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Purpose – I argue that one can articulate a historically attuned and analytically rich model for understanding jazz in its various inflections. That is, on the one hand, such a model permits us to affirm jazz as a historically conditioned, dynamic hybridity. On the other hand, to acknowledge jazz’s open and multiple character in no way negates our ability to identify discernible features of various styles and esthetic traditions. Additionally, my model affirms the sociopolitical, legal (Jim Crow and copyright laws), and economic structures that shaped jazz. Consequently, my articulation of bebop as an inflection of Afro-modernism highlights the sociopolitical, and highly racialized context in which this music was created. Without a recognition of the sociopolitical import of bebop, one’s understanding of the music is impoverished, as one fails to grasp the strategic uses to which the music and discourses about the music were put.

Design methodology/approach – I engage in an interdisciplinary study of jazz via analyses and commentary on selected texts from several scholarly disciplines.

Findings – To acknowledge the hybridity and social construction of jazz esthetics in no way nullifies the innovations and leadership of African American jazz musicians whose artistic contributions not only significantly shaped modern jazz in the mid-twentieth century but also whose musical voices continue to sound and set esthetical standards in contemporary expressions of jazz (and beyond).

Originality and value – My chapter is highly interdisciplinary, bringing philosophical explanations of race, discourse, and the ontology of music into conversation with numerous sociological and (ethno)musicological insights about jazz.

This paper describes the personal history and intellectual development of Morris B. Holbrook (MBH), a participant in the field of marketing academics in general and consumer research in particular.

The paper pursues an approach characterized by historical autoethnographic subjective personal introspection or HASPI.

The paper reports the personal history of MBH and – via HASPI – interprets various aspects of key participants and major themes that emerged over the course of his career.

The main implication is that every scholar in the field of marketing pursues a different light, follows a unique path, plays by idiosyncratic rules, and deserves individual attention, consideration, and respect … like a cat that carries its own leash.

In the case of MBH, like (say) a jazz musician, whatever value he might have depends on his originality.

The purpose of this paper is to investigate the specific field of arts entrepreneurship by focussing on the practices of vertical dance; a language of contemporary dance where dancers act on a vertical axis, moving suspended on the surface of buildings and walls. The authors’ focus on vertical dance as a meaningful corporal practice to explore the particular combination of dance and human movement, going beyond its purely metaphoric dimension.

The authors’ adopt a micro-social perspective, observing the practices (Gherardi, 2012; Nicolini, 2012; Sicca, 2000), that took place from 2013 to 2015 in the daily work of Wanda Moretti, a Venetian choreographer and co-founder of the company “Il posto”, observed in different contexts of artistic practices (Zembylas, 2014).

Deconstructing the overlapping dimensions that compose the space in our daily experience (force of gravity and the supporting surface), vertical dance clarifies how often we undervalue the complexity of the space and, at the same time, opens up the way for a better understanding and investigation of entrepreneurship in artistic fields.

The study sheds light on the way in which different categories, such as the human body, space, and movement, are a particular entanglement of elements, useful in highlighting some of the fundamental assumptions at the heart of the field of entrepreneurship. The heterogeneous complexity of space and bodies is emphasised, challenging its ordinary conceptualisation.

Este trabajo tiene como objetivo investigar el campo específico de las iniciativas empresariales artísticas, centrándose en las prácticas de la danza vertical, un lenguaje de la danza contemporánea donde los bailarines actúan sobre un eje vertical, moviéndose suspendidos sobre la superficie de edificios y paredes. Nos centramos en la danza vertical como práctica corporal significativa para explorar la combinación particular de la danza y el movimiento humano, que va más allá de su dimensión puramente metafórica.

Adoptamos una perspectiva micro-social, focalizándonos en las prácticas (Gherardi, 2012; Nicolini, 2012; Sicca, 2000) que tuvieron lugar desde 2013 hasta 2015 en el trabajo cotidiano de Wanda Moretti, coreógrafa veneciana y co-fundadora de la empresa “Il posto”, observado los diferentes contextos de las prácticas artísticas (Zembylas, 2014).

En deconstruir las dimensiones superpuestas que componen el espacio en nuestra experiencia diaria (la fuerza de la gravedad y la superficie de apoyo), la danza vertical aclara la frecuencia con la que subvaloramos la complejidad del espacio y, al mismo tiempo, abre el camino para una mejor comprensión y la investigación del espíritu empresarial en los ámbitos artísticos.

El estudio subraya cómo diferentes categorías, como el cuerpo humano, el espacio y el movimiento, son un enredo particular de elementos, útil para poner de relieve algunas de las premisas fundamentales en el campo del espíritu empresarial. La complejidad heterogénea de espacio y los cuerpos se enfatiza, desafiando a su conceptualización ordinaria.

This paper aims to trace the origins, development and future of the consumption experience as a concept in marketing and consumer research.

The author relies on subjective personal introspection to describe his involvement in the introduction and elaboration of the consumption-experience concept.

The author finds that the concept of the consumption experience has extended to many areas of marketing and consumer research, with widespread applicability in the creation of brand-related promotional messages.

The consumption experience is central to our understanding of consumers and deserves full exploration in the work of consumer researchers.

Working with Professor Elizabeth Hirschman, the author played a pioneering role in understanding the consumption experience and is happy to see that their contribution has encouraged others to pursue related themes.

In the fertile line of research on consumer value from the services literature, a gap exists between theoretical and empirical knowledge, in particular regarding Holbrook’s conceptual value framework. The purpose of this paper is to find construct validity for a multidimensional value scale based on Holbrook’s proposal.

Based on a literature review, a qualitative phase, and consultation with an expert, eight value scales (efficiency, service quality, play, aesthetics, status, esteem, ethics, and escapism as an adaptation of spirituality) are tested on a sample of 585 hotel customers and are further analyzed with simple and partial correlations, multiple regressions, and structural modeling.

Following the literature on the merits of Holbrook’s value typology, results are presented in three concatenated phases: validation of Holbrook’s eight value scales corresponding to his eight value types; interrelationships between these value types showing a predominance of the extrinsic-intrinsic and self-other dimensions; and construction of six indices based on the 2×2×2 matrix (self, other, extrinsic, intrinsic, active, and reactive) and a value index as a higher-order representation. The results support Holbrook’s typology, thereby supporting construct validity for the multidimensional scales.

Implications for further conceptual research on value are presented. Meanwhile, the empirical study is context-specific, i.e. related to a hospitality experience.

Although Holbrook’s typology has gained widespread attention, to the best of the authors’ knowledge, no previous research has tested all eight value types simultaneously in the same empirical work.

A desirable experiential environment is an essential source of competitive advantage in the festival industry. Understanding festival attendees' experience is imperative for festival organizers because attendees' experience is a predictor of their future behavior. With the experience economy concept of Pine and Gilmore (1998), the study identified four underlying dimensions of festival attendees' experience (education, entertainment, esthetics, and escapism) and examined the impacts of these experience dimensions on festival attendees' vividity of memory and loyalty.

Data were collected from online surveys completed by 338 attendees of VEISHEA festival. This study employed confirmatory factor analysis, regression analysis, and structural equation modeling to achieve its goals.

Experience has a positive effect on vivid memory, which consequently influences loyalty. Each dimension of experience economy significantly influences vividity of memory. However loyalty is affected only by the entertainment and esthetics dimensions.

Festival marketers are advised to design activities that provide memorable experiential products and services for attendees based on the four dimensions of the experience economy.

The study is a pioneer in the evaluation of vividity of memory to the festival context.

Purpose – The aim of this chapter is to theorize and describe the main characteristics of the social construction of the policy of electro-amplified popular music (EAPM) in the French context.

Design/methodology/approach – To explain the significance and the institutionalization of EAPM through the conflict and mediation between two modes of legitimation of the rebellion and recognition of identity: deliberative rationality and verbalization of protest, on the one hand, and “musicalization” of revolt and globalization of the rebellious feeling attitude, on the other hand.

Findings – The meaning of the so-called “musicalization of revolt” is defined. This phenomenon emerged, in France, at the end of 1960s, after a long and traditional period of “politization” and rationalization of protest. The main sociological and economic dimensions of this new historical process are designated: a special standardization of the emotional expression and a transcultural and global matrix of rebellion. Then, the public policy of EAPM is examined in depth. The paradox of the French voluntarism (the regulation of EAPM practices) is accentuated. What to do with the liberal origin of these styles and the institutional policy that began in 1982? Why and for what reasons has this public policy been still going on? What are the advantages of the public support from musicians’ as well as local and national authorities’ point of view? What are the topics of EAPM public policy (support for social creation, status of drugs, and ritualization of violence)?

Originality/value of chapter – This academic text offers some key concepts explaining the normalization of the emerging and anarchistic musical cultures.

The Noise Upstairs (NU) is a monthly freely improvised (‘free improv’) music night with a home above a café bar in a mixed/student suburb of Manchester. This chapter uses the perspective of critical improvisation studies to reflect on aspects of a performance ethnography carried out by the authors, both of whom are performers and one of whom (Hunter) curates the NU night for the NU collective. Free improv is a post-1960s set of meta-musical practices related to but contesting both ‘jazz’, ‘free jazz’, ‘new music’ and ‘experimental’ music. In it, real-time co-creation and negotiation of social-and-musical relationships are paramount. Consequently, the question of whether a politics of sorts is enacted in the dialogic and multilateral socialities generated in free improv is a substantive one. In addressing it, the authors deploy some concepts from the ‘affective turn’ in social theory to review how the general milieu and out-of-the-hat ensemble-formation approach adopted at NU in fact enables a ‘minor’ micro-political practice of participating differently to be established there. Arising from that discussion, and in line with a key theme of the wider PARTISPACE study, the authors then discuss whether that politics might meaningfully (and usefully) be articulated in terms of ‘democracy’.