This thesis offers a systematic and observed research on a brand related to host of powerful identity brands of the past half century, brands generally known as ‘iconic brands’. I analyse a particular brand, the brand Sachin Tendulkar, by uncovering the principles that account for its success by drawing on ‘the cultural branding’ model as proposed by Douglas B. Holt (2004).

1. Page | 1
Sachin Tendulkar: The Road from being a
Cricketer to becoming a Cultural Brand Icon
Submitted by Ramveer Rai to the University of Exeter as a dissertation towards the
degree of Masters of Science by advance studies in Marketing in September 2009.
I certify that all material in this dissertation which is not my own work has not been
identified and that no material is included for which a degree has previously been
conferred upon me
- Ramveer Rai

2. Page | 2
ABSTRACT
This thesis offers a systematic and observed research on a brand related to host of
powerful identity brands of the past half century, brands generally known as ‘iconic
brands’. I analyse a particular brand, the brand Sachin Tendulkar, by uncovering the
principles that account for its success by drawing on ‘the cultural branding’ model as
proposed by Douglas B. Holt (2004). Thus, my thesis shall be established on the
‘axioms of cultural branding’ as anticipated by Holt (2004), which are considered to be
tacit principles adopted by brands to achieve iconic status. This paper shall examine
Sachin Tendulkar as an epiphenomenon in cricket culture and mass media. The life of
Sachin Tendulkar is consistent with these fundamental principles. First, I shall explore
and illustrate how verbal materials elicited about Tendulkar, from people in the market
place, are a form of storytelling that can be considered as projective. While drawing
from the myth that represents Sachin Tendulkar, I shall clarify how marketplace
mythologies provide meanings and descriptions that serve multiple ideological agendas.
I illustrate this conceptualisation by analysing mythic narratives that spread in the
cricketing scene in India. Further, I aim to assess Tendulkar’s image as a role model in
terms of his contribution to debates surrounding politics, religion and Indian
nationalism. And finally, by determining the nature of the brand personality and brand
identity of Sachin Tendulkar, I set sights on understanding how the business of brands
can be applied to social phenomena like cricket players and trace the footsteps of the
brands path to iconicity. By pursuing a case study on Sachin Tendulkar, I aim at
presenting an insight into how cultural icons saturate consumer culture and how their
ensuing power and influence is manoeuvred by marketers to assist marketplace
identities and requirements.

3. Page | 3
CONTENT AT A GLANCE
Abstract 2
Introduction 4
Chapter 1: Iconic Brands Perform Identity Myths That Address Desires
and Anxieties in Society
What do we mean by Myths 10
Identity Myth- The Hero Myth 11
Heroic Masculinity 14
Sachin Tendulkar: Hit or Myth 16
Tendulkar: Sport Star or Hero 17
Tendulkar: Hero Adventure Myth 18
Tendulkar and the ‘Breadwinner’ Ideology 23
Chapter 2: Identity Myths are set in Populist Worlds
Marketplace Mythology 27
Cricket Crazy Nation 30
Marketplace Mythology in India 30
Chapter 3: Iconic Brands perform as Activists, Leading Culture
Knowing Cricket, Knowing Sport 37
Sports Stars as Role Models 38
The Other side of Sachin Tendulkar 40
Tendulkar and the Gandhian Nationalism 42
Tendulkar: Hero of a Generation 45
Chapter 4: Identity Myths Reside in the Brand
Tendulkar’s Brand Identity 52
Tendulkar’s Brand Personality 55
Conclusion 62
Bibliography 65

4. Page | 4
INTRODUCTION
The Oxford English Dictionary defines a cultural icon as “a person or thing regarded
as a representative symbol, especially of a culture or a movement; a person or an
institution considered worthy of admiration or respect” .The dictionary provides a
helpful definition but not an explanation. How do we come to accept cultural icons as
symbols for valued ideals? To address this question we must first acknowledge where
icons originate and then isolate what these icons do exactly to earn their hallowed place
in society.
According to Holt (2004), “cultural icons are as old as civilization, but their mode of
production has changed dramatically since the mid-nineteenth century” (pp. 2). With
modern mass communication, we increasingly dwell in a world in which the circulation
of cultural icons has become a vital economic activity. People associate strongly with
cultural icons and often rely on these symbols in their everyday lives. Icons serve as
society’s foundational compass points- anchors of meaning. More generally cultural
icons are consummate symbols that people accept as shorthand to signify important
ideas.
Customers value some brands as much for what they symbolize as for they do.
Customers value the brand stories largely for their ‘identity value’. Acting as vessels of
self-expression, “the brands are imbued with stories that consumers find valuable in
constructing their identities” (Holt, 2002, pp. 3). Consumers flock the brand that
embody the ideals they admire, brands that help them express who they want to be.
Iconic brands become icons by utilizing stories, identity myths (a story that resolves

5. Page | 5
cultural contradictions). These stories, or myths, take the brand from mere mortal status
as ‘identity brands’ to immortal status of ‘icons’.
Not all brands, or in other words sport stars, can become icons. In particular, I am
concerned with Sachin Tendulkar’s popular cultural influence in Indian Society as a
myth, an international sporting figure, an ambassador for certain political and ‘national’
values that draw sustenance from religion and culture and ultimately as a brand icon.
“Sachin Tendulkar is a God in India and people believe luck shines in his hand”,
Australia’s opening batsman Mathew Hayden told the Sydney Sun Herald ( as cited in
Ezekiel (2002), pp. 1). “He means as much as to the young as he does to the old; as
much to the market as he does to the masses” (Nalapat and Parker, 2005, pp. 434).
Whilst Tendulkar’s sporting success has elevated him in terms of lifestyle circumstance,
his public image remains grounded in realities and complexities of popular cultural
struggle, his appeal proving as prevalent amongst the higher echelons of Indian society
as it does amongst the urban slums of the country largest cities.
In order to explain how iconic brands, in this case Tendulkar, evolve and are
sustained over time, I shall draw upon Holt’s (2004) research in socio cultural analysis.
Through the research carried out, he found out that brands have followed a set of tacit
principles- the cultural branding model- that are entirely different from the principles
found in conventional branding frameworks. Holt’s model hinges on several key axioms
which outline the foundation of my thesis based on relevant literature. The axioms are
as follows:-
1. Iconic Brands Perform Identity Myths that address desires and anxieties
in Society

6. Page | 6
2. Identity Myths are set in Populist Worlds
3. Iconic Brands Perform as Activists, Leading Culture
4. Identity Myths Reside in the Brand, Which Consumers Experience and
Share
In doing so, I will unveil a greater understanding of how the brand ‘Sachin
Tendulkar’, through different stages of the cultural branding model, achieved the
ultimate status of being an icon.
In chapter one, by using Stern’s (1995) study of consumption myths; Claude Levi-
Strauss’s (1955) structural study of myths, Thompson’s (2004) research on marketplace
mythologies and its power; and Belk and Tumbat’s (2005) study on understanding
brand cult, I shall explain how mythology embedded within branding helps influence
consumer culture. In the next section I shall explain how Sachin Tendulkar’s rise and
fall throughout his career is a classic example of the ‘Heroic Adventure Myth’ as
formulated by Joseph Campbell (1988). And finally, following on Holt and Thompson’s
(2004) observation that, “masculine ideologies are influenced by the portrayal of heroic
figures and are circulated in “books, films, newspapers, TV programmes, music,
advertisements and journalists coverage of celebrities and business and political
leaders” (pp. 427), I shall investigate how the ideology of Tendulkar’s ‘heroic
masculinity’ acts as raw ingredients that consumers draw upon to construct their
identities.
In chapter two, drawing on Holt’s (2004) theory of myth markets, I shall try to
explain how the myths that represent Sachin Tendulkar are set in populist worlds in

7. Page | 7
order to perceive that the myth is authentic. ). “Mythic archetypes and plotlines are
sources of resonant meanings and ideals from which national mythologies are
constructed and expropriated to serve specific ideological purposes” (Thompson, 2004,
pp. 163). These ideologies are taken up by a variety of contenders (popular culture in all
its forms) as “national ideology is usually the most powerful root of consumer demand
for myth” (Holt, 2004, pp.57). By providing a detailed explanation of the ideologies of
the nation and the tension’s they experience, we can have a clearer view as to why the
activities carried out in populist worlds are essentially valuable to the people of India.
In chapter three, I shall discuss how iconic brands are prescient, addressing the
leading edges of cultural change. Sport has delivered “the ingredients for dreams and
fantasies; suspense and sensation, victories and success, superhuman feats, asceticism
and commitment” (Biskup and Gertrud, 1999, pp. 202). By throwing light on being a
sports icon and a role model, I shall argue how Tendulkar functions like a cultural
activist, encouraging people to think differently of themselves. I aim to explain, how the
value of the myth that represents Sachin Tendulkar not only resides in the myth itself,
but in its alignment with society’s incipient identity desires.
And finally, in chapter four, I will set out to explain and understand ‘Brand Sachin’. I
will begin by focusing on the true meaning and significance of the term ‘brand’ in
marketing theory. Following on Holt’s (2004) observation that customers eventually
recognize that the myth exists in the brand markers as “the brand becomes a symbol, a
material embodiment of the myth” , I intend on analysing Sachin Tendulkar’s brand
identity and brand personality and how these ‘human characteristics associated with a
brand’ serve as symbolic or self-expressive functions.

8. Page | 8
In sum, through using relevant literature on myth, marketplace mythology, role
model and brand iconicity, I propose to illustrate the significance of instilling cultural
branding in brand construction by using Sachin Tendulkar as a primary example.
Further, I aim to explain the reasons behind why Tendulkar’s image became such a
powerful marketing tool and offer insight into how appropriate Holts (2004) cultural
branding model showcases brand Sachin’s capacity to control consumer culture.
Finally, I tie all the theoretical concepts together in order to accurately demonstrate their
connection and relevance to the overall picture.

9. Page | 9
CHAPTER – 1
Iconic Brands Perform Identity Myths that address
desires and anxieties in Society
For many decades, managers have taken for granted that they can build identity
brands by associating the brand with desired figures: the good-looking, wealthy, and
charming guy who happens to drink Heineken, wear Tommy Bahama, or drive a
Mercedes (Holt, 2004). While many brands do apply such status appeals, iconic brands
do not. Holt (2004) states that brands become iconic when they perform identity myths:
“simple fictions that address cultural anxieties from afar from imaginary worlds rather
than from the worlds that consumers regularly encounter in their everyday lives.
Identity myths are helpful fabrications that stitch back together otherwise negative tears
in the cultural fabric of the nation.
Before contextualizing Sachin Tendulkar’s leap to becoming a brand icon , I shall
present theoretical contributions that support this claim. In this chapter, I shall discuss
the notion of myths and to illustrate the idea that verbal materials elicited from people in
the marketplace are a form of storytelling that can be analyzed as projective. First, I
shall discuss the origin and complications in defining myth; and then I shall discuss how
mythologies help build and maintain iconic brands and how similar characteristics also
define celebrity icons.

10. Page | 10
WHAT DO WE MEAN BY ‘MYTH’S?
The term myth draws from the Greek word mythos (‘word of mouth’), and is often
defined as a ‘tale or story’ (Stern, 1995). However, this straightforward definition is far
too one-dimensional to gain a true insight of a term that is so complex. In his paper,
Sidney J.Levy (1981) raises an interesting question, “If consumer responses are stories
(or parts thereof) that tell about various people or communities, how shall the stories be
interpreted?” (pp. 50). Some guidance may come in the form of observing how various
kinds of stories offer meanings through fairy tales, plays, novels and myths, en route to
studying consumer research protocols. Sidney J.Levy states that the pursuit for
meanings expressed in a story occurs at various levels. One of these levels states,
“where the authorship is anonymous, as in folk tales or in myths or has its roots
recognized in ancient chronicles, the source may be interpreted as part of some national
or ethnic character.” (pp. 50).
Myths are tales commonly told within a social group. Formal interpretations of myths
is related to classifying and explaining grand myths – “ those tales of the gods, beasts,
and heroes that are about the creation of the world, human birth and death, heroic family
romances, saviors and seers, and cataclysmic physical events” (Sidney J. Levy, 1981,
pp. 51). The study of myths was very much revitalized by the work of Claude Levi-
Strauss. He states that mythology confronts a student with certain situations, where on
the one hand “it would seem that in the course of a myth anything is likely to happen.
There is no logic or continuity. With myth, everything becomes possible” (Claude Levi-
Strauss,1955, pp. 429). But on the other hand “this apparent arbitrariness is belied by
the astounding similarity between myths collected in widely different regions” (Claude

11. Page | 11
Levi-Strauss,1955, pp. 429). Claude Levi Strauss’s contribution to his analysis involves
certain main features where he concludes by stating that “the purpose of myth is to
provide a logical model capable of overcoming contradictions or paradoxes in natural
and social experience” ( Sidney J.Levy, 1981, pp. 51). Holt (2004) also supports this
point by stating that myths smooth over tensions, “helping people create purpose in
their lives and cement their desired identity in place when it is under stress” (pp. 8).
Therefore, with regard to the thesis, it is felt that when a person becomes a model for
other people’s lives, he has moved into a sphere of being mythologized.
Though, as Claude Levi- Strauss states, “myths are still widely interpreted in
conflicting ways” (pp. 428), the fundamental character of a myth points to “its universal
mode of thought, the way it transcends local culture” (Sidney J.Levy, 1981,pp. 51). As
Levi- Strauss says, “its substance does not lie in its style, its original music, or its
syntax, but in the story which it tells” (Levi-Strauss, 1963 as cited in Sidney J.Levy,
1981, pp. 51). As Stern (1995) concludes myths “are as old as humanity, yet constantly
renewed to fit contemporary life”. (pp. 183). I argue that during his career thus far,
Sachin Tendulkar has merged himself with an assortment of myths that ultimately
propelled him to iconic status. The most potent of these myths is the ‘hero myth’. In the
next section, I shall present a synopsis detailing the theoretical aspects of the narrative
that compile the iconic status of Sachin Tendulkar.
IDENTITY MYTH- THE ‘HERO’ MYTH
The term ‘hero’ is used in a number of different ways. Although the term hero
originates from the “Greek word meaning ‘person distinguished for courage, fortitude

12. Page | 12
or deeds’, its meaning is adaptable between cultures and through time” (Vande Berg,
1998 as cited in G.Lines, 2001, pp. 287). Synonyms such as celebrity, exemplar, great
man, heartthrob, man of the hour, idol, start, and superstar are used for the term ‘hero’.
By comparison to the term ‘heroine’, the male definition carries a “wider range of
meanings, with the notion of exemplars and conquerors frequently represented in media
coverage of male sport stars” (G. Lines, 2001, pp. 287). Gledhill (1991, as cited in
G.Lines, pp. 288) further substantiates this point by suggesting that stars are a
signifying element in media texts:
A social sign, carrying cultural meanings and ideological values, which express the intimacies of
individual personality, inviting desire and identification; an emblem of national celebrity; a product
of capitalism and the ideology of individualism yet a site of contest by marginalized groups; a figure
consumed for his or her personal life, who competes for allegiance with statesmen and politicians.
(pp. 288).
Sachin Tendulkar’s journey in Indian cricket is a classic example the Heroic
Adventure Myth as formulated by Joseph Campbell. According to Campbell (1991)
there are so many stories of the hero in mythology because “in popular novels, the main
character is a hero or heroine who has found or done something beyond the normal
range of achievement and experience” (Campbell, 1991, pp. 123). Campbell approaches
the concept of hero in myths in a very spiritual and psychological manner. According to
Campbell (1991), there are two types of deed that hero’s perform in different cultures.
One is the physical deed in which “the hero performs a courageous act in a battle”
(Campbell, 1991, pp. 123). The other kind is the spiritual deed in which “the hero learns
to experience the supernormal range of human spiritual life and then comes back with a
message” (Campbell, 1991, pp. 123). Campbell also cites that ‘heroism’ has moral
objectives. The moral objective is that of “saving a person or supporting an idea”

13. Page | 13
(Campbell, 1991, pp. 127). The hero, in a way, sacrifices himself for something –that’s
the morality of it. With regard to the thesis, I shall assess Sachin Tendulkar’s image in
terms of his has sacrifice and contribution to debates surrounding politics, religion and
Indian nationalism, as his intrinsic ‘heroism’ of the deed performed has served the
betterment of the Indian society.
Coming back the classic Heroic Adventure Myth, Campbell (1991, as cited in Belk
and Tumbat, 2005, pp. 209) states that the myth consists of nine key elements, namely:
1. The call to adventure
2. A helper
3. A wondrous journey
4. Trials
5. More helpers
6. Apotheosis
7. Flight
8. Resurrection, and
9. The boon that restores the world
In their paper Belk and Tumbat (2005) characterize Steve Jobs, co-founder of Apple,
through these elements as he is interpreted in Apple’s corporate mythology and in the
minds of its followers. However, with reference to Campbells (1991) nine heroic
themes, there is no mention of the significance of sequential adherence. Not only it is
felt that that the sequentiality is not justified, but there also appears to be no reason why

14. Page | 14
a person cannot be a ‘hero’ if they fail to fit all nine themes. I shall validate my
reasoning by claiming Sachin Tendulkar’s heroic adventure.
HEROIC ‘MASCULINITY’
Masculine ideologies are influenced by the portrayal of heroic figures and are
circulated in “books, films, newspapers, TV programmes , music , advertisements and
journalists coverage of celebrities and business and political leaders ”( Holt and
Thompson, 2004, pp. 427). Holt and Thompson (2004) define masculine ideologies as “
tacit understandings regarding how a man earns respect, what makes a man successful,
what it means to be a good father, what qualities make a man heroic, and so on” (pp.
426), that circulate prominently in mass culture. The masculine figures championed in
popular culture act as “semiotic raw ingredients that consumers draw upon to construct
their identities” (Holt and Thompson, 2004, pp. 427).
G. Line’s (2001) argues that “sports stars function to represent heroic images of men
and masculinity” (pp. 289). Rowe (1992, as cited in G. Lines, 2001) supports this point,
“it is through the mass media that sports stars function as celebrity advertisements for
masculinity” (pp. 289). The sporting hero has traditionally been perceived as “
epitomizing social ideals and masculine virtues, and as embodying values which learnt
on the playing fields will readily will readily transfer into everyday life” (McIntosh,
1979; Mangan, 1981; Whannel, 1995 as cited in G. Lines, 2001,pp. 286). Whannel
(1992, as cited in G. Lines, 2001) develops this point further:
The ideal star is young, male and successful. The maleness of the concept becomes clearer when the
qualities evoked and offered for admiration are analyzed. There is a stress on a set of qualities

15. Page | 15
traditionally associated with masculinity – toughness, aggression, commitment, power,
competitiveness, courage and ability to stand up to pressure….( pp. 289).
Consumer research studies that touch on masculine consumption are consistent with
the compensatory consumption thesis (Schouten and McAlexander, 1995, Belk and
Costa, 1998). In order to explain the heroic masculinity expressed by Sachin Tendulkar,
I shall incorporate Holt and Thompson’s (2004) thesis. In their analysis they hone one
of the most central ideologies – the ideology of heroic masculinity. Holt and Thompson
came to believe that the compensatory consumption thesis failed to capture some of the
most powerful masculine identities. Thus they define three masculinity models-
breadwinner, rebel and man-of-action hero- together that form their ideology of heroic
masculinity.
The breadwinner model is where one becomes a man through the act of achieving
through hard work (pp. 427); the rebel model is where one is has defiant individualism,
anarchic and fiercely independent (pp. 427) and the man of action model is considered
“the best of both worlds, resolving the tensions between breadwinning and rebellion in a
utopian resolution” (Holt and Thompson, 2004, pp. 428). In context of this thesis, I shall
incorporate ‘the breadwinner model’ as it automatically fits the role that Tendulkar acts
out. In the following case study we look closely at the story of Tendulkar, whose myth
and masculine ideals took the sport of cricket by storm which ultimately proved to be a
remarkable marketing phenomenon.

16. Page | 16
‘If Cricket is Religion, Then Sachin is God’
SACHIN TENDULKAR – HIT OR MYTH
In cricket crazy India, the fanatical patriotism towards their heroes sometimes crosses
the borders of sanity. One such fanaticism revolves around the Demi-God status
attributed to Sachin Tendulkar. And it’s not easy being him. In a vast country like India,
cricket and Bollywood movies are about the only outlets for a population of a billion
plus people, of whom most lead a routine, often-perilous existence. If life for ordinary
folk is quite claustrophobic, imagine what it must be like for cricketers and movie stars.
Soumya Bhattacharya (2003) states, “Heroes belong to the adolescence”. That is
because wide-eyed worship belongs to adolescents. The world teaches us to be wary of
idols as we grow up. Alan Ross (as cited in Bhattacharya, 2003) also supports this point,
as he believes:
“..heroes are necessary to children and that as we grow up it becomes more difficult to establish them
in the increasingly responsive soil of our individual mythology. Occasionally, the adult imagination is
caught and sometimes it is held: but the image rarely takes root”
Tendulkar’s magic in cricket has been that his image has taken root in the adult
imagination. He has done more than bound a nation. It is estimated that when Tendulkar
is batting against Pakistan, India’s arch rivals in the sport as like most other issues, the
television audience exceeds the population of Europe. He has bridged the age divide of
the country that has made people agree about at least one thing in life. Sachin “has

17. Page | 17
forced us to revisit and redefine our ideas of sporting glory formed in adolescence”
(Bhattacharya, 2003).
The cricketing world considers Sachin as one of the best batsmen of all times, but
Indians cannot digest the fact that he is ‘One of the best’. One statement against him and
Indians throughout the world will be ready to pounce on you. You cannot expect to
have a reasonable argument when people display banners that shout out “Cricket is my
religion and Sachin is my God”. But as Peter Roebuck (2008) rightly points out,
Sachin’s heroics “goes beyond facts and figures, style, sportsmanship and masterly
innings, or else others could join him in his isolated acclaim”. His combination of
aggression and productivity defined him and he has been untarnished by any sort of
scandal. If you read India’s papers, it’s filled with stories about communal agitation,
political disputes and corruption. India yearns for a champion. “Its gods are exotic, its
films are escapists and its batsman is a conqueror” (Peter Roebuck, 2008). Tendulkar
has been the hero his country needed.
TENDULKAR: SPORT STAR OR HERO?
Holt (1996, as cited in G.Lines, 2001) suggests, “a sport without a hero is like Hamlet
without the Prince” (pp. 287). Indeed, it is difficult to identify high profile media sports
without prominent stars. Sports stars are real in the sense that they perform live under
random sporting conditions that happen throughout their sporting career. Holt (1999, as
cited in G.Lines, 2001) also implies the lives of sports stars are ‘woven into stories we
tell ourselves’.

18. Page | 18
The (Godly) figure of Sachin Ramesh Tendulkar was born on 24th
April, 1973. He
made his Test debut in 1989 at the tender age of 16. He crossed over 1000 runs and
scored five test centuries before the end of his teens. Such was the talent of Sachin then,
that he currently is the highest run scorer in both Test matches and ODIs, and also the
batsman with the most centuries in either form of the game. Not only has he dominated
Indian cricket, but the world game as well. And that domination has gone beyond just
one decade. Gulu Ezekiel (2002) states that TIME magazine chose Tendulkar as one of
their ‘Asian Heroes’ and put him on the cover of their Asian edition (29 April 2002) for
the second time in three years (pp. 1). This speaks volumes about his ‘heroic’ deeds,
apart from his cricket achievements, as he shares space with human right activists,
freedom fighters and other luminaries.
Cricket, like any other sport, can also construct ‘heroes’ when players enthrall
spectators with particular match winning performances. But this doesn’t imply that they
will achieve ‘legendary’ or ‘God’ like status instantly. In order to understand how
Sachin constitutes to being a long-term hero, I shall refer back to the classic hero
adventure myth as portrayed by Campbell (1991).
TENDULKAR - ‘HERO ADVENTURE MYTH’
In this section, I shall layout how Campbell’s (1991) nine elements seem to characterize
Sachin Tendulkar as he is construed in the ‘hero’ myth and in the minds of cricket fans
worldwide.

19. Page | 19
Call to Adventure and Helper
Sachin’s ‘call to adventure’ was to play for the Mumbai Ranji Squad and at the young
age of 16, he represented the Indian National squad. This dream happened in awe-
inspiring fashion as he and his childhood chum Vinod Kambli, created a world record
worth an unbeaten 664 runs for any wicket in any class of cricket, which enabled him to
make himself known on the grandest stage.
It was during his childhood days in Mumbai where Sachin came across his first
‘helper’, Sri Ramakant Achrekar, who is famously known in India as the man who
helped nurture Sachin’s talent for cricket. Recently Sachin Tendulkar paid rich tributes
to his mentor Cricket coach Ramakant Achrekar saying he attributed his success to
‘Sir’. BCCI President Manohar even stated that Achrekar and Tendulkar are like
modern day's Dronacharaya and Arjun (Indian mythological figures) and recalled their
journey and contributions to Cricket as ‘outstanding’.(Source:
www.indianexpress.com).
Wondrous Journey
From then on Sachin Tendulkar was engaged on several ‘wondrous journeys’. Such
as Sachin, at the age of 16 years and 205 days, became the youngest Indian test player
in history. He was also appointed captain of the Indian national side and guided India to
success at various tournaments at a time when Indian cricket was overshadowed with
match fixing scandals and numerous controversies. One of his most incredible innings,
that had left an everlasting imprint in every Indians mind, would be the ‘the desert
storm’ match at Sharjah where he literally ,single handedly destroyed world champions

20. Page | 20
(at the time) Australia and won the Coca Cola trophy, which restored India’s batting
supremacy at a time when it was criticized the most. However, Sachin Tendulkar
declares that the most significant journey appears to be his wedding to long time love
Dr. Anjali Mehta on 25th
May 1995.
“The greatest Indian alive”- Bishen Singh Bedi, Former Indian Cricket Great
Trials
Sachin’s life was not without ‘trials’. The latter part of 2001, also known as the ‘dark
period’ of Indian cricket, saw one controversy after another- not of his own making-
dogging Sachin Tendulkar’s footsteps. The match fixing scandal controversy had hit the
subcontinent region with the game being accused of being linked with bookies and
alleged ‘underworld’ after certain players were found guilty. Foreign media were almost

21. Page | 21
keen and anxious on finding him at fault. As Gulu Ezekiel (2002) further states this
incident:
“One Australian journalist, amongst others, brushed aside the fury of Indian fans as ‘knee-jerk hubris’.
It was as if they were gloating at the thought that the Indian icon had finally been found guilty after a
spotless record all these years” (pp. 303)
Another turbulent moment in Sachin’s career was when he was given a suspended
ban of one game and fined 75% of his match fee in light of alleged ‘ball tampering’ by
match referee Mike Denness. Television cameras picked up images that suggested
Tendulkar may have been involved in cleaning the seam of the cricket ball in the test
match. According to newly stipulated rules this can, under some conditions, amount to
altering the condition of the ball. But the punishment did not fit the crime. Harsha
Bhogle, a famous Indian journalist and cricket commentator lucidly explained this case:
“He was merely taking the grass off the seam- an offence but a minor one….The punishment was
extraordinary, not so much because of the fine and suspended sentence, but because of the opportunity
it gave the world to call an honest man a cheat. Worse still, Denness had no complain from the on-
field umpire and refused to trust Tendulkar” (As cited in Gulu Ezekiel, 2002, pp. 303).
The incident escalated to include allegations of racism. After a thorough
investigation, the official status of the match and the ban on Tendulkar was lifted.

22. Page | 22
More Helpers
Through all these incidents, Tendulkar was lifted by more ‘helpers’ in the form of the
fans, Indian cricket legends, the media and the Board of Control of Cricket in India
(BCCI) - in short the whole country was with him. To understand why Indian cricket
fans took to the streets in protest, why the Indian media was full of articles and
editorials condemning Denness and why the BCCI virtually brought international
cricket to a halt, is to understand the esteem in which Tendulkar is held in his country.
This esteem has not been gained effortlessly, nor has it been built purely on a mountain
of runs. Ezekiel (2002) reasons that “It had been gained the hard way, by being the ideal
role model and avoiding the many unsavoury controversies affecting Indian cricket over
the years” (pp. 301).
Apotheosis
Although an obvious significance of Tendulkar’s ‘apotheosis’ can be witnessed, it is
complicated to choose an instance in his magnificent career that pinpoints this theme. In
a country of a billion plus where the ‘unity of diversity’ mantra of the state machinery
has come into being hollow, Tendulkar has materialized as perhaps the nation’s sole
unifying force. A line from Ramachandra Guha’s book authenticates his status as ‘The
God of Indian Cricket’:
Every time he walks to the wicket, ‘a whole nation, tatters and all, marches with him to the battle
arena. A papuper people pleading for relief, remission from the lifelong anxiety of being Indian….
seeking a moment’s liberation from their India-bondage through the exhilarating grace of one
accidental bat’ (as cited in Ezekiel, 2002, pp. 1).

23. Page | 23
The honours have come thick and fast in an international career that started in 1989.
It would just be safe to say that his god-given talent for the sport was acquired at birth.
TENDULKAR AND THE ‘BREADWINNER’ IDEOLOGY
Professional athletes and their sporting achievements offer another significant domain
in which different heroic masculinity scripts play out time and again. The most
acclaimed athletes are renowned for “their individual accomplishments, displays of
superhuman skill, and inimitable personal style while at the same time acting as team
players” (Holt and Thompson, 2004, pp. 429). Throughout his whole career, Tendulkar
has developed qualities that deem him fit with the ideology of the heroic ‘Breadwinner
model’ as proposed by Holt and Thompson (2004).
Indian mass culture is stacked with rags-to-riches stories. Tendulkar is seen as a
heroic avatar and an exampler of the major tenets of the Indian myth of success: He
worked hard, was a man of integrity and with a little bit of luck, he achieved fame and
fortune. When describing his ‘classic hero adventure’ myth, it can be noticed that
Tendulkar possesses exceptional talent, who was a firm believer of hard work and clean
living, who approved the devotion of his fans, who displayed the necessary courage
needed to overcome whatever challenges he was confronted with his professional or
personal lives.

24. Page | 24
One key to Tendulkar’s incredible popularity, which has won over the world, is his
loyalty to traditional middle-class Indian values: deference to elders, humility,
commitment and honesty. India, while being globalised, continues to hold dear to its
heart and significant to its growth is its traditional values. In a way, Tendulkar is like
the country to which he belongs. “ Breadwinning men are represented as paragons of
family values and community pillars” (Holt and Thompson, 2004, pp. 427).‘What are
the advantages of being Sachin Tendulkar?’ he was asked in an interview (Sportsworld,
May 1995 as cited in Ezekiel, 2002). And his response was:
“I would like to be humble, be polite to everybody and would like to give respect to my elders. I’m
not really expecting anything from the people for the little (fame)…I have earned…I believe rules are
there to be observed irrespective of whoever you are” (pp. 3)
That in essence is the man. As Spiderman’s uncle told him, “With great power,
comes great responsibility”. Billions of over enthusiastic fans, immeasurable respect
from peers and the status of a Demi-god can easily corrupt an average person. There are
numerous sportsmen who have had their heads in the clouds and fallen in shame and
humiliation. But Tendulkar, no doubt, has taken it in his stride and never let it affect his
life.
Apart from his extraordinary record in international cricket, indications of his heroic
reign in world cricket can be seen through his ability to spawn an ‘out of the ordinary’
following. Peter Roebuck (2008) confirms this in his article:

25. Page | 25
“A hush goes around the ground whenever the second Indian wicket falls in a Test match. It is not a
mark of disrespect towards the departing batsman but a sign of the excitement felt about the imminent
emergence of his replacement. As Sachin steps onto the field, a roar erupts that could shake trees and
does not abate till he has taken guard”
Former Australian captain Steve Waugh has stated in the past that Tendulkar will go
down in history as the best ever batsman after Bradman. Former England captain Mike
Brearley summed it up quite beautifully in his article:
“Perhaps it is in his Hindu roots that Tendulkar finds the peace of mind to carry without either
arrogance or panic the load of national fervour that lands on his stocky shoulders. If it is one’s karma
to be the Indian Bradman, then all that is to be done is to try one’s best and thank God” (as cited in
Ezekiel, 2002, pp. 306)
Referring Sachin Tendulkar to the legendary Don Bradman is verification of his
achievements in cricket and goes a long way in explaining why cricket enthusiast’s and
followers refer to him as ‘The God of Indian Cricket’.
When consumers latch on to myths that are appropriate to their identities, it can
sometimes solidify their viewpoints in society. The power of myths then lies in its
ability to join consumer groups together through a string of related sagas that provides
classification to their overall identities. Naturally, something that has the capacity to
facilitate such a strong influence on consumer culture becomes of primary interest to
marketers.

26. Page | 26
Holt and Thompson (2004) define masculine ideologies as “ tacit understandings
regarding how a man earns respect, what makes a man successful, what it means to be a
good father, what qualities make a man heroic, and so on” (pp. 426) that circulate
prominently in mass culture. These masculine figures championed in popular culture act
as “semiotic raw ingredients that consumers draw upon to construct their identities”
(Holt and Thompson, 2004, pp. 427). Indian mass culture, which is stacked with rags-
to-riches stories, can see Tendulkar as a heroic avatar and an exampler of the major
tenets of the Indian myth of success. The Breadwinner model formulated by Holt and
Thompson (2004) highlights Tendulkar’s masculine ideology through his hard work and
integrity through which he achieved fame and fortune.
In regard to the nine themes that compose a classic hero adventure as presented by
Campbell (1991), there appears to be no need for the nine themes to follow a sequential
order for a person to be considered a hero. The principles themes discussed by
Campbell are a good representation of what a classic hero adventure entails, but whether
they occur sequentially or completely do not affect a person’s heroic identity. On the
other hand, fitting the apotheosis element is a key factor that determines if someone is
considered to be a hero, and cannot be neglected.

27. Page | 27
CHAPTER – 2
Identity Myths are set in Populist Worlds
Identity myths are usually set in populist worlds. Holt (2004) defines populist worlds
as “places separated not only from everyday life but also from the realms of commerce
and elite control” (Holt, 2004, pp. 9). The myths carried out by iconic brands draw from
populist worlds as source materials “to create credibility that the myth has authenticity
that is grounded in the lives of real people whose lives are guided by these beliefs”
(Holt, 2004, pp. 9).
In this chapter, I shall develop the construct of marketplace mythology which offers a
critical logic for exploring how cultural myths are leveraged to create distinctive
marketplace mythologies that, in turn, serve diverse, and often competing, ideological
interests.
MARKETPLACE MYTHOLOGY
The significant influence that cultural myths exert on the stories consumers tell and
the meanings they ascribe to their experiences, has been well researched by a number of
theorists ( Arnould, Price, and Tierney 1998; Levy 1981; Stern 1995). The relationship
between a marketplace mythology and diverse ideological agendas “has important
implications for theorizations of consumer emancipation” (Firat and Venkatesh 1995;

28. Page | 28
Holt 2002; Kozinets 2002; Murray and Ozanne 1991 as cited in Thompson, 2004, pp.
163). Holt (2004) argues that Identity brands are different as they “compete in myth
markets, not product markets” (pp. 39). In cultural branding, managers must identify an
appropriate myth market as they “compete with other cultural products to perform
myths that resolve cultural contradictions” (Holt, 2004, pp. 39).
Holt (2004) states Mountain Dew as an example of an agile iconic brand as it
reinvented itself twice, in the face of major cultural disruptions, by targeting myth
markets as they emerged in American mass culture. “Iconic brands not only target the
most appropriate myth market; they are also sensitive to cultural disruptions, shifting
their target when opportunity strikes” (Holt, 2004, pp. 39). He lauds this very aspect of
Mountain Dew as they managed to reinvent the brands myth when the American
Ideology shifted across the ‘Scientific Bureaucracy’ to ‘Wall Street Frontier’ to ‘The
Free Agent Frontier’. He speaks volumes of how Mountain Dew nimbly leaps over
tensions between ideology and individual experiences by fueling demand for symbolic
resolutions that smooth tensions.
Holt (2004) explains that the first step in cultural strategy is to map out the myth
markets present in play in popular culture and to target the myth market most suitable
for the brand. In order to do so, managers will need to understand the three basic
building blocks of a myth market: National ideology, Cultural contradictions, and
Populist worlds. Holt implores us to think of myths markets as “implicit public
conversations centered around the national ideology” (pp. 59). “Mythic archetypes and
plotlines are sources of resonant meanings and ideals from which national mythologies
are constructed and expropriated to serve specific ideological purposes” (Thompson,

29. Page | 29
2004, pp. 163). These ideologies are taken up by a variety of contenders (popular
culture in all its forms) as “national ideology is usually the most powerful root of
consumer demand for myth” (Holt, 2004, pp.57).
Myths also rely on populist worlds, as “the activities within the populist world are
perceived as intrinsically valuable to the participants” (Holt, 2004, pp. 58). Populist
worlds are often “set in places far removed from centres of commerce and politics”
(Holt, 2004, pp. 59). For worlds that have been commercialised (Example: Sports and
Music) , “these populist perceptions are much harder to maintain because the
participants must fight off the commercial attributions” (pp. 59).
The concept of marketplace mythologies provides an alternative way of thinking
about the relationships between the different marketplace articulations and consumer’s
lifestyles and narratives of identity. Therefore, when consumers incorporate aspects of
marketplace mythology into their self-conceptions, “they are also constructing a
relationship to the multiple discourses of power that circulate in their everyday lives”
(Thompson, 2004, pp. 170). In the following case study we look closely at the myth
markets related to the brand ‘Sachin Tendulkar’ and how they facilitate the lived
fantasies people dream of; thus providing a platform for marketers to generate stories
appropriate to these ideologies.

30. Page | 30
The Cricket Crazy Nation
MARKETPLACE MYTHOLOGY IN INDIA
In order to understand the myth markets most suitable for the brand ‘Tendulkar’, I
shall analyze the three building blocks of a myth market: National Ideology, Cultural
Contradictions and Populist worlds.
National Ideology
National ideology is a “system of ideas that forges links between everyday life- the
aspirations of individuals, families and communities- and those of the nation” (Holt,
2004, pp. 57). No matter how intense I use my vocabulary, it would be close to
impossible to explain the craze the game of cricket has in India and its people. A person
might not be literate enough to calculate “2+2” but he would definitely know the batting
average of Sachin Tendulkar in the previous year. Cricket is India’s de facto national
game, if not its only secular religion of late.
Ideologies are conveyed through “myths that are usually constructed around ideals
and stories of individual success and manhood- what it takes to be a man” (Holt, 2004,
pp. 57). The ever so famous World Cup victory in 1983, where India beat the all
conquering West Indian side in the final at Lords, and the rise of Sachin Tendulkar are
two well renowned events that ignited the passion amongst Indian cricket fans that
showed no signs of relenting. “Tracing the evolution of such myths as they are updated
to address contemporary social issues is central to charting myth markets” (Holt, 2004,
pp. 57).

31. Page | 31
But with the case at hand, Tendulkar’s emergence as a cricketer “meshed perfectly
with a wider cultural revolution in India: the information technology boom of the early
1990’s, the growth and development of satellite television, consumerism, and the
expansion of cricket literacy” (Nalapat and Parker, 2005, 435). Indeed, some have
argued that Tendulkar became a central figure in India’s socio-cultural life precisely
because of the “simultaneous burgeoning of the Indian consumer market and the global
media revolution” ( Guha, 2002, as cited in Nalapat and Parker, 2005, pp. 435). Others
have presented Tendulkar as the ideal brand ambassador because, as stated earlier, he
extends individual attributes such as loyalty to the nation and flawless moral character
to the commercial sector. Added to this, “televisual representations showcase Tendulkar
as a ‘man of the masses’ and as a symbol of nationhood” (Marqusee, 1996, as cited in
Nalapat and Parker, 2005).
But Tendulkar is no ordinary celebrity figure. His induction into the Indian cricket
scene not only came at a time when India was making its mark as a superpower in other
fields of the world but also ignited India’s, once known, dominance in the world of
cricket. Due to these factors, the imagery of the religion of cricket resonated and
seduced, not only in India but across to Indians around the world. Thus this era
witnessed the social transformation that bought forth consumer culture. As Ezekiel
(2002) concludes, “ In India’s nationalistic climate, Tendulkar stands for Indian
aspiration and India’s desire to fling off subservience and take a new station in the
world” (Ezekiel, 2002, pp. 303).

32. Page | 32
National ideology is usually considered the most powerful source of consumer
demand myth; “though national ideology often intersects and competes with other bases
of group identity” (Holt, 2004, pp. 57).
Cultural Contradictions
Tensions that arise between ideology and individual experience produce intense
desires and anxieties, which in turn demand “symbolic resolutions that smooth over
tensions.”(Holt, 2004, pp. 57). Foucalt (1982) explains that the power of subjectivity
lies in that it “categorises the individual, marks him by his own individuality, attaches
him to his identity, and imposes a law of truth on him which he must recognise and
which others have to recognise in him” (as cited in Madan, 2000, pp. 26). However, in
this post-modern age, disruptions in the subjectification of identities into national
subjects are becoming more visible as “identities cross and blur boundaries defined by
the modern Nation” (Madan, 2000, pp. 26).
In his article “Playing With Modernity: The Decolonization of Indian Cricket”,
Appadurai (1996) locates cricket in India in the “realm of popular culture: as a ‘global,
media-centered package’, a micronarrative discursivizing a ‘peculiar tension between
nationalism and decolonisation’, and as a space through which national, ethnic, and
diasporic identities are articulated and played out” (as cited in Madan,2000, pp. 28).
It has been said that cricket, with its rules and regulations, was the perfect game for
India as it briefly bought organization and discipline to what was essentially a chaotic
existence. Cricket literally forms a part of the Indian identity. “Indian identity is much
more than cultural, slightly less than citizenship; it is a devotional patriotism, an affinity

33. Page | 33
with a homeland without the corporeal obligations of citizenship” ( Madan, 2000, pp.
31). “The assertation of Indian identity, expression of cultural nationalism or feeling of
emotional commonality-these are no longer confined to the pitch, in stadium or post
match activities.
Rather they become synonymous with a new game’s ethic eloquently exemplified
through the redefined everyday culture of cricket” (Majumdar, 2004). Thus with the
current question at hand, the national ideology created cricket as a model of living. The
distance between the game of cricket and everyday life acts as a cultural engine, which
Sachin Tendulkar has tapped into by introducing his athletic gift and heroism, as a
myth, that manages the difference.
Cricket is nothing less than a ‘religion’ in India

34. Page | 34
Populist worlds
“Myths rely on populist worlds as raw ingredients” (Holt, 2004, pp. 58). “The
activities within the populist world are perceived as intrinsically valuable to the
participants” (Holt, 2004, pp. 57). Holt (2004) also states that activities within the
populist world are perceived as intrinsically valuable to the participants as they aren’t
motivated by political interests. The passion for cricket in India is unmatched anywhere
in the world. India’s love of cricket and devotion to its teams make English football
fan’s passion seem like holiday romances. Many Indian companies have sponsored
many major cricket tournaments and series around the world. They have pumped in so
much money that “the BCCI (Board of Control of Cricket in India) has been supplying
the games governing body, International Cricket Council (ICC), with approximately 80
percent of its income” (The Independent, 2008).
While cricket was primarily “ an upper-class/caste preserve until the 1880’s, the
underprivileged and lower castes began to make their mark as well from the late
nineteenth century” (Majumdar , 2004). Cricket would not have become the vehicle for
such posturing but for two events. On 25th
June 1983, India rocked the cricketing world
by defeating the all-conquering West Indies by 43 runs in the World cup finals at Lords.
The victory not only fired the imagination of the masses, who henceforth began to
perceive cricketers as national icons, but the unexpected victory changed cricket in
India forever and overnight it became the nation’s single biggest obsession.
“Despite the one-day triumphs, the Eighties brought limited Test success” (The
Independent, 2008). But at the end of the decade, on November 15th
1989, a diminutive

35. Page | 35
and angelic looking 16 year old named Sachin Tendulkar made his Test debut against
archrivals Pakistan in Karachi. Ever since that Test match, he has carried the aspirations
and emotions of more than a billion people. With Sachin Tendulkar bursting onto the
scene with his explosive batting, the craze of the One-day and Test match format
escaladed in the nation.
“In a nation where the cricket enthusiast oscillates between adulation and vandalism,
playing cricket is no less difficult than governing the country…..the Indian captains job
is as tough as the prime minister’s” (Majumdar, 2004). How Tendulkar coped with such
pressure is a miracle in itself. India has many social problems, but they are forgotten
and forgiven if the cricket side wins a match or Tendulkar scores a hundred. Harsha
Bhogle has said that if either of the above events takes place, “100 million Indians will
happily go to sleep at night without food” (as cited in The Independent, 2008). It
definitely sounds ridiculous but, amazingly, it would appear to be true.
“Thus the game is founded upon a dramatic, a human relation which is universally
recognized as the most objectively pervasive and psychologically stimulating in life and
therefore in that artificial representation of it which is drama” (C.L.R. James, 1992).
Upon reading the article by Clifford Geertz named “Deep Play: Notes on the Balinese
Cockfight”, what could be related between Geertz and James was that either felt that
Cricket and Cockfights wasn’t any other art form or drama, but a drama of a cultural
form in which people, who interacted with cricket or cockfights in anyway, could reflect
the way they felt they belonged to it to the world. Thus it also refers to participation in
the sport of cricket and not just those who participate in the game as players but also
those who follow and watch the game as keen and ardent spectators.

36. Page | 36
Watching India’s matches, identifying with the Indian team and rooting for them
gives an Indian spectator the opportunity to reflect upon one’s own place in
understanding of the social world. ‘What matters in cricket, as in all the arts, is not finer
points but what everyone with some knowledge of the elements can see and feel’
(C.L.R. James, 1992).
In order to clarify the markets thirst for mythic narratives, one must first try and
understand how myths actually influence the marketplace. Through my current research,
it appears the construction of marketplace mythologies helps people make sense of their
daily lives. As Holt and Thompson (2004) conclude, “through the construct of
marketplace mythology, the conflicts among intersecting discourses of power can be
brought into clearer relief” (pp. 173). By submerging myth in consumer culture,
individuals have an image or identity to aspire to, thus giving marketers reason to
construct marketplace mythologies.
Drawing on Holt’s (2004) account that myth markets are based in populist worlds, it
becomes clearer how myth markets surface. Consumers in populist worlds are there as
they jointly share a passion. They act in such a manner because they want to. Therefore
I can conclude that deciding to participate in populist worlds is a form of self-
expression, normally expressed through music, art and sports. By implementing myth to
the products being advertised, marketers are not actually trying to convince consumers
to buy their products but instead they are presenting an ideal for consumers to aspire to
which in turn could prompt them to engage the brand in order to build on their self
identity.

37. Page | 37
CHAPTER- 3
Iconic Brands Perform as Activists, Leading Culture
Holt (2004) further argues that iconic brands function like cultural activists,
encouraging people to think differently about themselves. Iconic brands don’t simply
evoke benefits, personalities and emotion but instead their myths urge people to
reconsider recognized ideas about themselves. The value of the particular myth in a
brand “resides not in the myth itself, but in its alignment with society’s incipient
identity desires” (Holt, 2004, pp. 9).
In this chapter, I shall discuss how Sachin Tendulkar is constructed as a role model
for young people. His image will be assessed in terms of its contribution to debates
surrounding politics, religion, and Indian nationalism. While Tendulkar affords all
hallmarks of celebrity status, his identity remains rooted within the context of certain
political and nationalistic values, all of which shape the contours of his iconic status
especially in his homeland.
KNOWING CRICKET, KNOWING SPORT
Its best way to start this whole report is with a question by C.L.R James (1963/ 1983)
that frames the entire social theory of cricket: “What do they know of cricket who only
cricket know?” This question can’t be answered literally. What James is trying to

38. Page | 38
emphasize here is that there are multiple ways of looking at cricket and not just as a
sport.
The most familiar form of cricket known to everyone is cricket that involves players,
umpires, rules, bats, balls and wickets. These attributes form the “only cricket know”
part of James question. This is cricket with a small “c”. But it is the other meaning of
cricket, cricket with a capital “C” that James emphasizes in his theory where he believes
cricket is not just a game but also an entire social formation. The game, in James view,
never just exists in the abstract or in isolation; it is played by actual, specific human
beings with individual attributes and social characteristics, in particular historical
contexts and in particular ways. Thus Cricket in this sense refers not just to the game
but to the players in the game, all those identities and experiences they bring to the
game as well as what the game means or represents beyond the usual boundaries of the
game itself.
SPORTS STARS AS ROLE MODELS
In general people need role models and idols. This is especially true in the case of
sports stars and idols as they offer essential help and orientation for children and
adolescents in particular. Idols and models signify and reinforce the ideals and norms
existing in a society or in a specific group. As Biskup and Gertrud (1999) declare, “they
make the world more lively and colorful, and they bring sparkle and glamour into the
workaday routine” (pp. 199).

39. Page | 39
“It was the rise of the gentleman amateur and the cult of fair play that turned sport into a form of
moral education and set up the batsman as a kind of idealized Englishman, striding to the wicket in his
whites, wearing the colours of his county or country, to do battle as knights if a new kind if chivalry”
(Holt, 1996 as cited in G lines, 2001, pp. 288)
Here Holt (1996) talks about the rhetoric of 19th
century public school ideological
legacy encouraging character development and the making of ‘the man’ through
participation on the playing fields, in this case cricket, which still resonate in sporting
narrative. Through this particular saying, the construction of sports stars ‘as hero’ thus
embodies traditional and idealized values and ethics of the ‘gentleman and amateur’.
From a marketing perspective, Bush, Bush and Martin (2004) explore an aspect of
sports celebrities as role models through ‘consumer socialization’. In their article, it is
stated that consumer socialization “emphasizes sources of influence or ‘socialization
agents’ that transmit norms, attitudes, motivations and behaviors to the learner”
(Moschis and Churchill, 1978 as cited in Bush, Bush and Martin, 2004, pp. 109). A
socialization agent could be “any person or organization directly involved with the
individual” (Bush, Bush and Martin, 2004, pp. 109). Socialization agents commonly
used include parents, peers, mass media, or in this case great personalities.
Whilst carrying on their research on sporting role models, they refer to the ‘vicarious
role model’; “anyone the individual comes in contact with directly or indirectly, who
has the potential to influence the individuals consumption decisions” (Bandura, 1977 as
cited in Bush, Bush and Martin, 2004). A large and very visible part of sports marketing
is the vicarious model or the celebrity athlete spokesperson. Seemingly, “advertisers are

40. Page | 40
choosing larger-than-life sports heroes as spokespeople for their products” (Brooks and
Harris, 1998 as cited in Bush, Bush and Martin, 2004). Bush, Bush and Martin conclude
their research by stating, “celebrity sports athletes have a positive influence on
adolescents favorable word of mouth and brand loyalty” (pp. 113). Sports athletes are
role models to teenagers as they also look for what is “cool” in products and brands.
Modern sport with its principles of contest, outshining one’s opponent and breaking
records has been developed in the sporting scenario as far as anyone can recall.
Throughout history, sporting performances and success had been the material from
which heroes were made. Sport has delivered “the ingredients for dreams and fantasies;
suspense and sensation, victories and success, superhuman feats, asceticism and
commitment” (Biskup and Gertrud, 1999, pp. 202). The popularity of sporting heroes
goes hand in hand not only with the “intense competition in the mass media, the
commercialization of sport as well as of sportsmen and sportswomen, but also with
young people longing for someone to identify with” (Biskup and Gertrud, 1999, pp.
202).
The Other side of Sachin Tendulkar
In this section, I shall be concerned with Tendulkar’s popular cultural influence in
Indian society both as an international sporting figure and as an ambassador for certain
political and ‘national’ values that draw sustenance from religion and culture. Whilst
Tendulkar’s sporting success has elevated him in terms of lifestyle circumstance, his
public image remains grounded in the realities and complexities of popular cultural

41. Page | 41
struggle, his appeal proving as prevalent amongst the urban slums of the country’s
largest cities. As Ezekiel (2002) states, “Tendulkar is all things to all people”
At a very basic level, the unique racial organization of cricket provided the Indians
more generally with an otherwise unparalleled medium of social interaction,
communication and self expression, a source of social solidarity, collective identities
and express collective sentiments. The Indian team and its players serve as symbols to
each and every community, which is a way to establish collective identities and express
collective sentiments. And the best way to talk about players and way they help in
identities and sentiments is to talk about Sachin Tendulkar and the impact he has on the
nation.
Tendulkar is to the history of Indian cricket what Gandhi was to the history of the
Indian freedom struggle-the first individual who’s regional, religious and caste identities
were transmuted into an amorphous national identity by agents mediating between them
and the public. (Appadurai ,1995, as cited in Abilash Nalapat and Andrew Parker,
2005). Others have presented Tendulkar as the ideal brand ambassador because he
extends personal attributes such as loyalty and impeccable moral character to the
commercial sector .Added to this, television showcase Tendulkar as the “Man of the
masses” and as a symbol of nationhood. His impact on the nation is so broad its
experience is indescribable. But I shall point out instances where cricket celebrities, in
this case Sachin Tendulkar, have contributed towards politics, nationalism and
multiculturism.

42. Page | 42
TENDULKAR AND GANDHIAN NATIONALISM
It’s a well-known fact that the political tensions between India and Pakistan are on a
very high scale. Nevertheless the celebratory atmosphere of 1999 can be pictured as a
crucial moment in Tendulkar’s story, particularly with regard to India’s international
cricketing commitments against Pakistan that year.
During 1991, Sachin Tendulkar had just made a small number of appearances his
appearance for India. Pakistan were going to tour India and their first match was going
to be played in Bombay at the Wankhede stadium. But Bal Thackeray, the founder and
leader of the Shiv Sena (the Indian Hindu nationalist party) and de facto chief minister
of the Maharashtra region of India, expressed his opinion that he didn’t approve of
Pakistan playing on Indian soil and his party members vandalized the playing surface
before Pakistan’s tour of India. The tour was eventually called off due to ‘security
reasons’.
Pakistan were going to tour India again in 1999. People in India and all over the
world were looking forward to this series as nothing beats a well battled match between
two nations that embrace one of the oldest cricketing rivalries known. But Bal
Thackeray was going to do the same again as he did in 1991. “Thackeray threatened to
mobilize a protest of vandalism at the series venues…….and warned that his ‘party
men’ would respond to his exhortations” (Nalapat and Parker, 2005, 436). Although
Thackeray was in fact attempting to hold the 1999 tour, Tendulkar’s fame had risen at a
colossal rate and media celebrations of Tendulkar’s prevailed .

43. Page | 43
Children welcoming Pakistani fans, who crossed the Indo-Pak border, to watch Pakistan play
on Indian soil after a gap of 10 years.
Entitled ‘Spoilsport Thackeray: Tendulkar Symbolises Maharashtra’s Pride’, the
article, written by Rajdeep Sardesai (1999) who is a famous Indian journalist, stated that
cricket and Tendulkar were the central supporters of Maharashtrian middle-class
identity. Sardesai draws the historical alteration of Shiv Sena’s agenda from
“Maharashtrian self respect in the 1960’s to the militant Hindu nationalism of the
1980s, and points out that by using cricket as the site for expressing this backlash,
Thackeray was historically blinded to the fact that for 50 years the game had been the
only remaining bastion of Maharashtrian middle-class dominance” (Nalapat and Parker,
2005, 437). Sardesai concludes by stating that if Thackeray was indeed a true
nationalist, he would have had encouraged Tendulkar to show his genius against
Pakistan rather than threatening to have the venue vandalized.

44. Page | 44
The article attempted not only to analyze Tendulkar’s location in Indian public life
but it also counterposed the ‘healthy’ nationalism of Tendulkar against the ‘xenophobia-
dressed-up-as-nationalism’ of Thackeray. This was because Tendulkar was now a part
of Indian public life as he is showcased as a person related to the wider notions of
‘Indian nationalism’ .Thus Tendulkar, being from the same state of Maharashtra as
Thackeray, had more political significance.
TENDULKAR AND HINDUTVA
India is a place of diverse cultures, different languages, beliefs and religion. But
cricket is one religion, which they all preach. Cricket is practiced as a religion in India –
a religion with a difference. Cricket in India does not divide the masses. The game has a
very strong unifying factor for all Indians. This “cricket religion” raises above all
differences of cast, gender or social background.
All the players in team India are from different states, following different cultures
and religions. But once they are out on the field, they represent only India. As soon as
Tendulkar became the captain of the Indian cricket team for the second time he told his
fellow players that ‘Hindi’ would be the official Indian language in the locker room and
that the use of other Indian languages would not be entertained. These languages,
according to him created an ambience of ‘regionalism’ rather than one of ‘nationalism’.
This instruction was something similar to one of Gandhi’s insistences that Hindi be
taught all over India so that the nationalist cause could be served through a common
language.

45. Page | 45
On the matter of interventions in caste, Sachin’s special friendship and partnership
with Vinod Kambli (The first Dalit cricketer to have represented post-Independent India
in cricket) can be seen as departure from the watchful and conformist positions that
Tendulkar has adopted. Tendulkar was bought up in a respectable household whereas
Kambli was a son of a mechanic but their friendship started in school and last’s till this
day. They both even had a world record partnership in school as the pair scored 664
runs. But later on when both started main their name in the national squad, the upper-
caste dominated Indian-English media mercilessly highlighted Kambli’s sporting
failures and his extravagant lifestyle. Ultimately, he was left out of the national squad.
But once Sachin became captain, he fought for Kambli’s inclusion. Some would see
this as a case of friendship and partiality. But his actions pointed out political
importance in a context that offered few other modes of social organization and
affirmation for minority people. ‘As much as their performance of the cricket field,
Indian cricketers should be feted for the example they have set off it- for rekindling the
hope that we are, and ever will be, a notion that unites in diversity’ (Boria Majumdar,
2004).
TENDULKAR: HERO OF A GENERATION
Every generation has its own heroes and icons. Indians are the contemporaries of
Sachin Tendulkar, having grown up with him. He is not just another great sportsman or
a great cricketer but instead, he represents the aspirations, dreams, moralities, values of

46. Page | 46
an entire generation. Tendulkar has helped an entire generation raise its self esteem and
feel like equals in an otherwise hopelessly mismatched sporting world. All differences,
young-old, rich-poor, religion-language, disappear when people see Tendulkar padded
up and walking in to bat.
At 26, Tendulkar was the youngest to be featured by ‘India Today’ in their ‘100 People Who Shaped
India’ special issue in 1999 (Millennium Series, as cited in Ezekiel, 2002).
But what Tendulkar showcased on the 15th
December 2008, demonstrated his healing
and unifying power in the game.
People crowd around Yuvraj Singh (left) and Sachin Tendulkar, after Tendulkar’s brilliant
unbeaten century and victory over England eased the grief the nation was going through.
Less than three weeks before the above stated date, the whole world was shaken to its
core when innocent people were being slaughtered by terrorists in the streets, bars,
hotels, train stations and religious centers of India’s biggest city Mumbai. When
Tendulkar, a grieving city’s favourite son, hit his hundred and the winning runs, Indians

47. Page | 47
had just witnessed one of the greatest Test matches, “ a sporting epic, a match that went
beyond victory and defeat, a match that eased a nations agonies with the kind of heroics
that, blissfully, did not involve life and death” ( Holt, 2008). Its bold message was not
just that cricket and sport will continue in the face of November, 2008 terror attacks on
Mumbai but that normal life will continue. Tendulkar had been touched by the massacre
himself as two of the dead were parents at his daughter’s school. At the end of the
emphatic victory against England, he dedicated the victory to the whole of India.
‘This won’t make people forget about what happened in Mumbai. Whatever we can contribute, we’ve
been able to do that. We’re right with the people who have lost their dear ones. I hope our victory and
my hundred will give an amount of happiness to people, but what happened in Mumbai, it’s very hard
to recover from that. This is not just for Mumbai. It is for every Indian. It is for all of us after the
terrible things we have been through” (The Mirror, Holt, 2008).
India’s cricket hero, who conjured an ending that might have been penned in
Bollywood, made his country smile again. On December 21st
2008, Indian icon Sachin
Tendulkar was declared as ‘The best role model’ in a nationwide poll after he came
ahead of former President A.P.J Abdul Kalam and Bollywood megastar Amitabh
Bachchan (IBN.com, 2008). As well known editor Manoj Khatri states, “It is a gift to
him for whatever he has given for India to be proud of” (as cited in IBN.com, 2008).

48. Page | 48
CHAPTER- 4
Identity Myths Reside in the Brand, Which Consumers
Experience and Share
As the brand performs its myth, customers eventually recognize that the myth exists
in the brands markers as “the brand becomes a symbol, a material embodiment of the
myth” (Holt, 2004). Customers grasp hold of the myth as they use the product as a
means to lessen their identity burdens. Holt (2004) argues that customers who make use
of the brands myth for their identities “forge tight emotional connections to the brand”
(Holt, 2004, pp. 8). Great myths provide their consumers with little epiphanies as they
“use iconic brand as symbolic salves” (Holt, 2004, pp. 8). In the following sections, I
shall explore into how a brand serves as a symbolic or self-expressive function.
IMPACT OF BRANDS
I will now set out to explain and understand ‘brand Sachin’, but before I do we need
to agree some terms of reference. What is a brand? How do companies build brands?
Can celebrities use similar methods and what do we mean by a celebrity brand anyway?
Let’s start with the first question, what is a brand? The American Marketing
Association defines a brand as “a name, term, sign, symbol, or design, or a combination
of them, intended to identify the goods or services of one seller or group of sellers and
to differentiate them from those of competitors” (Kotler and Keller, 2006, pp. 276).
Milligan (2004) though argues that the word ‘brand’ has been devalued and misapplied

49. Page | 49
as people “associate brands with packaged goods, cars and other heavily advertised
consumable or durable products. But brands are much more than that” (Milligan, 2004,
pp. 28). For example, even though the global brand Starbucks has a distinctive name
and logo, it hardly advertises at all when compared to the likes of Apple, BMW or
Nokia. That is because they don’t need to, as it has created a strong customer
experience. In fact, their stores are like living advertisements as they not only advertise
and promote the brand but also invite you to come in and try the experience.
“Brands simplify complex experiences, allowing people to make rapid choices on a
limited amount of information” (Milligan, 2004, pp. 30). Milligan further argues how
the product is packaged and promoted, where and how it is sold and increasingly, how
the people behave who represent that product all “combine to create a profound
impression in people’s mind that will help determine whether we prefer and stay loyal
to a particular brand” (pp. 28). When we understand a brand works in such a manner,
it’s possible to see that anything protected as a trademark can be a brand.
Celebrities, and in this case sports stars, clearly qualify as brands. Their names can be
guarded by trademarks as they have distinctive attributes that can be functional (plays
immaculate cover drives like no one else) or emotional (charisma and charm), as they
have well defined identities and they command a loyal following that can endure long
after their product has been superseded. Milligan (2004) believes the reason we buy into
celebrities as we buy into brands is because they add color and excitement to our life. I
agree with Milligan as we admire what sports stars do and what they represent. They
provide a meaning or sense of aspiration in our lives that few of us can supply on our
own.

50. Page | 50
BRAND PERSONALITY
In consumer behavior research, many researchers have focused on how the
personality of a brand allows a consumer to express his or her own self (Belk, 1988), an
ideal self (Malhotra, 1988) or specific dimensions of the self (Kleine, Kleine, and
Kernan, 1993) through the use of a brand. Experts in this field view it as significant way
to differentiate a brand in a product category, “as a central driver of consumer
preference and usage and as a common denominator that can be used to market a brand
across cultures” ( Aaker, 1997).
Aaker (1997) formally defines brand personality as “the set of human characteristics
associated with a brand” (pp. 347). In contrast to ‘product-related attributes’, which tend
to serve a utilitarian function for consumers, “brand personality tends to serve a
symbolic or self expressive function” (Keller, 1993 as cited in Aaker, 1997). To
illustrate, Absolute Vodka in person tends to be depicted as a cool, hip, contemporary
25 year old compared to other brands in the same product category.
It is argued that “the symbolic use of brands is possible because consumers often
imbue brands with human personality traits (termed animism; e.g., Glimore, 1919 as
cited in Aaker, 1997, pp. 347). Through strategies used by advertisers to imbue a brand
with personality traits , “consumers easily think about brands as if they were celebrities
or famous historical figures” (Rook, 1985 as cited in Aaker, 1997, pp. 347). Through
such strategies, the personality traits associated with brands, such as those associated
with an individual, tend to be relatively enduring and distinct (Aaker, 1997). I shall
illustrate this point by speaking of Holts (2004) example about the personality traits of
Coke. He states that Coca Cola associates itself with traits such as cool, all American

51. Page | 51
and real. These traits are relatively enduring and differentiate them from its competitors
such as Pepsi and Dr. Pepper.
Motivated by the logic used by previous researchers, Aaker examines how the
relationship between brand and human personality help drive consumer preferences.
After developing a framework of brand personality, the result suggested that consumers
perceive that brands have five distinct personality dimensions: Sincerity, Excitement,
Competence, Sophistication and Ruggedness. Although it could be argued that three
brand personality dimensions relate to three of the ‘Big Five’ human personality
dimensions, two dimensions (Sophistication and Ruggedness) differ as they “tap a
dimension that individuals desire but do not necessarily have” (Aaker, 1997, pp. 353).
Aaker (1997) further argues that perceptions of brand personality traits can be formed
and influenced by any direct or indirect contact that the consumer has with the brand.
Personality traits are associated with a brand in a direct way by the people linked to the
brand. This could be through brands user imagery, which is defined here as “the set of
human characteristics associated with the typical user of the brand” (Aaker,1997,pp.
348). In this way, “the personality traits of the people associated with the brand are
transferred directly to the brand” (McCracken, 1989 as cited in Aaker, 1997).
The Story of Brand ‘Tendulkar’
“The entry of multinational companies into the Indian market after the opening up of
the economy in 1991, the massive appeal cricket enjoys all over India, and the

52. Page | 52
explosion in the number of one-day matches combined with the birth of cable TV- were
all factors in the marketing success of Tendulkar” (Ezekiel, 2002, pp. 313).
Sachin Tendulkar was signed up by WorldTel chief Mark Mascarenhas in October
1995 for a five year deal worth $7.5 million (Ezekiel, 2002, pp. 311). It made the front
pages of all the national papers in India as the sum was considered exorbitant, more
than any other Indian sportsperson could have ever dreamed of. In May 2001, the
contract was renewed, this time reportedly for $17.5 million .
In the world of cricket, Sachin Tendulkar is a unique individual. He’s a brilliant
cricketer, superb athlete, celebrity, soon to be film star and comic hero. And he has now
also been tagged by the consumer society as a ‘brand’. He is so many different things.
So when we think about ‘Tendulkar-the brand’, we must start by considering Tendulkar
the product. What is it that he has done so well? What allows him to stay within the
public consciousness? What gives him that fundamental legitimacy? I shall now analyze
certain aspects behind the brand Tendulkar.
TENDULKAR’S BRAND IDENTITY
Tendulkar’s brand identity is one of the most celebrated, but it shows all the
hallmarks of a cleverly conceived and well-managed brand strategy. Let’s start with the
building block of his brand identity: his name (or names): -

53. Page | 53
 Sachin Ramesh Tendulkar
 Sachin Tendulkar
 Tendulkar
 The Little Master Blaster
As Milligan (2004) states, “often the hardest job for any marketer faced with a new
product is to work out what to call it” (pp. 74). Think of the magical names like Sir Don
Bradman, Brian Lara or Imran Khan. Other sports have player’s suggestive names like
‘Magic’ Johnson or Tiger Woods. But Sachin Tendulkar sounds like a typical
Maharashtrian state name. Sachin, for a fact, is a very common name in India.
But if we go back to Sachin Tendulkar’s brand values – especially his down-to-earth
ordinary appeal and genuineness- we can see that this very ordinariness suits the brand
extremely well. In the marketing on the Tendulkar brand, there have been no
shortcomings for the remarkable ordinariness of the man. On the contrary, it has been a
positive asset. Tendulkar radiates of a normal bloke who shows what a person can
achieve through dedication and talent. Therefore, his brand names are thus an ideal
match with his brand image.
So ‘Sachin Tendulkar’ or just ‘Tendulkar’ can be used in different ways and at
different times to sell different types of products. The brands Tendulkar currently
endorses represent a wide variety of products. The current list of endorsements includes
Visa, Britannia, Pepsi, Fiat, Adidas, MRF, TVS (Bikes) and Boost. He also has a high
end chain of restaurants called ‘Tendulkars’. Only liquor and cigarettes have always
been taboo. He states that, “if people look up to me, I’ve got to set the right example”

54. Page | 54
(Ezekiel, 2002, pp. 314). The most lucrative and high-profile deal for Tendulkar was
clinched with the Chennai based MRF tyre company, as they used the back of his broad
bat as prime advertising.
The MRF logo, which is on the back of his broad bat, is the most lucrative and high profile deal.
There are also the characteristic Tendulkar poses. One is the celebrating hero pose
that has been captured many times and turned into posters that everyone loves. Yet
another is the serious model pose used to best effect in the marketing of credit cards,
cars or even social awareness programmes. And then there is the dedicated, focused,
intense professional that gazes out of thousand posters promoting cricket or sports
products.

55. Page | 55
Brand identity can be represented via four dimensions specified by Aaker (1997):
brand as product, brand as organisation, brand as person and brand as symbol. It is the
metaphor of brand as person in which I am most concerned in this thesis. I shall analyze
Tendulkar’s brand personality in the next section.
TENDULKAR’S BRAND PERSONALITY
When asked about the Tendulkar’s marketing phenomenon, Alyque Padamsee, also
known as the god of Indian advertising, states that, “ When a cricketer achieves the
status of Don Bradman, he becomes a global brand. In other words, he is constantly
recognizable as the Coke bottle or the Marlboro Cowboy. He becomes more than a
personality. He becomes a saleable persona” (Ezekiel, 2002, pp. 315). There are three
main attributes that cut across all areas of Tendulkar’s life and strengthen his appeal:
dedication, iconic sense of style and a down-to-earth humanity.
Dedication
This is the first and most important of Tendulkar’s key attributes. People use many
different words to describe it: commitment, determination, loyalty, hard working,
professional and relentless. They also use phrases to match these words, such as: “He
gives a 110 percent” or “Look how much he gives for his country”.
Even though Tendulkar has the natural ingredients in the making of an iconic
cricketer, his dedication has been his biggest asset. He has worked at his game to ensure
he is never carried by his team, but if anything carries it. Cricket fans all around the
world would agree that it was his hard work that made a huge difference in his career.

56. Page | 56
After the ‘desert storm’ match against India, Australian great Shane Warne had
mentioned about Tendulkar that, “He was unstoppable. I don’t think anyone, apart from
Don Bradman, is in the same as Sachin Tendulkar. He is just an amazing player”
(Source: Wikipedia). Former New Zealand all- rounder Richard Hadlee believes
Tendulkar is the greatest batsman to ever grace the game (Source: Wikipedia). West
Indian legend Brian Lara said, “You know a genius when you see it. And let me tell
you, Sachin is pure genius” (Source: Wikipedia). When a player with prodigious talent
gets admired for being in the same class as the legendary Don Bradman and his
brilliance is cited as a genius of the game, it cannot be argued that Tendulkar achieved
far more thanks to his relentless pursuit of greatness.
Such verdicts can be tested against our own experiences. As stated earlier, the innings
that Tendulkar played in the ‘desert storm’ match against Australia proved his
dominance in world cricket. Tendulkar was determined to prove a point to the critics
who had insulted him and his team on their performance against ‘bigger’ nations in vital
matches (Ezekiel, 2002). “The world champions Australia were sent reeling by the
murderous assault and wilted in the desert heat” (Ezekiel, 2002, pp. 201). “The prodigy
had helped India turn the tide in the match, transforming the seemingly inevitable
disappointment of millions into jubilation at his wondrous act” (Ezekiel, 2002, pp. 64).
It was a natural unconscious display of his character and personality: the values he
holds dear dramatized at a moment when there was no place to hide. This is what people
recall about Sachin Tendulkar and why so many people like him.
His dedication makes Tendulkar an ideal spokesman for many sports brands. In late
1999, Adidas showed advertisements about Sachin Tendulkar where he relates his

57. Page | 57
‘Impossible is Nothing’ story from the days he trained under his most admired coach,
Ramakant Achrekar at the Mumbai Maidan's (grounds). The Adidas commercial
captured the struggle and determination of India's greatest sporting hero through
personal artwork. ‘Impossible Is Nothing’ is a campaign by Adidas focusing on athlete
stories. By showing stars devoting themselves to their craft, “Adidas was tapping into
people’s respect and admiration for authentic sports performers” (Milligan, 2004, pp.
50). “Adidas has grown by over 200% after signing on Tendulkar in 1998” according to
Managing Director Tarun Kunzru (as cited in Ezekiel, 2002, pp. 315).
Iconic Sense of Style
I use the word iconic advisedly: it means having the quality of an icon. Everything
that Tendulkar does has quality, from the way he celebrates his innings, which has now
been portrayed in the form of a logo, to the way he plays cricket. This creates a unique
set of symbols around him.
Tendulkar has always shown a preference for the flamboyant as long it has a sensible
purpose. “It would be terrible if only 10 people came to watch. As a cricketer I try to
give pleasure, and the more people that watch and applaud, the more pleasure I get
myself. I wouldn’t swap it” Tendulkar told Mark Nicholas in an interview (as cited in
Ezekiel, 2002, pp. 318). You could say its ego but Tendulkar has achieved what all
superstars strive for, to harness that ego in a positive manner.

58. Page | 58
As a cricketer, Tendulkar is known for and specializes in his batting. His vast array
of shot selection and his signature shots: the cover drive dissecting fielders and the
straight drive over the bowlers head are the most beautiful and dramatic shots in any
sport, combining bat speed and accuracy from the point the ball strikes the bat to the
moment the ball crashes to a halt at the boundary. But it isn’t just his batting: his skills
to bowl and capture wickets at vital moments are not only brilliant pieces of play, but
artistically pleasing.
‘Look to the Heavens’: This trademark pose has also been transformed into a wax statue at
Madame Tussauds.
As stated earlier, Tendulkar has renewed his contract with WorldTel in 2001.
However, the renewed contract also saw a new-look Sachin appearing in commercials
for the likes of Home Trade, with the Sydney cricket ground as the setting. The boyish
curls weren’t visible, in was the goatee complete with a trendy stubble and new
hairstyle. There was a boy-to-man image transformation. “Sachin had a great recall

59. Page | 59
value among men and kids. But after the Home Trade commercials, even women go
‘wow Sachin’ ” (Times of India, as cited in Ezekiel, 2002, pp. 316)
Tendulkar seems exceptional in his ability to appeal to almost everyone. Man and
women love him, old folks adore him, young kids idolize him and they all treat him as
an icon. And the reason he can hold all these different people together is because he
strikes them as genuine, just as the late Princess Diana always seemed to have the
common touch.
Down to earth Humanity
It may seem odd to use this phrase about a person who has fame, wealth and the
highest paid cricketer in the Indian national squad (apart from the gains from his
advertisement ventures), but it’s true. His approach to life is essentially modest. From
the start of his career, Tendulkar hasn’t engaged in any sort of public eye controversy
that would harm his ‘Mr. Clean’ tag. He may not have the most charismatic of
personalities, but while he has more than enough street cred to stay relevant to young
people, his usually amiable image ensures he is unlikely to bring any brand linked with
him into ill repute.
Despite his celebrity lifestyle, Tendulkar remains level headed about his fame, and
has constantly put it into the broader context of his life. Tendulkar’s priorities in life
have always been clear. Family, cricket and commercials- in that order. “His life is
cricket, but not without his family. They go with him everywhere” (Ezekiel, 2002, pp.

60. Page | 60
317). However, a heavy price of fame would be the loss of privacy. “My family life is
altogether a different issue. I have always kept it a private affair and I don’t want that to
be public. Even today they [his family] look after me and ensure that my feet are on the
ground” he told the Week (November, 1998 as cited in Ezekiel, 2002, pp. 320).
‘This boy is from heaven. He will do anything’- Tim Laine, Former South African Cricketer, on
Tendulkar
He is not only a role model for millions of Indians but also his team-mates who
respect him. This is the level of popularity that he enjoys and shows how he is the most
popular sportsman in the world. Virender Sehwag, who has been compared to
Tendulkar’s style of play, had this to say, “How can I be compared with the great
man!....Just see how many matches he’s won for India. I mean he’s God when he’s out
there in the middle..Until then, I had never known that Sachin was so humble, but I was
soon to realise just how down to earth he is. If I became a regular member of the Indian
team, it was largely because of his help. I’ve not come across a player who is so
inspiring” (Ezekiel, 2002, pp. 291).

61. Page | 61
Tendulkar’s values directly shape his personality and people’s perceptions of it. His
brand personality is that of a man who is zealous about the things he believes in and
dedicated to his art. Being a charismatic leader, he is calm and composed in the
spotlight and a natural role model for his peers.
THE TOTAL PACKAGE
We live in a world where we demand constant inspiration, seek instant satisfaction
and pursue vicarious fulfilment through celebrity glamour- a world where brands
provide us with a sense of identity, a shared language and a means of accomplish our
aspirations. Sachin Tendulkar’s combination of glamour and marketing savvy has built
a unique brand that is accepted and admired around the world.
Tendulkar as a brand is a perfect symbol of our times. Tendulkar’s dedication to his
game and his family strikes a chord with many people. It shows in everything he does
and gives him the authenticity to build his brand. His desire to be the best and his
balancing of professional and personal commitments influence our aspirations and
allow us to identify with a common human dilemma.
Why is this dedication and down to earth humanity of Tendulkar so important in
terms of his brand image? It’s because consumers have become more marketing literate
and, as a result, more sceptical of the claims that companies make for their products and
services. Consumers these days are hostile and fed up with hype. They want the
evidence of their own experiences.

62. Page | 62
CONCLUSION
Drawing upon Holt’s (2004) research in socio cultural analysis, this thesis illustrates
several key axioms of the ‘cultural branding’ model which explain how iconic brands
evolve and are sustained over time. As I have demonstrated throughout this research
carried out, Holt found out that brands have followed a set of tacit principles- the
cultural branding model- that are entirely different from the principles found in
conventional branding frameworks.
The nurturing of emotionally charged relationships with customers is vital to the
success of brands in several important sectors of the economy, especially business-to-
business firms, services and retailers. These sectors create value in their face to face
interactions with customers. But iconic brands are built in a different way. Customers
emotional associations results from the effectiveness of the brand’s myth in solving
customer identities anxieties. Further, following Levi-Strauss’s (1955) claim that in
order to find the meaning in mythology one must look at how the individual elements of
a myth are combined, I focused on a story surrounding Sachin Tendulkar to demonstrate
how mythologies are constructed. Claude Levi Strauss’s contribution to his analysis
involves certain main features where he concludes by stating, “the purpose of myth is to
provide a logical model capable of overcoming contradictions or paradoxes in natural
and social experience” (Sidney J.Levy, 1981, pp. 51). Holt (2004) also supports this
point by stating that myths smooth over tensions, “helping people create purpose in
their lives and cement their desired identity in place when it is under stress” (pp. 8). By
immersing Tendulkar in the context of marketplace mythology, I have illustrated that
there is a clear relationship between mythology and marketing. Therefore, it is felt that

63. Page | 63
when a person becomes a model for other people’s lives, he has moved into a sphere of
being mythologized.
However, due to the dynamic nature of myths, marketers must be constantly be aware
of cultural disruptions that can change the popularity of a myth. In cultural branding,
managers must identify an appropriate myth market as they “compete with other
cultural products to perform myths that resolve cultural contradictions” (Holt, 2004, pp.
39). The concept of marketplace mythologies provides an alternative way of thinking
about the relationships between the different marketplace articulations and consumer’s
lifestyles and narratives of identity. Therefore, when consumers incorporate aspects of
marketplace mythology into their self-conceptions, “they are also constructing a
relationship to the multiple discourses of power that circulate in their everyday lives”
(Thompson, 2004, pp. 170).
This thesis also drew attention to the ways in which the social and cultural
construction of heroes is determined. Sport has delivered “the ingredients for dreams
and fantasies; suspense and sensation, victories and success, superhuman feats,
asceticism and commitment” (Biskup and Gertrud, 1999, pp. 202). The popularity of
sporting heroes goes hand in hand not only with the “intense competition in the mass
media, the commercialization of sport as well as of sportsmen and sportswomen, but
also with young people longing for someone to identify with” (Biskup and Gertrud,
1999, pp. 202). We must accept that these representations are, more than often that not,
strategically managed and finely crafted portraits of the person whom marketing and
advertising executives wish to depict. Over the years, celebrity status has facilitated an
expression of Tendulkar’s broader religious and political beliefs. It allowed an

64. Page | 64
exploration of his autonomy with regard to the decision-making powers of the Indian
cricketing establishment.
Nowadays, major brands cut to the chase and tell their audiences directly that the
brand and its customers do indeed have a powerful and strong emotional attachment.
“Brand management is about stewardship: finding the brands true essence and
maintaining this compass point, come hell or high water” (holt, 2004, pp. 37). Over
time, as the brand performs its myth, the audience eventually perceives that the myth
resides in the brands markers. “The brand becomes a symbol, a material embodiment of
the myth” (Holt, 2004, pp. 8). Great myths provide their consumers with little
epiphanies as they “use iconic brand as symbolic salves” (Holt, 2004, pp. 8).
In order to find out how iconic brands use the brands myth to forge tight emotional
ties with customers, I also analysed the brand identity and brand personality of the
brand ‘Sachin Tendulkar’. In terms of its consequence, previous researchers have
suggested that brand personality increases consumer preference and usage (Sirgy, 1982,
as cited in Aaker, 1997), evokes emotions in consumers (Biel, 1993 as cited in Aaker,
1997) and increases levels of trust and loyalty (Fournier, 1994, as cited in Aaker, 1997).
Not only are these declarations very evident with brand ‘Sachin Tendulkar’, as the
brand delivers a powerful myth that customers find useful in cementing their identities,
but the identity value casts a halo on other aspects of the brand as well.
One final thought, I hope that when you finish reading this dissertation, your respect
and admiration for Sachin Tendulkar and what he has achieved both as a cricketer and
as a celebrity icon of the twenty first century will be intensified.

65. Page | 65
BIBLIOGRAPHY
Journal Articles
1. Aaker.J, 1997, Dimensions of Brand Personality, Journal Of
Marketing Research, pp. Vol. 34, No. 3, pp. 347 – 356
2. Belk. R, and Gulnar .T, 1995, The Cult of Macintosh, Consumption,
Markets and Culture, pp. 205- 217
3. Biskup and Gertud P., 1999, I Would Like to be Like Her/Him: Are
Athletes Role-Models for Boys and Girls? ,European Physical
Education Review, Vol. 5, pp. 199 – 215
4. Bush A., Craig.M, and Bush. V, 2004, Sports Celebrity Influence on
the Behavioural Intentions of Generation Y, Journal of Advertising
Research, pp. 108- 117
5. Hartmann D., 2003, What can we learn from sport if we take sport
seriously as a racial force? Lessons from C.L.R. James’s Beyond a
Boundary, Ethnic and Racial Studies, pp. 451 – 483
6. Holt D., and Craig J. T., 2004, Man-of-Action Heroes: The Pursuit of
Heroic Masculinity in Everyday Consumption, Journal of Consumer
Research, Vol. 31, pp. 425 – 440
7. Levi-Strauss, 1955, The Structural Study of Myth, The Journal of
American Folklore, Vol. 68, No, 270, Myth: A Symposium, pp. 428-
444
8. Levy S., 1981, Interpreting Consumer Mythology: A Structural
Approach to Consumer Behaviour, The Journal of Marketing, Vol.
45, No. 3, pp. 49- 61
9. Lines.G, 2001, Villains, Fools or Heroes? Sports star as role models
for young people, Leisure Studies, pp. 285 -303