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The purpose of this paper is to examine how the material nature of legacy technology makes its users passionately prefer it over its digital alternatives.

This ethnographic study uses data from 26 in-depth interviews with vinyl collectors, augmented with longitudinal participant–observation of vinyl collecting and music store events.

The findings reveal how the physicality of vinyl facilitates the passionate relationships (with music, the vinyl as performative object and other people) that make vinyl so significant in vinyl users’ lives.

As this study examines a single research context (vinyl) from the perspective of participants from three developed, Anglophone nations, its key theoretical contributions should be examined in other technological contexts and other cultures.

The findings imply that miniturisation and automation have lower limits for some products, material attributes should be added to digitised products and that legacy technology products could be usually be reframed as tools of authentic self-expression.

This study explains what can happen beyond the top of the “S” curve in the Technology Acceptance Model, furthering our understanding of consumers’ reactions to the proliferation of digital technology in their lives.

This paper aims to examine how and why an “old” technology and mode of consumption – vinyl records, which should have become obsolete – has managed not only to survive but also revive in the face of supposedly cheaper and superior digital formats.

The authors used constructivist grounded theory (CGT), a methodology rooted in pragmatism. The authors acknowledge the primacy of relational, conversational and social practices as the source of individual and social life, and that all knowledge is local and the product of negotiation between people within a given context and time frame. In terms of data, the authors draw on the extensive use of memos and participatory observation at the oldest vinyl record store in the UK. The authors also draw on interviews with the store owner and workers and in-depth interviews with vinyl enthusiasts.

The authors argue that authenticity is not a fixed and static concept but has fluid and porous boundaries that can be experienced by individuals in different situations. The findings center around three experiences of authenticity – staged authenticity, interpersonal authenticity and intrapersonal/existential authenticity.

This research is limited to a specific market, typical of old or second-hand vinyl consumption. Future research would benefit from broadening the sample to include new consumers and female enthusiasts of both old and new vinyl.

The paper has implications for consumer service and personal selling relationships.

Originality lies in theoretically positioning the phenomenon within a conceptual framework of authenticity. In particular, the authors shed light on the role that authenticity plays in the experiences of vinyl music consumption amongst buyers and sellers in a store that has a long established heritage. The authors find that vinyl in the age of digital reproduction retains and maintains a number of qualities that are missing from allegedly superior forms of musical reproduction. The authors further maintain that as it has aged, original vinyl has taken on greater power and meaning, and now that it is out of the realm of mass production/consumption, it has opened up a deeper more authentic interaction between human beings and technology. This deeper interaction goes beyond the immediate experience with the object itself and extends to the sensorial, the social and the personal.

This paper discusses how vinyl records become souvenirs of musical tourism. The record-as-souvenir dynamic is particularly relevant in the discussion about punk culture in cities like Washington, DC, and other scenes which defy encapsulation as touristic landscapes. Arguing a fluid perspective on musical tourism, the purpose of this paper is to present the argument that vinyl functions as de facto souvenirs of underground musical landscapes.

This paper incorporates literature on souvenirs within tourism studies, market research, and empirical data. It also builds upon research on emotional geographies and the resurgence of the vinyl record industry.

In many cases, musical recordings (particularly those on vinyl, for tactile and fetishist reasons), while not designed for the function of being souvenirs, come to signify counter-narrative definitions of place.

This work focuses on the context of vinyl as souvenirs with findings derived from the intersection of tourism, critical geography, and music marketing. In offering this contextual account, there is no claim toward generalization but rather the work is put forward as a depth of insight on a phenomenon long in the making yet neglected by researchers. However, a more comprehensive approach to provide further insight on vinyl as souvenirs might include consumer interviews.

This paper expands the conversation about souvenirs further into the era of modern, underground tourism. It argues for the inclusion of music consumption, especially vinyl, as prototypical and unintentional souvenirs as decided by the consumer rather than the producer. It also expands the discourse on counter-narratives of places like Washington, DC, in conversations about place-based music marketing and tourism.

This paper frames musical souvenirs in terms of the consumer deciding their value and role in the cultivation of sense of place, rather than the producer. Additionally, music retailers provide a valuable role in their city’s cultivated image, but even this is a collaboration between the retailers and consumers.

This paper addresses the function of vinyl records within the purview of tourism studies and positions as an original contribution connecting music consumption and tourism practices.

The purpose of this paper is to explore the congruencies and incongruences between the moral and entrepreneurial accountabilities of Lillian McMurry to provide insights for entrepreneurs and entrepreneurship. Ms McMurry was the entrepreneurial force behind the founding of Trumpet Records, a unique, Mississippi Delta Blues record label in the 1950s.

The examination of this historical case study is grounded in the theoretical examination of the tensions between Lillian McMurry’s felt moral and entrepreneurial accountabilities. Using an analytical archival historical method, a narrative explanation of how these tensions influenced the success and, ultimately, the failure of Trumpet Records are developed.

The accounting records highlighted a number of issues hampering the commercial profitability of Trumpet Records. Moreover, the archival and documentary sources examined also proved revealing as to conflicts between Ms McMurry’s personal character and mercantile determination as an entrepreneur.

The approach of using analytically structured historical narrative as a research strategy is but one method of explaining the tensions between the moral and entrepreneurial accountabilities of Lillian McMurry.

The proponents of virtue ethics suggest that this Aristotelian personal character perspective is more fundamental than traditional, act-oriented consequentialist teleological and deontological ethical decision-making approaches. A perspective of moral accountability exceeding the norm of the obstructionist stance is required to maintain a sound balance between entrepreneurial accountability and moral accountability.

This paper adopts a mercantile perspective, using the accounting and related business records of Trumpet Records, to examine the leadership characteristics of Lillian McMurry. Practical lessons learned for entrepreneurs facing the moral dilemma of competing accountabilities and advance questions to spur future research in this area are drawn.

Nigeria is a developing country where the majority of the population live in rural areas. The majority of these rural dwellers are either non‐literate or semi‐literate. The need to involve them in the national development process cannot be overemphasized. This can be achieved through the identification of the information needs of rural dwellers and the provision of innovative rural public library services to improve their level of literacy and education and to enhance their ability to use practical information relevant to their daily lives.