Cirque du Soleil: too much LOVE

While I was shopping for blue jeans at Target this weekend, I came across a surprising find: official T shirts from the Beatles Cirque du Soleil LOVE show on sale for $12.99, and wedged like excess stock on a rack of music merchandise.

Although making official LOVE merchandise available at Target might provide a short-term dividend for Cirque du Soleil, I believe the approach is a long-term mistake. Cirque du Soleil packages LOVE as a high-end experience. Part of the appeal of seeing the show — and a big reason why people are willing to pay $70-to-$150 for a ticket — is the chance to enjoy the legacy of the Beatles in a way you cannot elsewhere.

The show occurs in a theater-in-the-round custom-made for the act in the Las Vegas Mirage. Just outside the theater, you can find exclusive (and expensive) merchandise at the LOVE boutique (an irresistible destination) and grab a drink at the Revolution lounge.

There is no other way you an experience LOVE unless you are in Las Vegas. And LOVE is an experience well rendered.

Selling LOVE T shirts at Target cheapens the Cirque du Soleil LOVE brand. You don’t think “upscale” when you find LOVE merchandise carelessly tossed on a rack as you stroll the aisles of Target looking for mayonnaise, shampoo, and $20 blue jeans. And the Cirque du Soleil LOVE brand loses its aura of exclusivity, too.

I am reminded of what happened to Krispy Kreme. Once upon a time, going to a Krispy Kreme store was really cool. The only outlet in the western suburbs of Chicago was located miles from our home, and we went out of our way to go there. The service was great. Watching the donuts made was a hoot. And the donuts themselves were delicious. But seemingly overnight, Krispy Kreme saturated the market. A store opened closer to our home. You could find Krispy Kremes stocked in grocery stores. The brand was no longer special. And the brand failed.

Krispy Kreme was by no means an upscale brand like LOVE, but it was just as special in its own way. It will be interesting to see if Cirque du Soleil LOVE remains special.

Old bands, great brands shine in 2010

There seems to be no end to the merchandising of so-called legacy rock stars, and 2010 was no exception:

  • Elder rockers ranging from Robert Plant to Roger Waters made headlines with new music (in Plant’s case) and an updating of a rock classic via a stunning tour (Waters).

As I’ve blogged before, legacy rockers (sometimes from the grave) provide a relatively young art form (rock) the gift of perspective as they come to terms with their past and chart a course for the future. What did they say about themselves in 2010? Here’s my take:

  • “The king is dead. Long live the king.” God bless Robert Plant. After re-uniting with three quarters of Led Zeppelin to perform at London’s O2 arena in 2007, Plant endured tremendous pressure to tour again with his old band mates under the Led Zeppelin banner. But Plant would have none of that. Instead in 2008 he toured with Alison Krauss to promote their celebrated Raising Sand. In 2010, Plant continued to firmly keep Led Zeppelin in his rear-view mirror by releasing his latest solo album, Band of Joy (the name is a reference to one of his bands prior to Zeppelin). Anyone hoping for a Zeppelin reincarnation was disappointed. He chose a quirky mix of Americana covers spanning folk and rock (recorded with lesser known musicians) and embarked on a modest tour in places like the Robinson Center Music Hall in Little Rock, Arkansas. He was rewarded with some of the best reviews of his career.

  • “Remember us.” The Beatles, Bob Dylan, Elvis, and the Rolling Stones kept their names in the public eye without releasing any new music. Amid much hoopla, including a weeklong celebration on Late Night with Jimmy Fallon, the Rolling Stones unveiled the remastered Exile on Main St. Months later, Keith Richards, surprising fans with a still-intact and lucid memory, published his 565-page autobiography, Life. In August, Elvis Presley’s entire catalog was released via a massive 30-CD box set retailing for more than $700 — and in an era in which CDs are supposed to be dead, the first-edition limited release sold out. In October, Sony released mono CD editions of Bob Dylan’s seminal recordings from the 1960s (the box set included a thoughtful essay by noted rock historian Greil Marcus). I think that Dylan, the Stones, and the caretakers of Elvis’s brand essentially were re-establishing their places in history for newer generations of rock critics (and it sounds like John Jurgensen at The Wall Street Journal wasn’t convinced). None of them technically released new material (the previously unreleased Exile tracks date back to the making of the original album). Instead, they continued to keep their past achievements relevant (even to the point of the Stones successfully licensing “Gimme Shelter” for use in a video game). I think it’s also significant that the Beatles finally made their music available digitally through iTunes. I don’t think the move was about generating sales (although sales did result) but rather passing the band’s legacy down to digital generations both today and tomorrow.

  • “I am an artist!” It’s no secret that Roger Waters and his ex-Pink Floyd band mates have fought bitterly over who is the rightful owner of the Pink Floyd legacy. In 2010, Waters made a statement in the best way possible: performing the 1979 Pink Floyd classic The Wall as a high-concept solo tour, replete with the construction of a giant wall in the elaborate stage act (as Pink Floyd with Waters did via a limited series of concerts decades ago). So how was The Wall tour different from the re-release of Exile on Main St.? Because Waters re-interpreted and updated the music he wrote in the 1970s as a modern-day statement against corporate greed and bellicose governments (the U.S. war in Iraq among the topics he explored with the modern-day performance of his songs). And having attended one of The Wall concerts, I think he suceeded.

In 2010, we also heard from many other legacy rockers, including Bruce Springsteen, Jimi Hendrix, and later, in the year, the king of pop, Michael Jackson. I expect 2011 to bring more of the same. And I have mixed feelings about what’s happening here. I think we should give the giants of rock history their due just as newer generations of readers should continue to buy books by Hemingway or pay admission to see the works of Picasso. But for every dollar we spend honoring the gods, rock fans need to be supporting new music financially. How many new and emerging artists have you supported lately by actually paying money to enjoy their music (whether recorded or in concert)?

I hope you’ll make a commitment in 2011 to both the old guard and the vanguard.

Big experiences come in small packages

I’m always hearing about how retailers like Bass Pro Shops and American Girl are the masters of building a brand through a great experience. Instead of peddling merchandise on bland-looking racks in its stores, American Girl creates a fun destination where families can dine together and explore themed rooms patterned after its popular dolls. But you can find some pretty cool experiences beyond the confines of in-store retailing. I recently attended the Cirque du Soleil Kooza show with my family in Chicago. No surprise there — you expect a Cirque du Soleil show to be an engaging experience. But what about the compact disc recording of the show’s soundtrack? After all, CDs are supposed to be dying in an era of digital downloading — so you could forgive the Cirque for packaging the CD in a pedestrian slip case.

But not so with the Cirque. The Kooza soundtrack slip case is engineered to form a jack-in-the-box with the CD popping out of the box as you open it (a clever tie-in with the show’s visual motif). One moment, you’re studying the back of the case. The next moment, you’re playing with a beautiful box full of purple and yellow color, which builds anticipation for the music you’re about to hear.

You should have seen the reaction inside a restaurant where my family and I were playing around with the box. Waiters walked over to get a peek. Diners glanced at our table and smiled. In effect, we become willing brand ambassadors for the Cirque, with the humble, dated device known as a compact disc at the center of the experience.

To that, I’d add the amazing packaging for the re-release of Bonnie and Clyde on DVD this year. The “Ultimate Collector’s Edition” lives up to its name. DVDs containing the movie and bonus features are packaged in hard-bound casing along with a reproduction of the pressbook used to promote the 1967 release of the movie and a hard-cover booklet with production stills and other cool memorabilia. All these elements are packaged inside a striking black case that invites exploration. Warner Brothers benefits from word-of-mouth marketing when my friends see me totally engrossed with the goodies — before I even flip the movie into my DVD player.

Someone forgot to tell Cirque and Warner Brothers that digital downloads are supposed to be putting an end to this kind of fun.

Where has someone surprised you with an effective marketing experience lately?

Big experiences come in small packages

I’m always hearing about how retailers like Bass Pro Shops and American Girl are the masters of building a brand through a great experience. Instead of peddling merchandise on bland-looking racks in its stores, American Girl creates a fun destination where families can dine together and explore themed rooms patterned after its popular dolls. But you can find some pretty cool experiences beyond the confines of in-store retailing. I recently attended the Cirque du Soleil Kooza show with my family in Chicago. No surprise there — you expect a Cirque du Soleil show to be an engaging experience. But what about the compact disc recording of the show’s soundtrack? After all, CDs are supposed to be dying in an era of digital downloading — so you could forgive the Cirque for packaging the CD in a pedestrian slip case.

But not so with the Cirque. The Kooza soundtrack slip case is engineered to form a jack-in-the-box with the CD popping out of the box as you open it (a clever tie-in with the show’s visual motif). One moment, you’re studying the back of the case. The next moment, you’re playing with a beautiful box full of purple and yellow color, which builds anticipation for the music you’re about to hear.

You should have seen the reaction inside a restaurant where my family and I were playing around with the box. Waiters walked over to get a peek. Diners glanced at our table and smiled. In effect, we become willing brand ambassadors for the Cirque, with the humble, dated device known as a compact disc at the center of the experience.

To that, I’d add the amazing packaging for the re-release of Bonnie and Clyde on DVD this year. The “Ultimate Collector’s Edition” lives up to its name. DVDs containing the movie and bonus features are packaged in hard-bound casing along with a reproduction of the pressbook used to promote the 1967 release of the movie and a hard-cover booklet with production stills and other cool memorabilia. All these elements are packaged inside a striking black case that invites exploration. Warner Brothers benefits from word-of-mouth marketing when my friends see me totally engrossed with the goodies — before I even flip the movie into my DVD player.

Someone forgot to tell Cirque and Warner Brothers that digital downloads are supposed to be putting an end to this kind of fun.

Where has someone surprised you with an effective marketing experience lately?