to the feminist movement, men began to explore their
emotions sort of. New role models: Woody Allen's Alvy
Singer in Annie Hall, TV's Phil Donahue. Alan Alda opened
up, as did Jon Voigt. Even President Carter and Stallone's
Rocky had big soft spots. . . . As the economy took off [in
the 1980s], work obsessed men and women became cultural
heroes. Ted Danson fell victim to an aggressive woman in an
Aramis ad, while in an ad for Charlie [perfume], a woman
openly copped a feel. In the movies, Michael Douglas bent
the rules at work and at play. it was a confusing time to be
a man. Paul [McCartney] loved his wife, and androgyny in ads
was hot. . . . Today [1990s] masculinity is in, but with
maturity: Ads aimed at men often feature a family setting.
On TV, Twin Peaks' Agent Cooper solves murders without
throwing a punch. And the neo male makes peace with the
past. Paul is singing Beatles songs again, while JFK, Jr.,
proves life goes on even if you can't live up to your
father's image (Gill, 1991, pp. 76 79).
One framework of connection to be made between the shifts in the images and personalities of popular culture and the "typical" male consumer is this: that to the degree any category of consumer seeks identification with the popular culture, he or she will seek to emulate the image or behavior of what might be called cultural "icons," such as McCartney, Danson, JFK, Jr., and so on. It would seem to follow that icons who are associated with certain products would encourage consumers to use such products. On this view, the consumer who used a product associated with a particular icon or a way of life within the general popular culture would thereby achieve a personal connection with that culture. The consumer would be "with it" rather than "out of it"; to put it another way, the co...