Archive for the ‘nostalgia’ Category

Original Caped Crusader Most Endearing

Sunday, June 11th, 2017

Screen Shot 2017-06-11 at 5.58.45 PM‘Holy Heartbreak, Batman!’ exclaimed the USA Today on Friday as we learned of the death of actor Adam West, 88, of leukemia.  The article’s headline, homage to the trademark remarks of Burt Ward’s Robin on the hit “Batman” TV program of the 1960s in which he costarred with West, was picked up in newspapers and online media outlets from coast-to-coast.  It was a reminder that, while West was revered in later years, the show’s campy approach and by default, its star’s deadpan style would cause a fan backlash that would last decades.

I’ve written before about typecasting and, not since George Reeve’s TV take on Superman in the 1950s had anyone become more locked into a public mindset than Adam West would become with the Caped Crusader.  Airing for the first time in 1966 on ABC the series was a runaway success, marking the first time Batman had ever taken to the airwaves in any broadcast medium (the 1940s had seen Saturday morning movie theater serials produced).  With a catchy theme song, kaleidoscope costumes ideal for the newly minted color TV and twice weekly broadcasts (the second settling a cliff-hangar from the previous show) the program jumped off the screen with camp, humor and POW! BIFF! WHACK! action. I know I was hooked.

Yet, the actual Batman comic books were becoming dark and serious at that time, thanks in no small part to a young new writer, Denny O’Neill and wildly talented artist, Neal Adams, who brought a new reality to the medium that has endured for over 40 years.  The shift brought an end to the comics code and, as the “Batman” TV series ended (after 3 years) and its audience (like me) grew up, the irreverent silliness of the show became passé, even embarrassing to us; and Adam West became relegated to B-lister and “has been” in the eyes of many through the 1970s and 80s.

Now, hindsight can be often be ’20/20′ and, as Joni Mitchell so famously sang in ‘Big Yellow Taxi’: Don’t it always seem to go, that you don’t know what you’ve got ’til it’s gone.  The main premise, further, of pop culture author Chuck Klosterman most recent book, “But What If We’re Wrong,” is that, more often than not, we as a society don’t recognize an individuals’ talents or significant contributions while they are still living. The same might be said about Adam West, although redemption actually would come much sooner.

Though he never appeared in any of the seven Batman theatrical releases he was considered for the role of Bruce Wayne’s father in the 1989 Tim Burton “Batman” – which exposed most to a Dark Knight many a fan boy had been reading about for more than 20 years. Burton’s masterpiece and follow-up would ignite an insatiable appetite for all things Caped Crusader and West would soon begin lending his voice talents to Batman cartoon features.  Over the next 20 years he would subsequently and gradually make peace with this career and become an admired and appreciated pop icon; this through regular appearances at Comic Cons nationwide and well-received turns on “The Simpsons” and “Fairly Odd Parents,” as well as a recurring animated role on “Family Guy.” A star on the Hollywood Walk of Fame would follow.

Funny thing, nostalgia.  It can come back to grab you by the heart and mind.  Two years ago, DC Comics premiered a “Batman ’66″ comic with characters styled from the 60s TV Show.  And, last year, West participated in the animated adventure “Batman: Return of the Caped Crusaders,” a direct to DVD but full-length feature which also showcased the voice work of ‘Robin’ Burt Ward and Julie Newmar (Catwoman). This will now be considered West’s swan song; “Batman” from 1966-1969, a classic. Holy vindication, Batman! It’s just how pop culture – and human nature – works sometimes.

 

 

 

 

 

 

The Pros and Cons of Comic Con

Sunday, May 21st, 2017

Screen Shot 2017-05-21 at 4.36.02 PMIn recent days I was with client “Downtown Dearborn” recounting an initiative we had successfully promoted that saw the Dearborn Symphony and the city’s Green Brain Comics join forces for a pop concert of “comic book” music.  One of the participants in the meeting said she had no idea people still read comics.  With a smile I informed her, ‘you have no idea.”

In reality and after this weekend it appears I had no true idea just how much the comic book industry had grown in recent years. On Saturday I attempted to attend the 2017 Motor City Comic Con at the Suburban Collection Showplace in Novi only to make a hasty exit upon realizing there was no parking left for miles and there was a line of eager convention goers virtually wrapped around the outside of the building.

It really is no surprise when one considers what the industry is today. Fueled by mega-budget super hero movies, TV shows, merchandise and video games, the industry has never been hotter. The last time I attended a comic convention (I believe some 20 years ago), the lot was half full and I walked right in.  By Sunday I had learned my lesson, purchasing advance tickets online and arriving 30 minutes before doors opened. This time, there was a small line inside the venue, which moved quickly toward securing a wristband and program.

As the industry has grown, so have the comic conventions, including the annual event here in Detroit.  That has meant an even greater caliber of guest celebrities and artists.  Among those I was able to meet for the first time was Neal Adams.  Most likely you have never heard the name, but in the early 1970s he would turn comic book art on its ear – bringing grim reality and emotion to the ink-filled pages like no one had ever done before.  You’ve heard of Stan Lee? As an artist, he couldn’t hold Adams’ pen.  Adams’ turns on Batman and Green Lantern/Green Arrow in fact ensured the ‘funny paper’s were no longer called that as his books began tackling far-ranging social issues – including racism and drug addiction – comics code be damned.

I will always remember fondly and nostalgically evenings where my dad came home from Skelton’s Pharmacy in Champaign, Illinois bearing gifts.  For me, it was a Batman comic. For my younger brother John, typically Richie Rich or Donald Duck.  The story telling joy those books brought then are even better today (if not sometimes a bit too violent) with Neal Adams (at 76) still at the top of his game.  I can tick another item off the bucket list.  Next time, I just need to do a little better job planning ahead and remembering: I’m no longer the only comic book geek in the room.

Media Made Mothman Mainstream – in 1966

Sunday, April 30th, 2017

MothmanBig Foot. The Loch Ness Monster. The Abominable Snowman. All are a part of folklore and legend yet some believe are entities existing outside the realm of traditional science or nature. Like UFOs, they are typically considered by mainstream society and certainly the media with tongue-in-cheek – at worst hoaxes and at best misunderstood but explainable, naturally occurring phenomenon. And then there is Mothman.

Least known of the so-called ‘cryptids’ of lore yet most seen and covered by media over an extended time period, Mothman has been the subject of numerous theories and speculation for more than 50 years.  Is it a bird, a plane or something more? screamed the headlines in scores of newspapers in and around Point Pleasant, West Virginia in 1966 and, soon, across the country.  The Point Pleasant Register, Herald-Dispatch, Charleston Daily Mail – all covered extensively what would soon become, over a year’s time, hundreds of sightings of an entity the size of a large man yet possessing the wings of a bird and, most prominently and unforgettably, witnesses described, red, mesmerizing eyes.

Last week, I visited the small town of Point Pleasant on my travels. I had previously read about Mothman in the past, most notably after the release, in 2003, of the Richard Gere’s “The Mothman Prophesies,” a movie based largely on the book of the same name by reporter John Keel.  What has always fascinated me is how local media covered the sightings – as legitimate, front-page news – perhaps like no other mainstream press before or since.  This was not a joke; it appeared, but a series of eyewitness accounts over many months that put a community on edge.  Leading the charge for area news was Mary Hyre of the Athens Messenger. A society reporter for the paper, Hyre knew virtually everyone in the 5,000-person community.  As such, when one and then scores of individuals kept seeing the same, unexplainable thing, she vetted them, believed them, and quoted them in print. This was no ‘one and done’ story but one with legs (and wings).

The tale would ultimately culminate with the tragic collapse, in December 1967, of the Silver Bridge, which for years had joined West Virginia and Ohio across the Ohio River.  Nearly 50 people were killed.  UFO sightings, ‘Men in Black’ appearances and a host of other strangeness had also perplexed citizens during this Mothman time period.  After the collapse, the creature was not seen again (or has he? see below).

Since that time, countless books, movies, an annual festival and a Mothman Museum (hosting clips of much of the media coverage I described previously) have all kept the legend alive as questions persist.  Was Mothman an angel? Devil? A harbinger of doom? Were his appearances a warning of the disaster that would soon befall the community? In November 2016, photographs from a man purporting to have seen and photographed Mothman were shown by a local TV station.  The anchor smiled and joked and, no doubt, the story ran at the very end of the newscast.  Google the local papers and you will find no coverage listed online.  Which begs the question: Should we remain skeptical of such phenomenon or retain an open mind? More recent history suggests we gravitate toward the former when perhaps we should lean a bit more to the latter. Certainly times have changed, especially in an era of video hoaxes and photoshopping. Still, who really knows? After all, at one time the world was flat and the sun revolved around the earth.

 

 

David Cassidy: A (Brand) Identity Lost and Found

Monday, February 27th, 2017

2545764400000578-2936558-image-m-6_1422890689144 I don’t know what I’m up against. I don’t know what it’s all about. I got so much to think about…This week, former pop idol David Cassidy announced to the world that he has dementia and, after nearly 50 years of performing, he is retiring.  His life has been an extreme rollercoaster ride that has touched many and, as much as any, tells a cautionary tale of a brand identity run amok, lost and later found.

A working actor and musician in his teens, Cassidy always sought stardom, appearing on a slew of early 70s high-profile television series, including: “Medical Center,” “Bonanza,” “Ironside,” “Marcus Welby, M.D.” and “Adam-12.” But nothing could have prepared him for his role in the Cowsills-inspired “Partridge Family” that would, virtually overnight, elevate his status to one of the most famous and sought after pop stars ever while leaving him wondering who he really was.

For Cassidy, the fame would become both a blessing and a curse as he has described the phenomenon of “him” in interviews over the years.  Media of the day worked both for and against him.  At a time before cable, the Internet, MP3s and video games, there were only three national TV networks; as such, millions watched while millions more bought Partridge Family records (myself among them).  As such, to much of the world David Cassidy was Keith Partridge – whether on television, Tiger Beat and 16 Magazine covers, lunch boxes or in concert (where he sang series songs).

Exacerbating the problem for Cassidy was that in a time before the Internet and cable, there were few media platforms to appear as “yourself” – no personal websites to tell the tale of who you really were as an artist rather than fictional character; no E! Entertainment cable network to run stories on a day in your life.  And, further, there were only a handful of network TV talk shows where one might appear “out of costume” as it were; the granddaddy being “The Tonight Show with Johnny Carson” although this aired late nightly and long after most teenyboppers went to bed.  As a result, David Cassidy lost himself with a personal brand and identity virtually hijacked by a TV network (ABC) that owned his likeness and a recording company (Bell) that owned his voice. It was a disastrous recipe for typecasting and, for many years, resulted in something akin to career suicide. Just ask one-time “Batman” star Adam West.

Cassidy eventually would resurrect his career and take his talents to Broadway and then Vegas and, in time, return to touring and playing (and enjoying) the songs that initially made him famous enough to sell out Madison Square Garden and Wembley Stadium, among others, back in the day.  However, it would take walking away at the top of his fame and drastic measures (appearing mostly nude on the cover of Rolling Stone).  Radio and music buyers would largely eschew his new offerings for years.

They say time can heal all wounds and hindsight is forever 20/20 and, to be sure, in recent interviews he has talked about the positives of extreme celebrity and how it has allowed him the opportunity to positively impact the lives of many. As he enters the twilight of his life and a difficult road ahead, perhaps David Cassidy has also finally come to terms with and accepted the pivotal role Keith Partridge played in his life.  One would think that, at the very least, he’s met him halfway. And you know what they say about that.

Ray Kroc’s Grand Brand Plan

Sunday, February 12th, 2017

raykrocnw2On Friday, at the kind invitation of PR pro and educator extraordinaire Dr. Linda Hagan, I guest lectured a class of young artists at the Center for Creative Studies in Detroit. In fitting with the curriculum of business and marketing trends and practices, I advised the group on how best to go about creating their own brand.  A significant slice of what I covered is evident in the excellent new movie, “The Founder,” starring Michael Keaton.  Because when it comes to brands – iconic brands – McDonald’s best-known owner Ray Kroc was a true visionary.

I began the CCS class by asking students, ‘What constitutes a brand?’ In response I heard, ‘A logo’ and ‘A slogan’ before another chimed in with, ‘What you stand for.’  All correct, I told them, when taken together.  Because, I further opined, a brand is the sum of all attributes of a particular company, product or service – it is how you answer your phones, how you treat your customers, referral sources and employees. It is how you differentiate yourself from your competition – not just in words but also by delivering upon a value proposition and brand promise.

Ray Kroc understood this as well as anyone ever.  While peddling milkshake mixers to drive-ins across the country in the 1950s, he stumbled upon a little single shingle establishment in San Bernardino, California where an amazing thing was happening: families were waiting in line (and not long) for delicious hamburgers and soft drinks that took minutes from order to delivery.  This was in stark contrast to the traditional drive-ins Kroc had experienced that were littered with trash, loud music and smoking teenagers in their hot rods. Food often took 30 minutes or more and orders were routinely wrong.  The alternative restaurant? The brainchild of the McDonalds brothers.

McDonald’s was the model of efficiency, consistency and wholesome family dining. They offered a unique brand value proposition and delivered upon it each and every time.  Kroc saw the vast opportunity to take this badly needed model across the country via franchising. He likened the golden arches to the church steeples and city hall flags he saw in every town he visited on his sales travels. These arches would add another icon to the skylines of each and every town in America, he predicted.  And once these restaurant chain stores opened in their respective markets, Kroc worked tirelessly to maintain brand standards in operations, food offerings and, most importantly, customer service.

A brand, I told the class, works best when it is honest, genuine and true to who you are.   As current students and future employees or entrepreneurs in the world of art and film, I offered, they needed to be true to who they were but also mindful that their brand must also keep in mind the audiences they want to reach.  After all, a brand cannot be successful, ultimately, if it doesn’t resonate and compel. It must also stay open to evolution.  In fact, McDonald’s has gone through decades of changes to meet evolving consumer tastes and priorities, as evidenced by their expanded menu options, dollar value meals and healthier fare.  Ray Kroc didn’t found McDonald’s but he certainly honed and developed its brand, building the restaurant into arguably the greatest fast-food chain ever.  And to millions starting in the Cold War era, Americana never tasted so good.

 

Kansas Carries On Its Wayward Band

Saturday, January 14th, 2017

Screen Shot 2017-01-13 at 3.39.46 PMOnce I rose above the noise and confusion, set a course beyond this illusion…In 1976, the band Kansas produced its swan song album, “Leftoverture” and signature single “Carry On Wayward Son”.  Though it was not their very first album (that had come two years prior), no one had heard anything quite like this art rock from the heartland.  Some 40 years later and despite the exit of most of its original members, Kansas has found itself re-energized with a new LP: “Prelude Implicit” and a piece of work on par with their best ever.  It’s a study in counterintuitives.

In a recent article on Rollingstone.com, writer Steve Smith provides more background on various aspects of this dynamic, including the fact that only band mates Phil Ehart (drums) and Rich William (guitar) remain from the early days. Of particular note is that the heart of soul of Kansas, singer Steve Walsh and guitarist Kerry Livgren are gone after both forever served as primary songwriters. How does any group survive such turnover? Such an undertaking is particularly tough without your lead singer. ELO II, as it was once named, tried unsuccessfully to make it without Jeff Lynne; the Guess Who without two main vocalists: Burton Cummings and Randy Bachman.

Many groups in recent years have toured successfully with “doppelganger” lead singers culled from tribute bands, Journey and Yes among them.  Yet, it’s one thing to emulate on stage while surrounded by several original members, another to release and successfully market brand new music.  With their first album of new material in nearly 16 years, “Prelude Implicit”, Kansas once again hits the right note despite what might otherwise be creative handicaps – just as it did in the mid 1980s when singer John Elefante temporarily replaced Steve Walsh for huge hits “Play The Game Tonight” and “Fight Fire With Fire”.

And, it appears, lightening can strike twice (three times?).  This time, it’s singer Ronnie Platt who supplies the electricity as Kansas returns to two guitars and heavy organ – harkening back of course to its original sound.  And, the signature violin never sounded better. The timing is also just right for this reincarnation as classic rock enjoys a resurgence and new appreciation by millennials who grew up with their parents playing these artists.  Just look around you at your next Steve Miller or Styx concert to the audience’s demographic makeup.

What matters most, though, is the music – and these new tunes sound really, really good.  As a huge Kansas and Steve Walsh fan I was very, very, pleasantly surprised.  Reading reviews, I’m not alone. This is not a tribute band.  As writer Craig Ellis Bacon recounts in the prog report this Kansas brings a fresh, new energy that is also “comfortably confident and mature”, “totally even and incredibly enjoyable”. Give it a listen. I think you’ll agree that 2017 sounds a bit like 1976 again.

 

 

 

 

 

 

There’s No Place Like Home Plate

Tuesday, August 2nd, 2016

Minor_League_Baseball267Baseball has long been known as the national pastime and for good reason.  Nothing quite beats sitting in the stands on a long summer night, watching talented athletes compete on manicured fields while enjoying the requisite hot dogs, peanuts and a “cold one”.  And nowhere is the fun and frivolity more endearing (and enduring) than in minor league baseball.

This past weekend I crossed another ‘to do’ off my bucket list, embarking on a three-day/night, three-travel-state minor league baseball excursion.  This took me and a friend to Chicago for the Kane County Cougars and Schaumburg Boomers and then to Fort Wayne for the Tin Caps.  All three venues offered a veritable potpourri of marketing and promotional fun and value – just what that level of the sport is known for.  After all, where else can you see a pro sporting event today for as low as $5-$10 for admission and even less for spirits and dogs in most cases. And, speaking of “seeing”, there are typically no bad seats in any such house.

It’s family fun at its finest and getting more and more creative all the time, it seems. Where else can you enjoy people dressed up as sandwiches competing to add toppings to themselves (Tincaps), “Rock, Paper, Scissors” Night (Boomers) or monkeys riding dogs herding goats (our own United Shore Professional Baseball league teams – a client ) in Utica, Michigan?

Best of all, minor league baseball is about community. A place where, besides watching baseball and the festivities at large, you can also picnic, play and celebrate neighbors.  “Hometown Heroes” is a staple at most ball parks, including spotlighting and saluting area veterans and their families. Many clubs also have reading and scholarship clubs; variations include players serving as reading members to area youth as well as team acknowledgments of young scholar accomplishments at local schools.

Finally, many cite the purity of the minor league venue in that its players – typically earning anywhere from approximately $10,000-$12,000 a year – are playing as much for a love of the game as a paycheck.  To be sure, we as a society tend to gravitate toward  things that are (or appear) genuine, pure and down-to-earth.  Attending these games – many off the beaten path – felt like returning to my youth and a time spent on dusty, rocky infields and uneven outfields. It felt like nostalgia. It felt like home.

 

The Greatest of All Time

Sunday, June 12th, 2016

muhammad-ali-zoom-cfb97fff-3b5d-4161-b998-6457c965a343Long before there was, “The Great One”, there was, “The Greatest”.  An iconic figure who was arguably one of the most revered and recognizable athletes the sports world (and the world) has ever known.  Why, exactly, was that? What was it that has made Muhammad Ali such an enduring and beloved figure? And why did we believe him when he proclaimed he was, “The Greatest of All Time”? There is much to consider.

First and foremost, he had true talent in the ring.  Outside of it, he was just as memorable. Even as Ali first burst upon the scene in 1960 as an 18-year old Gold Gloves Champ and Olympic prospect, he already possessed charisma and outspokenness along with the skills to back it all up. He would soon elevate heavyweight boxing to new heights – not just with his fists but his wit and uncanny skills at self-promotion. He didn’t just box, he would, “float like a butterfly, sting like a bee” while also employing the “rope-a-dope”.  And,  his fights were not mere fights, they were the “Thrilla in Manilla” and the “Rumble in the Jungle.”  They all lived up to the hype too, spotlighted further by his constant tongue-in-cheek(?) foil, Howard Cosell of ABC Sports.

Moreover, as Rolling Stone noted this week in a piece by Tim Grierson, Muhammad Ali was also the master of multi-media – and not just your typical magazine covers and sports shows.  Very early on (in 1969), Ali appeared in the Broadway musical, “Buck White”.  He would go on to release a children’s album (1976) and appear in: an animated cartoon series (1977), a comic book opposite Superman (1978) and in an episode of “Diff’rent Strokes (1979).  Biopic movies (in 1977 and 2001) helped fuel the legendary fire.

Perhaps most of all, Ali stood up for what he believed in, without fail nor apology.  Born Cassius Clay, he would object to the Vietnam War and being drafted into it, embraced Islam, changed his name and weathered the firestorm that ensued.  He always believed in himself and encouraged others to do likewise.  It was his ‘brand’ and who he was:  The face he called ‘pretty’.  The mouth he used to call-out his opponents.  The moves those opponents could never seem to figure out.  When they all worked in unison, it was pure poetry in motion. Today, those memories are still indelibly and pleasantly etched – in our minds and in history – and there they will remain.

 

 

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The Monkees offer “Good Times” for a New Generation

Wednesday, May 25th, 2016

Monkees-Good-TimesHey, hey they they’re the Monkees…and they’re not monkeying around.  In fact, the pop/rock band has just embarked on a 6-month nationwide tour as it prepares its first album of new material since 1997 (“Good Times!”) – all just in time for the 50th anniversary of the Monkees’ television debut.  Reporter Andy Greene recounts exactly what’s what in the latest issue of Rolling Stone.

While far from being among the young generation (Micky Dolenz is 70), the band still has something to say, thanks in large part to a range of contemporary and historical songwriters who are contributing material to the LP, due June 10th.  That includes River Cuomo and Noel Gallagher as well as older tunes from the 60s, written for the group but never recorded, from heavyweight authors Harry Nilsson, Carol King and Neil Diamond.

Perhaps most touching will be the release of the Diamond penned song “Love to Love” which will feature vocals from the late Davey Jones.  To help ease the loss, Michael Nesmith (he of the perpetual stocking cap) has returned to record with Peter Tork and Dolenz for the first time since the band’s breakup in 1971, although Nesmith won’t tour.

From the iconic guitar-shapred logo to the breezy, catchy tunes, the Monkees brand has endured as have their fans who are sure to pack venues just as sure as they consumed the group’s music back in the day. Wikipedia notes, in fact, that the Monkees have sold over 75 million records worldwide, outselling at their peak in 1967 the Beatles and the Rolling Stones combined.

Nostalgia is a powerful and incredible thing.  Far from one-hit wonders, the Monkees run on TV and radio lasted a mere three years.  Yet, long before social media, the band’s promotional tentacles stretched to multiple platforms that included everything from teenybopper magazines to toys (I possessed a very odd-looking, multi-headed pull and play). Timing was also kind, as the group offered fun and escape and an alternative to the tension, drugs and revolution of the Vietnam era.  Best of all, their music made your toes tap and their antics made you laugh. Welcome back.

 

 

Batman v Superman? How about DC v Marvel

Sunday, March 27th, 2016

Screen Shot 2016-03-27 at 6.04.31 PMDespite the fact that DC Comics (originally known as National Allied Publications) has been around since 1935, it has never before featured two of its superheroes – let alone its most iconic – in one feature length motion picture.  In the newly released movie, “Batman v Superman: Dawn of Justice,” which opened in theaters Friday, not only we do we get to see two of comicdom’s oldest and most storied characters, we are also presented with Wonder Woman and, (spoiler alert) a glimpse at Aquaman and (it is rumored) The Flash (I have yet to see the film).  Obviously DC is looking to take on Marvel with a league of its own.

As I have written previously, when it comes to the Silver Screen, Marvel has forever ruled the roost (Spider-Man, X-Men, Captain America, Iron Man) with DC possessing a monopoly on the boob tube (Arrow, Flash, Legends of Tomorrow).  Now, DC plans to borrow a page from their cross-town publishing rival’s playbook and release two movies a year over the next five years, building toward their super team team-up.  Where Marvel has the Avengers, DC has the Justice League; but first we have to get to know the players. Wonder Woman will be the next to star in her own film. One would assume Aquaman is next.

What is perhaps even more intriguing about “Batman v Superman” is what the story is based on.  Frank Miller (he of “3000″ and “Sin City” movie fame) is also widely recognized as one of the best comic book writers of our time and, indeed, his top grossing movies were based on his graphic novels.  Along with “Watchmen” (which he did not write), “The Dark Knight Returns” comic book series, originally published in 1984, is hands-down the greatest Batman graphic series ever, featuring an aging, retired Bruce Wayne who confronts a bought-and-paid-for by the federal government Superman.  You’ll even see certain scenes in “Dawn of Justice” that come directly from “Dark Knight” (including this blog’s featured image). The plot might be different in “Dawn” but its foundation is pure Miller.

And that’s a good thing.  Once again, the celluloid creators who have been entrusted to stay true to the characters and their lore are showing they deserve it.  Watch “Arrow” and “Flash” on TV and you will see it: references to events and names and obscure characters that demonstrate show writers have done their homework and respect comic history. It’s basically Marketing 101: know who you are trying to reach and then create and message a product or service that will motivate your audience to action.  If the trailers for “Batman v Superman” are any indication, we are in good hands once again.