Marketing to the Jester The Jester in every one of us loves humor. We like funny commercials because they entertain us, and the attendant good feeling creates a halo effect around the product. Jester ads and packaging highlight bright colors and lots of action—the more outrageous, the better. The Jester also loves to live. For this reason, virtual experiences are great ways to market to Jesters. The Web site for Club Med, for example, links to virtual villages that simulate the experiences you can expect there. You get to begin selecting how you want to spend your time, almost as if you were there. Do you want to play tennis? Go snorkeling? Dance? Making the selection starts your imagination going, and pretty soon you are having a virtual vacation—in fantasy. The Discovery Channel’s Planet Explorer also provides virtual travel to exotic places.3 Most of all, the Jester helps us get out of trapped, small-time thinking. Jesters excel at brainstorming. The most important aspect of Jester marketing is cleverness. The Jester in every one of us loves outrageous, clever, new ways of seeing the world. The best way to develop such marketing strategies is to lighten up your marketing team. Let the team play, bring in toys, come up with as many wild ideas as you can—no matter how outlandish they might be—to grease the wheels of creativity. The freer your team, the better your new ideas. Jesters love to stand on their heads, seeing the world in unexpected and unpredictable ways. Jesters are also not as proprietary as other archetypes. If you think about it, you rarely ever hear who invented a joke. Jokes ﬂy around the world via the oral tradition and on the Internet in days, sometimes minutes, and make the whole world laugh. Jester marketing knows that giving things away often enhances a company’s reputation. Kinetix, a San Francisco multimedia company, developed the Dancing BabyTM as part of its demo package, before the company was actually established. Somehow it got sent on an e-mail, which was passed from person to person until the image became an underground cult icon. Eventually, it showed up on “Ally McBeal,” and 3. Bernd H. Schmitt, Experimental Marketing (New York: The Free Press, 1999), p. 92.