In analyzing the research conducted, licensure and image likeness are the reasons why the merch we have today exists. When the rights to Elvis were bought and utilized to make an array of products, creativity was put back into the hands of the artists and their teams. They were able to utilize the message and ideas provided by fan-made and "bootleg" merchandise to create an inexplicable amount of income. While it is often a pocket-drainer today, in the 1950s and 60's it served as a means for artists' recognition, power, and support. As this project explores, that slowly becomes the mundane. To reinvigorate this area, many artists make attempts at reinventing the wheel by providing novel ideas to the field of merchandising. As some artists are more prolific than others, regardless of what they choose to create, it continues to expand consumer possibilities. With novelty often comes great profit margins thus further creating a cycle for the search for newness. Often with a change of legislation, an increase in technological advancements, or a shift in societal culture, the types of breakouts in advertising will be attuned to these changes and will often be the "first" of its kind, allowing for it to have a greater impact. As many of these breakout events showcase popular artists, it is important to note that many of them were able to be seen as innovators because of the access their success provided to them. To have as much impact as they did, they would need a substantial audience to generate buzz. Oftentimes, the "little guy" or the small independent artist isn't reported on. 

     It is interesting to explore how merchandise types change over time. As we progress further into the 2020's there is a greater shift to market in the metaverse/digital sphere. As we have progressed through the timeline, it can be seen how brands adjust to meet the social times such as the initial merchandising boom (which we continue to see today), through the establishment of Tidal, and now the usage of celebrity characters in virtual games. Merchandising success also includes crossover into different areas such as the financial technology world, where an artist (or a few) can create special merchandise that generates buzz and then fades away. As technology continues to advance companies alongside performers themselves will continue to seek relevancy and profits by defining and merchandising the virtual world. Seen with the recent push for AI, it no longer becomes a question of whether an artist will involve these programs but when, which breeds excitement.

     What I believe to be the true thread that links these topics together is the principle of scarcity and exclusivity. While I believe this is seen more in the later examples, what makes these releases so special is that not everyone can access them, or they are only available for a limited amount of time then it's gone forever. With the cultivation of parasocial relationships developed between celebrity/influencer and their followers, the levels of commitment and trust are only heightened. As most marketing is, it is manipulative. To create a culture of exclusivity that is one, not accessible to everyone and two, can be behind a sometimes large paywall. In a way, acquiring these products shows greater "status" within these communities. When already emotionally invested in an artist and their music, I don't believe one should then have to contribute their dollars to said artist to continue to gain access to their community.