to a rock-and-roll audience, reaching out to a younger crowed or a with-it boomer crowd. It didnt go unnoticed. Neither did the unprecedented success of the Forty Licks tour, which coincided with the release of the greatest hits album of the same name. Although the Rolling Stones adopted a heavy product focus, it was never at the peril of failing to focus on the audience. The Forty Licks tour provides a masterful lesson in product development, band loyalty, merchandising, and marketing. A closer look reveals insights for brand managers about how to develop and manage a complex integrated marketing communication (IMC) campaign. Mind-boggling in scale and market dominance, this world tour conveyed the Stones primary brand message with a comprehensive, multimedia attack on several market segments.       Forty Years, Forty Licks   After a 40-year run of hard-hitting rock-and-roll hits, you might expect the Rolling Stones "senior executives" to trade in their T-shirts     and leather for wool cardigans, collect Social Security, and spend their days on the golf course and their nights in front of the telly. But Jag- ger, Richards, Wood, and Watts are not your stereotypical AARP members. They havent settled for the passive life; they are still creat- ing, performing, and innovating. Mick Jaggers sixtieth birthday did not bring retirement; instead, it brought the Forty Licks 2002-2003 world tour, the bands most ambitious to date, which would go on to reach 1 million fans (willing to shell out over $200 million), as it played 32 dates throughout the United States, Canada, Europe and the Far East. Touring has always been good for the Stones, selling out arenas since their 1972 Through the Past Brightly appearances, which attracted everyone from screaming fans to celebrities such as Truman Capote. During the past decade, their concerts grossed over $750 million, with their stadium tours becoming the three largest selling concert tours of all time. VooDoo Lounge (1994) remains the top-grossing North Amer- ican tour, raking in $121.2 million; No Security (1998-1999) made $337 million, attracting 5.6 million people worldwide. That works out to a hefty chunk of change per performance-an average of $2.3 mil- lion for a nights work in the case of the No Security tour. The Rolling Stones are able to create sellout megaconcert tours because of who they are-because of the brand they have created over time and all of the hoopla that goes along with it. They will attract fans who go to at least one performance of each tour, friends