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Consumption ritual has been used to understand the meanings of consumption and consumer behavior, however less attention has been focused on the role of ritual in connoisseurship consumption and how consumption rituals can transform the consumer’s tastes. What is the role played by consumption ritual in connoisseurship taste?

Drawing on key concepts from ritual and taste theories and a qualitative analysis of the North American specialty coffee context, the authors address this question introducing the idea of connoisseurship taste ritual which is based on novelty coffee consumption practices that are opposite of the traditional or regular practices. The data collection set in the United States and Canada includes 15 consumer in-depth interviews, participant observation in 36 independent coffee shops in Canada and the United States, a Specialty Coffee Association of America event, and three barista coffee competitions. The body of qualitative data was interpreted using a hermeneutic approach.

The authors introduce the connoisseurship taste ritual which has several dimensions: (1) variation in the choices of high-quality products, (2) the place to perform the tasting, (3) the moment of tasting, (4) the tasting act, (5) perseverance, and (6) time and money investment.

This research paper extends the notion of consumption ritual introducing the connoisseurship taste ritual and also extends the theories of taste by explaining how, regarding a specific aesthetic category of product, people develop different tastes through ritualistic consumption.

This paper discusses the evolving nature of the symbolic meaning of the 2014 FIFA World Cup in Brazil. Exploring the kratophanous power of soccer in Brazil, we seek to explain how the relationship that Brazilians had with the 2014 FIFA World Cup reflects profound changes in a mutating society that has deep emotional connections with soccer but at the same time has started to reject the misuse of public resources and struggles to see corruption as a fact of life.

The authors conducted a netnography on Facebook communities and on Instagram, reviewed documentaries and short films, as well as press articles on the subject. Data was collected both retrospectively and concurrently. Analysis used open coding, moving up from the emic meanings extracted from the texts to an etic account of the phenomena (Cherrier & Murray, 2007; Thompson, 1997; Thompson & Haytko, 1997).

We argue that the duality of the Brazilian culture and the kratophanous power of soccer help understand the evolving nature of the relationship Brazilians had with the 2014 FIFA World Cup. We sustain that soccer in Brazil is viewed both as a sport – representing democracy and the hope of social mobility – and as an industry – echoing dissatisfaction with the status quo. Even if ideologically opposed to what the event represented, consumers were bound by very strong cultural connections built around soccer as a sport, a national passion. This changing nature of feelings and attitudes echoes marketplace tensions of a country passing through a democratization maturity process and of a culture in which its citizens find it easier to attempt to be many things at the same time than to take a stand.

This research analyzes the role of social tensions and national passions in relation to a global industry (soccer) and a mega event (the FIFA World Cup). We have looked at the influence of macro cultural forces and tension forces in a sporting event as our findings cannot be understood outside the context of network-based power (Labrecque, vor dem Esche, Mathwick, Novak, & Hofacker, 2013) with Brazilians mobilizing the structure of social networks in favor of their contextual interests. The tense and dynamic political environment in which this research was conducted shed some light on why the #naovaitercopa changed its meaning overtime.

The context of this research contributes to the literature on boycotting (Kozinets & Handelman, 2004; Lee, Motion, & Conroy, 2009), considering that most previous studies had not extensively explored situations where protests arise, obtain significant engagement, yet end up being unsuccessful. We answers the call made by Izberk-Bilgin (2010) for understanding how and why consumer attitudes toward certain types of consumption may change overtime and we demonstrate how the FIFA World Cup possesses kratophanous power in Brazil, and how this characteristic, which is strongly rooted in local culture, contributed to the failure of the boycott.

This article explores the importance, measurement and use of non‐financial performance measures in the wine industry. Results are compared to a similar study done on US Fortune 500 and Canadian Post 300 companies. Findings indicate that a large percentage of US wineries believe in the importance of non‐financial performance measures, especially in the areas of process/product quality and overall customer satisfaction. On average, less than half the wineries are actually measuring for these factors. Also, while some wineries measure non‐financial performance, they then do not use the results of their findings in making strategic business decisions. The wineries differed from the Fortune 500 and Post 300 companies in that they ranked the measurement of employee involvement much higher in importance and market performance measurement much lower in importance.

Recognizing the importance of developing professional identities and valuing the work of school-based teacher educators, this chapter outlines a specific context in which teacher leaders self-identified and worked across contexts to support teacher development within their schools. This chapter’s primary focus includes the perceptions and experiences of teacher leaders in school–university partnerships connected to one university in one identified role: liaison-in-residence. Three themes resulted from analysis of transcripts, journals, and memos: teacher leader identity developed within democratic leadership; teacher leader positionality stirs tensions in professional identity; and service and equity as key guideposts for leading and learning.

Purpose – This conceptual chapter clarifies concepts of marketplace community.

Methodology/Approach – Through a review of selected CCT studies, the chapter explores and reviews theories of subcultures of consumption, brand communities and consumer tribes.

Findings – Subcultures of consumption, brand communities and consumer tribes exhibit divergent qualities that are summarised in a typology of communities.

Research implications – The perspectives offered by tribal studies present powerful tools that compliment subcultural and brand community approaches to understanding the construction of marketplace cultures.

Practical implications – Theory that improves the understanding of different features of marketplace communities can help marketing practitioners to determine more appropriate communal marketing strategies.

Originality/Value of paper – This chapter recommends a consistent and commonly shared set of descriptive and theoretical terms for different kinds of marketplace community.

Ageing is a fundamental issue for the future of the planet. An ageing society challenges basic assumptions of modern culture and political economy. This paper explores alternative futures of ageing in Queensland, understanding that certain assumptions about Queensland’s future are given. It is also focused on probable futures, and not on every possible future. Based on this map of the future‐developed through causal layered analysis and scenario planning – policy recommendations are developed for the Queensland Government.

This paper aims to investigate the ways in which “non-collaborative co-creation” can affect brand equity as perceived by independent observers. It reports a study of the different effects on that perception attributable to non-collaborative co-creation that takes the form of either “brand play” or “brand attack” and is executed either by established artists or mainstream consumers.

A 2 × 2 between-subjects experiment (brand play versus brand attack; consumer versus artist) measured observers’ perception of brand equity before and after exposure to purpose-designed co-created treatments.

Non-collaborative co-creation has a negative effect on observers’ perceptions of brand equity and brand attack, causing a stronger dilution of brand equity than brand play. Artists either mitigate the dilution or have a positive effect on those perceptions.

Future research could usefully investigate the relative susceptibility of brands to non-collaborative co-creation, the effects on brands of higher complexity than those in our experiment, exposed in higher-involvement media, and the effects of more diverse forms of co-creation.

Brand managers must recognise that co-creation carries considerable risks for brand equity. They should closely monitor and track the first signs of non-collaborative co-creation in progress. It could be beneficial to recruit artists as co-creators of controlled brand play.

This study offers a more complete insight into the effect of non-collaborative co-creation on observers’ perceptions of brand equity than so far offered by the existing literature. It connects the fields of brand management and the arts by investigating the role and impact of artists as collaborative or non-collaborative co-creators of brand equity.

This paper aims to present historical examples of collaborations between brand strategists and artists; provide an extensive, structured overview of existing published research on such collaborations and their effects; present seven papers comprising this special issue; and discuss ideas for further research into brand–art collaboration.

This is an editorial based mainly on an extensive and broad literature review.

First, this editorial underpins the relevance of brand–art collaboration in the past and present by reference to real examples. Second, it structures the diverse literature into four key aspects of the topic: inspiration, insights, identity and image. Third, it provides a glimpse of the seven papers selected for this special issue. Fourth and finally, it identifies a total of 16 avenues for further research, on four levels (artist, brand owner, consumer and cooperation process).

This editorial and the entire special issue together represent the first anthology on the topic of the interface between brand management and arts. The collection and classification of the existing literature, the formulation of ideas for future research and the content of the seven papers are collectively excellent starting springboards for new and fresh brand research projects.