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This review aims to examine how aggression is portrayed in the media and how it can influence behavior and attitudes regarding aggression.

The authors reviewed the relevant literature and examined both physical and relational forms of aggression in multiple media forms (television, film, video games, music, books).

Across media types, evidence is found that both physical and relational aggression are portrayed frequently and in ways that may contribute to subsequent aggression. Furthermore, though there are studies finding no effect of exposure to media aggression, evidence is found that watching physical and relational aggression in the media can contribute to aggressive behavior. Prominent media aggression theories are reviewed and some of these theories are applied to relational aggression media effects.

Researchers should no longer ignore relational aggression in terms of the media, in terms of content and associations with aggressive behavior. Researchers should also focus on understudied media forms, such as music and books.

Policy makers should take careful note of the research on media and aggression when deciding on public policy and clinicians should inquire about media habits when clients show problematic aggressive behavior (physical or relational).

This paper is a valuable source of information regarding current research on media and aggression. Unlike other reviews, it focuses on multiple types of aggression (physical and relational) and multiple media types (TV, movies, video games, music, and books).

This study aims to develop a classification schema for strategic philanthropy as a framework for empirical investigation and managerial decision making. Additionally it aims to present experimental assessments of various types of philanthropy based on the classification schema.

This study presents the results of two experiments examining the effects of different types and implementation strategies of philanthropy on consumer perceptions of brand equity variables.

The experiments suggest that in a proactive condition corporate philanthropy does have an overall positive effect on consumer perceptions of corporate associations. However, the effects did not transfer to brand evaluations or patronage intentions. Additionally, philanthropy as a part of a recovery strategy has a consistent but non‐significant effect on consumer perceptions.

In the study manipulations respondents received the response at the same time as they read about the crisis. This generally would not happen in actual situations. A second limitation is the lack of control or manipulation for history between the company and the target segment in the directed philanthropy conditions.

The findings of this study have three managerial implications. First, traditional philanthropy may be effective for corporate or brand image objectives, but ineffective for brand evaluation and purchase objectives. Philanthropy directed toward a particular segment may also have a positive effect on consumers beyond that segment. Finally, in cases in which the objective is simply to thwart negative publicity, reactive philanthropy may not be a viable strategic option.

This study examines the effects of philanthropic activity on consumer perceptions of firms and the brands they market.

The purpose of this paper is to the investigate the rock music, and in particular the genre known as heavy metal, subculture in Iran and identify its relationship to social responsibility.

The research was conducted qualitatively through in-depth interview with more than 100 rock music fans who identify themselves as belonging to the particular subculture under investigation. It also investigates the history of such music within the country to explain that it is marginalized and forbidden in a way which is not generally understood in Western countries.

The findings of the paper show that the fans of the music identify themselves as a particular subculture within the society and share not just an interest in the music but also in social concerns, politics and religion.

This paper shows that subcultures are interrelated with social responsibility and that this is dependent upon the nature of the society in which the subculture resides. This is important in understanding the dynamics of change within a country.

This is one of the very few papers which looks at the link between subcultures and social responsibility and, therefore, is important in showing that social responsibility can develop independently of any organization while not being bounded by the nature of the society which spawns it.

This paper aims to present an examination of the characterisation of accounting and accountants in popular music. Some authors have considered the place of accounting in popular culture and the social perceptions of accounting and accountants. This research aims to advance this work by suggesting that music both offers a powerful insight into social perceptions of accounting, and serves both to reflect and reinforce these perceptions.

Songs featuring accountants were identified, which was verified by a search of song lyric databases using the search terms “accountant/s”, “accounting” and “accounts” and accounting terms. The lyrics were analysed on the basis of how the accountants or accounting activity were presented, and a taxonomy was established.

Some songs reflect the image of the accountant as both the facilitator and accoutrement of positions of wealth and privilege. The dark side of the image is the assertion that the accountant will abuse their position of trust. The final, and perhaps most sinister image, is that of accountants as the perpetrators of fraud and deception. It is concluded that these images of accountants and accounting illustrate that the accounting profession is facing a significant challenge in terms of its image and relationship to the public.

This study is the first to consider the characterisation of accountants/accounting in popular music. Recent representations have tended to characterise accounting and accountants in a particularly negative light. Accountants are presented as agents in the destruction of the environment, exploiters of the poor, accessories and agents of the wealthy and constructors of a “truth” that benefits the rich. Overall, the representation of accounting in music tends to fit the position adopted by many of the most critical accounting authors. A particular aspect of the oppressive role exercised by accountants and accounting in society is as the embodiment of, and advocate for, or even a metaphor for, a particular form of economic reason that progressively suppresses and destroys relationships, the environment and artistic creativity in the interest of financial gain.

To delineate the range of consumer responses to life‐conditions where sustained powerlessness is experienced. To provide a framework to understand the ways in which these consumers try to reclaim degrees of self‐empowerment and wellbeing.

Goffman's conceptualization of stigma is employed to study a heavy metal music enclave consisting of lower socioeconomic consumers, who exhibit a range of stigmatizing attributes.

A taxonomy of ten consumer remedies for their situation is developed. These include: resignation, confrontation, withdrawal, engagement, concealment, escapism, hedonic, spiritual, nostalgia, and creative. Each can potentially have negative or positive consequences. However, we found consumers often use a blend of these remedies as pathways to self‐empower.

Understanding the strengths and weaknesses of each of the remedies will potentially guide public policy makers in shaping programs better able to foster self‐empowerment among disadvantaged consumers.

The paper advances understanding of consumer response to sustained powerlessness as consequence of disadvantaged life conditions that are resistant to change.

The second wave (true Norwegian) black metal music scene has garnered attention for its ostensible negative impact upon contemporary consumption. Producers and consumers of the scene, as potential heretics, have been associated with acts of church burning, Satanism, murder, and violence. Such actions have circulated under the signifier of evil, and have been associated with anti-Christian semiotics and pagan practices. Contemporary media has positioned such acts of evil beyond rational comprehension via the deployment of a rhetoric of evil. This enframement has evaded the psychoanalytic question of evil and the significant role of negative ethics in theorizing the allure and potential impact of black metal music. The purpose of this paper is to examine the evil in the music scene, its relation to ID evil, and its consumption and production practices.

Drawing upon Zizek’s (2006) development of evil through Lacan’s three registers, this paper examines evil production and consumption through a detailed analysis of true Norwegian black metal. The authors rehabilitate the complex corridors of evil against its conceptual collapse as merely the ontological absence of good. Via Zizek, the authors offer a reconsideration of the anti-establishment violent activities enacted by some proponents of black metal ideology. Herein, the authors deploy a reading of ideological evil in order to interrogate the role of enjoyment and desire at work in the black metal scene.

After extensive immersion in the true Norwegian black metal scene, the authors elucidate on the key issues surrounding good, evil and Satanism, and their relationships to production and consumption. What many might term as “evil” is far more complex than what appears on the surface-level aesthetics.

While there have been examinations of the black metal scene, there has been scant literature that delves deep into the symbolism of the Satanic and the evil beyond the surface. This paper sheds light on the value of exploring evil in a scene as something that is much more than the mere absence of what is considered good.

Entrepreneurial passion has recently begun to fascinate a growing number of researchers. While only a few systematic studies exist, Cardon et al.'s review suggests passion as a prevalent phenomenon among entrepreneurs. They make a call for empirical and systematic studies of entrepreneurial passion to provide insights for practice and research. This paper aims to apply the recent theoretical advances in a particular empirical setting: the heavy metal genre in the popular music industry.

Using a qualitative in‐depth case study approach, four ventures that are considered new ventures in the metal music business are studied.

The findings strongly imply that the grounds for a globally successful creative venture require the passion of at least one inventor entrepreneur. Also, at least one founder is needed to take the venture to the next stage, where business is formalized for ramp up and at least one developer is needed to grow the business after the other two identities and earlier stages of the venture life cycle have created the platform on which to build and develop the business. The paper also finds that these role identity‐related behaviors are essential characteristics for artists in the popular music industry.

The popular music industry is an excellent research site for studying entrepreneurial passion because artists start their careers and join together to form bands mainly because of their passion and love to create and perform music. While the theory of entrepreneurial passion offers a promising approach for entrepreneurial studies, few systematic studies exist that apply it.

The purpose of this paper is to provide a model of consumer response to music in broadcast commercials outlining four variables (listening situation, musical stimulus, listener characteristics, and advertising processing strategy) that affect a consumer's attitude toward the advertising music (A_am).

The paper takes the form of an integrative review of the relevant literatures from the psychology of music, marketing, and advertising.

A_am can be positively but also negatively influenced by many factors. Only some of these variables are employed in any typical study on consumer response to music, which may account for some conflicting findings.

The paper discusses factors for effectively using commercial music to affect A_am, with special focus on advertising processing strategy. Advertisers are urged to exercise extreme caution in using music and to always pretest its use considering factors identified in this paper. The paper suggests ways in which the model can guide future research.

The paper integrates diverse literatures and outlines the major variables comprising our model of consumer response to advertising music. Advertisers can use these variables as a checklist for factors to consider in selecting ad music.

The purpose of this study is to focus on analyzing the role of music subcultures in the communication and promotion of conspicuous consumption practices. The object of study is the “altered movement” as the music style of the drug subculture in Mexico.

A qualitative content analysis of 78 lyrics and music videos of “altered movement” was carried out between August and December 2018.

The analysis of lyrics and music videos leads to the identification of four narratives (from poor to rich, power through violence, lavish lifestyle and power over women) and diverse symbolic markers (luxury brands mainly) that together, display messages aimed at promoting conspicuous consumption practices.

The current research expands the body of literature of music subcultures in the consumer research area by contesting the common conception of this phenomenon as a healthy source of self-identity formation and deepening into its role as a source of conspicuous consumption practices.

Covid-19 pandemic, war, climate emergency and other recent challenges are inflicting tremendous stress to youth. However, death and tragedy are nowadays considered taboo, as there is generally no standardized nor naturalized discussion on the subject, especially with young people. The current multi-crisis scenario is intensifying the need to incorporate an education on tragedy and resilience in our learning systems. In this context, it is necessary to find suitable teaching resources for this educational challenge that are attractive, entertaining and suitable for children and youth. A resource that meets all these requirements are children’s folk songs (CFSs). Apart from the intrinsic educational potential of music, folk songs have a simplicity and musicality that make them an ideal teaching resource. Considering their oral historical transmission, their survival confirms the attraction that this type of composition causes on children. However, to consider CFSs as an adequate resource to carry out an education for death and tragedy, it is necessary to study whether they present a non-negligible proportion of tragic passages and with enough variety of themes. This paper aims to address the study of the presence of explicit tragic content in Spanish CFSs and thus could be considered a cultural resource with transformative educational potential to develop resilience capabilities on the face of tragedy.

An analysis of lyrics of 2,558 Spanish CFSs is presented, using a manual content analysis as well as a computerized content analysis with the aim of identifying the tragic component of these songs and, thereby, assessing their pedagogical potential as a transformative educational resource.

The results obtained show a considerable presence of death and tragedy (19.78%) and a variety of tragedy dimensions. CFSs have been transmitted orally not only as a ludic resource, but also to prepare children for life (and death). The results show the complementarity of both analyses to avoid subjectivity while considering the underlying meanings of the songs.

This task had previously not been approached in an automated manner in the literature, nor there had been a similar study with a sample of this magnitude. The outcomes obtained show the considerable presence of tragedy in Spanish CFSs and emphasize the interest of this currently undervalued didactic resource.