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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.

The paper aims to discuss the tensions between rock and pop genres at Rock in Rio, the most significant music festival in Brazil (which also has had international editions in Portugal, Spain and the USA), analyzing the construction and consolidation of Rock in Rio as a rock-related brand and mapping the disputes, negotiations and controversies between rock and pop music fans.

The authors analyze those facts from a framework composed by discussions about musical genres (Frith, 1996; Blacking, 1995), social constructions about rock and pop, as well as debates about taste as performance (Hennion, 2007) on digital platforms. The corpus consists of 58 posts published between 2018 and 2019 in the period prior to Rock in Rio 2019, analyzed qualitatively.

By recalling the history of Rock in Rio, the authors demonstrate that the discourses and strategies involving the festival are contradictory, which reflects on disputes about the meanings of festivals on social media. A diverse set of controversy was found, such as discussions about the artists' authenticity as well as arguments that refer to the social constructions linked to certain musical genres.

The paper analyzes the Rock in Rio music festival from a perspective that is not observed very often, offering insights about the relevance of music genres as mediators of the perception of the festival as a brand and the controversies involving fans and anti-fans.

The aim of this paper is to explore how spatial taste formation and the interrelationships between place and taste can inform the development of contemporary place marketing and/or place management strategies.

The paper draws on previous research conducted within the context of live music consumption and, in particular, within live musical spaces such as festivals and concert halls.

This paper illustrates how spatial taste formation can inform the development of topographies of taste which focus on the creation of field-specific experiences. It also offers insights for understanding the phenomenological uniqueness of various places and the role of place users and other stakeholders in the creation of place marketing and branding value.

The paper elaborates upon the potential usefulness of spatial taste formation for place management and marketing research practice and draws out implications for future research. It advances a holistic and phenomenological understanding of place which illustrates how users’ perceptions of place are shaped by their experiences in various places and by the interplay of these experiences with their individual tastes and vice versa.

Focusing on a community organisation, the purpose of this paper is to unravel the process through which infringing contested practices that threaten or compromise the community’s sense of distinction are transformed into acceptable symbolic markers.

An ethnographic study comprising participant observation, in-depth interviews and secondary data was conducted in the context of a non-profit community cinema.

Taking a longitudinal approach and drawing from practice theory, this paper outlines how member-driven, customer-driven and necessity-imposed infringing practices settle in new contexts. Further, this paper demonstrates that such practices are filtered in terms of their ideological “fit” with the organisation and are, as a result, rejected, recontextualised or replaced with do-it-yourself alternatives. In this process, authority shifts from the contested practice to community members and eventually to the space as a whole, ensuring the singularisation of the cinema-going experience.

This paper addresses how the integration of hegemonic practices to an off-the-mainstream experience can provide a differentiation tool, aiding resisting organisations to compensate for their lack of resources.

While the appropriation practices that communities use to ensure distinction are well documented, there is little understanding of the journey that negatively contested practices undergo in their purification to more community-friendly forms. This paper theorises this journey by outlining how the objects, meanings and doings that comprise hegemonic practices are transformed by and transforming of resisting organisations.

How does one classify instructional videos uploaded by musicians of different caliber and mastery on video‐sharing sites? What kinds of communities are forming around these content sources? How does one address the different perception and understanding of what music means to a diverse audience? How does one identify and address the needs of new kinds of users, who learn how to play music by using primarily online resources? While this paper does not seek to directly address all these questions, it aims to raise them with the aim of contextualizing the discussion as a necessary foundation to effectively address the more practical questions above.

This paper presents a knowledge organization model of music knowledge based on the concept of musicianship as used in music education. A balanced and holistic approach is sought, especially in light of the interdisciplinary nature of the challenge being addressed. Drawing on Hjørland's work on domain analysis, and Hennion's concept of the user of music, this paper discusses music as a domain, music as information, and music as knowledge.

In particular, the concept of listening and genre are considered important ways through which one mediates one's understanding of music as knowledge. There are four “layers” in the model: Vocabulary of Music; Structures and Patterns of Music; Appreciation of Music; and Cultural‐Historical Contexts.

The model addresses knowledge organization challenges specific to the domain of music.

Most studies pertaining to social tagging focus on one platform or platform type, thus limiting the scope of their findings. The purpose of this paper is to explore social tagging practices across four platforms in relation to cultural products associated with the book Casino Royale, by Ian Fleming.

A layered and nested case study approach was used to analyse data from four online platforms: Goodreads, Last.fm, WordPress, and public library social discovery platforms. The top-level case study focuses on the book Casino Royale, by Ian Fleming and its derivative products. The analysis of tagging practices in each of the four online platforms is nested within the top-level case study. Casino Royale was conceptualized as a cultural product (the book), its derived products (e.g. movies, theme songs), as well as a keyword in blogs. A qualitative, inductive, and context-specific approach was chosen to identify commonalities in tagging practices across platforms whilst taking into account the uniqueness of each platform.

The four platforms comprise different communities of users, each platform with its own cultural norms and tagging practices. Traditional access points in the library catalogues focused on the subject, location, and fictitious characters of the book. User-generated content across the four platforms emphasized historical events and periods related to the book, and highlighted more subjective access points, such as recommendations, tone, mood, reaction, and reading experience. Revealing shifts occur in the tags between the original book and its cultural derivatives: Goodreads and library catalogues focus almost exclusively on the book, while Last.fm and WordPress make in addition cross-references to a wider range of different cultural products, including books, movies, and music. The analyses also yield apparent similarities in certain platforms, such as recurring terms, phrasing and composite or multifaceted tags, as well as a strong presence of genre-related terms for the book and music.

The layered and nested case study approach presents a more comprehensive theoretical viewpoint and methodological framework by which to explore the study of user-generated metadata pertaining to a range of related cultural products across a variety of online platforms.

The purpose of this paper is to examine two contextual factors with respect to the influence of corporate social responsibility (CSR) messages on consumer attitudes and purchase intentions. First, the authors examine the interplay between CSR messages and country image, and second, how consumers’ global identity affects their response to CSR signals.

The conceptual framework is examined in two samples of US consumers evaluating a new foreign entrant into the US market.

The empirical findings largely support the conceptual framework. Consistent with expectations, CSR and country image influence attitudes and purchase intentions. Most importantly, the authors also find a significant interaction effect between CSR and country of origin (COO). Further, consumers high on global identity are more responsive to positive CSR signals. These findings are confirmed in two complimentary studies.

CSR has become an important strategic priority for managers. This study allows managers to make more informed decisions regarding the CSR initiatives of their organizations.

This study connects the CSR literature with the COO literature, both of which are very important in the international marketing literature. Viewed through a signaling theory lens, this study provides new insights when, where, and how positive and negative CSR messages help or hurt the firm.

The purpose of this paper is to explore and describe different viewpoints on the use of social networking sites (SNSs). It analyzes perceptional typologies of SNS users and the characteristics of each type, which has similarities and differences. It also examined possible relationships among different perceptional types, users’ self-identities, and their personality.

This study utilized Q-methodology in order to identify diverse explanations of SNS users’ perspectives. Q-methodology requires participants (referred to as P sample) to sort a series of items (Q-statements). After completing a questionnaire including demographics, self-identity, etc., each respondent performed the Q-sorting work. This task involves sorting well-composed statements about SNSs (Q-sample). In all, 46 SNS users from a university in Korea were chosen as participants. Once the P sample had finished Q-sorting, participants had in-depth interviews. When all interviews were finalized, analysis of the Q-sorts was done with the help of QUNAL program.

Consequently, four types of SNS users were identified and given the following descriptive labels: Impression Management Type, Lurker Type, SNS Enjoyer and Relationship Focus Type, and Social Value Orientation Type. Further, there was a significant difference in “Relational Identity” among user types. Regarding personality, the extraversion of Type III appeared to be the highest, and the extraversion of Type II appeared to be the lowest.

Combining aspects of both qualitative and quantitative research to study the subjectivity, the findings of this study provide insight for further research regarding an audience study or an examination of the media behaviors of SNSs. It also suggests theoretical and practical implications.

Set in the newly emerging hybrid product research stream, and reflecting trends towards multi‐national production and sourcing, this paper aims to present a three‐country study on perceived quality and image of automobiles “made in and for” Southeast Asia.

The authors used a multiple cue design in the stimulus definition, reflecting assembly and component origin plus warranty level. Actual car owners were targeted, thereby adding to a relatively low number of studies requiring actual prior purchase. The related face‐to‐face interviews in the local languages resulted in 720 usable questionnaires.

Country‐of‐assembly is shown to affect perceived quality as well as perceived image. Warranty extension can moderate the quality effects to some extent, whilst buyers of luxury models display a smaller positive home bias in terms of perceived image than those of non‐luxury models. Such home region bias is not demonstrated to be significant for country‐of‐components.

The paper contributes towards ongoing theory‐building, especially with regards to an optimum level of origin cue decomposition. It also establishes the importance of adding image perception measurement to the arsenal of origin researchers normally focused on quality effects.

Managers need to make strategic decisions on the decomposition of product origin cues, reflecting consumers' abilities to notice several such cues. The selected product origin cues must then be supported with appropriate communications strategies.

For the first time, origin effects are demonstrated for the Southeast Asia region. The paper establishes the significance of country‐of‐target and contributes to research on the ever more complex product origin construct.