disruptive innovation, the music video. MTV forced rock and rollers from Christopher Cross and Bruce Springsteen to the Kinks and Foreigner to explore the visual side of their music. Some stars would rise to the occasion while others faded into oblivion-not because their music wasnt good, but because they didnt look the part of the 1980s rock-and-roll star-proving alls fair in love and marketing. Once MTV fans made it clear that music videos were not a pass- ing fad, rock and rollers like Aerosmith hoping to stay popular in the market would have to adapt or die. It was a scary thought for an aging band. Reinvention could bring success or failure-or, even worse, indifference. The potential benefits that music videos brought to the Aerosmith equation were enormous because of Steven Tylers sex appeal, Joe Perrys flare for the dramatic, and the nature of their music. Aerosmith embraced technology, which it continues to do today, and used it to make a big splash during its rebirth.     Rap This Way   In addition to examining changes in the environment, brand disci- pline meant identifying projects that could build rather than under- mine the brand equity Aerosmith had built over the years. One potential avenue for reintroducing Aerosmith was collaborating on a remake of "Walk This Way." As Aerosmith prepared its reinvention, rap music was beginning to emerge from its confined urban market. One group that was get- ting a lot of attention was Run-DMC, comprised of Joseph "Run"     Simmons, Darryl "D.M.C." McDaniels, and DJ Jason "Jam Master Jay" Mizell. They became the first rap act to have an album go gold in 1984 and built further on their status in this growing market with ferocious touring. Run-DMC and Aerosmith explored the possibility of making a rap version of "Walk This Way," singing together on the record and performing together on the video. Why "Walk This Way?" One could argue it was the first rap song to ever hit the charts. Listen to the style and youll recognize that Tyler rapped those lyrics in the original 1970s version, before Run, D.M.C., and Jay could spell rap or hip-hop. And the lyrics, to this day, are classics.* The remake defines diversity-part urban rap, part rock and roll; young emerging artists, older stalled stars; black and white. Strategic questions over the potential pairing ensued: Would the danger of alienating angel fans be worth the temporary flash of attention? Would it position Aerosmith as up to date or out of place? Would it muddy the groups rock-and-roll image? Depending on how it was