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This study aims to highlight a series of accidents epitomized by the success of a music artist, bringing three streams of literature together – pop culture, entrepreneurship and place branding.

Using an illustrative case of a 2012 YouTube hit song, Oppan Gangnam Style, by Korean artist Park Jae-Sang, the artist’s attempt to lampoon the extravagant lifestyle of Gangnam District’s residents accidentally puts them on the global map. The narrative is built around the storytelling approach.

The study highlights the intersections of pop culture creativity and entrepreneurship (albeit accidental) with implications for place branding.

The study is overtly documentary analysis-based and could, therefore be subjected to quantitative analysis in future research. Furthermore, the conceptual model could be tested with additional cases in the future.

In a broad sense, this study is a pioneering effort in the field of entrepreneurship and its interconnections with other disciplines – marketing (place and entrepreneurship) and pop culture. The conceptual model could form a basis for future research in such intersections.

The purpose of this paper is to unpack an Asian-born celebrity culture in which celebrities become everyday necessities for global consumers’ identity struggle, prototypes for global branding strategy, contents for the media industry, and agents for sociocultural transformation.

In order to better elucidate such a significant phenomenon, the authors also introduce two mostly palpable and more relevant domains of celebrity culture to global consumer culture literature − politics of aesthetics and memetics − as analytical tools. Observations and publicly available narratives are also incorporated to enhance the review and critique of the global celebrification process. Psy’s Gangnam Style (GS) is chosen as an archetype, due to its exceptionally vulgar but highly replicable nature.

The specific case of GS exposes three unique qualities of kitsch − exaggeration, disconcertment, and subversive sensibility − that are substantially commensurate with prototypical characteristics of globalized online memes − ordinariness, flawed masculinity, theatricality, and ludic agency. Polysemy and optimism also facilitate the celebrification process in global participatory culture.

The “radical intertextuality” of online memes sustains the participatory culture in which kitsch becomes a global icon through a reproductive process. Korean popular culture cultivates reverse cosmopolitanism through a nationalistic self-orientalization strategy that paradoxically indigenizes western pop-culture and transforms power relations in global pop culture.

This paper presents further elaboration of current discourses on global-celebrity culture by incorporating popular concepts and practices, such as kitsch, meme, parody, and sharing, which synergistically advance aesthetic liberation on a global scale.

In this editorial viewpoint for the special issue, the authors identify a need to deepen our understanding of the important role that Asian consumer culture plays in the global marketplace of the twenty-first century.

This editorial article discusses the emergence of Asian consumer culture, offers an integrative summary of the special issue and develops several key directions for future research.

The authors observe that Asian consumer culture is not a coherent knowledge tradition that can be described merely as “collectivist” or “Confucianist” in nature. Rather, it is better understood as the confluence of cultural traditions that are characterized by inner differentiation and complexity, various transformations and mutual influences in the Asian region and beyond.

Although Asia’s economic growth has received much recent attention, extant theory regarding Asian consumer culture is still in its infancy. The authors highlight important developments in this area that show the path for future work.

The authors make three contributions to the emerging scholarly interest in Asian consumer culture. First, the authors respond to recent calls to increase the use of qualitative methods in Asian contexts. Second, the authors draw attention to the cultural complexities and mutual influences that characterize contemporary Asian consumer cultures, and subcultures in the Asian region and beyond, through the selection of articles for this special issue. Finally, the authors draw the threads together to provide directions for future research in this area.

The purpose of this paper is to explore the interconnection between the corporatisation of K-beauty and Korea’s nation branding exercise and its links with soft power. Through the investigation of the transformation of Korea’s beauty industry, the authors seek to illustrate the inter-relationship of the market systems and national identification practices.

This study employed the qualitative case study approach to examine the latest development of Korea’s medical tourism. Through analysing a variety of secondary data that associated to the latest development of cosmetic tourism, this paper presents the impact of the transformation and reconfiguration of Korea’s beauty industry on the country’s nation branding strategy and the development of Korea’s soft power in the global marketplace.

The findings highlight how Korea’s new cosmetic tourism industry contributed to the renewal of Korea’s nation brand in the global market. The findings also illustrate the interconnection of the emerging Korean popular cultural products (K-pop and K-beauty) in the regional and global marketplace.

The findings demonstrate the role of market in re-defining a nation’s brand and identity. The findings also illustrate how market-driven strategy influences the development of a nation’s soft power in the regional and/or global marketplace.

The study shows that practitioners can be active agents in nation branding. Through highlighting strategies to develop soft power within and beyond the country boundary, this study shows how market agents, governments and other stakeholders can co-create a market system that transform and reconfigure the nation brand in the global marketplace.

In additional to explore the transformation of the beauty industry in Korea, this paper also presents the history and transformation of the beauty standards in Korea and other Asian cultures. Such dialogue invites marketing and consumer researchers to further explore the role of history and culture in guiding the production and consumption of new (consumption) standards.

This is the first paper that connects the theory of soft power in nation branding and country-of-origin literature. The case analysis of the socio-historical development of K-beauty also demonstrates how non-Western cultural goods enter the international marketplace. In summary, this paper provides new conceptual framework that illustrates a new collaborative mechanism that engages government and practitioners to co-create new cultural norms and standards to the local and international markets.

In the age of internet memes spread around the world in very short time, it has been already proved that, in several cases, the mechanism of propagation is very similar to a flu infection. However, this model turns out to be invalid if the spreading is generated by the mass media (TV, radio and the like). This paper aims to explore for the first time this non-viral dynamic (“fallout model”).

Two different dynamic models were developed to explain the viral and the mass media-powered meme propagations, and both were tested using data from Google Trends.

Viral propagation is not the only mechanism of meme diffusion. Memes can also diffuse by a “fallout” model, in which the susceptible populations are affected by the meme messages almost simultaneously, as it happens in the physical world for a radioactive fallout or for other poisoning agents.

This study provides a method to determine whether a certain meme has been diffusing by means of its own viral power or has been “planted” as the result of a commercial advertising campaign or a government propaganda operation.

This study aims to investigate the effects of a prospective traveler’s perception of media exposure on their intention to visit a destination (i.e. South Korea). Cultural exposure to a particular country through media affects people’s preference for that foreign country, and may ultimately be a function of the behavior for consuming that country’s cultural products – e.g. traveling to that country. Media exposure has been recognized as a major underlying reason for the desire to visit a destination.

This study examines the impacts of potential travelers’ media exposure in three different language-use groups (i.e. English, Japanese and Chinese) and their perception of the media exposure on their intention to visit the actual site (i.e. South Korea). To enhance the understanding of the intention to visit the destination, this study proposes a research model based on use and gratification theory and the belief–desire–intention model.

Mass and social media exposure had an effect on the intention to visit a destination as a result of the gratification and desire experienced through the content.

This study suggests the synthesis of the use and gratification theory and the belief–desire–intention model and an examination of theoretical and practical implications.

This study involved a sample of users of destination marketing sites. In addition, this study investigated the users’ intentions to visit a real tourism destination taking into consideration mass media (traditional media) and social media (new media) based on the use of gratification theory and the belief–desire–intention model. Practically, the findings highlight the crucial role of social media in the intention to visit the tourism destination.

Purpose – This chapter observes the dynamics between various aspects of current pop music production, particularly in respect to digital culture, and the preservation and access challenges faced by a wealth of analogue sound artefacts. I argue for the need to consider the activity of ‘fringe piracy’ – that is online music distribution that specialises in out-of-print analogue editions and bootleg trading – as worthy of civic merit: as participatory heritage recovery, preservation and dissemination.

Methodology – I narrate and interpret a series of contexts pertaining to deep changes in popular music production and consumption in the last decade. I will do so primarily by focusing on online activity, while unravelling its relationships with traditional modes of music production, dissemination and consumption (i.e. the music industry as defined by vinyl records, cassettes and CDs throughout the second half of the Twentieth Century). I further contrast the mechanics of ‘grey areas’ of online music access against mainstream web platforms such as iTunes. The author has performed extensive participant observation throughout various online platforms in the last decade, particularly the ones mentioned along the chapter. Additional content has been developed as a consequence of both online and offline discussions, as well as conference panels and symposia (Codebits, 2010; South By South West, 2011; Syracuse University London, 2011).

Findings – I argue that the current, wide field of possibilities for music production and dissemination stands in radical contrast with an ongoing and strengthened orthodoxy on the part of media labels and distributors. I further argue that, in contrast with this orthodoxy that stems from consumer culture, an exponential availability of recording and editing tools is encouraging a discreet civic mission of digital transcription, and subsequent historical preservation, of analogue artefacts that would otherwise face the prospect of fading into obscurity and possible definitive loss. This, however, seems to be occurring in gradual oblivion of contextual placement, but rather in line with a culture of interchangeable sampling of a purely sensorial and/or affective nature.

Originality – Most debates on the subject of music piracy tend to focus on a polarisation of the underlying issues, while mainly addressing its legal and political aspects. There is a need to unravel the cultural, aesthetic and civic parameters that emerge from a phenomenon that is, ultimately, anything but polarised: instead, one finds it is paved with complexity and ambivalence.

Multinational corporations (MNCs) are converging world cultures by creating common consumer lifestyles across countries through standardized products. However, little is known about how consumers’ exposure to foreign cultures affects their purchase experience from the country. This study explores this gap in the literature by investigating how consumers’ exposure to foreign cultural source (e.g., entertainment) shapes their attitude toward its country. This attitude is conceptualized to influence the perceived product quality and corporate ability of the country’s MNCs, which are further hypothesized to influence consumers’ purchase experience with products offered by the MNCs. Furthermore, the impact of product quality and corporate ability on consumer purchase experience is expected to be moderated by consumer ethnocentrism. The study framework is tested in the context of the Korean Wave (or “Hallyu”) using data consisting of 533 Indonesian consumers. The results support most of the study hypotheses. Theoretical and managerial implications of these findings are discussed.

The emergence of the platform economy is reorganizing work, employment, and value creation. The authors argue that the digital platforms are fracturing work itself as the places and types of work are being reorganized into a myriad of platform organized work arrangements with workplaces being potentially anywhere with Internet connectivity. The authors differ from most traditional narratives that focus solely upon either work displacement, a single type of platform-organized value-creating activity, or David Weil’s concentration solely upon the workplace. The authors recognize that even as some work is replaced, other work is being transformed; new work and old work in new arrangements is being created and recreated. The taxonomy begins with the workers employed directly by the platform and its contractors. The authors then introduce the category, platform-mediated work, which we divide into three groups: marketplaces such as Amazon; in-person service provision such as Uber and Airbnb; and remote service provision such as Upwork. The next category, “platform-mediated content creation,” is complex. The authors identify three groups of activities: consignment content creators that include services such as the app stores, YouTube, and Amazon Self-Publishing; non-platform organization content producers, which refers to the enormous number of workers occupied with creating and maintaining websites; and user-generated content which is the non-compensated value creation that ranges from content uploaded to Facebook, Instagram, etc. to reviews on sites such as Yelp. It is only when work and value creation is considered in all of these platform-based manifestations that we can understand the ultimate dimensions of the platform economy and comprehensively understand its implications for work.