but added to the aura of the brand. Seven cities, however, proved to contain enough demand that the band played all three types of venues with multiple appearance dates. The geographic market and retail outlet selections for Forty Licks comprised only half of the strategy required to reach all types of Stones fans; executing the strategy successfully meant offering unique experi- ences to different types of fans willing and able to fork over varying amounts of cash. Therefore, Jagger and company would create three different shows, with three different musical and physical sets. Michael Cohl, the Stones longtime tour promoter, said, "Only the Rolling Stones would dare to come up with a concept so ambitious-three dramatically different shows in three different venues...a spectacular musical event."3This also of course, permits a variety of prices-from mass-market tickets at $75 to $90 to some "Gold Circle" tickets at up to $350. This is where those economic concepts-such as maximizing the revenue under the demand curve, with multiple price points attracting multiple segments of the market-taught at the London School of Economics come in handy. Peoples perceptions of value, however, play an important role in the overall perception of the brand. Performing in a select number of small venues (at much higher ticket prices) adds to the aura of the Rolling Stones brand among those who cant see them in intimate settings, and the rarity of such performances enhances the value to those paying top ticket prices because they are buying an experience few others will have. Similarly, Nike does sell $170 shoes to a select number of customers willing and able to pay the price. While mar- keting strategy contributes to the sale of the high-priced shoes, Nike sells far more shoes in $70 range. From a branding standpoint, the expensive shoes give an overall perceived lift to the Nike brand and add to its aura in the marketplace.       Corporate Sponsorship   Mick Jagger and the Rolling Stones have never been shy about cor- porate sponsorships. In the early years, the band made little money from its touring activities because there really was no proven model of how to generate profits. The structure consisted of a hired tour manager, who would contact local promoters in each tour city to plan each show, then collect varying amounts of money from them afterward. Jagger got firsthand experience with this side of the busi- ness, personally negotiating with some of the local promoters in spe- cific markets and countries. Canadian rock promoter Michael Cohl began managing the bands shows with Steel Wheels and created the structure that would allow the