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In this account of our long-term ethnographic investigation of the Burning Man Project, we examine the emergence of nomadic spirituality among the citizens of Black Rock City, Nevada. We describe this emergence as a reaction to consumers’ increasing dissatisfaction both with conventional religious denominations and with consumption as an existential ground of meaning. We provide an emic view of the pilgrimage experience at Black Rock City, from the perspective of participants in and organizers of the event. We propose a theory of the comedy of the commons to interpret the surface structure of the moment, and embed our deep structural interpretation of the nomadic spirituality of the phenomenon within the context of new religious movements (NRMs). In so doing, we shed new light on the topic of the sacred and profane in consumer experience.

Brand backstories enable consumers the opportunity to go behind-the-scenes of their favourite brands. This chapter explores the role of the brand backstory experience in the consumer–brand relationship, detailing the manner in which these experiences are structured to immerse consumers within the brand storyworld.

A qualitative analysis of two brand backstory experiences, a museum exhibit documenting the television series Outrageous Fortune and a factory tour of snack foods brand Herr Food Inc. was carried out using in-depth interviews with backstory creators and observatory field notes of the backstory exhibit and tour.

This study reveals how temporal and spatial elements craft the overall architectonics of the brand backstory experience and how the brand backstory reveal progresses to ultimately unite consumers with the brands’ imagined and real families.

By illuminating the dynamism and evolution of brands and branding practices, this chapter offers exploratory insights into a scarcely explored aspect of the brand experience.

The purpose of this paper is to forward an extension of reception analysis as a way to incorporate and give insight to social media mediations and big data in a qualitative marketing perspective. We propose a research method that focuses on discursive developments in consumer debates for example on YouTube – a large-scale open-access social media platform – as opposed to the closed and tightknit communities investigated by netnography.

Online reception analysis

Using a combination of qualitative and quantitative methods, we find that big data can enrich online reception analyses by showing new aspects of weak tie online networks and consumers meaning making.

The potential of online reception analysis is to encompass a discursive perspective on consumer interactions on large-scale open-access social media and to be able to analyze socialities that do not represent shared cultures but are more representative of transitory everyday interactions.

Our method contributes to the current focus to define levels of analysis beyond research centered on individuals and individual interactions within groups to investigate other larger socialities. Further, our method also contributes by incorporating and investigating the mediatization of interaction that social media contributes with and therefore our methods actively work with the possibilities of social media. Hence, by extending the advances made by netnography into online spaces, online reception analysis can potentially inform the current status of big data research with a sociocultural methodological perspective.

Many industries have witnessed a shift from traditional features and benefits marketing towards creating experiences for their customers (Pathak, 2014), but perhaps none more so than the service industry. The concept of experiences and experiential marketing has garnered much attention in recent years and has evolved to where it now has become more strategic and encompasses

the process of identifying and satisfying customer needs and aspirations profitably, engaging them through authentic two-way communications that bring brand personalities to life and add value to the target audience. (Smilansky, 2018, p. 12)

Despite its popular usage however, experiential marketing has had to contend with a lack of acceptance that was – at least in part – justifiable given its emergent nature and poor measurability properties. Its theoretical underpinnings have been explored but are less codified than many other areas of marketing. Nonetheless, it is an established part of a marketer’s armoury, is innovative in its use of technology such as virtual reality (VR) and augmented reality (AR) and, interestingly, has paved the way for a move to a focus on overall business experience. Where customer experience was limited to the marketing domain, business experience is a priority of the CEO, where customer-centricity becomes the driving force throughout the entire company. In this way, the role of experience is central to the ways that companies will grow and achieve better performance in a fast-changing global market. This is of particular relevance to the service industry, which perhaps has experienced the most upheaval of all, throughout the global Covid pandemic. To succeed in a post-Covid world, this chapter will establish how service companies must examine every aspect of their business to create meaningful experiences for customers, that will in turn translate into brand differentiation, ongoing customer satisfaction and business growth.

The academic discourse around celebrity and iconicity has resulted in the same human brand as labeled as an inauthentic and illegitimate celebrity and as a culturally important symbol of legitimate achievement. We address the research question of how are contradictions between celebrity and iconicity resolved in creating and managing a human brand.

Using structuration theory, we analyzed David Bowie’s 50 year career, from 1964 to 2013, totaling 562 documents. Applying Langley’s (1999) stages of data collection of grounding, organizing, and replicating, we develop a process of model of celebrity and iconicity.

We identify three stages of human brand symbolic associations: forming, fixing, and transitioning associations. These represent alternate trajectories that Bowie and Ziggy Stardust followed to become icons. In resolving his trajectories across these stages, Bowie adapts and adopts commercial materials, business practices, and new technologies to converge his symbolic associations into a coherent iconic human brand.

Limitations of this paper lie in focusing on one human brand in a particular industry. Future research is suggested in three areas: (1) the relationship between the proposed model and other human brand activities; (2) to explore how the process is manipulated by other market agents; and (3) whether a human brand’s association shifts can precede culture.

This perspective challenges existing conceptualizations of celebrity and iconicity by framing them as inter-related processes, where celebrity associations are fixed in time, while iconic associations transition across time periods to reflect changing cultural values and concerns.

Consecration is the process by which producers in creative fields become canonized as “greats.” However, is this the end of the story? Research on consecration focuses on the drivers of consecration but pays little attention to the post-consecration period. Furthermore, the research ignores the dynamics of consecration. To address these gaps, we examine the changing fortunes of a consecrated artist – the musician Phil Collins. We identify the ways in which three actors (fans, critics, and peers) assemble for consecration, disassemble for deconsecration, and reassemble for reconsecration. Examining the changing public image and commercial fortunes of Collins as a solo artist between 1980 and 2020, we identify an N-shaped process of rise-fall-rise that we call the Phil Collins Effect. This effect offers a new way of thinking about how cultural producers gain, lose and regain status in their fields.

The author explores the variety of ways in which sports brands have risen to prominence and how the development of particular activities and relationships, with athletes, fans, media and regulators, are designed to present them as authentic. This status is crucial given the cultural and emotional significance of sport alongside its ability to underpin forms of collective belonging. A range of examples, including Red Bull, Nike, Patagonia, Olympic skateboarding and Manchester United Football Club, are used to highlight these processes as well as the complexity of the contemporary social, cultural and political landscapes that such brands now operate in.

Brand narratives are created to differentiate brands, and consumers base their assessments of a brand’s authenticity on this narrative. We propose that the default consumer position is to accept a brand’s narrative, and we find that consumers maintain belief in this narrative even when explicitly reminded that it is manufactured by firms with an underlying profit motive. Because belief seems to be the default position adopted by consumers, we investigate what factors act as disruptors to this default position, thereby reducing assessments of authenticity.

This research uses a series of studies to investigate when and why consumers view some brand stories as authentic and others less so. In addition, we examine the impact of changes to authenticity assessments on managerially important brand outcomes.

Only when one or more authenticity disruptors are present do consumers begin to question the authenticity of the brand narrative. Disruption occurs when the focal brand is perceived to be nakedly copying a competitor, or when there is a gross mismatch between the brand narrative and reality. In the presence of one or both of these disruptors, consumers judge brands to be less authentic, report lower identification, lower assessments of brand quality and social responsibility, and are less likely to join the brand’s community.

Creating compelling brand stories is an important aspect of any marketing manager’s job; after all, these narratives help drive sales. Care must be taken when crafting narratives however, since consumers use these as the basis of their authenticity assessments, and brands deemed inauthentic are penalized.

Discussion around authenticity has grown in marketing and consumption discourse in the last two decades. Consumers are viewed as seeking authenticity, and brands have responded to this. This chapter identifies three foundational categories of authenticity: personal, expressive and material. The main elements of each category are outlined. Key tensions are identified between authenticity as experienced by consumers and authenticity as leveraged for instrumental purposes by the marketplace.