out concert venues in cities as large as Chicago and as small as Dayton, Ohio, without much publicity. Dancing, swaying, and singing to classics such as "Sweet Caroline," you might feel more like youre in a geriatric aerobics class than at a rock concert. The fans, nonetheless, are as avid as those attending any Pearl Jam concert. Diamond, who suffers to some degree from Barry Manilow syn- drome, remains extremely popular outside his traditional fan base as well, even though these younger fans may not admit that they actu- ally enjoy and listen to his music. For people who like the familiar and look for constants in their lives, Diamond is the answer, as youll also discover in Chapter 7. His music and concerts play to peoples unending hunger for nostalgia, appealing to their desire for security and memories of the good old days, shedding light on how to keep a mature product or brand popular in a changing consumer market. Neil is a diamond that still shines brightly, demonstrating how to be sexy more than sexual by maintaining rather than abandoning cul- turally relevant values. | Br a nd s Th at Roc k       Br anding in an Er a of I mpatience   The formula for what it takes to get on the shelves of leading retailers has changed over the years to reflect more closely what it took for legendary bands to make it in the music business. Charley Lake, a promotions director for Infinity Broadcasting, has spent over 35 years in marketing and promotions in the music busi- ness, observing firsthand what it takes to build long-term band loy- alty. "In the 1960s and 1970s, the cream seemed to rise to the top more readily because of musical talent, performance ability, great song writing, and audience reaction." Bands like the Eagles, Bon Jovi, and Aerosmith toured for years before selling a significant number of records, which not only let them develop their talent and build fan bases, but also let them build a repertoire of material and evolve their brand personalities. "By the time these artists got their first record deal, theyd often had six or seven years to write songs and try them out on audiences," he adds. "They knew which ones would sell based on audience reac- tions at concerts-revenue-generating test marketing at its finest. This then led to more touring and the release of a follow-up album." The process today is similar, but the timeline, hype, and formula have changed to reflect corporate Americas stifling focus on prof- its, continuous growth, and larger-than-life expectations. In the past, bands and record labels were more patient in selling records- cultivating fans rather than fabricating them with a lot of glitz. They were also more patient regarding sales growth and velocity, just as product companies were about product, brand, and innova- tion acceptance timelines. Now, if the follow-up record doesnt meet lofty sales goals, todays golden child and star brand is not only forgotten but quickly flushed. Hootie & The Blowfish was arguably the band of the mid-1990s, selling 15 million copies of its first hit album, Cracked Rear View. For several years you couldnt turn on the radio without hearing the deep, emotion-filled voice of front man Darius Rucker singing feel-good tunes that people couldnt help but sing along to. With overnight suc- cess came