the next morning. Unfortunately for Pepsi, MTV released Madonnas "Like a Prayer" video the next day, and all hell broke loose. The visual extravaganza slapped the face of conventional acceptability, featuring scenes of her     witnessing the murder of a white girl, defending a black man wrong- fully accused, kissing a black saint in church, and dancing in front of a burning cross. It had a happy ending, which brought the actors together as if it had all been a theater production. It appeased her fans, who cheered on her ability and willingness to go where others wouldnt, and it attracted so much attention that both the song and the video were catapulted to number one. It was nominated for Best Video of the Year and captured the Viewers Choice Award at the 1989 MTV Video Music Awards. Pepsi, on the other hand, didnt fare so well with its fans. The pos- itive energy Madonna created with the song was completely zapped by the negative reaction mainstream America had to her video. The Catholic Church was outraged-offended by Madonna using signs of stigmata (her bleeding hands) and "having an orgasm on the altar." Pepsi drinkers protested and organized boycotts, and Pepsi cancelled the commercial after only two showings. Pepsi did go on to collaborate with other, less controversial rock stars, including Michael Jackson (whose hair caught on fire during filming) and Britney Spears (a young woman of controversy in and of herself ). And other firms have gone on to debut new songs in their commercials, such as Mitsubishi with "Days Go By" by the new group Dirty Vegas, which went on to top the pop charts. The rewards to marketers when they cobrand with the right musical artists can be huge, from massive publicity and awareness to making extrasensory connections with fans via the bands musical conduit to memories and emotions. However, as the Pepsi-Madonna marriage demon- strates, huge risks stand silently in the wings for marketers who fail to consider completely and control the activities likely to accompany celebrity endorsements. But Pepsi didnt control Madonna; Ma- donna controlled Madonna. Marketers looking to partner with other entities-be they celebri- ties, spokespersons, other companies, or even nonprofit organiza- tions-for promotional collaborations need to understand that entitys real brand, including image, promise, and reputation. Partner- ing with a nonprofit organization often provides many opportunities for goodwill among consumers, but if the organization becomes con- troversial (such as People for the Ethical Treatment of Animals     [PETA]), then the partnership can tarnish a brands reputation as well. In terms of a musical endorser, there are more attributes to weigh than just the type of music he or she creates. Madonnas brand is not just about a visual image or a type of music; it is about the promise to shock and fly in the face of conventional thinking and conventional values, which was probably not the best match for the Pepsi brand. Marketers also need to understand the bands fan base and how their customer base overlaps it in terms of lifestyle characteristics and val- ues. A musical corporate sponsorship needs to be classified as a