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As the preeminent musical invention of the twentieth century, the synthesizer has become a ubiquitous device that not only informs the soundscapes of our lives, but one that also shapes what we consider to be music. At the heart of this unquestioned, though often polarizing, marketplace icon is a paradox between the synthesizer's limitless power of sound design that appeals to musicians and the limiting power of culture that circumscribes the instrument's potential in order to make it appealing to mass consumers. To understand how the synthesizer became a marketplace icon, we examine it in relation to the synthetic nature of icons (i.e. the dialectical tension at the heart of icons), the web of iconicity (i.e. the cultural associations necessary to elevate a product to iconic status), and the process of cultural appropriation of disruptive innovations (i.e. the necessity to tame, but seemingly promote, the iconoclastic nature of marketplace icons). [ABSTRACT FROM AUTHOR]

In the face of innumerable marketing articles that provide safe, sanitized, and staid interpretations of sex, this research attempts, in the words of one notorious rock band, to put the X back in sex by exploring its naughty role in consumption. While the extant marketing literature has focused primarily on how sex influences both consumer acquisition and identity construction, less research has addressed the consumption of sex as an erotic practice, especially in non-sexual consumption contexts. Given the immersive nature of sex, we explore the relationship between sex and consumption via experiential offerings, and more specifically, through consumer participation in the spectacular themed attraction of Splash Mountain at Walt Disney World in Orlando, Florida. Utilizing the lens and style of the archetypal trickster, we tease out the symbolic and physical aspects of this attraction to reveal that sex potentially underlies both the narrative interpretation and bodily enjoyment of this ride. [ABSTRACT FROM AUTHOR]

One of the driving forces for consumer-musicians in the market of rock “n” roll musical creation is the quest for “epic tone” (i.e. production of a distinct and unique sound). Such tone is not the result of a single product or practice, but of a complex consumption constellation composed of a multitude of cultural processes and material factors in which the sum is often greater than the parts. The purpose of this paper is to explore how the market forces that directly impact these musical consumption constellations have exposed (and exacerbate) the inherent paradox in the quest. To help consumers create virtually any possible tone, the marketplace has increased the focus on the structural and functional components that compose these constellations, while subsequently decreasing the focus on the anti-structural and anti-functional aspects that underlie actual sound production. Consequently, the marketplace both stimulates and inhibits the (im)possible quest for epic tone. [ABSTRACT FROM AUTHOR]

Meaning is a fundamental aspect of symbolic consumption and lies at the heart of consumer culture theory (CCT). Although consumption meanings are considered dynamic, heterogeneous, and contextual, meaning itself is considered an inherent aspect of consumer culture and a constitutive force of consumer experiences. Utilizing deconstruction as a critical strategy, this paper interrogates the concept of meaning in the CCT literature and contends that meaning is not only present in consumption practices, but it is also absent. As meaning circulates in the infinite possibilities of language, meaninglessness emerges as an important aspect of this process. The dialectical tension between meaning and meaninglessness, though, does not converge within a particular consumption practice, but continuously diverges in the anti-synthetic space between them. We empirically explore the consumption of this anti-synthetic space in three popular culture exemplars. We conclude by discussing the broader implications of the deconstruction of symbolic consumption for CCT. [ABSTRACT FROM PUBLISHER]