the United States was about aggression, strength, power, wealth, ostentation and narcissism. The Humvee seemed the perfect embodiment of these qualities.

By the beginning of the 1980s, the United States seemed poised to emerge from the protracted shadow of defeat in Vietnam, where technological superiority and kill ratios had become indexes of failure (Walton, 2002, p. 104). The cultural malaise produced by stagflation, oil crises, and Iranian hostages seemed on the cusp of something more optimistic. ‘Desert Storm’, showcasing the impressive results of military technological superiority, bolstered the confidence of a nation in its ability to impose its will on other nations (Bin, Hill and Jones, 1998, p. 74). Ronald Reagan had ushered in a new era of optimism, patriotism and national pride (Skinner et al., 2004, p. 821). The Berlin wall fell and America had won the Cold War. American auto drivers seemed poised to assume more active, powerful, and dynamic identities. The arrival of the Ford Explorer in 1990 – shepherding in the age of the SUVs – appeared to have perfect timing. The Blazer, the Bronco, and the Trailblazer soon followed. American drivers seemed poised to explore the frontier space once more. Sales of light trucks soared from 20% of the market in 1980 to 52% in 2002 (Padgett, 2004, p. 37).