are left remembering the experience, telling their friends about it, and often inquiring how to buy the beds for their homes. Adding makeup as a central part of KISSs identity may, in hind- sight, seem a simple tactic to create an image, an experience, and fan interactivity. But hindsight is 20/20. What turned out to be a brilliant marketing move could have been an all-out blunder because of how foreign the bands look was. Being too far over the edge can alienate even the most forward-thinking people-even those on the fringes of society. When is something different and intriguing versus just plain weird? Innovators must gauge the risk of alienating customers when they step out of the safety zone of acceptance and into the danger zone of unconventionality. Think of what happened when famed musician Prince changed his name to a symbol. Because no one could speak a symbol, they could only refer to him as "the artist formerly known as Prince." For many people, that transcends the borderline of bizarre. Perhaps the most vivid example is Michael Jackson, whose obsession with plastic surgery, odd social behavior, and childlike existence in a mansion turned amusement park took him from singing genius to all- out weirdo in most peoples minds. Not only can few fans relate to him     as a person anymore; he has crossed the line of normality to the point that many people dont want to admit they still like some of his new music-and even fewer will admit to still being fans.     The Art of KISSing: Rolling Out the Strategy   Creating a vast fan base requires more than having the right product and promotional campaign in place; it also requires strategies to induce trial of the product in the right markets. Having released three records in just over one year and with image, concert experi- ence, and brand strategies in place, it was time to roll out the KISS brand-take it to the people. With all four members living in the back of a station wagon and in cheap motels, they took the KISS experience to rural North America. Their first stop would be South Edmonton in Alberta, Canada, where they appeared as a replacement for another group. KISS toured and played anyplace someone would listen; however, the members were strategic in choosing the cities they visited. In his book, Kiss and Sell (Billboard Books, 1997), Chris Lendt explains the rollout strategy that established KISSs brand. "Performing in out-of- the-way places was a key ingredients to KISSs success. KISS would appear anywhere and take with them their legendary stage show with all of its trappings-the full arsenal of explosions, fire, smoke, flash pots, flame shooters, bombs, props, lights, and sound. No town was