THE IMPACT OF PROMOTIONS TECHNIQUES ON CONSUMER

PSYCHOLOGY IN THE POPULAR MUSIC INDUSTRY: A CONSUMER

PSYCHOANALYTIC PERSPECTIVE

www.grossolatos.com

A Dissertation submitted in the University of Manchester

Institute of Science and Technology, School of Management for the degree of MSc in Marketing

September 1998 By

George Rossolatos

Abstract

This dissertation is an exploratory research into of the impact of promotions techniques on consumer psychology.=The=research=that=draws=on=the=interpretive=methods=and=categories=of=psychoanalysis=and=semiology=is=an=attempt=to=define=the=product=concept=of=a=musical=product= in= terms= of= distinctive= sets= of= promotional= discourses= that= communicate= its=features=to=select=audiences.=The=audience=at=hand=is=the=teen-market, and its segmentation takes=place=against=life-style=characteristics.=The=aim= is= to=find=out=whether= the=‘cultural=imagery’= disseminated= by= promotional= techniques= has= an= impact= on= consumers’=relationship with their ego-ideal and situational self, as well as how a notion of selfhood is established=via=musical=products.=In=addition,=the=aim=is=to=explore=whether=promotional=discourses= impact= on= intra-group= coherence,= and= help= shape= the= ‘sacred= character’= of=musical products. Finally, this thesis aims to put forward a new approach in accounting for consumptive=phenomena=of=the=entertainment=business,=viz.=Iconic=Consumption,=as=well=as=to=demonstrate=how=its=operational=categories=can=be=put=into=use=and=yield=important=results for consumer behaviour researchers.

TABLE OF CONTENTS

Acknowledgements i Abstract ii Table of contents iii List of Figures Chapter 1: Introduction 1.1 Postmodern Consumer Research 1.2 The Hyperreal Space of the Music Industry Chapter 2: Literature Review 2.1 Introduction: What is Popular Music? 2.2 What is the meaning of a musical product and how is it constructed? 2.3 The Icon of the Other as central to the concept of the musical product 2.4 The Semiotic perspective on the Icon 2.5 The Imaginary, the Symbolic, the Real: How the three Lacanian orders can help us understand Consumer Psychology

2.6 Fetish-Taboo-Similacrum: The Triadic Definition of the Musical Product 2.6.1 What is a Fetish and how does it help us understand the way consumers of musical products invest it with value?

2.6.2 What is a Taboo and how does it help us understand the way whereby consumers of musical products gain access to their unconscious wish-fulfilment?

2.6.3 What is the simulacrum and how does it help us understand how musical products as simulacra impact on consumer psychology?

2.6.4 Conclusion to the triadic definition of the musical product 2.7.1 Hedonic Consumption Pt.I: Is pleasure-seeking the driving force behind the consumption of musical products?

2.7.2 Hedonic Consumption Pt.II: Consumption as the pleasure of ritualistic fusion 2.8 Conclusion Chapter 3: Industry Overview 3.1 Introduction: Promotions Techniques and their place in the Music Industry 3.1.1 Advertising 3.1.1.1 Print Advertising 3.1.1.2 Air-Play

3.1.1.3 TV Advertising 3.1.2 Sales Promotions 3.1.2.1 Samples 3.1.2.2 Price-packs 3.1.2.3 Premiums (gifts) 3.1.2.4 Fan-Club 3.1.2.5 Free-trials 3.1.2.6 Point-of-sale displays 3.1.2.7 Below-the-line advertising/Special Events 3.1.2.7.1 Live shows 3.1.2.7.2 Club-events 3.1.2.7.3 Press-conferences 3.1.3 Public Relations 3.1.3.1 Press Relations 3.1.3.2 Product Publicity 3.1.3.3 Lobbying 3.1.4 Conclusion 3.2 The Virtual Organization: A Network Marketing approach to the Music Industry

3.2.1 Introduction 3.2.2 Top management of the record company 3.2.2.1 Sony Music 3.2.2.2 Warner Music 3.2.2.3 Thorn EMI & Virgin Music Group 3.2.2.4 Polygram 3.2.2.5 BMG 3.2.2.6 Conclusion 3.2.3 A&R Department 3.2.4 The Artist 3.2.5 The Marketing Department 3.2.6 The Press Office (PR Department) 3.2.7 The Journalists 3.2.8 The DJ 3.2.9 The Retail Outlet 3.2.10 The Consumer 3.2.11 Conclusion Chapter 4: Methodology 4.1 Introduction 4.2 Research Objectives 4.3 Research Design 4.3.1 Why Qualitative Methods? 4.3.2 Secondary Literature 4.3.3 In-Depth Interviews

4.3.4 Focus-Group Discussions 4.4 Analytical Techniques 4.5 What is Discourse Analysis? 4.6 Problems associated with Discourse Analysis 4.7 Implications of Discourse Analysis 4.8 Analysis at work 4.9 Conclusion: Interpretivism as a method to Consumer Psychoanalysis Chapter 5: Discussion of Research-Findings 5.1 Introduction 5.2 Exploring the nature of the Research Hypotheses 5.2.1 Hypothesis 1 5.2.2 Hypothesis 2 5.2.3 Hypothesis 3 5.3 Conclusion Chapter 6: Conclusion and Recommendations 6.1 Introduction 6.2 Theoretical Contribution 6.2.1 Contribution on a Conceptual Model level 6.2.2 Contribution on a Methodological level 6.3 Implications of the research findings for brand management 6.4 Limitations 6.5 Recommendations- Future areas of research 6.6 Conclusion Appendices Appendix 1: Primary Data 1.1 Focus-Group Design 1.2 Transcribed Data Appendix 2 5.2.1 (a) Press clip and Virgin Records Official Press Release Appendix 3 Glossary Bibliography

1. Introduction 1.1 Postmodern Consumer Research J.F.Lyotard’s=‘Postmodern=Condition’=(1984)=attested=to=the=end=of=grand=ideologies=that=purported= to= structure= socio-political= and= cultural= life= on= the= principles= of= theoretical=‘meta-narratives’.=From=the=postmodern=perspective=our=world=is=shaped=to=a=large=extent=by=the=fleeting=images=projected=on=consumers.=In=the=case=of=the=entertainment=business,=these fleeting images anchor in the aesthetic media of music, film, fashion, mass media. In this dissertation we set out on an Odyssey, both theoretical and empirical, into the popular music= industry.= = The=Sirens= that= enchanted= us= bear= the= name= ‘musical= products’.=The=theoretical= apparatuses= employed= so= far= in=order= to= tackle= their= seductive=melodies=has=been= found= to= be= far= too= ‘modern’= for= their=elusive personae.=Time-hallowed=research=paradigms,=like=Symbolic=Consumption=and=Hedonic=Consumption=have=been=deemed=by=various= researchers= in= the= field= of= Consumer= Behaviour,= such= as=Mick(1986),= Elliott=(1995),= Belk= (1989),= Holbrook= and= Hirschman= (1992),= as= being= too= restrictive= and=exclusive= in=accounting= for=certain=consumptive=phenomena.=While=acknowledging=their=indispensable= usefulness= in= accounting= for= certain= product= classes= (such= as= cars,=confectionery, television-sets)=and=consumers’=attitudes=towards=them,=they=fail=to=account=for= other= consumptive= phenomena,= such= as= that= of= ‘musical= products’,= a= very= special=product-class= indeed.= Whereas= in= the= aforementioned= product-classes= the= needs= and=desires=of=consumers=are=discernible=more=easily,=when=it=comes=to=musical=products=we=are= confronted=with=major= definitional= problems,=when= applying= traditional= consumer=behaviour= models,= such= as= AIDA= (AWARENESS-INTEREST-DESIRE-ACTION). Having= been= personally= involved= in= the= industry= for= a= considerable= amount= of= time,=conversed=with=people=who=work=for=various=departments,=artists,=and=consumers,=it=has=become= apparent= that= this= consumptive= phenomenon= is= defined= by= extraordinary=

complexity.=One=factor=that=intensifies=this=complexity=is=that=whereas=other=fast-moving consumer=goods= can=be= conceptualized= as= regards= their=use= and= exchange=values=quite=apart= from= the=promotional=activities=undertaken=as=part=of=a=marketing=communication=plan, musical products are the outcome of such promotional activities,=and= in= fact,=their use-value cannot be conceived apart from the ways whereby their image is shaped through these activities.=The= place= of= the= consumer= amidst= this= promotional=extravaganza=is=not=easy=to=track=down.=Complex=concepts=have=been=recruited=in=order=to=show=how=consumer=identity=is=formed=via=promotional=activities,=as=well=as=how=groups=of= consumers= operate= on= the= basis= the= life-styles= they= project.= The= milieu= for= this=exploratory= project= is= circumscribed= by= postmodern= discourses;= the= research= design,=rationale=and=discussion=of=its=findings=are=shaped=on=the=assumptions=or=insights=gained=while= reviewing= relevant= fragments= from= the=existing= literature.=Through= this= reviewing=process= a=model,= deemed= to= be= appropriate= for= the= research= at= hand,=was= constructed,=which=was=baptised=‘Consumer=Psychoanalysis’.=As=implied=by=the=term,=psychoanalytic tools (mostly Freudian and Lacanian) have been operationalized in an attempt to define the ‘subject’= and= its=Other.= Thorough= argumentation= has= been= provided= wherever= the=reformulation or criticism of existing theories was called for, in order to elucidate concepts that are ‘obscure’ by nature, as well as in order to render their applicability evident. But=before=moving=any=further=we=should=first=clarify=what=is=meant=by=‘Postmodernism’=and the aspects in which it differs from meta-narratives. “First,= a=movement= away= from= universalistic= ambitions= of=master-narratives=where= the=emphasis=is=upon=totality,=system=and=unity=towards=an=emphasis=upon=local=knowledge,=fragmentation,=syncretism,=‘otherness’=and=‘difference’.=Second,=a=dissolution=of=symbolic hierarchies= which= entail= canonical= judgments= of= taste= and= value,= towards= a= populist=collapse=of= the=distinction=between=high=and=popular=culture.=Third,=a= tendency= towards=the aestheticization of everyday life which gained momentum both from efforts=within=the=arts= to=collapse= the=boundary=between=art=and= life=(pop=art,=Dada,=surrealism=and=so=on)=and=the=alleged=movement=towards=a=simulational=consumer=culture=in=which=an=endlessly=reduplicated=hallucinatory=veil=of=images=effaces=the=distinction=between=appearance=and=reality.= Fourth,= a= decentering= of= the= subject,=whose= sense= of= identity= and= biographical=continuity= give=way= to= fragmentation= and= superficial= play=with= images,= sensations= and=‘multi-phrenic’= intensities”= (Mike= Featherstone,= Undoing= Culture:= Globalization,=Postmodernism and Identity, Sage 1995, pp.43-44). Parker= (1992,= p.70)= points= out= two= ways= in= which= the= postmodern= differs= from= the=modern: (i) there= is= a= shift= from= a= critical= stance= towards= the=world=which= attempts= to= realise=

human= values=and= needs= against= existing= institutions= and= patterns= of= culture= to= a=positive stance which celebrates the way things are because any other way is as unreal.

(ii) there=is=a=shift=from=metaphors=of=depth=to=the=surface,=so=that=instead=of=attempting=to=uncover= deeper= underlying= structures= of= oppression,= experience= or= progressive=dynamics of change, the attention is to meaning alone. In this sense, the postmodern is an experience in which each and every thing is equally invested with meaning.

No= other= definitions=could= be= more= comprehensive= as= regards= the= contents= of= this=dissertation:

• An emphasis on fragmentation: How is the consumer broken into the multiplicity of heterogeneous images projected by musical products?

• A dissolution of canonical aesthetic hierarchies:= Mozart= or= Pulp?= This= is= the=question=addressed=in=the=introduction=to=our=Literature=Review,=viz.=an=act=is=popular=for= those= who= invest= psychic= value= on= it,= be= it= a= group= of= two= consumers= or=25,000,000.=What= matters= is= their= ‘irreducible= difference’,=i.e.= the= impossibility= to=hierarchize=musical=taste=according=to=categories=of=‘authenticity’=and=‘inauthenticity’.=Authenticity?=Is=this=possible=with=billions=of=copies=of=Mona=Liza=circulating=in=the=emporium?=(to=repeat=the=often=cited=argument=by=Walter=Benjamin=with=regard=to=the=loss of the ‘aura’ of the original in the era of mechanical reproduction).

• Simulational consumer culture:=What= this=means= essentially= is= that= products= are=consumers=and=vice=versa.=As= it=will=be=explained= in= the=Literature=Review, musical products= are= ‘simulacra’= rather= than= ‘representations’,= a= distinction= which= has=tremendous= implications=for=members=of=Marketing=and=A&R=departments,=who=are=mostly responsible for the R&D stage of a musical product.

• Decentering of the subject:= = = Alternatively,= the= consumer= is= never= one= with=him/herself,=but=always= in=a=process=of= re-collecting=products= that= substitute= for= the=lost= sense= of= selfhood.= Lacanian= and= Freudian= psychoanalytic= terminology=will= be=employed= in= order= to= show= how= the= decentering=of= the= subject= is=an=essential=pre-condition for the consumption of musical products.

However,=none=of=these=terms=would=make=sense=without=a=unifying=theoretical=backdrop.=Insofar=as=postmodernism=goes=hand-in-hand=with=the=notion=of=hyperreality,=we=should=first of all turn our focus to that direction. 1.2 The Hyperreal Space of the Music Industry The=purpose=of= this=section= is= to=give=a=general= theoretical=framework=within=which= the=analysis of the function of promotions techniques and their impact o consumer psychology can=take=place.=The=principal=aim=is=to=show=how=the=production=of=a=musical=product=is=embedded=within=a=cultural= space=of= interlocking=procedures,=which=are= interdependent=and= inextricable.= This= space,= in= which= the= music= industry= is= situated,= is= called= the=‘Hyperreal=Space’.=Let=us=begin=by=explaining=how=this=concept=evolved=in=the=history=of=human=thinking=and=then=move=on=to=describe=its=usefulness=in=analysing=the=function=of=promotions techniques. Issak=Newton=conceived=of=space=as=an=existing=container=within=which=the=movement=of=physical= entities= takes= place.= It= was= not= until= the= advent= of=modernity= and= its=major=proponent=Immanuel=Kant=that=space=was=conceived=as=an=ideal=principle,=with=no=tactile=reality,= that= imposes,= under= the= auspices= of= Reason,= an= ordered= movement= in= the=succession=of=phenomena=as=they=appear=to=human=perception.=This=conception=of=space,=which=was= termed=by=Kant=as=one=of= the= two=pure= forms=of=sensibility= (the=other=being=time),= has= long= since=undergone= serious= attacks= by= thinkers= such= as=Hegel,= Schelling,=Einstein, and more recently the post-modern philosopher Jean Baudrillard, who coined the term= ‘Hyperreal= Space’= in= an= attempt= to= explain= the=imaginary= nature= of= space.= The=

‘Imaginary’,= for=Baudrillard,= is= conceived=not= in= contradistinction=with= ‘reality’,=but= as=what precedes the very distinction between imagination and reality. From= the= time= of= Plato,= (and= with= slight= conceptual= differences= this= is= also= true= of=Aristotelian thinking), Imagination=was=conceived=as=the=faculty=of=human=cognition=that=allows= for= the=production=of=definite= images,=and= the= role=of=production=of= images=was=allocated=to=the=realm=of=art=.=This=conceptualisation=was=rendered=etymologically=clear=by=Martin=Heidegger=(in=the=Introduction=to=his=seminal=work=Being=&=Time),=who=analysed=the term according to its original signification embedded in the grammatical framework of ancient Greek language. In this context imagination is translated into Greek as ‘Phantasia’, which= derives= from= the= verb= ‘phaino’,= initially= denoting= ‘to bring something into existence’= or= ‘to let appear’.= Reality,= as=what is given= or=what exists,= is= explicated=concomitantly=as=what=has=been=brought=forth=into=existence=or=what=is.=Therefore,=insofar=as= imagination= is= responsible= for= bringing= something= into= existence,= and= given= that=existence= is= equivalent= to= reality,=we= infer= that= imagination= is= the= faculty= of= cognition=responsible for creating reality, i.e. what is. For=the=majority=of=theorists=in=the=post-modern=literature=(i.e.=the=literature=that=attempts=to=break=free=from=the=tradition=of=modernity=initiated=by=Immanuel=Kant)=there=is=no=kind=of= substructure= to=what is.= =‘Reality’= is= irreducibly=an=arte-fact,= that= is=a= series=of= facts=cunningly knitted=together=by=a=spider,=as=it=were=(to=use=Nietzsche’s=eloquent=metaphor,=who=also=metaphorically=alludes=to=the=products=of=art=as=‘facta=ficta’,=i.e.=‘fictive=facts’).=Art= can= thus= be= pictured= as= a=massive=manufacturing= plant,=where= reality= is= produced through= the= machinery= of= imagination.= And= the= fact= that= art= is= not= just= about=‘entertainment’,= but= has=more= ‘serious’= political= and= social= dimensions= is= attested= by=politicians’=need=to=be=trained=intensely=in=the=art=of=rhetoric,=the=linguistic=tools=of which allow=them=to=twist=their=discourse=in=such=manifold=ways=as=to=produce=‘reality’=through=different lenses, or create facta-ficta by drawing on the artistic skills of rhetoric. Therefore, reality is not distinctive from its artistic renditions, but=rather=depends=on=them=for=its=very=constitution. Reality has always already been ‘hyperreal’.

“The=hyperreal=represents=a=much=more=advanced=phase,= in=the= sense= that=even= this=contradiction=between= the= real=and=the imaginary is effaced” (Baudrillard 1983,=p.142).=

The Hyperreal points out the fact that reality is a fabricated structure, which has important implications for marketers because every time marketing managers segment a market, they are=inevitably=concerned=with=inventing=or=structuring=that=market=on=the=basis=of=certain=background assumptions. However,=given= that=every=kind=of= identifiable= structure=allows= for=modifications= in= its=fabric=or=even=for=its=very=foundations=to=be=lifted=altogether,=thus=causing=its=dissolution,=we=have= to= retain=an=invisible=side=inside=or=outside=the=artefact.=This=invisible=side=was=termed=by= theologians= and=philosophers= throughout=millennia,= the= ‘Real’= (starting=with=Plato=who=called=‘it’=ens=entium,=the=Being=of=beings,=then=Aquinas=who=called=‘it’=‘Ens=realissimum’, and finally the psychoanalyst Jacques Lacan who coined the ‘Reel’, as what does=not=exist= in= language).=For= the=purposes=of= this=dissertation=we=accept= this=kind=of=Real,= as= a= structurally=necessary= excessive= element= that=poses= a= threat= to= the= structure,

which=we=call,=following=Baudrillard,=‘Hyperreal’=or=what=lies=above=the=Real.=Given=that=the ‘Real’ is inaccessible, what we can investigate, modify, or interpret in this dissertation, with its focus on the music industry in general, and the musical product in particular, is the ‘Hyperreal’,= that= is=our world,= i.e.= the=multiplicity= of= artefacts.= “This= also=means= the=collapse of reality into hyperrealism, in the minute duplication of the real, preferably on the= basis= of= another= reproductive= medium-= advertising,= photo,etc.”= (op.cit.p.14,= my=emphasis),= or,= in= general,= the= promotional= discourses= (reproductive= media)= that= are=responsible= for= producing= the= cultural= imagery= that= shapes= our= world.= The= constant=reproduction=also= implies= the=absence=of=any=sense=of=‘originality’,=as=every=new=factum=fictum=is=a=collage=of=elements=from=previous=facta=ficta,=or=hyperreal=constellations.=The=absence of ‘originality’ in a cultural artefact means that whatever is produced is already its double,=that=is=a=reduplication of itself. This cryptic remark simply means that there are no fixed=properties= inherent= in=a=product,=but= that= its=properties=are=always=interpretatively and performatively mediated by artists, advertisers, individual consumers and the multiple reference= groups= of=which= they= form= part.=Dance=music= is= a= novel= repetition= of= ritual=rhythms, and contemporary rock music is a repetition of African beats. The= primacy= of= ‘repetition’= in= describing= the= essence= of= a=musical= product= also= has=important implications=for= its=value,=both=psychic=and=monetary.=The=value=of=a=musical=product= is= not= determined= in= an= a= priori=manner,= but= rather= lies= in= the= perception= of= =individual=evaluators.=The=theoretical=distinction,=often=used=by=authors=in=the=consumer=behaviour= literature,=between= the= intrinsic=and=extrinsic=value=of=products=breaks=down.=Otherwise, how could we explain the outstanding amount of money charged for a piece of Jimi=Hendrix’s=clothing=worn=in=Woodstock=Festival?=The=value=of=this=product=does=not=correspond= to= its=original=value.=In=fact,= it= is=highly=doubtful=whether= there=ever=was=an=original value. On the contrary, it is the central argument of this thesis that the product has always= been=other= than= what= it= is,= depending= on= the= different= interpretations= and=evaluations=people=have=been=making=about= it=at=different=points= in= the=hyperreal=space.=The=‘meaning’=and=‘proper=features’=of=the=product=have=been=undergoing,=ever=since=its=inception, an incessant process of reduplication, while being disseminated in the hyperreal space and re-interpreted by the cultural mediators that are responsible for its fabrication. The= various= promotional=media= (such= as= advertising,= air-play,=live-shows,= and= related=merchandise)=operating=at=the=level=of=the=Hyperreal=can=only=afford=to=reproduce=already=produced ‘fictive facts’ by reconstructing them into novel ‘facts’. These facts are similar to texts= (or,= better,= hypertexts)= in= the= sense= that,= just= like= the= latter,= they= are= created= by=drawing=on=certain=artistic=principles,=such=as=the=art=of=composing=a=literary=or=musical=piece.= Every=meaningful= text,= either= belonging= to= the= realm= of= historiography= or= pop=culture,= is= nothing= but= a= text= woven= with=mastery= in= a= completely= haphazard,= albeit=meaningful=manner.= =The=sum= of= these= texts= (text= here= is= used= in= its= original= sense= as=texture=or=the=elements=that=make=up=a=‘factum=fictum’)=constitutes=what=is=called=‘cultural=heritage’,=which=maps=the=cultural=space.=Therefore,=cultural=space=is=hyperreal=space,=i.e.=not= resembling= to= another= space,= but= resembling= only= to= itself.= = It= is= a= self-subsistent, textual= surface= made= up= of= artistic,= fictive= facts= laden= with= meaning.= This= space=circumscribes= the= procedure= of= encoding= messages= and= transmitting= them= through=identifiable=channels= to= the=units=of=consumption=or= the=consumers.= =The=ways=whereby=these messages are inscribed in the products of the popular music industry, and even more

radically,=the=nature=of=messages=inscribed=in=these=products,=are=not=always=easy=to=track=down,= as= their= production= is= disseminated= in= and= through= various= loci,= including=advertisers,=promoters,=radio=stations,=magazines,=newspapers,=or=in=general=what=we=call=the= ‘carriers= of= cultural= significance’= (or= cultural=mediators,= as= Bourdieu,= 1983,= calls them). Therefore,= the=music= industry= is= an= abstract= artistic=machine= of= cultural= production,= in=which= distinctive= classes= of= cultural= mediators= and= an= entire= range= of= promotional=techniques=are=responsible=for= the=production=and=reproduction=of=musical=products= that=assume value for groups of consumers. 1.3 Conclusion This=dissertation=will=be=concerned=with=how=this=‘value’=is=inscribed=in=musical=products,=what=kind=of=value=it=is,=and=how=it=is=exchanged=according=to=different=contexts=of=their=use.=The= description= of=musical= products,= and= products= produced= in= the= entertainment=industry=in=general,=as=‘textual=artefacts’=already=shows=the=importance=of=communication=in the dissemination and reduplication of their meaning(s). Promotions techniques=are=the=vehicles of this communication, and largely responsible for shaping the concept of musical products.=The=following=chapter=explores=how=this=shaping=takes=place,=and=which=classes=of= ‘cultural= mediation’= are= responsible= for= the= production= of= cultural= meaning=communicated in and through this distinctive class of products.

2. LITERATURE REVIEW

2.1 Introduction: What is Popular Music? Popular=music= is=an= indispensable=part=of=people’s= lives= in=contemporary=post-industrial societies.=Tagg= (1982,=p.37)=has=estimated= that= the=‘average=Westerner’s=brain=probably=spends= around= twenty-five=per=cent=of= its= lifetime= registering,=monitoring=and=decoding=popular music” (cited in Burnett 1996, p.1). = = = = = =Popular=music=is=not=easy=to=define=due=to=issues= that=arise=once= the=questions= ‘for=whom’=and=‘why’=it=is=popular=are=posed.==Denisoff=(1975,=p.39)=defines=popular=music=as=“ the sum total of those taste units, social groups and musical genres which coalesce along certain taste and preference similarities in a given space and time”. This definition suggests that= a= particular=musical= trend= is= regarded= as= popular= by= a= given= audience= at= a= given=spatiotemporal=moment.=This=claim=urges=us= to=dispel=every=consideration=of=a=musical=style=as=popular= in=absolute= terms.=Even= though= the= term= ‘popular’= (stemming= from= the=latin= ‘populus’=meaning= the= undifferentiated=mass= of= people)= is= used= to= define= a=mass=market,= it= is= not= so= obvious= that= an= artist=who= cherishes= commercial= success= is=more=

popular= than=another=who=is=recognized=in=a=small=market=niche.=It=is=my=belief=that=each=particular= audience= is=incommensurably different= to= another,= which= means= that= an=artist’s=popularity=is=not=necessarily=translated=into=sales=figures.=How=are=we=to=interpret=popularity, then? “What=the=term=‘popular=music’=tries=to=do=is=to=put=a=finger=on=that=space,=that=terrain,=of=contradiction-= between= imposed= and= authentic,= elite= and= common,= predominant= and=subordinate,= then= and= now,= theirs= and= ours,= and= to= organize= them= in= particular=ways” (Middleton=1990,=p.7,=my=emphasis).=Middleton= rightly= stresses= that= the= term= ‘popular’=tends= to= impose= a= dividing= line= between= consumer= segments.= Clustered= according= to=similar psychographic and/or demographic characteristics, act followers gather around=the=musical=icon,=from=which=stems=a=feeling=of=‘authenticity’,=of=being=different=from=a=rival=act’s followers. It=is=our=suggestion=that=popularity=be=assessed=according=to=the=impact=an=act=has=on=its=consumers.=The=consumers=form=distinctive=audiences sharing common preferences, that=allow= them= to=cluster=under= the=name=of=a=particular=act,=which= is=popular=for= that=audience.= The= impact= of= that= act= on= its= audience’s= ‘comportment= towards= its=worldly=affairs’=(to=use=a=phenomenological=term)=is=evinced=in=the=ways=in=which=the=members=of=the=audience=adopt=several=features=initiated=by=the=act’s=image.=The=name=of=the=act=is=the=generic definition encompassing all these features that form part of the audience-members’ everyday communicative activities among them, as well as with other group-members. 2.2 What is the meaning of a musical product and how is it constructed? It=was=stressed=in=the=introduction=to=this=dissertation=that=the=value=of=the=musical=product=cannot=be=determined=in=an=a=priori manner. Its inevitably extrinsic value depends on= the= image= formed= by= primary,= secondary,= and= tertiary= image-makers,=who,= in= turn,=determine= the= product-concept.= The=image= of= the=musical= act= functions= as= a=mirror= in=which=individual=members=that=form=its=audience=reflect= themselves=and,=concomitantly,=structure=their=self-image=around=the=features=that=make=up=this=cultural=artefact.==Cultural=mediators= (press,= radio,= dj’s,= influencers,= opinion= leaders)= are= responsible= for= the=construction=of=the=mirror,=which=lies=between=the=two=polar=opposites=of=the=production-consumption= spectrum.= Then,= consumers= are= responsible= for= inscribing= the= mirrored=features= in= their= comportment,= and= reflect= them= back= to= the= cultural=mediators.= This=incessant=process=of=mirroring=allows=the=movement=of=polysemic=dissemination,=i.e.=the=dispersal of meaning inscribed in the musical product in multiple communicative contexts, to= take=place=within= the=all-encompassing=hyperreal=cultural=space.=The=following=graph=summarizes the process of the musical product’s image-making=or=product=concept: ================================Tertiary=image-makers (consumers)

Primary image- ==============================Secondary= Makers/=Primary==============================================================================image-makers Product= concept= = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = (Graph 1) =The=meaning= cultural=mediators= give= to= the= product= is= identical=with= the= promotional=message,=which= is= defined= as= “the= complex= of= significations=which= at= once= represents,=advocates= and= anticipates= the= circulating= entity=or= entities= to=which= it= refers”= (Wernick=1996,=p.182).= M. Ritson=&=R.=Elliott=have= termed= this=process=co-creation of meaning,=which=denotes=

that=“the=reader=connects=the=meanings=derived from a text with their own experiences and=repertoires=in=the=co-creative=act.=Not=all=the=meanings=derived=from=a=text=come=directly= from= its= intended= sources,=many= stem= from= the= individual= connecting= and=integrating,=at=a=varying=abstract=level,=the=explicit=content=of=the=text=with=their=own=constructions of reality” (1995, p.1049).

==============================================INSERT=FIGURE=2==FROM=THE=ARTICLE What=is=effectively=created,=through=a=long=chain=of=interlinked=promotional=activities,=is=a=‘simulacrum’=of=reality,=or=what=resembles=itself=(see=below=for=an=analysis=of=the=concept=‘simulacrum’).=Consumers,= in= the=process=of=mirroring= themselves= in= the= image=of= the=artist,= are=mirrored= in= the= process= of= the=manufacture= of= culture.=Essentially, they “live always= already= in= an= aesthetic= hallucination= of= reality”= (Baudrillard= 1983,= p.148).=The=notion= of= ‘hallucination’= does= not= presuppose,= in= this= context,= a= real=meaning= that= is=covered=up=in=a=misty=cloud,=but=rather=certifies=the=hyperreal=character=of=every=artefact.=Given=its=artificial=nature,=it=can=easily=be=re-placed=in=the=movement=of=re-doubling=(cf.=Introduction),= and= enter= a= new= trajectory= (with= unexpected= behavioural= effects)= in= the=communicative circulation of signifiers among=consumers=clustering=under=the=name=of=a=particular act. What do I mean by that?

Simply, the following: Encoding (Promotions people-=primary=image==========================Decoding=(Consumers) ======Press=people- secondary image) =====================Decoding=(PP=+=PP)==========================================Encoding=(Consumers) (Graph 2) The=above-used=notion=of= ‘trajectory’= implies= that= this=model=takes=place=in=a=spiralling=form.=This=means=that=communication=moves=into=circles,=in=the=sense=that=the=message=at=one= time= is=disseminated=from= the=PP= to= the=consumers=and=at=another= time= the=process=works= vice= versa.=This= circulation= is= enabled= by=the= ‘iconic’=dimension=of= the=musical=product,=that=is=its=intangible=cues=that=grant=it=its=power=to=impose=coherence=among=the=group-members: “ The icons have a power or magic stemming from the supernatural beings they are supposed= to= represent.= They= do= indeed= resemble= their= objects,= but= it= is= a=magical= or=metaphysical= resemblance,= an= association= and= a= fixing= of= the= object’s= properties= in= a=physical form”. (Bradley 1991, p.25) The=‘physical=form’=Bradley=refers=to=encompasses=the=tangible=cues,=like=posters, photos,=memorabilia,=which=we=saw=in=the=promotions=techniques=analysis=as=adding=extra=value=to=a=product.=This=urges=us=to=infer=that=there=is=an=analogical=relationship=between=the type of promotions used for marketing a product and the feeling=the=consumer=gets=out=of= associating= the= additional= features= (extra-value)= surrounding= the= product= of=approximating=the=‘essence’=of=the=icon.=Barthes=calls=this=analogy=“a=figurative=copy=of=the=object= signified”= (Barthes=1990,=p.216).=And=as=always,= there= is= a=gap=between= the=copy and the original. It is this gap “iconic experiences encourage us subconsciously to fill in…and=then=to=believe=there=was=no=gap=in=the=first=place”=(Kent=Grayson=1997,=p.21,=the=phrase=has=been= slightly=amended).=The=hierarchy= in=which= these= associations=between=promotional= technique=and=added=value=are=stratified=will=be=explored= in= the=context=of=focus-group discussions. The= relationship= between= ‘extra-value’= and= promotional= techniques= is=most= strikingly=manifested= in= the=memorabilia-collector’s=life-style.=This=person= structures= a= significant=part=of=his/her=life=on=the=principle-ideal=of=exhausting=the=collectable=items=surrounding=a=particular=artist,=be=it=limited=edition=records=or=posters.=The=whole=craving=resembles=the quest=for=the=Holy=Grail.=And=again,=just=like=the=religious=icon,=the=musical=product=is=an=occasion=for=‘communion’=with=one’s=peers.=Recognition=is=secured=from=one’s=likes,=thus=

reinforcing the sense of belongingness, or the fundamental ontological need of being-with. The= collector,= essentially,= is=never= alone.=S/he= is= always= accompanied=by= the= aesthetic=phantasm of a generalized Other that is present in virtue of possessing an ‘icon’ (just like a die-hard= fan= of= Jimi=Hendrix=who=was= reported= to= believe= he=was= in= touch=with= the=deceased= artist,= in= virtue= of= being= in= possession= of= his= scarf).= “Icons= are= also= cultural=ciphers.= They= help= us= to= de-cipher,= or= unlock,= the= mystery= of= our= attitudes= and=assumptions…people=who=believe=in=them=also=operate=on=an emotional level-=the=level=of=love and reverence” (Fishwick et al 1970, p.86). 2.3 The Icon of the Other as central to the concept of the musical product = The= concept= of= ‘Other’= is= central= to= the= Lacanian= psychoanalytic= oeuvre,= as=well= as=operative= in= the= analytical= framework=of= this= thesis.=For=Lacan,= the=Other= can=only=be= =referred=to=in=an=oblique=manner,=thus=precluding=any=direct=referential=relationship.=For=explanatory= purposes,= we= could= say= that= the= Other= is=radical alterity,= irreparably=separated=from= the=ego,= like= the=separation= that= takes=place=at= the=moment=of=birth.=The=function=of=a=cultural=icon=is=to=provide=a=simulacrum=of=the=origin=(the=maternal lieu)= to=which= the= consumer= cannot= return,= save= only= ‘feel= like’= what= it= is= to= return= in=‘dissimulation’, that is self-deception.=This=is=why=the=‘fetish’=is=described=by=Lacan=as=the=‘petit=autre’=(objet petit a1),=because=it=gives=a=glimpse=of=the=Other=(l’Autre,=with=capital=A).=Therefore,=the=cultural=icon=provides=a=cipher=for=approximating=the=Other,=a=code=for=communicating among group-members a fundamental lack, which is the lack of the origin. The=Other=points=to=a=‘gap’=in=the=centre=of=subjectivity,=which=gap=(and=the=steps=taken=in=order=to=bridge=it)=is=re-produced=in=consumption=through=the=gap=that=exists=between=the=iconic=object=and=what=it=represents=(as=already=noted=by=Grayson).=The=reason=why=this=gap,=which= is=of= central=value= in= constantly= rekindling= the=desire= to= consume,= is=never=closed=is=that=its=closure=would=amount=to=a dissolution of the ego, as it would become one with its Other. “The self’s only model for self-conception has been that of the idea of itself as=ego,=a=person”=(McCannell=1986,=p.64).=This=means=that=the=code=can=never=be=broken,=as=what= it=allows= the=ego=to=approximate=is=its=ideal=image,=rather=than=the=Other,=which=constitutes its ‘essence’ as gap. The ‘gap’ is also the reason why the icon is an object of uncritical devotion. The processes whereby devotees demonstrate psychic attachment to the icon have been called by Belk et al.=‘sacralizing=processes’,=that=is=the=processes=whereby=“consumers=construe=meaning=in=various fashions and in different degrees of ontological intensity” (1989, p.13). Collecting, being=one=of=these=processes,=is=of=major=significance in maintaining one’s self-concept=or=ego-ideal.=This=significance=was=evinced=by=the=authors=in=the=context=of=interviews=they=conducted= with= collectors= who= had= lost= their= valued= objects.= “Such= an= occasion= is=disturbing=because=it=destroys=the=possibility of eternal life for possessions that are closely connected with the self” (op.cit., p.30).

1 “The ‘objet-petit-a’=represents=the=machine=that=unleashes=desire.=It=is=really=Lacan’s=formula=for=the=lost=object=which=underpins=symbolisation,=cause=of,=and=‘stand=in’,=for=desire.=Desire=takes=place=in=a=specific=place.=All=the=objects=have=some=relationship=to=separation. The breath, the voice, a song, all of these things can be objects of desire. Evan a glance can be an ‘objet-petit-a’”.=(Sarup=1992,=p.69,=my=highlighting).

=Although=Belk=stresses= that=“advertising=has= the=potential= to= trivialize= the=sacred=by= its=copresence”=(op.cit.=p.24),=it=may=be=counter-suggested=that=it=works=the=other=way=round.==The= process= of= promotions= is= responsible= for= investing= the= musical= product= with= a=mystifying,=sacred=cloak,=for=enhancing=its=‘aesthetic=hallucination’=(or=‘illusory=realism’- Mick= 1986,= p.206,= also= cf.= Elliott= 1997,= p.285)= and=maintaining= its= iconic= status=(Hypothesis 2). 2.4 The Semiotic perspective on the Icon Having,= thus= far,=hinted=at=how=musical=products= function=as=cultural= icons,=we=shall= turn= to= analyse= the= effects= of= the= icon= on= consumers= of=musical= products= on= the grounds= of= R.Barthes’= semiotic= system,= and= Freud’s= and= Lacan’s= psychoanalytic=techniques. An=important=concept=that=will=be=used=in=analyzing=these=effects=is=Barthes’=‘signifiance’.=For=Barthes,=Signifiance= arises=when= the= text= is= read= (or=written)= as=a=moving=play=of=signifiers,=without=any=possible=references=to=one=or=some=fixed=signifieds.=In=this=process,=the= subject= is= deconstructed= (lost),= overwhelmed= by= the= pleasures= of= jouissance.=Signifiance= should= not= be= confused= with= signification.= Signification= presupposes= a=relatively=stable=relationship=between=signifier=and=signified,=whereas=signifiance=implies=that=the=only=relationship=that=exists=is=between=signifiers.=This=means=that=the=relationship=is=not=denotative=but=connotative.=This=means=that=whereas=a=poster=at=the=centre=of=which=figures=the=head=of=the=lead-singer=of=a=band=may=signify=the=singer=qua=physical=entity,=at=the=same=time=it=signifies=all=sorts=of=cultural=values=(and=exchanged=for=them).=The=links=that=are=drawn=between=the=signifier=and=the=deposit=of=signifieds=it=connotes=are=enabled=by consumers’ partaking of a common cultural predicament (more light will be shed to this ‘predicament’=when= interpretive= repertoires= and= their=value= in= creating=world-sense= for=consumers is discussed). Therefore, in signifiance the signifieds are constantly transformed into signifiers. This= connotative= relationship= between= signifier= and= signified= establishes= the= hyperreal=framework=of=the=music=industry.=“While=signification=covers=all=the=processes=related= to=communication=(meaning,=expression,=subjectivity)=signifiance=in=song=concerns=the=grain=of=the=voice,=where=the=melody=really=works=at=the=language-=not=at=what=it=says,=but=the=voluptuousness of its sound signifiers” (Middleton 1990, p.261-).=For=most=of=the=part=the=language is everyday language- cliched, trite, familiar-=though=it=may=be=reassembled=into=new=combinations.=“The=point= is= to=‘defamiliarize= the=familiar’,= to= invest= the=banal=with=affective=force=and=kinetic=grace,= to=draw=out=of= the=concrete=world=of=denotation=some=sense=of=those=human=generalities=translated=by=musical=processes.=The=result=is=to=make=plain= talk=dance”= (idem.,=p.229).=Middleton’s=point= echoes=Adorno’s= remark= that= “The=culture=industry=fuses=the=old=and=familiar=into=a=new=quality”=(Adorno=1993,=p.85).=The=phenomenon=of=the=defamiliarization=of=the=familiar,=which=we=have=called=the=polysemic=dissemination of the signifier or its redoubling, is called by Baudrillard ‘passive magic’, i.e. “the= interest= in= the= travelling= of= pure= images= [and= sounds]-= a= sort= of= fascination”=

(Baudrillard=1993,=p.167).=So,=when=we=are=dealing=with=sound=signifiers,=as=Middleton=calls= them,= the= traditional=models= of= consumer= psychology= that= prioritize= the= level= of=affection before awareness=become=defunct.=And=this=occurs=because=no=continuity=can=be=discerned=between=the=two,=while=a=semantic=abyss=opens=up=at=their=interval.=The=sound-signifier=has=no=original,= therefore= it= cannot=be= comprehended= as= fulfilling= a=particular=need.=This=is=one=of=the=points=in=which=our=analysis=diverts=from=traditional=analyses=of=consumer=behaviour.=The=point=is=that=whereas=traditional=approaches=rely=on=an=indexical=relationship between signifier and signified, i.e. a correspondence relationship of=word=and=object,=this=analysis=relies=on=the=iconic=relationship=of=word=and=object.=This=implies=that=there=is=no=original=object,=but=an=infinite=relationship=of=signifier=to=signifier.=This=is=the=semiotic= function= of= metonymy= in= which= the= part= is= related= to= the= whole= through=contiguity. The aural signifier, which as Hirschman argues lies in another order than verbal cues, provisionally turns into the signified through contiguity, i.e. a rhythm expressing the sublime=for=its=audience=before=it=is=worn=out,=reconstituted=at=the=level=of=signifier=and=re-enter the repetitive process of signifiance. “In signification, signifieds are continually being formed as signifiers. The signified becomes a signifier on the level of connotation2,=and=so=on” (Williamson=1976,=p.101). =Traditional= approaches= draw= on= the= psychological= paradigm= of= behaviourism,= “which=seeks= to=explain=complex=social=behaviour= in= terms=of=select=salient=variables.=For= tacit=knowledge,= consumer= symbolism,= and= consumer= life= meaning,= such= approaches= are=insufficient at best” (Mick 1986, p.207). =“...consumer=satisfaction= is=an= indexical=sign= in=marketing= theory= that=some=desire=has=been=fulfilled”=(Mick=1986,=p.199).=In=the=case=of=musical=products=no=such=ready-made typology that links definite needs to definite objects of satisfaction can be discerned, given the= incessant= ‘lack’= of= the=object= (oblique= reference= to= the=Other,= hence= the= Italics)= as=radically=separated=from=the=subject.=In=order=to=understand,=and=operationalize,=the=kind=of= satisfaction=musical= products= confer= on= their= purchasers= and= users=we= have= to= dig=deeper, at the primary level of affection (Many authors, like Belk and Hirshman have tried to show how this primary affect is evinced at a bodily level). =Certain=promotional=techniques,=such=as=the=live=show,=employed=in=the=music=industry=target=the=purely=affective=part=of=their=audiences.=“The=live=has=become=a=place=of=magic,=an enchanted mirror through which the most publicised celebrities leap off the celluloid, or out= of= the= record= track,= into= direct= sensory= range”= (Wernick= 1996,= p.115).=This= is= the=process= of= the= promotional= text/artifice= becoming= real,= or= emerging= in= a= site= of= the=hyperreal=space.=“In=rock=artifice=becomes=genuine,=all=repetition=is=novelty=[just=like=the live=show=is=a=novel=rendition=of=the=recorded=song,=and,=going=into=circles,=the=songs=re-recorded= live= are= novel= renditions= of= the= recorded= songs,= without= original],= and= the=producer=and=consumer=stand=in=an=equal=relation=to=the=product”=(Pattison=1987,=p.135,=my=highlighting).=Of=course,=as=Negus=rightly=stresses,=the=process=of=redoubling=does=not=extend= ad= infinitum,= but= is= always= bound= up=with= definite=modes-of-Being,= to= use= a=Heideggerian= term,= or= life-styles.=These= life-styles,= and= the= stereotypes= on=which= they=impinge,= are= in= turn=mirrorings= of= a= certain= social= structure.= However,= the=mirroring=implies a dynamic process of mutual change, i.e the social structure being modified by the 2 “A ‘connoted system’ is one whose plane of expression is itself constituted by a signifying system” (idem.)

invention=of=new=stereotypes=and=vice=versa.=“The=signs=and=conventions=from=which=ads=[and promotional techniques in general] build their myriad product images are drawn from a=common=cultural=pool.=But=this=shared=repertoire=is=not=just=‘out=there’…Its=elements=are=constantly= re-articulated= and= re-worked= in= the= symbolic= universe= of= promotion= itself”=(Wernick 1996, p.93). Promotion techniques offer models of and for reality. Therefore,= the=music= industry= is=not= segregated= from=other=parts=of= individuals’=daily lives but plays an important part in shaping beliefs, attitudes=and=aspirations.=It=is=not=only=a=product=industry=but=a=culture=industry,=as=well.=“Culture=industries=are=important=agencies of socialization [and sacralization], mediators of political reality, and should thus be= seen= as= major= institutions= of= contemporary= societies= with= a= variety= of= economic,=political, cultural and social effects” (Kellner 1995, p.25). But how is this ‘political reality’ formed? 2.5 The Imaginary, The Symbolic and the Real: How the three Lacanian Orders can help us understand Consumer Psychology. Every=attempt=to=explain=the=three=principal=orders=of=‘reality’,=so=to=speak,=according=to=Lacan is laden with major difficulties, mainly due to their unclear exposition in the original texts.= At= this= point,= we= shall= venture= into= clarifying= their= role= and= significance= in=understanding consumer psychology. “It=should=be=noted=that=the=‘orders’=are=not=stable=concepts;=at=each=moment=each=may=be=implicated=in=the=redefinition=of=the=others.=Although=the=Imaginary=and=the=Symbolic=are=distinct=and=opposed,=the=Symbolic=encroaches=upon=the=Imaginary,=organises=it=and=gives=it= direction.”= (Madan= Sarup,= Jacques= Lacan,=Harvester= 1992,= p.105).= “The= Imaginary=grows from the infant’s experience of its ‘specular ego’. It arises with the mirror phase but extends=far=into=the=adult individual’s experience of others and of the external world.” (idem. p.101, my emphasis). “The concept of the mirror phase=draws=our=attention=to=the=interdependency of image, identity and identification”= (idem.,= p.102,=my emphasis). The=Imaginary= is=of=extreme= importance= in=understanding=consumer=psychology=as= it= is=primarily= responsible= for= consumers’= shaping=with= ego-ideals= by= identifying.=with= the=specular images of artists. “For Lacan the ideal ego is an essentially narcissistic formation, originating in the mirror phase and belonging to the Imaginary” . (idem, p.103). The=Symbolic=is=the=chain=of=signifiers=that=is=the=outcome=of=a=cultural=order=that=shapes=the=world=and=creates=meaning= for= those=who=adhere= to= its=commands.=This=order=is=the=sum of “various codes that situate our behavioural utterances, rendering them meaningful” (The Symbolic Order, p.121). “Symbolism can be analysed semiotically by examination of the=system=of=signs=and=what=they=signify.=It=has=been=realized,=however,=that=this=leads=to=an=infinite=regress=as=one=sign=leads=to=another=without there ever being anything ‘real’ outside the system.=To=complicate=matters=further,=symbolic interpretation is essentially non-rational improvisation=that=does=not=obey=the=codes=of=language=but=operates=at=the=unconscious= level= (Sperber= 1975)”= (in=R.Elliott,= Existential=Consumption=&= Irrational=Desire,=p.286,=my=emphases).The=way= it=complements= the= Imaginary= is=by=procuring=a=chain of identifiable signifiers able=to=impose=a=scenario=on=the=act=of=reflecting=oneself=in=the=mirror-image=of=either=oneself=or=one’s=ideal=self,=just=like=when=a=fan=gazes=at=his/her=

favourite= artist= on= stage,= for= example.= Williamson= offers= a= lucid= account= of= the=complementarity between=the=two=orders,=by=drawing=on=an=analysis=of=how=signifiers=are=disseminated= through= advertisements.= Insofar= as= advertising= is= one= of= the= primary=promotional means whereby the image of musical products is communicated to audiences, it= is= useful= to= cite=her= arguments= at= a= considerable= length:= “Ads= set=up,= in=your= active=relationship= towards= them,= the= fictional=creation=of=an= impossibly=unified= self:=an=Ego-Ideal… But this merging with an objectified image of yourself is impossible: the desire for it= is=simply= a= channelling= of= the= desire= for= the= pre-Symbolic,=Imaginary=Ideal-Ego… Advertisements,=in=offering=us=symbols=as=the=objects=of=unity=they=ensnare=us=in=a=quest=for=the=impossible”3.=Thus,= the= image=of= the=Other=on=whom= the=gaze=befalls=becomes=significant=on=the=grounds=of=a=pre-existing=cultural=order=that=posits=a=range=of=alternative=ideal-selves,=from=the=image=of=the=successful=business-man= to= the= raving=dancer.=These=images=point=metaphorically=to=certain=culturally=sanctioned=ideals,=such=as=success,=fun,=responsibility etc. This is how the Symbolic is inscribed on the Imaginary and vice versa. Finally,=the=order=of=the=Real=is=“the=impossible=to=symbolise”=(idem.,=p.104).=We=hope=it=became=apparent= in= the= introduction= that= the=Real= is=not= tautologous=with= reality=or= the=‘reality=principle’,=as=Freud=put=it.=Far=from=it!=Even=if=we=invent=a=discursive=topology=in=order to accommodate it within the referential framework of Reason, that is by saying it is outside,=beneath,=above=reality,=it=still=evades=us.=This=is=why=we=refer=to=it=figuratively=by=placing= it= in= the= realm=of= the=unconscious,= accessible=only= through= irrational=means=of=expression,=more=poetic= than= logically= formulated.=Music=has=been=more=often= than=not=identified=with= irrational= part= of= the= brain,= that= does= not= obey= the= dictates= of= rational=calculation.=Most=of=the=bands=I=have=interviewed=so=far=were=eager=to=confirm=this=view,=by=replying=to=the=question=‘How=did=you=come=up=with=this=innovative=blend=of=sounds’=that= it=was=not=‘rationally=calculated’,=but=rather=spontaneous,=emerging=in=the=process=of=jamming= together=and= trying= to=develop=a=sound.=The= last=artist= to=give= this=answer=was=Tom==(guitar-player=of=Gomez,=a=rock=act=run=by=Virgin=Records,=interview=conducted=in=April 1998 at the Roadhouse in Manchester). This empirically verified assumption suffices to= corroborate= the= remark= that= “The= Lacanian= concept= of= the= Real= harks= back= to= the=Freudian= id;= it= is= associated=with= the= sudden,= the= disconcerting= and= the= unpredictable” (op.cit.,=p.104).=And=given=that=the=id,=for=Freud,=resides=in=the=unconscious=it=suffices=to=show= that= the= process= of= image-making= is= a= dialectic= between= consciousness= and= the=unconscious. Isn’t this, in fact, the whole rationale that shapes the ways the music industry functions, that is in an unpredictable, opportunistic, indeed ‘unconscious’ manner? To= recapitulate,= the= order= of= the= Imaginary= is= primarily= responsible= for=motivating= the=dialectic= of= recognition= through=which= the= consumer= is= urged= to= identify=with=his/her=specular= image,= either= in= a= mirror-reflection= or= in= the= projection= on= the= artist.= The=Symbolic=is=responsible=for=conferring=meaning=on=this=specular=experience=by=inscribing=the=image=within=a=cultural=order.=“But=in=their=tendency=to=dominate=all=other=modes=(e.g.=imaginary and real) symbols also have an inherent tendency to move beyond the realms of recognition=and=conscious=agreement.=Unconscious,= they=become=powerful=systems= that=transcend,=pre-date=and=pre-order=those=humans=who=now=can=be=seen=less=as=the=makers=of the symbol than its servants, less users of symbols than themselves mere instruments for 3=Judith=Williamson,=Decoding=Advertisements:=Ideology=and=Meaning=in=Advertising,=Marion=Boyars=1978,=p.65

perpetuating= the= existence= of= symbols”= (The= Symbolic= Order,= p.124).= This= passage=illustrate= how= consumers= perpetuate= a= given= cultural= order,= alongside= the= means=responsible= for= the=manufacture=of= culture,= i.e.= the=promotions= techniques.= In= the=post-industrial,= post-modern= era= where= information= technology= has= taken= over= traditional=productive=methods,=the=flow=of=information=is=primarily=responsible=for=the=formation=of=cultural images. Within this general productive trend, the musical product is defined by the same=features= that=make=up= the=hyperreal=character=of= the=products=of= the=entertainment=industry (films, fashion, etc.) Let us ‘gaze’ at these features in the ensuing sections. 2.6 FETISH-TABOO-SIMULACRUM: THE TRIADIC DEFINITION OF THE MUSICAL PRODUCT 2.6.1 What is a Fetish and how does it help us understand the way consumers of musical products invest it with value? “The Fetish has an ordering power derived from its status as the fixation or inscription of a unique originating event that has brought together previously heterogeneous elements into a=novel=identity”=(Dawn=Ades,=Surrealism:=Fetishism’s=Job,=p.72).=“The=primary=sense=[of=fetish]= is= to=do,= to=make=(faire),= the=sense=of=‘to= imitate=by=signs’”=(J.Baudrillard,=For=a=Critique= of= the= Political= Economy= of= the= Sign,= Telos= Press= 1981,= p.91).= “What= is=substituted= for= the=sexual=object= is=some=part=of= the=body= (such=as= the= foot=or= the=hair)=which= is= in=general=very= inappropriate= = for= sexual=purposes,=or=some inanimate object which=here=bears=an=assignable=relation=to=the=person=whom=it=replaces=and=preferably=to=that= person’s= sexuality.=Such= substitutes= are=with= some= justice=linked= to= the= fetishes= in=which=savages=believe=that=their=gods=are=embodied”.=(Sigmund=Freud,=Three=Essays=on=Sexuality,= in=Peter=Gay,=The=Essential=Freud=Reader,=p.249,=my=highlighting).=“In=other=cases=the=replacement=of=the=object=by=a=fetish=is=determined by a symbolic connection of thought,= of=which= the= person= concerned= is= usually= not= conscious.= It= is= not= always=possible= to= trace= the= course= of= these= connections= with= certainty”= (idem,= p.250,= my=highlighting). The Fetish is primarily an object invested with libidinal energy. Hence, it is often viewed as an= eroticized= object,= because= it= performs= a= function= that= accords= with= the= pleasure=principle,=i.e.=the=maximization=of=pleasure=and=the=avoidance=of=pain.=That=the=Fetish=is=the=‘fixation=of=an=event’=means=that=it=is=also=burdened=with=the=character=accorded=to=it=by the reality principle, or the commands of a given culture. The ‘event’ is singular, as well as located in the realm of the primary process, or the unobstructed flow of libidinal energy. Therefore,= it= takes=place= in= the=unconscious,=and=cannot=be=accessed=as=such= (i.e.=as=an=event),= save= only= through= the= discursive= transformations= responsible= for= its= imagistic=fixation.=These=transformations=resemble=the=three=functions=of=dream-interpretation4,= i.e.=

4=These=operations=are=responsible=for=re-directing=the=flow=of=the=primary=‘event’=in=the=following=way:=“The=material,=stripped=to=a=large=extent=of=its=relations,=is=submitted=to=a=process=of=compression,=while=at=the=same=time=displacements=of=intensity=between=its=elements=necessarily=bring=about=psychical=transvaluation=of=the=material.=The=displacements=we=have=hitherto=considered=turned=out=to=consist=in=the=replacing=of=some=one=particular=idea=by=another=in=some=way=closely=associated=with=it,=and=they=were=

displacement,=condensation,=and=substitution.=These=operations=take=place=at=the=juncture=between= consciousness= and= the= unconscious,= and= are= responsible= for= imposing= an=identifiable=and=communicable=structure=on=the=chaotic=flow=of=the=latter.=This=structure=is=presented= to= the=analysand= in= the= form=of=a= reconstruction=of= the= ‘event’,= therefore= it= is=always= already= dependent= on= the= interpretative= capacity= of= the= analyst= or=sculptor= of=‘promotional=discourses’,=in=our=case.=Its=construction=is=not=‘objective’,=but=rather=it=is=to=a= large= extent= dependent= on= the= analyst’s= perception= of= the= event.= It= is= in= essence= an=interpretation,=rather=than=a=disinterested=observation=of=a=fact.=The=analogy=of=the=dream-work=to=the=‘fetish’=can=be=rendered=intelligible if we think how these two texts function in parallel=ways.= Just= like= the= interpretation= of= a= dream= is= the= result= of= condensation= and=displacement=of=the=elements=that=originally=succeeded=each=other=in=a=serial=manner=or=in=loops= (we= can= figure= their= succession= either= way),= so= the= fetish= is= a= pastiche= of=heterogeneous=elements=that=came=together=under=the=general=heading=of=a=name,=that=was=coined=on=the=spot,=as=it=were,=without=any=prior=rational=calculation.==Therefrom=flows=the=ephemeral= character= of= the= fetish,= its= ‘identity’= being= constituted= purely= by= chance,=therefore=unreservedly= amenable= to=mutations= that=may= confer= radical= alterations= to= its=structure. The=musical=product=can=be= thought=of= in= the=same= terms.=An=artist’s=profile,= that= is= the elements= that=make=up=his/her= identity,=changes=constantly=as= the=effect=of=promotional=strategies= that= aim= at= targeting= the= artist= to= particular= audiences.=Witness= the= case= of=Madonna.= Her= profile= has= changed= radically= over= the= years,= while= accommodating divergent= elements= under= the= same= name.= Madonna’s= image= shifted= from= the=sadomazochistic=libertine=of=her=‘Erotica’=album=(1994)=to=the=pious=mother=in=her=recent=‘Ray= of= Light’= (1998).= Madonna’s= profile= is= the= outcome= of= different= promotional=discourses= that= reconfigure= the= ‘event’= by= bringing= together= heterogeneous= elements,=either in the form of text or photographic and music materials. “The stockpiled commodity they=produce- an imaged name-=represents=a=banked=and=transferable=store=of=promotional=capital.=As= such,= its= results= are= detachable= from= the= practices= and= products= in=whose=immediate=context=they=have=arisen”=(Wernick,=p.109).=Or,=to=put=it=shortly,=the=name=of=the= artist= is= a= simulacrum,= the=meaning= of=which=will= be= analysed= in= due= course,= that sustains all the elements that feed in its dark continent. The fetish, then, is like a sculpture, on=which= heterogeneous= elements= are= constantly= inscribed.=Madonna= is= a= product= on=which this inscription assumes an ideographic character. Essentially, she resembles a wax-tablet=on=which=the=ideas=of=sexual=liberation,=emancipation,=escapism=are=inscribed.=The=consumers’=identification=with=her=image,=her=fetishistic=inscription=on=the=sphere=of=inter-subjective=communication,=either= in= the=form=of=gestural=imitation,=apparel,=whistling=of=lyrics=or=import=of=discursive=elements=in=verbal=communication,=is=laden=with=a=desire=to=access=the=primary=event,=to=be=delivered=from=the=necessity=to=trace=the=chain=of=cultural=signifiers= in=order= to=approximate= the=primary=signifier,=the=repression=of=which=allowed=consumers=to=enter=the=symbolic=order=of=culture=in=the=first=place.=Therefore,=the=function=of=Madonna=or=the=fetishistic=meaning-laden=musical=product=in=general,=is=equivalent=to=

used=to=facilitate=condensation=in=so=far=as,=by=their=means,=instead=of=two=elements,=a=single=common=element=intermediate=between=them=found=its=way=into=the=dream.=(Sigmund=Freud,=The=Interpretation=of=Dreams,=Penguin=1994,=p.454).=

the= function=of= the= taboo,= the= forbidden= that= cannot=be= accessed= save=only= through= the=dissimulating=behaviour= that=replicates= the=process=of=primary=repression,=whence=stems=the oblivion of the ‘demand’ laid upon consciousness from the unconscious. 2.6.2 What is the Taboo and how does it help us understand the way whereby consumers of musical products gain access to their unconscious wish-fulfilment? “Taboo= is= a= Polynesian=word…=The=meaning= of= taboo,= as=we= see= it,= diverges= in= two=contrary=directions.=To=us=it=means,=on=the=one=hand,=‘sacred’,=‘consecrated’,=and=on=the=other=‘uncanny’,=‘dangerous’,=‘forbidden’,=‘unclean’.=The=converse=in=Polynesian=is=noa, which=means= ‘common’=or= ‘generally=accessible’.=Thus= ‘taboo’=has=about= it=a= sense=of=something=unapproachable,=and=it=is=principally expressed in prohibitions and restrictions” (S.=Freud,=Totem=and=Taboo,=p.18).== One= of= the= functions= of= the= taboo= is= to= “guard= the= chief= acts= of= life-=birth,= initiation,=marriage and sexual functions, etc., against interference” (idem., p.19). What Freud means by ‘against inteference’ is the preclusion of any activity that might deviate from the normal execution=of=these=activities.=Any=deviation,=that=is=any=disregard=of=the=legitimacy=of=the=taboo= in=controlling= the=behaviour=of= its=subjects,= is=met=with=punishment.=The=ultimate=punishment,=of=course,=is=death=or=the=impossibility=of=further=transgression.=One=of=these=taboos= is=consciousness=or= the=ego.=The= transgression=of= its=boundaries=amounts= to= the=dissolution of the notion of selfhood, and concomitantly the lapsing into the dark continent of= the=unconscious.=The=ego= is=a= taboo= for= the= simple= reason= that= it=guards=against= the=ultimate= transgression,=which= is= the=defiance=of=primary= repression,= this= function=being=responsible= for= entering= the= symbolic= order= of= language.= In= so= far= as=Lacan= posits= the=Phallus=as=the=primary=signifier,=which=must=be=lost=in=order=for=the=individual=to=enter=the=order of language, that is the chain of interlocking cultural signifiers, it assumes the role of a= taboo=of=the=highest=order.=This=means=that=its=defiance=is=accompanied=by=what=Freud=described as ‘uncaniness’, that is the fright that arises as soon as the ‘object’ (or the event) that= is= the= object= of= primary= repression= is= gazed= in= its= nudity= (i.e.= unveiled,= with= no=fetishistic= images= to=make=up= for= its=absence).=The=primary=signifier=or= the=Phallus=was=rendered=by=Lacan=in=symbolic=notation=as=‘$’=(the=barred=S),=which=points=to=the=split=of=subjectivity= that= originally= takes= place= at= the=moment= it= enters=the= symbolic= order= of=language,= i.e.= the=order=of=cultural=signifiers.=Any= further=attempt= to= identify= itself=with=these signifiers or dislocate itself from them, is translated into an attempt to recuperate the ‘object’= that=was= lost=at= the=event=of= the=splitting,=and=at=the=same=time=as=the=inevitable=failure=of=this=attempt.=Therefore,=fetishes=as=significatory=condensations=of=the=elements=that=have=been=displaced=from= the=realm=of= the=event=(or= the=realm=of= the=Reel)= into= the=order=of= language,=are=responsible=for=the=maintenance=of=the=prohibitive=function=of=the=primary=taboo.=Alternatively,=the=primary=taboo=is=infinitely=refracted=in=its=mirror-images or the signifiers that fetishistically make up the image of the artist, its name. “Normally the purchase=of=a=good=does=not=violate=the=displacement=rule.=It=does=not=summon=the=larger=system=of=which= it= is=a=part5=and= so=expose= it= to=empirical= scrutiny=and=proof.=What= is= 5=At=this=point=we=should=raise=an=objection,=as=regards=the=‘summoning’=of=the=product.=In=contrast=to=McCracken’s=view=we=hold=that=the=product=perpetuates=the=displacement=of=meaning=precisely=in=its=capacity=to=summon=the=general=system,=or,=in=symbolic=notation,=the=capacity=of=‘S’=to=summon=‘$’.=This=

being bought is not the whole bridge but a small part of it” (McCracken, p.112). Madonna is a phallic woman, in so far as she upholds the primary taboo of the phallus. The disparate constitutive=elements=of=her= image,= that= is= the=aesthetic= features=of= the=musical=product=(lay-out,=musical=content,=textual=backdrop)=act=as=inscriptions=of=the=prohibitive=function=of=the=phallus.=Alternatively,=the=phallus=is=disseminated=in=the=order=of=language,=like=the=pieces=of=dismembered=Osiris=awaiting= to=be= recovered=at= the=point=where= the=mutating=possibilities= of= the= hyperreal= pastiche,= figuratively= called= Madonna,= will= have= been=exhausted (the impossible possibility par excellence). Therefore, each particular signifier is the=inscription=of=the=bar=that=split=the=consuming=subject=into=two=at=the=original=point=of=immersion=in=the=order=of=language,=that=is=the=system=of=temporarily=encoded=signifiers.=The=musical=product,=and=its=constitutive=ideographic=elements,=is,=therefore,=a=taboo=that=prohibits inasmuch as it reveals the ‘object’ or the ‘event’ of prohibition, an object that has always=been= absent= from= the= order= of= language,= and,= indeed,= allowed= this= order= to= be=constituted as such by virtue of its absence. This absence is the main reason why the image of=the=musical=product=does=not=represent=something=that=is=present=in=the=Real=(as=though a= one-to-one,= symmetrical= relationship=might= hold= between= them),= but= rather= it= is= an=instance=of=the=refraction=of=the=absent=primary=signifier=(the=phallus).=“Iconic=experiences=promise=such=a=compelling=reflection=of=reality=that,=in=their=presence,=it=is=easy=to=forget=Burke’s=warning= that= all= signs= also= entail= and= undeniable= deflection= of= reality”= (Kent=Grayson, The Icons of Consumer Research, p.15). ‘Madonna’=is=the=heading=of=the=multiplicity=of=these=instances,=what=holds=together,=as=an=ideal=aether,=the=imagistic=elements=that=make=up=her=profile.=Hence,=the=musical=product=does=not=have=an=image,=insofar=as=‘image’=implies=a=pictorial=function,=but=rather=it=is=a=simulacrum. 2.6.3 What is the simulacrum and how does it help us understand how musical products as simulacra impact on consumer psychology? “The simulacrum possesses no identity, since it is difference in itself and it only appears by disguising= itself.= The= intensity,= the= potential= energy= of=metastable= states,= the= force= of=individuation,=only=reveals=itself=to=the=empirical=existence=of=common=sense=as=a=masked=difference, and reveals itself in the disjunctive use of the faculties as implicated difference, difference-in-itself,= and= difference= from= itself.= In= both= cases,= it= discloses= itself= as= a=simulacrum” (Ronald Borgue, Deleuze & Guattari, Routledge 1989, p.60). The=notion=of=simulacrum=dates=back= to=Platonic= idealism.=“Plato=distinguishes=between=the= idea= and= its= physical= embodiment,= between= the=model= and= the= copy,= but= he= also=occasionally=discriminates=between=the=good=copy=(eikon)=and=the=bad=copy=(phantasma)=or=simulacrum”=(idem.,=p.56).=For=Plato=a=surrealist=painting=would=be=a=phantasm,=that=is=a fleeting inscription, a bad copy of the original ideas of the Good and the Beautiful. What images are copies of is the eternal realm of immobile Ideas. On the contrary, for Freud and Lacan,=what=images=are=copies=of=is=the=absent=‘event’=that=generated=the=chain=of=cultural=signifiers in a process of displacement and condensation. Therefore,=the=concept=of=‘eikon’ summoning=was=called=by=Lacan=‘Demand’=(in=contrast=to=‘need’=and=‘desire’),=a=fundamental=demand=laid=upon=the=subject=by=the=Real=for=displaying=it=in=‘full=nudity’,=which=is=the=impossibility=that=motivates=the=infinite=displacement=of=signifiers=and=consumers’=identification=with=them.

or= ‘image’= becomes= redundant,= and= what= we= are= left= with= is= ‘fleeting= phantasms’,=‘heterogeneous=elements’=that=came=together=purely=by=chance=in=the=form=of=a=disguise.=The musical product is a simulacrum so long as its identity=is=not=constituted=as=a=result=of=its=being=a=good=copy=of=an=Idea,=but=rather=as=the=temporary=fixation=of=the=flow=of=the=unconscious.= This= flow= is= equivalent= to= what= was= termed= in= the= introduction= to= this=dissertation=as=the=‘Real’,=and=it=is=its=inaccessibility that is masked by the simulacrum. Or, as=Baudrillard=puts=it,=“it=masks=the absence=of=a=profound=reality.=It=does=not=refer=to=any=reality whatsoever. It is the simulacrum of itself” (J. Baudrillard, Simulation et Simulacres, Editions=Galilee=1981,=p.17,=italics=in=the=original,=my=translation).=The=simulacrum=is=not=about a distinction between essence and appearance, model and copy. “It is not a degraded copy,=but=rather=it=releases=a=positive=potentiality=that=gives=birth=to=both=the=original=and=the=copy,=the=model=and=the=reproduction”=(Gilles=Deleuze,=Logique=du=Sens,=Editions=de=Minuit=1970,=p.303).=This=positive=potentiality=that=gives=birth=should=not=be=conceived=in=terms=of=a=causal=nexus,=but=rather=in=terms=of=a=‘process=of=signification’=(processus de signification),=as=Deleuze=stresses.=“It=should=be=conceived=in=the=sense=of=signs=issued=in=the=process=of=signification,=in=the=sense=of=a=‘costume’=or=a=mask=that=gives=expression=to=a process of un-masking or, behind every mask, another=one…”=(idem,=p.304).= To= recapitulate,= the= simulacrum= is= different= than= the= image,= and= indeed= prior= to= and=responsible for its formation for the following reasons: First, contrary to the image, it does not presuppose an object external to itself that causally necessitates=its=emergence.=It=is=not=a=representation=of=something=that=is=out=there,=framed=in= a= shot,= but= a= sign= or= trace= of= itself.= It= is= self-produced= and= self-subsistent.= It= alters=constantly in itself, allowing for new signs to emerge in the process of the signifying chain, which emerges as a result of its production. Second,= it= does= not= perform= a= representative= function,= but= rather= conceals= a= radical=absence,= which= is= that= of= the= Real,= or= the= primary= process= that= takes= place= in= the=unconscious.=Insofar=as=the=latter=is=the=‘Other=scene’,=in=Freud’s=terms,=the=simulacrum=is=the= scenario= that= translates= the= coming-together= of= heterogeneous= elements= into= the=discursive order. The=musical=product=as=simulacrum=is=precisely=this=pastiche=of=heterogeneous=elements=that= produces= and= at= the= same= time= differs= from= itself.= Its= place= in= the= realm= of= the=Hyperreal is demarcated in terms of its capacity to give an aural and visual rendition of the primary= process= of= the= unconscious= libidinal= flow,= thus=setting= the= stage= on=which= the=recuperation=of=the=absent=‘event’=is=enacted.=The=absent=event=refers=to=the=silent=splitting=of=the=subject,=and=assumes=its=place=in=the=Hyperreal=as=the=silent=ground=that=cannot=be=affected= by= the=mutations= that= take= place= in= the= structure.=Consumers,= as=phantasmatic=subjects=made= up= by= a=multiplicity= of= the= audiovisual= renditions= of= the= event,= are= not=distanced from the signifying process that alters the fabric of the simulacrum. By inserting the=signifying=effects=of=the=simulacrum=in=the=sphere=of=their=communicative=exchanges=they=participate=in=the=establishment=and=enhancement=of=the=stage-setting=of=promotional=discourse,= that= is= responsible= for= translating= the= primary= process= into= identifiable= and=communicable signs.=Consumer-identity is embedded in and shaped by the hyperreal space that= infinitely= produces= and= alters= the= simulacra= that= are= part= and= parcel= of= the=music=industry.

2.6.4 Conclusion to the triadic definition of the musical product Musical=products=do=not exist without consumers and vice versa. This simplistic statement points= to= the=not-so-simply=discernible=remark=that=they=are=both=embedded=within=an=all-embracing=sphere,= that=of=hyperreality=and=simulacra.=Both=subjects=and=objects=are= the=effects of an abstract productive machine (the body without organs, as Deleuze & Guattari put= it)= that=generates= simulacra.=This=generation= is=of= a=discursive=order,= that= is=of= the=order= of= aural,= verbal= and= visual= language= that= is= created= by= different= promotional=discourses=aiming=to=infuse=cultural=signifiers=into=the=market,=emblems=of=everyday-life and=perspectival= renditions=of= the=absent=event=of= the=splitting=of=subjects.=The=musical=product=is=a=fetish,=a=taboo=and=a=simulacrum=at=the=same=time,=all=three=terms accounting for= the= functions= it= performs= in= the= context= of= the= subjects’= attempt= to= recuperate= the=event,= to= reach= the=originary=point=of= their=entry=or=birth= in= the=order=of=discourse=as=a=circular=closure=of=each=particular=individual’s=odyssey.=The=desire=to=close=the=circle=by=subscribing= to= distinctive= parts= of= the= signifying= chain= is= always=met=with= its= constant=failure=and= renewal.=Or,=as=McCracken=puts= it=on=a=more= intuitive= level,=“When=goods=serve= as=bridges= to=displaced=meaning= they=help=perpetually= to=enlarge= the= individual’s=tastes= and= preferences= and= prevent= the= attainment= of= a= sufficiency= of= goods”=(G.McCracken, Culture and Consumption: New Approaches to the Symbolic Character of Consumer=Goods=and=Activities,= Indiana=University=Press=1988,= p.105).=Therefore,= the=consumption=of=musical=products= is=hedonic,= as= it= accords=with= the= subjects’=pleasure-principle,=and=at=the=same=time=something=in=‘excess’=of=that.=The=‘excess’=surfaces=in=the=ecstatic= feeling= that= is= generated= in= certain= moments= of= the= consumption= of= musical=products, and in particular in activities that emerge as effects of promotional activities, like the participation in live-shows.=The=stage-setting guarantees a religious experience, which is=orchestrated=in=a=ritual=of=lights,=sound,=smoke,=costumes.=Let=us=now=proceed=to=show=in=what= respects= the= consumption= of=musical= products= is= hedonic,= as=well= as= in=what=respects it is ritualistic. 2.7.1 Hedonic consumption Pt.I: Is pleasure-seeking the driving force behind the consumption of musical products? Let= us= begin= by= procuring= a= definition= of= ‘Hedonic= Consumption’.= “It= explores= the=consumption= experience= not= as= an= information= processing= event= but= via= a=phenomenological= or= experiential= view= defined= as= a= ‘primarily= subjective= state= of=consciousness with a variety of symbolic meaning , hedonic meaning and aesthetic criteria’ ”=(Holbrook=and=Hirschman=1982=quoted=in=K.T.Lacher,=Hedonic=Consumption:=Music=as=a=Product,=p.367).= =Before=proceeding= to= analyse=how=hedonic= consumption=might= help= us= to= understand=consumers’=relationship=with=musical=products=we=should=first=reconsider=some=aspects=of=the=definitions.=On=the=one=hand,=the=term=‘subjective=state=of=consciousness’=is=not=only=tautologous,=given=that=consciousness=is=either=used interchangeably with subjectivity, but fails to account for the phenomenon of pleasure-seeking, and even beyond that. Above we dealt= with= the= notion= of= ‘taboo’,= and= attempted= to= examine= its= relevance= to= musical=

products.= In= that= section= emphasis= was= given= to= the= phenomenon= of= the= splitting= of=subjectivity,=as= the=necessary=precondition= for=entering= the=symbolic=order=of= language.=The event of the split does not simply generate ‘pleasure’, but rather a mixture of pleasure and pain, what was termed by bearing on Lacanian terminology ‘Jouissance’. Jouissance is a mood that transcends joy. It is sometimes described as pain in pleasure and accompanies ecstatic= experiences.=The= consumption=of=musical=products,= i.e.=products= invested=with=sacred value, as Belk stresses,=is=to=a=great=extent=ecstatic,=i.e=it=urges=the=consumer=to=exit=his/herself=and=enter=the=realm=of=the=‘eternal’,=where=perfection=with=regard=to=one’s=ideal=self=resides.=Temporal=immobility=is=indeed=one=of=the=central=aspects=of=a=cultural=icon. Just=like=in=Eastern=religious=practices=where=“the=eternal=quality=of=icons=is=due=in=part=to=the=belief=that=every=service=of=worship=was=a=celebration=of=the=total=victory=over=death”=(Fishwick 1990, p.94). However,=this=self=is=not=necessarily=interpretable.=Individuals=that=consume=the=products=that=are=part=and=parcel=of= the=music= industry=are=not=merely= responsive= to= stimuli= that=constitute= the= outcome= of= rationalised=marketing= processes.= They= bear= the= burden= of=‘articulating’= the=message=by= recreating= it= in= their= imagination=according= to=not=always=specific needs and desires. A more common word for jouissance is ‘fun’ (although it does not capture fully its semantic depth). Simon Frith has concluded that after all else has been said,=“the=essence=of=rock…is=fun,=a=concept=strangely=neglected=by=sociologists…and=fun=has= to=do=with=sensuality,=grace,= joy,=energy,=vigour,=exhilaration”=(Frith=1978,=p.=206).=Jouissance is an experiential state that precedes the formation of subjectivity or overcomes its= boundaries.=Therefore,= hedonic= consumption,= or= ‘jouissance= consumption’,= properly=speaking,=is=not=motivated=by=a=conscious=effort=to=discern=certain=elements=in=the=product=that=align=with=a=pre-existing self-concept,=at=least=not=necessarily.=The=angle from which we= wish= to= approach= hedonic= consumption= as= responsible= for= sheding= light= to= the=consumptive= phenomenon= of=musical= products= prioritizes= a= less= subjective= view-point, where=the=ritualistic=act=of=fusion=with=others=who=are=equally=fascinated=by=the=aesthetic=elements of the product becomes eminent. We shall return to this point in due course. On=the=other=hand,=what=is=listed=as=one=of=the=determinants=of=hedonic=consumption,=viz.=‘symbolic=meaning’= is=not= clear=how= it= actually=operates.= In=what= respects= are=musical=products=symbols,=and=what=do=we=mean=by=symbols=in=the=first=place?=If=‘symbols’=are=used=in=the=sense=appropriated=from=symbolic=consumption,=as=expressing=abstract=ideas,=then=it=is=clear=the=phenomenon=of=hedonic=consumption=cannot=be=exhausted=in=this=way.=This=does=not=imply=that=symbolic=consumption=becomes=redundant,=but=it=is=placed=on=a=second= order.= In= order= to= illustrate= this= point= we= shall= refer= for= once= more= to= the=promotional= technique=of= the= live-show.=People=who= attend=live-shows=do=not=primarily=seek=to=express=certain=ideas=about=style,=world-view,=behaviour,=even=though=these=could=be=convincingly=cited=as=explanatory=reasons=for=participating=in=the=event,=but=rather=seek=an= escapist= fusion= in= the= magical= (hyperreal)= world= of= entertainment.= This= is= why=consumers=are=not=always=clear=why=they=attend=live-shows.=From=participant=observation=in numerous live-shows=so=far,=I’ve=gathered=that=the=attendance=is=an=ecstatic=experience,=based solely on the pleasure of the spectacle. Let=us=now= review=Hirschman’s=points=and=discuss= their= relevance= to= the= issue=at=hand.=First=and= foremost,=what= is=successfully=called= ‘fantasy-fulfilment’= is=at= the=explanatory=core of hedonic consumption. “Fantasy fulfilment purchasing is the=use=of=products=to=help=

construct=fantasies=and=augment=reality.=It=was=our=argument=in=the=introduction=that=in=the=Hyperreal, imagination and reality co-mingle,=and=in=fact=the=former=is=responsible=for=the=creation= of= the= latter,= as=Baudrillard= stressed= (cf.= Introduction= for= reference).=Hedonic=consumption= is=motivated=by= the=drive=for=maximising=pleasure,= that= is=for=proliferating=one’s= adherence= to= visual= and= aural= renditions= of= the= absent= signifier,= in= short= for= the=enrichment=of=one’s=fantasy-world (The=role=of= imagination= in=shaping= the=Order=of= the=Imaginary that precedes the Symbolic Order in Lacan’s system, will be dealt with shortly). Hirschman=also=stresses=that=‘escapism’=is=a=tendency=that=is=generated=from=the=wish=to=avoid unpleasant events and circumstances. Even though no further mention of what those circumstances=amount=to,=as=well=as=how=pleasant=products=or=events=actually=make=up=for=the=experienced=displeasure,=we=wish=to=offer=an=alternative=interpretation=of=‘unpleasure’=that=accords=with=our=aforementioned=exposition=of=the=splitting=of=subjectivity.=The=style=of=our=argumentation=is=phenomenological=in=essence,=that=is=it=deals=with=the=discursive=structures that help us ascribe certain general interpretive categories to observed instances. Hence,= un-pleasure= is= = not= the= result= of= a= one-to-one= causal= relationship= between=circumstance= and= reason= for= buying= a= record= or= attending= a= live-show,= but= rather= the=outcome= of= the= failed= attempt= to= recuperate= the= primary= signifier,= the= Phallus,= that= is=responsible=for=the=original=split=of=subjectivity.=The=more=complex=the=imagistic=whole=of=the= record’s= layout=or= the=sound= /vision=whole=of=a= live-show= the=more= the=consumer’s=attention=is=decentralized,=that=is=focused=on=a=multiplicity=of=diverse=aesthetic=elements.=This=results=in=the=following=paradox=that=lies=in=the=heart=of=hedonic=consumption:=The=more=aesthetic=elements=feed=in=the=consumer’s=perception,=the=less=satisfaction=s/he=gets=out=of=the=whole=experience.=We=have=already=explained=why=every=attempt=to=recuperate=the=primary=signifier=is=doomed=to=failure,=as=the=impossibility=to=exhaust=the=consumptive=alternatives=hovers=over=every=experience.=In=so=far=as= the=aesthetic=elements=are= loaded=with=meaning= in= the= context= of= a= general= cultural= sphere= that= circumscribes= pleasure-seeking= activities,= it= becomes= evident= that= culture= is= also= the= generator= of= unpleasure.=Therefore,=the=way=fantasy-worlds=are=created=in=the=consumption=experience=of=musical=products=is=laden=with=both=pleasure and displeasure, that is jouissance. The image reveals as=much=(and=even=less)=as=it=conceals.=This=is=why=musical=products=are=‘revelatory’=in=nature, as they provide a glimpse of the inapparent side of the simulacrum, and at the same time=force=consumers more deeply into oblivion, as the outcome of the loss of the primary signifier, whence stems displeasure. The= final=point= I=wish= to= stress=with= regard= to=hedonic=consumption=concerns=Lacher’s=partial= treatment=of= the=musical=product=as= ‘music’.=This=means= that= she=disregards= the=equally important aspects of the product, i.e. packaging, label-reputation,=artist=biography,=that are inextricable determinants of the style of music at hand. Her concentration on what she= calls= ‘personality= traits’= imposes=an= ego-centred= viewpoint= on= the= examination= of=hedonic= consumption,= thus= paying= insufficient= attention= to= the= group-effects= on=individual’s=preference=of=a=particular=musical=style.=In=addition,=this=account=fails=to=take=into=consideration=how=participation= in=a=group=of=an=act’s= followers= is= responsible= for=creating=the=ritualistic=character=of=consumption=of=musical=products.=This=is=the=next=step=we= shall= take= in= analysing= how= particular= promotions= techniques= are= responsible= for=creating= the=product-concept=and=how=consumers= inscribe=and=alter= this=concept= in= their=inter-subjective communicative exchanges.

2.7.2 Hedonic Consumption Pt.II: Consumption as the pleasure of ritualistic fusion. We= have= already= stressed= the= importance= of= shifting= our= focus=from= an= ego-centric perspective=towards=an=inter-active,=inter-subjective=one.=The=main=rationale=for=this=shift=lies=in=that=the=previously=mentioned=‘cultural=codes’=become=operative=only=in=the=sphere=of= communicative= exchanges,= that= is= in= the= circulation= of= legitimate= signifiers= in= the=trajectory=of=intra-group discourse. “People look to specific musics as symbolic anchors in regions,= as= signs= of= community,= belonging,= and= a= shared= past”6= (John= Street,=(Dis)Located?= Rhetoric,= Politics,=Meaning= and= Locality,= in= Popular= Music=-= Style= &=Identity, Willstram et al. [ed], The Centre for Research on Canadian Cultural Industry and Institution=1995,=p.257).=This=point=was= confirmed=by=Sarah= (singer=of= the=popular= act=Dubstar,=signed=by=EMI)=who=stressed=that=“A=song=is=like=a=book.=You=can=travel=in=its=pages,=reminded=of=past=experiences”=(interview=conducted= in=Manchester=11/97).=Thus,=the=code=of=‘stardom’=is=sustained=once=the=followers=of=a=particular=musical=act=adhere=to=the=set=of=practices=it=postulates.=The=musical=product=assumes=the=character=of=a=cult=and=its=consumers=are=elevated=to=the=status=of=disciples.=“The=behaviour=of=activated=fans=and=activating stars can, in the practice of the ritual of the star-cult,=work=to=produce=a=positive=psycho-social=experience=of=ecstacy”=(Konstanze=Kriese,=Rock=&=Ritual,=op.cit.,=p.187).=“The expressive power and excitement of a live performance depends upon the ambiguity of its symbols and images=and=the=ability=of=the=audience=to=relate=them=to=their=personal=socio-cultural=experiences=and=thus=derive=their=own=meaning=from=them”=(Cohen,=Rock=Culture=in=Liverpool,=p.=94).==The=emphasis=added=on=the=element=of=‘ambiguity’=inherent=in= musical= symbols= and= images= aims= at= linking= this= observation= to= our= analytical=framework,= in= the= sense= that=musical= images=or,=better,= simulacra,= retain=a= fundamental=ambiguity that is evinced in the ways of the irrational modes of displacement, substitution, condensation.= Insofar= as= the= image= of= the= musical= product= is= a= coming-together= of=heterogeneous=elements,=ephemerally=ordered,=it=is=implied=that=they=can=be=reordered=by=different consumers according to particular perceptions, lived-experiences and aspirations. Thus, the aural and visual experience of a musical product is inherently polysemous, i.e. it consists= of= multiply= layered= meanings.= = The= musical= product= is= always= open= to=interpretation,=therefore=it=can=be=targeted=towards=different=audiences,=as=well=as=different=individuals=within= audiences.=Thus,= it= is= a= customized= product,= as= it= is= exchanged= for=different= things= according= to= individual= consumers’= expectations.= And= yet,= they= all=participate in a common consumptive predicament, be it the live-show,=the=exposition=to=a=print-ad or the reading of a review. But=where= the= sacred= character= of= the=musical= product,= that= is= its= capacity= to= veil= the=ineffable=Real=that=underpins=the=simulacrum,=comes=forth=most=forcefully=is=during=what=Belk= called= ‘sacralizing=processes’.= In=his= article=he=points= to= the=direction=of= a= future=research= into= the=“cultural=consequence=of= the= sacralizing=processes”= (Belk=et=al.=1989,=

6=“There=is=another=imaginary=merging=of=differences=in=‘memory’=ads=in=that=our=past=and=memory=of=the=past,=are=confused=with=someone=else’s.=We=are=shown=a=hazy,=nostalgic=picture=and=asked=to=‘remember’=it=as=our=past,=and=simultaneously,=to=construct=it=through=buying/consuming=the=product”=(Williamson 1978,=p.158)

p.31). He stresses that “Sacredness exists at a cultural level to ensure the ongoing integrity of= culture= itself.= Through= definitions= of= sacredness,= culture= hallows= itself,=working= to=compel belief” (idem). We have already shown how the cultural values inscribed in musical products are metaphorically invoked through the reproduction of their aesthetic features in the= sphere= of= communicative= exchanges.= “Through= such= ritualization= an= individual=becomes=preferentially=imprinted=by=an=object=while=a=culture=simultaneously=reproduces=its=critical=structural=categories”=(idem).=What=remains= to=be=shown= is=how= these=values=circulate.=We= are=of= the=opinion= that= their=dominance= is= reproduced=not=via=consumers=explicitly=referring=to=them=in=inter-subjective=communication,=but=rather=in=a=communal=fusion,= that= is= in= the= participation= in= a=mystery.=The= stage-setting= for= this=mystery,= as=already=hinted=at=in=the=section=on=the=‘taboo’,=is=procured by the ‘paraphernalia’ (or ‘neo-tribe paraphernalia’7,=to=use=Ritson=&=Elliott’s=term,=1995,=p.1044)=of=the=music=industry,=which= consist=of= the= stage-appearance= of= the= band,= the= photo-sessions,=the=lay-out,= the=musical= style.= =The= stage-setting= is= responsible= for= the= creation=of= the= ‘star’,=viz.= the= “=mobile= sign=which= can=be= linked= to= any=practice,=product=or= language,= freed= from= any=message=or=set=of=values.=The=star=is=no=longer=an=individual=measured=by=their=creativity,=their= authentic= relation= to= their= performance,= or= even= the= possibilities= of= an= audience=projecting= its=fantasies=on= to= them.=The=star= is=a=commodified=and=mobile=sign,=moving=across= the=broad= terrain=of=cultural= tastes=and=entertainment”.(Grossberg=et=al.,=Cultural=Studies,=Routledge=1992,=p.319) Many= authors= in= the=Consumer=Behaviour= literature= (Solomon,=Hirschman,=Belk)=have=discussed= the=symbolic=value=of=products,=but= few=have=developped=a= formal=system= in=order= to= account= for= the= ways= whereby= consumers= become= products= and= vice= versa,=beyond= a=mere= description,= backed= by= a= quantification= of= product= use/symbolic= value=equivalences= (such=as= the=product= image/self=concept=congruence=hypothesis.=For=more=detailed= criticisms= of= psychological= accounts= cf.= Elliott’s= points= exposed= in= the=Methodology=section).=We=might=call=musical=products=‘social=representations’,=following=Elliott, that is representations “composed of two mental entities, concepts and images, and the iconic aspect usually dominates the abstract in the construction of a figurative nucleus” (Richard= Elliott,= Exploring= the= Symbolic= Meaning= of= Brands,= British= Journal= of=Management,=Vol.5,= June=1994,=p.S17).= “Social= representations= are= shared= images= that= 7=Mafessoli=(1995)=explored= the=phenomenon=of=‘neo-tribalism’= into=great=depth.=He=stressed= that=“these=transitory=affective=collectivities=emerge=within=complex=societies=which=have=given=way=to=a=polytheistic=‘swarming=multiplicity= of= heterogeneous= values’.=This= draws= attention= to= features= of= the= contemporary=world=which=more= rationalistically= orientated= sociologists= are= apt= to= neglect:= the= persistence= of= strong=affectual= bonds= through= which= people= come= together= in=constellations with fluid boundaries= to=experience= the=multiple= attractions,= sensations,= sensibilities= and=vitalism=of= an= extra-logical=community,=the=embodied=sense=of=being=together,=the=common=feeling=generated=by=a=common=emotional=adherence=to=a= sign=which= is= recognizable= by=others”= (Featherstone= 1995,= p.47,=my= emphasis).= = The=most=manifest=observations=of=these=constellations’=members=can=be=made=during=live-shows:=“Different=genres=of=music=have= become= associated=with= and= signify= different= images,=which= in= turn= connote= particular= attitudes,=values=and=beliefs.=At=the=same=time=the=visual=images=connote=certain=sounds.=This is most apparent at live performances= .=When=male=hard=rock=fans=share= the= long=hair,= leather,=buckles=and=bodily=postures=and= imitate= the=musicians=on=stage=by=playing=imaginary=guitars;=and=when=rap=performers=and=audiences=share=training=shoes,=baseball=caps=and=styles=appropriated=from=sportswear=and=cement=their=bond=further=by=trading=in=mutual=insults”=(Negus=1991,=p.127,=my=highlighting)

permit= us= to= give= objects,= persons= and= events= ‘a= definite= form,= locate= them= in= a=given=category and gradually establish them as a model of a certain type, distinct and shared by a group=of=people’”=(Serge=Moscovici=et=al.,=Social=Representations,=Cambridge=University=Press=1984,=p.7).=“The=theory=of=social=representations=holds=out=the=prospect=of=eluding=the= limitations=of= linguistic=meaning-structures= and= engaging=with= the= complexity= of= a=constructed=world=of=both=reality=and=illusion.=These=interpretive=approaches=to=meaning=need to be applied to the study of brand symbolism in order for us to better understand the complexity=of=what=brands=mean=to=consumers”=(Elliott,=op.cit.,=p.S17).=We=believe=that=a=psychoanalytic=perspective=can=help=us=if=not=to=understand,=at=least=to=gain=interpretative=insights= into= the=phenomenon=of=what=we=called= ‘simulacral=consumption’.=This=model=operates at the borders of symbolic consumption and fills in some of the ‘black holes’ in its universe.=The=model=has=been=devised=in=order=to=account=for=the=ways=musical=products=as=the=outcome=of=distinctive=sets=of=promotional=discourses=stage=the=settings=and=set=the=stage=for=the=enactment=of=consumers’=unconscious=processes.=This=qualification=does=not=preclude= its=potential= interpretative=force=when= it=comes= to=related=sites= in= the=hyperreal=realm=of= the= ‘Entertainment=Business’= (for=similar=psychoanalytic=excursions=cf.=Sarup,=op.cit.,=pp.146-160),=but=guards=against=hasty=generalisations=that=result=when=inductively=produced categories are elevated to deductive principles. Upon= returning= to=our=analytical=corpus,= it=must=be=noted= that= the=way=ritualistic=fusion=among= consumers= inscribes= the= aesthetic= features= of=musical= products= in= the= formers’=behaviour=is=parallel=to=the=way=the=simulacrum=effects=on=consumers.=That=is=through=a=process=of=‘contamination’=(one=of=the=sacralizing=processes,=according=to=Belk),=meaning=that=the=features=of=the=product=circulate=in=the=bodily=and=verbal=communicative=sphere.=They=are=transferred=magically,=as=it=were=(a=word=that=imprints=its=inexplicable=character, you= can= call= it=intellectual animism-= sic),= through= a= process= of= repetitive= imagistic=reflections= of= the= one= over= the= other,= or= in= a= ‘Do=what= the= other= does’=way,= to= put= it=bluntly.= The= non-rationally=mediated= circulation-reflection= of= these= cultural= signifiers=points= to= the= simulacral,= instead= of= symbolic,= character= of= this= transference,=which= is=sensorily= conditioned=by= the= ‘gaze’.=The= ritualistic= fusion= functions= at= the=order=of= the=Imaginary=rather=than=the=Symbolic,=whence=the=primacy=of=the=‘gaze’=(mirror-reflection) and=the=specular=image,=which=is=translated=into=a=cultural=code=only=once=striated=on=the=value-grid= of= the= Symbolic.= Let= us= recall= that,= for= Lacan,= the= Imaginary= precedes= the=Symbolic, while operating in complementarity with it. I believe that this is the main reason why=marketers’=and=A&R=members=pay=more=attention=to=the=‘image’=of=the=artist,=rather=than=the=‘message’=s/he=conveys.=Because=the=‘specular=experience’=is=always=stronger=in=terms=of=its=long-term=effects=on=the=consumer’s=unconscious=than=a=rationally=calculated=text.=By= the=way,= this=accounts= for= the= increase= in= films= ticket-sales,=and= the=‘crisis’= in=book-sales. To=recapitulate,=the=musical=product=is=a=taboo=that=caters=for=consumers’=need=for=ecstatic=experiences,=that=is=for=experiences=that=deliver=them=from=their=phantasmatic=identity=and=relocate them in the irrational realm of unconscious processes. The processes that replicate the= ‘other’= processes= (taking= place= in= the= ‘other’= scene,= as= Freud= put= it)=were= termed ‘sacralizing’=by=Belk,=because=they=are=responsible=for=maintaining=the=sacred=character=of=products. ‘Contamination’, being one of these processes, is responsible for transferring the aesthetic= features=of=musical=products= to= the= communicative= (communal)=sphere=within=

which=the=consumptive=experience=is=embedded.=Contamination=takes=place=in=the=context=of the specular experience in which the images that guard the centre of the simulacrum are reflected= back= and= forth= in= the= consumers’= uncosncious=wax-tablets.=Where= does= this=sacralizing process become more apparent, if not in the live show? “Public events resemble sacred, religious ceremonies, as exemplified by…the reverential lighting of matches at the end= of= a= rock= concert”= (Solomon,= Consumer= Behaviour,= p.620).= And= by= a= slight=conceptual=detour=into=the=land=of=the=fetish,=consumers=gain=jouissance=from=the=specular=experience,= that= is= the=mixed= feeling= of= pleasure= from= temporarily= identifying=with= a=decentralised= signifier,=and=pain=caused=by= the=permanent= absence= of= the= centre= of= the=simulacrum. 2.8 Conclusion What= was= all= this= about?= In= short,= about= consumer-psychoanalysis= in= relationship= to=musical=products.=Psychoanalysis=differs=markedly=from= traditional=consumer=behaviour=approaches= in= that=it= does= not= prioritize= certain= personality-traits= and= dispositions= as=inherent=in=individual=subjects.=It=posits=a=‘fundamental=lack’=at=the=centre=of=subjectivity,=and=three=distinct=orders=that=account=for=the=ways=in=which=this=lack=is=transformed=into=meaningful=experiences,=and=perpetuated=at=the=same=time.=The=way=meaning=is=produced=is= through= distinct= sets= of= discourses,= the= term= encompassing= linguistic,= gestural= and=pictorial= structures.= These= structures= are= primarily= created= by= various= promotional discourses,=that=build=on=a=set=of=cultural=values,=and=at=the=same=time=expand=them,=thus=altering=incessantly=the=cultural=landscape.=This=landscape=is=the=‘hyperreal=space’=within=which=the=identity=of=consumers,=and=the=groups=in=the=activities=of=which they participate, assumes=form.=The=music=industry=plays=an=indispensable=part=in=forming=this=identity=by=procuring= sets= of= aural,= visual= and= verbal= signifiers= that= constitute= the= essential=‘paraphernalia’ around which the communicative exchanges of group-members revolve, as part of the sacralizing process of ‘contamination’. The consumption of musical products is fetishistic, calling for an imaginary identification with the ‘speculum’ of a hyperreal world, prohibitive,=perpetuating=the=absence=of=the=primary=signifier=(the=taboo=of=the=‘phallus’),=and=simulacral,= i.e.=based=on= the=‘cultural= icons’= that=are=self-subsistent=and=possess= the=‘magical power’8 of attracting hordes of disciples. What=remains=to=be=shown=is=how=distinctive=promotional=techniques=shape=these=‘icons’,=as= well= as= how= the= effects= of= the= simulacra= are= inscribed= in= consumers’= everyday=comportment=towards=their=peers,=and=reflected=back=to=promotional=discourses,=thus=re-cycling= the=spiralling=movement=of= the=co-creation=of=meaning.= In=Chapter=4= it=will=be=shown=how= the=exploratory=methods=of= focus-group=discussions=and=in-depth=interviews=can= help= us= gain= useful= insights= into= the= phenomenon= of= ‘simulacral= consumption’= of=musical= products.=Meanwhile,= let= us= proceed= to= give= a= descriptive= account= of= which=promotions=techniques=and=how=they=are=used=in=the=music=industry,=as=well=as=examine=‘who’ make up this industry. 8=“Magic=produces=effects=in=time=and=space:=it=transforms=one=thing=into=another,=just=as=we=can=make=objects=in=the=ad=stand=for=the=people=who=possess=them;=it=can=transport=something=to=a=different=place..” (Williamson=1978,=p.139)

3.INDUSTRY OVERVIEW 3.1 Introduction: Promotions techniques and their place in the music industry In= the= introduction= to= this= dissertation= it=was= claimed= that= promotions= techniques= are=actually responsible for producing the musical product.

First,=we=should=be=clear=about=what=we=mean=by=promotions=being=part=of=the=production=process. W hat=seems=at=first=glance=a=major=mistake=becomes=acceptable= if=we=view= the=function=of=promotions=techniques=in=the=music=industry=not=simply=as=an=attempt=either=to=create=awareness=of=a=new=cd=or=enhance=sales=by=bombarding=consumers=with=repeated=advertising=messages,= but= as= actually= playing= an= indispensable= part= in= the= production=process. =As=many=authors=have=stressed,=the=musical=product=(i.e.=record/cd/cassette)=belongs=to=a=quite=distinct=category=of=products= (like= films=and=books)= that=are=characterized=by=both=high-involvement/high psychic investment and value, and high intangibility. The ‘value’ of a=musical=piece= is=not=easy=either= to=describe=or=price=on= the=basis=of= tangible= features,=which=means=that=it=has=no=intrinsic=value.=Its=evaluation=is=to=a=large=extent=dependent=on=the=personnel=of=the=record=company’s=marketing=department=who=devise=the=content=and=structure= of= the= advertising=message,= design= the= press= release= sheets= that= convey= the=relevant=information=about=an=act=to=be=distributed=to=the=press,=and=decide=on=the=proper=communications media to be used and press-people=to=be=contacted=when=a=new=product=is=about= to= be= launched.=Therefore,= the= value= of= the=musical= product= is= not= intrinsic,= but=depends= on= the= perceptions= of= many= people= involved= in= the= different= ‘nodes’= of= the=network=of=the=music=industry=(as=will=be=illustrated=in=the=next=section),=as=well=as=on=the=perception of the consumer who stands at the final part of a long chain. People= who= work= in= the= promotions= part= of= the=industry= are=mainly= responsible= for=creating=the=‘primary=image’=of=the=product,=the=‘secondary=image’=being=that=created=by=the=press-people,=and=the=‘tertiary=image’=being=that=created=by=consumers=themselves=(cf.=Section=2.2,=fig.1).=Having=shown=how=promotions techniques are responsible for creating this= image,=we=should=proceed= to=outline= the=various=promotions= techniques=used= in= the=music industry. The most popular techniques usually employed are: • Advertising • Sales promotions • Public Relations Amongst= these= three= tools,= the= first= two= are=by= far= the=most=popular=when= it= comes= to=promoting=the=product.=The=third=one=is=popular=among=business=members.=Below=follows=a=description=of=what=and=how=these=tools=falling=are=employed.=For=our=analysis=we=shall draw upon P.Kotler’s comprehensive listing of the various promotion tools: 3.1.1 Advertising Record labels when advertising their new releases use both print and audiovisual media. It is=difficult=to=say=which=medium=is=more=popular,=as=their=use=depends=on=the=advertising=budget of individual labels for individual products, and the promotion goals that have been set. Each particular advertising tool has its own benefits, as well as its own costs.

3.1.1.1 Print Advertising Print advertising is normally used when a new product has been launched in the market. Its design=usually=includes=a=picture=of=the=record’s=front=cover=and/or=a=picture=of=the=band-members.=The=advertising=message=is=usually=a=catch-phrase=stressing=certain=qualities=of=the= record=that=are=valued=by=the=audience,=borrowed=either=from=a=previous=press=review=or=coined=by= the=members=of= the= label’s=advertising=department.=The=benefits=of=print-advertising=are,=firstly,=timeliness,=that=is=informing=the=target-audience=about=the=release one=week=or=more=(according=to=the=sales-forecast), secondly, durability, that is the reader is= exposed= more= than= once= to= the= advertising= message= while= skimming= through= the=magazine’s=or=newspaper’s=pages,=and=thirdly,=it=is=a=good=word-of-mouth communicator. In addition, as Kotler (1997, p.651) stresses, it covers a selective geodemographic area. 3.1.1.2 Air-play Air-play=is=normally=used,=like=print-advertising,=at=the=introduction=phase=of=the=Product=Life-Cycle.= It= is= less= costly= than= print-advertising,= but= lacks= some= of= the= important=advantages= yielded= by= the= latter.= It= lacks= durability,= as= the= listener= is= exposed= to= the=message=in=passing.=This=means=that=in=order=for=the=label=to=increase=its=effectiveness=it=has= to= increase= the= frequency= of= transmission,=which= raises= its= budget= significantly.=However,= frequency= of= transmission= is= not= the= only= variable= that= affects= sales-figures. Seasonality=must=be=taken=into=consideration,=which=means=that=not=only=must=the=product=be=launched=at=the=right=place=and=on= the= right= time,=but= that= the=pre-launch time-period must=be=determined=as=closer=to=the=release=of=a=new=product=as=possible.=Inefficient=time-planning=in=the=past=has=resulted=in=consumer=dissatisfaction=due=to=the=unavailability=of=products.=“Some singles are now being presented to radio up to nine weeks before release. Many=are=massive=radio=hits=before=they’ve=even=charted=but=retailers=are=experiencing=the=downside of this marketing ploy. Every week hundreds of potential customers wander into a record store and ask for a single only to be told it isn’t released yet. How many lost sales do=we=really=suffer=every=week=because=record=labels=are=paranoid=about=week=one=chart=positions=rather=than=customer=satisfaction?”=(Marketing:=Too=much,=too=soon?,=in=Music=Week).=Chart-placement=of= singles=allows=companies= to=make= sales-forecasts,=with= the=accompanying=decisions=about=volume=of=production=and=promotions=expenses.==When=it=comes= to=musical= products,= radio-advertising= is= often= a=more= fruitful=medium,= as= the=product=is=not=simply=promoted=through=jingles,=but=through=air-play of recorded material, live=shows,=and= interviews.=It=has=been=a= trend=over= the= last=25=years= to= invite=bands= to=perform= tracks= from= either= forthcoming= or= recently= released= records= live= on= the= radio,=which=is=a=very=appealing=and=cost-free=advertising=tool=for=record-labels=(However,=it=is=unclear=whether=live=shows=are=a=form=of=advertising=or=sales-promotions).=The=selection=of=particular= radio-programs= that= appeal= to= specific= targeted= audiences=by= record-labels secure=them=a=certain=number=of=sales,=soon=after=the=release=of=the=product.=Programs=like=Steve Lamacq’s Radio 1 Evening Session and John Peel’s session are regarded as the ‘seal of=guarantee’=for=successful=air-play.=The=broadcaster=is=viewed=as=the=primary=consumer,=

whose=opinion=has=more=gravity=and=potential= influence=for=further=dissemination=of= the=message through word-of-mouth communication. 3.1.1.3 TV Advertising TV=is=the=most=expensive=medium=for=advertising=musical=products,=and=it=is=preferred=for=highly=commercial=records,= like=Madonna=or= the=Verve.=It=does=not=have= the=benefits=of=selectivity,=and=durability.=Although,= just= like=with=air-play,=effective=communication=is=secured=through=bands’=live=performances=in=popular=programs,=like=Top=of=the=Pops.=TV=advertising,=due=to=the=short=PLC=of=musical=products,=is=not=the=most=favourite=promotion=tool for record labels, unless it is part of a promotional campaign for a high-profile artist. 3.1.2 Sales Promotions 3.1.2.1 Samples There=are=two=main=types=of=samples=used.=First,=advance=(or=promo)=copies=of=upcoming=releases=are=distributed= to= the=press.=These=copies=either=contain= the=full= track-list=of=the=album=or=part=of=it.=Second,=sample-tapes=or=cd’s=are=distributed=to=the=consumers=either=through= the= press= or= at= live= shows.= These= samples= usually= appear= in= the= form= of= a=compilation of tracks from various artists that are signed up with a record label. 3.1.2.2 Price-packs Reduced-price=packs=are=used=by=record= labels= to=stimulate=short-term=sales,=particularly=when=they=want=to=empty=their=stock=or=when=the=season=is=favourable=to=reissuing=back-catalogue items, which are subsequently sold at low or mid-price. The promotional benefit of= this= technique= is= that= if= its=employment=coincides=with= the= recent=success=of=an=act’s=latest=release,=the=record-label=can=both=return=this=release=to=a=previous=stage=in=the=PLC,=after= its= place= in= the= charts= has= started= to= decline,= as= well= as= capitalise= on=its= chart-placement= for= selling= back-catalogue=material.= For= example,= “EMI’s= decision= to= issue=Radiohead= catalogue= at=mid-price= for= a= limited= period= of= time= to= exploit= the= interest=surrounding= the= release= of=OK=Computer= resulted= in= a= sales= surge= that= saw= the=album=Pablo= Honey= dominating= the= mid-price= charts= and= selling= more= than= 100,000= units”=(‘1998:=Year=of=the=Mid-Price=Star-Wars’, in Music Week). In addition, it is often the case that retailers will decide about reduced price-packs, on the basis of the stock-availability of past= releases.= In= contrast,= independent= labels= tend= to= use= this= tool= for=more= pragmatic=reasons,=as=their=limited=financial=resources=do=not=allow=them=to=keep=certain=products=in=stock after a specified period of time. 3.1.2.3 Premiums (gifts)

“Merchandise= offered= at= a= relatively= low= cost= or= free= as= an= incentive= to= purchase= a=particular=product”=(Kotler=1997,=p.664) Two kinds of premiums are usually employed by record-labels: 1.With-pack premium, = “it= accompanies= the=product= in-pack= or= on-pack. The package itself can serve as a premium”= (idem,=my= highlighting).= “For= the= casual= browser,= eye-catching=sleeves=can=make= the=difference=between=no= sale=and=an= impulse=buy.=Despite=an=ever=diversifying=market,= record= labels= still= regard= packaging= as= one= of= the= most= important= tools= for=attracting=customers=and=subsequently=achieving=chart=success”=(‘Is=the=Jewel=case=past=its=sell-by=date?’,= in=Music=Week).=With-pack=premiums=vary= from= insert=posters,=photos,=vinyl=colour,=to=extra=products=( such as a limited edition single or album accompanied by a= second= album=with= extra= live= tracks,= for= example).= “Despite= the= regulations,= record=companies,=artists=and=designers=are=still=committed=to=giving=additional=formats=a=unique=selling=point=through=their=packaging.=The=priority=is=to=build=profile=as=well=as=shift=extra=units.=Consequently=special=packaging=is=identified=as=particularly=important=for=fledgling=bands with singles targeted at acquisitive teenagers. More often than not these projects are handled by in-house=design=teams=who=aim=for=the=novelty=factor”=(“The=Exclusive=Band=of Packaging Pioneers”, in Music Week 17/5/97). 2.Free in-the-mail premium “is an item mailed to consumers who send in a proof of purchase” (idem) Such=items=range=from=box-sets=(for=keeping=an=artist’s=collection=of=singles,=for=example)=to=newsletters,= informing=consumers=about=an=act’s=and/or= label’s= future= releases=and/or=tour dates and interviews. Merchandise has always been a very profitable area in the music industry. As an additional feature=to=the=image=created=around=a=musical=act,=merchandise=is=instrumental=in=building=and=maintaining=a=fan-base,=which=structures=its=life-style=around=the=imagery=created=by=the promotional discourse of merchandise. Industry people have recognised that “If we are to= survive,=we’ve= got= to= behave= the= same=way= as= the= fashion= industry”= (Chris=Parkes,=Merchandising= for= Life,= in= “The= Big= Sell”,= Music= Week= 26/7/97).= “At= this= level,=merchandising=has=unlimited-= and=more= lucrative-= retail= possibilities.=BIG= is= currently=handling= the= licensing=of= an=Action=Man-style= Peter=Andre= doll= to= be= sold= into= stores=alongside=mugs=and=bedspreads.=Boyzone,=too,=are=diversifying.=In=September=they=launch=their= own= range= of= perfumes,= birthday= cakes=and=even=a= fizzy=cola=drink”= (idem.).=The=availability=of=merchandise=has=also=significantly=increased=the=profit=margins=of=retailer=chains.=“Posters=have=better=margins=than=previously=recognised=and=are=low=maintenance=products”(idem.).=As=regards=primary consumes (that is press people and dj’s) “things like slipmats,=mousepads=and= record-bags=are= ideal=promotional= items,=as= they’re= functional=and that usefulness means that they’ll be around as a reminder to a DJ or a journalist when a=label’s=next=record is released” (idem.). “As with all forms of merchandising, posters are only as successful as the bands they depict and companies have to second-guess=the=trends=of=a=fickle=market.=‘We=try=to=go=for=things=that=are=going=to=be=around=for=a=long=time,=not the=one=hit=wonders’,= says=Copley=Dunn”= (“Those=Little=added=Extra”,= in=Music=Week=6/12/97).=Gifts,= such= as= branded= dolls= or= clothing,= are= also= used= as= rewards= for= loyal=retailers=and= incentives= for=new=ones.= In= the=context=of= this=dissertation= the= function=of=

music-related=merchandise=will= be= explored= in= terms= of= its= power= as= ‘communication=vehicle’ among groups of consumers. 3.1.2.4 Fan-Club A fan-club=is=very=useful=for=creating=a=loyal=customer-base.=It=is=based=on=the=rationale=of=premium gifts,=that=is=adding=extra=value=to=a=purchase.=Consumers=who=join=fan=clubs=are=described= as= the= ‘die-hard’= fans= of= an= act,= and= range= from= people= who= dedicate= a=considerable=part=of=their=daily=lives=talking=about=their=preferred=artist=or=even=following=them on= their= tour.=A= striking= example= of= ‘die-hard’= fans= is=given=by= the=people=who=followed= the= famous= blues/rock= band= Grateful= Dead= all= around= the= world.= These=consumers= tend= to= structure= their= lives= around= the= image= of= the= band,= in= this= example=around= the= image=of= the= ‘easy-rider’,=bohemian= type,=and=are=highly= influenced=by= the=effects=of=iconicity=(cf.=2.4).=“The=Grateful=Dead=rank=as=one=of=the=most,=if=not=the=most,=active=marketers= in= rock’n’roll,= even= after= the= death= of= band= leader= Jerry= Garcia.= In=addition= to= having= been= one= of= the=world’s= highest-grossing= live=music= acts= the=group=boasts=of=a= series=of= licensed=products.=Without= the=concerts,= the=Grateful=Dead=had= to=come=up=with=a=new=way=to=attract=future=generations=of=followers.=The=newest=innovation has=been= ‘The=Goods=of= the=Dead”= (Marketing=News,=Vol.31,=Sep.29=1997),=a= fan-club based=mail-order= list= that= allows= fans= to= acquire= band=memorabilia.=Fan-club=members=receive=premiums,= like=posters=and=badges,=and= sometimes= limited=edition= records=with exclusive recordings. 3.1.2.5 Free-trials Free-trials=are=normally=used=at=the=point=of=purchase,=that=is=the=retail=outlets.=Specially=designed=stalls=equipped=with=cd-players=and=headphones=allow=the=consumer=to=listen=to=the=product=before=purchasing=it.=Trials=through=the=Internet=have=also=gained=increasing=popularity= over= the= last= three= years,=where= the= consumer= can= visit= the=web-site= of= the=record-label and listen to parts or the whole song(s) from a new release. 3.1.2.6 Point-of-sale Displays Point-of-sale=displays= include=posters=with= the= title=and=cover=of=a=new=product=used= in=retail=outlets.=Retailers=tend=to=be=confused=by=the=vast=number=of=posters=and=promotional=gadgets= they= receive= from= record= labels.= Aware= of= this= fact,= labels= sometimes,= and=depending=on=the=centrality=and=popularity=of=a=retailer,=propose=to=decorate=the=shop=for=free, if the retailer agrees to place their records and posters at a prominent position. 3.1.2.7 Below-the-line advertising/ Special events The=shift=in=allocating=promotion=expenses=from=advertising=to=sales-promotions=over=the=past thirty years is widespread. Especially in the music industry, a particular form of sales-promotions,= viz.= below-the-line= advertising= or= the= organization= of= special= events= is considered= a=more= effective= promotional=means= than= advertising.=Also,= the= degree= of=

customer= loyalty= is=often=measured=by= the= level=of=participation= in= these= events.=Three=major types of events are used in the music-industry: 3.1.2.7.1 Live shows They denote=the=appearance=and=performance=of=the=musical=act=in=front=of=an=audience.=The= cost-effectiveness=of= this= tool=depends=on= the=already=established=popularity=of= the=artist.=In=some=cases=the=label=(and=less=often=the=artist)=will=make=some=profit=out=of=the=gig,=whereas=in=other=cases=the=costs=will=significantly=outweigh=the=returns.=For=example,=when=the=Rolling=Stones=play=live,=it=is=highly=likely=that=their=shows=will=be=sold-out=and=highly= profitable,= whereas= when= Mogwai= (= a= newly= signed= post-rock= band,= highly=acclaimed= by= national= press)= play= live= it= is= likely= that= the= returns=will= just=manage= to=balance= the= costs= of= organizing= the= show.= In= other= cases= the= profit=made= out= of= a= live=show,=depending=on=the=type=of=contract=the=band=has=signed=with the record label, will be re-invested=on=the=recordings=and=promotional=expenses=for=the=next=record.=For=example,=Jay Gray (keyboard player of the very successful neo-rock band Kula Shaker, run by Sony Music) said that they didn’t make any profit out of their 2-year long world-tour (including an=appearance=in=front=of=a=20,000=audience=in=Tokyo),=as=it=was=agreed=in=their=contract=that=any=profit=made=during=their=tour=would=be=allocated=to=the=recordings=and=promotion=costs=for=the=new=album=(personal=interview 10/12/97). In general, the effectiveness of the live-show= in= terms= of= returns= has= been= radically= re-evaluated= over= the= last= few= years.=“Gone= are= the= days= when= bands= could= squeeze= a= living= out= of= touring= the= UK=independently=of=record=releases,=or,= indeed,=of= record=contracts.=Costs=are=now=so=high=that= only= the= best= established= acts= can= afford= to= go= on= the= road= without= significant=injections of cash from their record labels. Consequently, the majority of record labels still regard=touring=as=little=more=than=an=arm=of=promotion=and=marketing=and=are=reluctant=to=support=live=dates=unless=they=coincide=with=the=release=of=product=or=can=be=used=as=a=tool=to=boost=first-week sales” (A Gig Too Far?, in Music Week). 3.1.2.7.2 Club-events The=most=popular=event=other=than=live=shows=is=the=organization=of=a=special=night=in=a=club,=where=a=new=record= is=played=for= the=first= time=and=gifts=(ranging=from=T-shirts= to=branded condoms!) are given away. 3.1.2.7.3 Press-conferences Press=conferences=are=usually=organized=either=on=the=initiative=of=the=record-label itself or in=conjunction=with=a=sponsor.=They=aim=to=present=the=act=to=the=press-people. Incentives for positive coverage, such as alcoholic drinks, luxurious hors d’oeuvres, free records, and sometimes promotional mobile-phones,=and=other=gadgets=are=provided=during=the=course=of a press-conference. 3.1.3 Public Relations

A= ‘Public’= is= defined= by= Kotler= (op.cit.,= p.671)= as= “any= group= that= has= an= actual= or=potential=interest=in=or=impact=on=a=company’s ability to achieve its objectives”. Given this definition=we=can==infer=that=a=record=label’s=viability=depends=on=the=ways=whereby=it=can=build=and=maintain=positive=relationships=with=the=main=publics=concerned,=viz.=the=press-people= and= the= consumers.= Public= relations= tools= are= not= always= distinct= from= sales-promotions= tools,= as= it= is= often= the= case= that= they= constitute= aspects= of= the= sales=–promotions functions. As with sales-promotions, the task of public-relations is to create an interface=between= the=primary= consumers= (press-people)= and= secondary= consumers= (the=purchasers). Three major types of public relations can be singled out: 3.1.3.1 Press relations This function is performed by the press-office, the operations of which are described in the next section. 3.1.3.2 Product Publicity “ Sponsoring various efforts to publicize specific products” (Kotler, op.cit., p.671) The various tools falling under this type were described in the ‘Below-the-line advertising’ category=of=the=previous=section.=As=an=example=we=mention=the=sponsoring=of=the=NME=tour=by=Miller=during=January=1998.=This=event=was=an=attempt=by= the=popular=musical=newspaper=NME= to=promote=4=new=acts= (Asian=Dub=Foundation,=The=Audience,=Warm=Jets,=Stereophonics)=appearing= live=in=10=selected=venues=all=over=the=country==under=the=sponsorship of Miller beer. 3.1.3.3 Lobbying Owners and top executives of record companies have always been involved in the political arena=in=order=to=promote=the=cultural=value=of=their=products.=Alan=Mc=Gee,=the=owner=of=Creation rec. (an indie label distributed nation-wide by Sony Music, which also deals with foreign=press=and=public=relations.=It=is=worth=noting=that=the=vast=majority=of=minors=and=independents= are= now= distributed= by= majors,= as= an= outcome= of= the= so-called ‘consolidation’=process=that=took=place=in=the=early=80’s)=has=made=generous=donations=to=the=Labour=Party.=The=Beatles=were=elevated=to=the=status=of=‘knighthood’=by=the=Queen=for= their=cultural= impact=around= the=globe.=Lobbying=is=a=very=important=public=relations=tool as it increases record labels’ influence over legislative procedures. 3.1.4 Conclusion These=are=the=main=tools=record=labels=use=for=promoting=their=products=and=image.=Their=place= in= the=hyperreal=space=of= the=music=industry=is=a=central=one,=as=they=are=primarily=responsible for building the product-concept=in=terms=of=the=primary=image=of=the=product.=As=regards=the=frequency=of=use,=a=shift=in=emphasis=from=advertising=to=sales=promotions=and=public=relations=has=occurred=over= the=past= twenty=years,=as=an=attempt= to=create=an=interface= between= producers= and= consumers.= “The= intertext= of= product= promotion= has=

become= absorbed= into= an= even= wider= promotional= complex= founded= on= the=commodification, and transformation into advertising, of produced culture itself” (Wernick 1996,= p.95).= The= impact= of= these= techniques= on= consumer= psychology= remains= to= be=explored.=The=hypotheses=we=shall=test=by=drawing=on=the=proposed=research=methods=will=be=exposed=in=Ch.4.=Meanwhile,=it=would=be=advisable=to=give=an=overview=of=the=music=industry,=in=order=to=provide=a=clearer=picture=of=where=this=‘promotional=intertext’=stands=within a complex virtual network. 3.2 THE VIRTUAL ORGANIZATION: A NETWORK MARKETING APPROACH TO THE M USIC INDUSTRY. 3.2.1 Introduction The=Network= approach= to=marketing= has= become= increasingly= influential= over= the= past=decade=as=a=result=of=its=ability=to=provide=a=descriptive=account=of=the=framework=within=which=the=multiple,=interconncetd=roles=individuals=assume=are=embedded.=The=significant=theoretical steps taken by the IMP group have yielded a conceptualization of how complex buyer-seller networks operate. Alternative approaches have been made towards describing how= particular= industries= are= organized= = as= a= web= of= interlinking= and= interacting=departments,=which= cannot= exist= independently= of= each= other.= The=music= industry,= in=particular,=displays=a=high=degree=of=complexity=as=regards=its=formal=(not=to=mention=its=informal) infrastructure, which has not merited any analysis hitherto. “The infrastructure is made=up=of=several=team=players,=all=of=whom=play=a=part=in=developing=an=artist’s=career:=the=artist,= the=management,= the= record=company,= the=publisher,= the=agent,= the=promoter,=lawyers and accountants” (The Guardian 23/8/97). This=infrastructure=is=sometimes=called=a=‘virtual=organization’,=due=to=its=latent=character,=that= is=due= to= the=fact= that= it=cannot=be=exhaustively=described= in=a=formal=way,= like= the=various= parts= that= make= up= a= living=organism.= Rather,= its= parts= extend= in= ever-new directions,=like=the=pseudopods=of=an=amoeba,=to=use=V.Mitchell’s=‘organismic=metaphor’.=As= Ibarra= (1992)= stresses,= “it= is= not= clear= how=much= of= the= network= organization= is=emergent= or= prescribed”.= = The= characterisation= of= networks= as= virtual= organizations= is=extremely=important=in=this=theoretical=orientation=that=seeks=to=support=the=thesis=(without=any=claims=to=apodeictic=value)=that=consumer=behaviour=with=regard=to=musical=products=is a manifestation of chance-events and cultural forces working at a wider cultural level, as identified in the introductory discussion of the hyperreal space. In=this=section=we=shall=delve=into=a=preliminary=description=of=how=the=distinctive=parts=of=this= structure= are= dynamically= interrelated,= and= how= the= actors= that= constitute= its=most=important=human=assets=cooperate=in=order=to=bring=about=the=common=goal=of=making=a=musical= act= popular= and= meet= the= profit-driven= goals= of= record-comoanies.= The=information=provided=has=been=compiled=in=part=from=personal=experience=and=discussions=with= people=working= in= the= relevant= fields= (also= cf.= 4.3.3),= and= in= part= from= literature=

dealing=with=the=various=processes=involved=in=the=production=of=musical=products9.= =The=objective of this section is twofold: -Firstly,= to= illustrate= the=distinctive= ‘nodes’=of= the=network= in=numerical=order,=with=no=hierarchical=significance,=given=that=network=models=have=been=suggested=as=a=response=to=traditional entrepreneurial hierarchy. -Secondly,= to= illustrate=how= these=nodes= interlock= in= the= form=of=concentric=circles,= the=centre= of=which= is= the= record= company,= and= the= periphery= is= occupied= by= the= various=directly= and= indirectly= related= areas=of= interest.=This=picture= is= regarded= as=valid=when=examining the product where its tangible features are concerned, like the production of the music,=the=pressing=of=the=cd,=the=designing=of=the=cover.=An=alternative=picture,=however,=is=valid=when=examining= it= from= the=viewpoint=of= its= ‘cultural= significance’,=where= the=impact=of= the=various= ‘cultural=mediators’,=as=have=been=defined=by=bearing=on=existing=literature,= alters= the= relationship= between= the= centre= and= the= periphery= (= INSERT=CONCENTRIC= CIRCLES= FIGURE).= The= concept= is= derived= from= the= work= of= the=sociologist=Pierre=Bourdieu=and=refers=to=an=emerging=social=grouping=concerned=with=the=production=and=consumption=of=consumer=cultural= imagery=and= information,=working= in=such= areas= as= marketing,= advertising,= design,= public= relations,= radio= and= television,=journalism, research, consultancy, counselling and the helping professions. 3.2.2 Top management of the record company The record company is obviously the core of the virtual organization. Before analysing the role=of=its=top=management,=we=should,=first=of=all,=clarify=the=distinctive=kinds=of=record=companies,=according=to=their=size.=R.Burnett=distinguishes=three=major=categories:=“First=there= are= the= transnationals= or= majors,= who= control= the= lion’s= share= of= the= market,=manufacture and distribute their=own=product.=Second,=there=are=the=middle=tier=or=minors,=smaller=companies=who=tend=to=gain=their=share=of=the=market=by=making=production=and=distribution=deals=with= the=majors,=or=with= independent= studios,=presses=and=production=facilities. Third, are the “alternative or indie labels” which operate less conventioanlly than the=majors= through= a= network= of= independent,= often= short-term= contacts= and= contracts.=They=place=their=emphasis=on=cheapness=of=production=and=often=have=localized=networks=of=production=and=distribution”=(1996,=p.49-50).In=majors=the=top=management=personnel=are responsible for making the final decisions about which artists are going to be allocated the financial resources necessary for recording the music, pressing it on cd/vinyl/ cassette, packaging= the=product=and=marketing= it=by=using=one=or=more=of= the=promotions=means=available.=The= only= people= that=may= influence= their= decisions= are= the= president= of= the=company=and= the= shareholders.= If= it= is=a= small,= independent=company,= top=management functions= are= usually= performed= by= the= owner= and= trained= personnel.=Decision-making about developing and marketing new acts is an extremely strenuous process, especially for majors,=such=as=Warner=Bros,=given=that=“a=new=band=will=have=cost=the=record=company=between=$500,000=and=$1,000,000=by=the=time=the=records=are=released”=(‘Is=this=industry=heading= for= rock’n’roll= suicide?’,=The=Observer,= 16=Nov.= 1997).=These= figures= exceed= 9=A=useful=reference=in=this=field is Michael Wale’s ‘Voxpop: Profiles of the Pop Process, Harrap London 1972

K.Negus’= estimations=who= reported= that= = “at= the= beginning= of= 1990’s= a=major= record=company=in=Britain=anticipated=having=to=spend=between=250.000=–=330.000=over=the=first=18=months= of= an= average= deal= for= a= new= act;= roughly= broken= down= into= 100.000= for=advances= to= the= artists,= 150.000= for= recording= costs= and= 80.000= for= basic= promotional expenses” (Negus 1992, p.45). Due to increasing production costs labels’ decision-making has shifted emphasis from building long-term=careers=to=manufacturing=quick=hits.=At=this=point=it=is=important=to=provide=some=historical=information=about the five major players in the popular music industry: 3.2.2.1 SONY MUSIC “In December 1987 the Japanese consumer electronics corporation Sony paid $2 billion to purchase= CBS= Records= division= from= its= American= parent= company= Columbia=Broadcasting=Systems= Inc.=At= the= time= of= the= sale,=music,= including=music= publishing,=accounted= for= just= 25= per= cent= of= the= corporation’s= total= turnover;= broadcasting= for=approximately 40 per cent. In addition to seven book publishing companies and more than 60=magazines,=CBS= subsidiaries= included= toy=manufacturing,=Steinway= pianos,=Fender=guitars=and=Rogers=drums.=Sony=Music=has=plants=in=over=40=countries.=North=America=is=its= biggest=market,= representing= 50= per= cent= of= total= sales.=Europe= accounts= for= 30= per=cent, while Japan=for=another=10=per=cent=of=world=sales”=(Burnett=1996,=pp.51-52) 3.2.2.2 WARNER MUSIC “Warner=Music=is=the=music=division=of=Time=Warner=Inc.,=the=result=of=the=1989=merger=between American-owned=Time=and=Warner=Communications.=Warner=Music=is=thus=the outcome=of=a=number=of=mergers.=The=beggining=of=Warner’s= record=production=was= in=1958 when the Warner Bros movie company formed a record label, Warner Bros Records. Warner= took=over=Reprise=Records= in=1964.=Warner=and=Reprise=comprise=one=of= three=Warner= subsidiaries= in= the= field= of= record= production,= the= other= two= being= Atlantic=(acquired=in=1967)=and=Elektra/Asylum=(acquired=in=1970).=Warner=Communications=also=includes= movie,= television= and= publishing= interests,= Atari= Inc.,= Knickerbocker= Toy=Company,=major= shares= in=Coca-Cola,=major= shares= in=Bausch= and=Lamb=Optical= and=several= US= Cable= TV= companies.=Warner’s= most= important= marketing= areas= are= the=English-speaking countries, USA, Canada, UK, Australia and New Zealand. Warner is the fastest=growing= transnational=record=company=internationally=with=sales=tripling=between=1975=and=1990.=Of=all=the=transnationals,=Warner=Communications=is=the=most=media=and=software=oriented.=Thus= its= turnover=has=been= the=most=volatile= as= its=various=divisions=have prospered or suffered, depending on changing market conditions. Music accounts for approximately= 26= per= cent= of= its= sales= and= films= for= 30= per= cent,= but= because= of= the=corporation’s=deep=involvement=in=film=these=proportions=can=change=significantly=year=to=year on the basis of blockbuster successes or flops” (idem., pp.52-53). 3.2.2.3 THORN EMI & VIRGIN MUSIC GROUP

“Thorn-EMI=is=the=result=of=the=1980=merger=of=the=two=British=firms,=Thorn=Electronics=and=EMI=Records.=EMI=was=formed=in=1931=as=a=result=of=a=merger between the Columbia Gramophone= Co.= and= the= Gramophone= Co.= Columbia= and= Gramophone= continued= to=compete=until=they=took=the=common=EMI=name=in=the=1960s.=In=1979=EMI=acquired=the=American=United=Artists= record= company.= Ironically= in= 1980,= 25= years= after= selling= to=Thorn,=EMI=itself=was=bought=in=its=entirety=by=Thorn.=Music=now=accounts=for=some=28=per=cent=of=Thorn=EMI=total=turnover.=The=merger=of=the=hardware=oriented=Thorn=and=the=software-oriented=EMI=was=clearly=planned=with=an=eye=to=the=video=and cable revolution. Thorn-EMI=was=an=early=owner=of=the=now=defunct=Music=Box=satellite=channel.=Thorn-EMI= can= now= produce= the= hardware= to= go= along=with= the= software.=As= a= result= of= its=imperial past and subsidiaries formed in the 1920’s, Thorn-EMI=also=has=a=strong=foothold=in=the=expanding=Asian=markets,=with=even=a=manufacturing=plant=in=Peking.=The=purchase=of=Virgin=Music=Group=was=particularly=interesting.=Virgin=was=established=in=1970=as=a=UK=mail=order=company=by=Richard=Branson.=Virgin=soon=moved=into=record=production,=and=opened= record=stores= that=have=grown= into=a=major=chain.= In= the=1980’s=Virgin=had=diversified=into=youth-culture=related=activities=such=as=films,=music=videos,=books=and=a=transatlantic=airline=company.=The=purchase=of= the=Virgin=Music=Group,= the= last=of= the=major= independent= labels,= brought= such= stars= as= the=Rolling= Stones= and= Janet= Jackson=under= the=EMI=umbrella.=In=a=further=attempt= to=strengthen= the=company=position= in= the=field=of=music,=EMI=purchased=the=SBK=Entertainment World, a publishing company, and also=another=major=music=publisher,=the=Filmtrax=Copyright=Holding=corporation.=A=series=of= aggressive= acquisitions= has= included= Chrysalis= Records,= SBK= Records,= SBK=Entertainment=World,=all=in=1989.=In=1992=EMI=spent=$960=million to purchase the Virgin Music=Group.=These=moves=have=won=EMI=15=%=of=the=global=music=market,=and=EMI=is=just=slightly=behind=the=industry’s=Big=Three:=Warner=Music,=Sony=Music=Entertainment=and Polygram” (idem., pp. 53-54) 3.2.2.4 POLYGRAM Polygram= is= a=management= and= holding= company= originally= based= on= the= interlocking=relationship=of=Phonogram=(owned=by=the=Dutch=Phillips=Electrical)=and=Polydor=(owned=by=Deutsche=Grammophon,=which= is= a= subsidiary=of= the=German= electrical= corporation=Siemens). It= is= Phonogram= International= and= Polydor= International= that= produce= and=market= records= under= the= Polygram= umbrella.= Thus= Polydor= plus= Phonogram= equals=Polygram.= Polygram’s= labels= include= the= Phonogram-controlled,= Phillips,= Vertigo,=Mercury,= and= the= Polydor-controlled,=Deutsche=Grammophon,= Polydor= and=MGM.= In=addition,=Polygram=took=over=Decca,=the=renowned=British=firm,=and=bought=a=majority=of=shares=in=Casablanca=in=1980.=Polygram=is=today=involved=in=manufacturing,=production,=marketing and distribution=as=well=as=publishing.=In=a=bid=to=boost=its=weak=position=in=the=US=market=(a=problem=it=shares=with=EMI=and=BMG),=bought=A&M=Records=in=1989=and=Island=Records= in=1990.= It=also=acquired= the=US=distribution= rights= to=Motown= in=1991,=and=took=the=logical=step og buying the label outright in 1993. A significant presence in the American=market= is=vital= to=all= transnationals= since= it= represents=by= far= the= single=most=important=music=market= in= the=world.=Polygram= is=also= into= film=production=as=well=as=

television=and=music=video=specials”.=(=idem.,=pp.54-56).=In=1998=Polygram=joined=forces=with Universal under the general label of Seagram. 3.2.2.5 BERTELSMANN MUSIC GROUP (BMG) The= Bertelsmann= Music= Group= is= a= division= of= one= of= the= world’s= largest= media=conglomerates,=the=German=Bertelsmann=Publishing=Group.=BMG=became=a=transnational=player=by=purchasing=American=RCA= records= in=1986.=RCA=did= its=best=business= in= the=1930’s=and=1940’s=when= it=rivalled=Columbia=as= the= top=American= label.=In= the= last= two=decades it has achieved a powerful international position. BMG has updated its production and= made= major= changes= within= management.= These= changes= have= been= directed= at=improving= the= company’s= position= in= the= rock=market.= In= this= regard=BMG= has= in= the=1980’s= acquired= both= the= European= Ariola-Eurodisc= label= and= the= American= Arista=Records= which= was= originally= formed= in= 1974= by= Columbia= Motion= Pictures.= The=publishing (books, magazines) and record industries are its principal activities in the global marketplace”. (idem., pp.56-57) 3.2.2.6 Conclusion It= should= be= noted= that= the= competitive= position= of= each= of= these= record-companies=in=terms= of= market-share= is= quite= flexible,= due= to= shifting= market= trends= that= alter=continuously= the=competitive= landsacpe,=as=well=as=due= to=mergers=and=acquisitions= that=confer changes to the companies’ organizational structure. 3.2.3 A&R department The=Artist=and=Repertoire=department= is=usually=based=at= the=headquarters=of= the= record=company=and==normally=comprises=of=1-3=(sometimes=more,=according= to= the=size=of= the=record company) members. These individuals are the ‘talent-scouts’ of the company, those who= look= for= new= talent= to= be= exploited= and= developed.= The=A&R= personnel= do= not=necessarily=have=any=formal=qualifications,=but=they=must=be=able=to=discern=catchy=tunes=and=acts=with=potential.=Their= job= is= to= frequent=clubs=where=gigs= take=place= in=order= to=meet=unsigned=acts=and=suggest=contract=terms=to=them,=as=well=as=expand=their=framework=of acquaintances so that they can learn about new artists before anybody else does. Lavish rewards=are=given=to=the=A&R=members=for=signing=up=successful=acts,=as=well=as=fearful=reproaches=for=those=who=do=not=yield=the=company=the=forecasted=returns.=In=general,=the=members= of= the= A&R= department= are= confronted= by= great= anxieties= due= to= the=opportunistic= nature= of= their= job= and= the= pressure= from= above= to= discover= a=minimum=amount=of=acts=for=a=designated= time-period=for=new=product=development.=It=suffices=to=say=that=ASH,=a=very=popular=indie/rock band, the sales of which has reached a seven-digit number=all=over=the=world,=was=first=contacted=by=an=A&R=member=of=Infectious=Records=after an old classmate of his mentioned them in the course of a friendly discussion! 3.2.4 The artist

The=artist=is=responsible=for=creating=the=audible=content=of=the=musical=products=(next=to=the=visible=one,=which= is= the=cover=and= insert=design,=as=well=as= the=design=on= the=cd).=Stuart=Worthington,=head=of=training=and=education=at=the=International=Managers=Forum=(IMF),= the= industry’s= trade= organization,= insists= that= “Without= talent= the=whole= of= the=industry’s=infrastructure=falls=apart”=(The=Guardian=23/8/97).=The=artist=is=responsible=for=devising=a=particular=sound=that=matches=an=established=musical=trend,=or=inventing=a=new=one.=Especially= in= the=music= industry= it= is=very=difficult= to=decide=whether=a=product= is=innovative=or=involves=a=dynamic=continuity=with=previous=products,=as=it=is,=as=a=rule,=up=to= the= perceptions= and= comprehension= of= individual= critics= and= personal= opinions= of=consumers= to= decide= about= the= degree= of= novelty.= An= interpretation= of= the= multiple=functions= performed= by= the= artist= =within= the= hyperreal= space= occupied= by= the=musical=industry,=and=with=regard=to=consumer=psychology=has=been=already=analysed=in=Ch.2=and=will further explored in Ch.5. 3.2.5 The Marketing Department “Marketing= does= not= merely= involve= record= companies= transmitting= products= and=information= to= potential= audiences,=who= then= rationally= select= from=what= is= available. Marketing stuff must actively construct consumers as identifiable markets”. (Keith Negus, The Discovery and Development of Recording Artists in the Popular Music Industry, PhD Thesis Southbank University 1991, p.120) The=marketing=department=of=a=record label mostly plays a coordinating role. Its personnel is=responsible=for=establishing=and=maintaining=a=communicative=link=between=individuals=working= for= different= departments,= like= the= producer= (who= is= responsible,= as= the= title=denotes,= for= developing= the= artist,= including= controlling= the= recording= procedure,=interacting= with= the= A&R= personnel,= the= gig-organizers,= designers),= and= the= A&R=personnel.=Also,= they=are=responsible=for=establishing=and=updating=a=database=of=all= the=contacts= involved= (either=directly=or= indirectly)=with=a=particular=act.=Depending=on= the=artist,= the=number=of=people= that=are= included= in= the=database,=may=number=from=100= to=many= thousands.=The=database= includes=people= that= range= from= journalists= to= individual=consumers.=According= to=Pat=Carl,=marketing=manager=of= the= independent=British= label=‘Infectious= Records’,= who= manages= popular= names= of= the= indie/rock= scene= such= as=Symposium= and=Ash= ,= the= number= of= people= included= in= the= database= for= the= first= act=reaches=the=figure=of=55,000,=while=for=the=second=the=figure=of=27,000.=Their=database=is=continually=monitored=and=cleared=of=unnecessary=names.=The= importance=of=creating=a=loyal=fan-base=has=been= recognized=over= the=past= five=years.=As=a= rule,= fill-in=cards=are=included in new=releases=that=guarantee=the=sender=transmission=of=updated=information=in=the= form= of= a= quarterly= newsletter.= Sometimes= questions= in= the= form= of= a= mini-questionnaire= are= printed= on= the= card= that= ask= the= consumer= to= give= information= about=whether= s/he= liked= the= design= of= the= product= and/or= the= music.= Thus,= monitoring=consumers’=perceptions=on=a=constant=basis,=labels=are=able=to=take=on=a=proactive=strategy=as=regards=the=supply=of=new=products,=as=well=as=forecasting=the=potential=success=of=new=trends=that=are=introduced=in=the=market.= However=crucial=the=function=of=the=marketing=department=in=a=record=label=may=be,=it=is=often=the=case=that=the=persons=involved=are=not=clear=about=the=exact=difference=between=

marketing=and= =a=sales=department.=Pat=Carl’s=first=response=when==asked==‘What=are=the=basic=functions=of=a=marketing=department?’=was=‘To=sell,=really’.=However,=as=it=emerged=in=the=course=of=the=discussion,=she=had=many=more=roles=to=perform=than=just=sales,=even=though profitability is the key-task=for=small=independent=labels=who=have=to=strive=against=big players (personal interview 2/98). 3.2.6 The Press Office (or PR Department) The=Press=Office=is=either=an=autonomous=agency,=i.e.=not=owned=by=the=record=company,=or= an= in-house= department,= i.e.= directly= controlled= by= and= accountable= to= the= record-company’s=management,= specialising= in= promoting= the=musical= product= to= the= various=communications= media,= including= magazines,= newspapers,= radio-stations,= night-clubs, television.=It=may=also=be=the=case=that=the=work=load=is=divided=between=a=private=agency=and=label-owned=department,=according= to=whether= the= label= is=dealing=with=domestic=or=foreign=press.=For=example,=foreign=press=for=the=famous=band=Primal=Scream=is=dealt=with=by=Sony=Music,=whereas=domestic=press= (UK)= is=dealt=with=by=Bad=Moon=Productions=(Private=Press=Office).=The=main=functions==the=press=officers=are=called=upon=to=perform=are the following: 1.To= put= together= biographical= information= about= particular= artists= in= order= to= create= a=profile= that=differentiates=one=musical=act=from=another.=The=biographical= information= is=usually accompanied by photos and promotional copies of upcoming releases. These three components=make=up=the=standard=‘promotional=package’,=as=it=is=called,=that is distributed to=the=various=parties=concerned=with=communicating=the=profile=of=the=act=to=the=targeted=audience. 2.To= establish= and= control= a= database= of= the= individuals= working= for= the= various=communications= media,= that= constitute= the= connecting= link= between= production= and=consumption.=Normally,=certain=individuals,=who=have=been=favourable=towards=a=certain=act,= are= prioritized= in= the= list= of= contacts.= The= database,= as= a= function= of=MKIS,= also=involves keeping a file of all publications relevant to particular acts, which in turn, serve as a useful background and additional profile feedback for future releases by an act. 3.To arrange for interviews of the artist with particular communications media, in order to give=a=first-person=view=of=the=aims=of=a=new=product=with=regard= to= the=expectations=of=the= consumers.=However,= especially= in= the=music= industry,= the= concepts= of= consumer-expectations=and=level=of=satisfaction=are=very=difficult=to=measure=beforehand,=as=popular=trends=change=with=a=speed= that=is=perhaps=unparalleled=in=any=other=industry.=Therefore,=the element of risk with regard to consumer satisfaction about a new product is minimized by=record=labels=through=a=number=of=strategies.=Usually,=before=the=release=of=an=album,=a=number=of=tracks=in=the=form=of=a=single=are=put=out=at=a=‘friendly=price’=(ranging=between=1-3=pounds)= in=order= to= instigate= trial= from= the=consumers.=This=allows= the=company= to=calculate the potential for profitability when the album finally appears in the market. Below=we=cite=a=figure=listing=all=major=in-house=and=independent=PR=offices=and=the=acts=they manage. INSERT FIGURE FROM MUSIC WEEK LISTING IN-HOUSE AND AUTONOMOUS PR OFFICES IN THE UK

3.2.7 The Journalists Journalists=are=press=offices’=primary= target=group=and=constitute= the=opinion= leadership=team.=Their=role=is=to=form=opinions=about==new=releases,=either=by=presenting=it=in=radio-shows, or writing reviews in newspapers and/or magazines, or presenting it on screen. It is very= important= to= recognize= that,= since= the= advent= of= the= Internet,= journalists= are= not=regarded=as=such=strong=opinion-leaders=as=they=used=to=back=in=the=1960’s,=which=marked=the= blossoming= of= the= music= industry.= The= possibility= created= by= this= innovative=communicative medium for individual=consumers=to=express=their=opinion=and=even=set=up=unofficial web-sites=(as=opposed=to=official,=i.e.=directly=established=and=updated=from=the=record=company=or=the=press=office),=multiplies=the=centers=of=opinion=to=such=an=extent=as=to= render= the=traditional=function=of=the=journalist=obsolete.=Especially=when=someone=is=dealing=with=products=the=primary=content=of=which=is=music=it=is=very=difficult=to=give=a=descriptive account of objective features, for the simple reason that they do not exist in the first= place.= The= essence= of= the= product= is= the= outcome= of= discourses= on= it,= and= their=capacity= to= superimpose= upon= each= other= rests=with= the= relative= influence= the= opinion-leader exerts on his/her audience. Usually, journalists rely for their descriptions on general features,= like= the=musical= trend= to= which= an= act= belongs,= its= value= in=maintaining= or=furthering established trends (like, for instance, ‘ this record is a fine moment in the history of=pop/soul’=or=‘this=record=shakes=the=foundations=of=the=rock=establishment’,=in=general=cliches= that= communicate= the=musical= identity= of= the= artist= to= the= consumer),= and= its=psychological value (such as, for example, when journalists stress the ‘cathartic’ effects of the= music,= that= is= its= capacity= to= cleanse= the= soul= from= any= anxiety= and= transfer= the=consumer= to= another= plane).= Journalists= as= ‘cultural= mediators’,= have= a= much= more=important=role=than=any=of=the=aforementioned=individuals=working=for=the=different=nodes=of the virtual organization, as their impact in attitude and value formation is tremendous. If one=only=thinks=of=the=great=speed=whereby=their=opinions=multiply=and=disseminate=in=the=sphere=of=everyday=discourse,=and=given=the=contagious=character=of=signs=when=it=comes=to= communicating= the= features= of= a= product= (i.e.= multiplying= through= word-of-mouth communication),=we= can= see= that= communication= is= structured= to= a= large= extent=on= the=basis of opinions formed by journalists. 3.2.8 The DJ The=DJ=is=responsible=for=playing=a=record=in=a=club, thus monitoring people’s preferences according to their degree of participation in the tune established by the song. The inclusion of=a=song= in=a=dj-set=performs= the=function=of=either=creating=awareness=of=a=new=act=or=repeating older hits, thus potentially regenerating demand for previous products. 3.2.9 The retail outlet The retail outlet is one of the most significant loci where the effectiveness of promotions is manifested.=The=placing=of=merchandise=and=free-trial=stalls=in=strategic=positions=is likely to=influence=consumers’=purchase-decisions.=Belk=at=al.=(1989,=p.10)=stress=the=‘religious’=

importance= of= retail= outlets= by= naming= them= “the= public= cathedrals= that= enhance= the=mystery=and=sense=of=otherworldliness=of=the=sacred”.=An=ongoing=debate=has=been=raging=over=the=past=two=years=about=the=potential=substitution=of=store-retailing through internet-retailing.=This=debate=also=involves=the=potential=shift=from=cd-production=to=downloading=them=through=the=Internet.=Also,=artists=such=as=Oasis=have=opened=merchandise=stores=on=the= Internet.=Of= course,= this= alternative=will= save= record-companies= a= huge= amount= of=financial=resources=currently=allocated=for=the=purposes=of=manufacturing=and=distributing=their= products.= However,= “industry= insiders=scoff= at= the= idea= of= the= traditional= record=business=becoming=obsolete=as=musicians=and=fans=learn=to=bypass=existing=structures”=(‘Is=this=Industry=heading=for=r’n’r=suicide?’=,The=Observer,=16=Nov.=1997).=Often,=consumers=regard= the= whole= shopping= experience= as= a= ritual= that= grants= them= access= to= the=‘transcendent’, albeit in a secular manner. The retail outlet is still an important node in the hyperreal= space= of= the=music= industry,= a= node= that= adds= to= the= ‘aesthetic= fascination’=surrounding the musical product. 3.2.10 The consumer The consumer is the final node in the virtual organization if examined from the producer’s point of view. However, once the consumer’s cultural significance and his/her contribution in maintaining and furthering the iconic status=of=the=musical=product,=then=s/he=moves=to=the=forefront=of=analysis,=and=his/her=importance=becomes=primary.=This=shift=is=portrayed=in=the=concentric=circles=metaphor=of=the=virtual=organization.=The=questions=‘Who’=is=the=consumer and ‘What’ does s/he want from the musical product will be explored in Ch.5. 3.2.11 Conclusion These= are= the= various= nodes= of= the= virtual= organization= of= the= music= industry,= the=operations=of=which=interlock=and=interact=on=the=surface=of=the=hyperreal=space=in=order=to produce=the=cultural=artefacts,=called=musical=products.=In=the=next=chapter=we=lay=out=the=methods= that=will=be=used= in= the=gathering= and= analysis=of= research=data,=with=view= to=exploring=the=ways=whereby=musical=products,=conceptualized=in=the=context=of distinctive sets of promotional discourses, impact on consumer psychology.

4. METHODOLOGY 4.1 Introduction This=chapter=aims=at=laying=out=the=objectives=of=the=dissertation,=glimpses=of=which=have=been=given=in=the=Literature=Review,=as=well=as=the=proposed=methodological=tools=to=be=used= for= exploring= them.=The= chapter= starts= from= an= exposition= of= the= objectives,= and=continues=with=an=outline=of= the= research=design,=which= includes= the= rationale= for=using=particular= qualitative=methods.= The= description= of= the= qualitative=methods= to= be= used=ensues,= giving= its= place= to= the=method= of= analysis= of= the= primary= and= secondary= data=gathered=from=our=research.=Discourse=analysis,=being=the=proposed=method=of=analysis,=is described=to=a=certain=extent,=while=commenting=on=its=usefulness=for=the=project=at=hand,=as= well= as= limitations.= The= chapter= ends= by= an= overview= of= the= theoretical= field= of=Interpretivism, in which the general oeuvre of this dissertation is embedded.

4.2 Research Objectives The=objectives=of=this=dissertation=appear=in=the=form=of=a=set=of=hypotheses.=Three=main=hypotheses,=which= emerged= in= the= process= of= reviewing= the= relevant= literature,=will= be=explored: Hypothesis 1 1a. The ‘primary image’ (i.e. image formed through the various promotions means applied by= the= primary= agencies= of= cultural=mediation,= the= ranking= of=which=will= be= decided=according=to=the=analysis=of=the=questionnaire=findings)=and=‘secondary=image’=(i.e.=image=formed= through= the= reflection=of= the=promotion=messages=on= the=discourse=of= the=press=people,=or=secondary=agencies=of=cultural=mediation)=are=responsible=for=shaping=‘tertiary=image’ (i.e product-image formed by the consumers). 1b.=Certain=promotional=techniques=are=more=important=for=shaping=‘tertiary=image’=than=others. Hypothesis 2 The=effect=of=the=product=image=on=consumer=psychology=is=related=to=the=circulation=of=the=constantly=re-doubled=signifiers=in=the=communicative=trajectory=that=promotes=intra-group=coherence through sacralizing ritual processes. Hypothesis 3 The circulation of signifiers is responsible for the creation and maintenance of the ‘iconic’ function of musical products. ‘Iconic consumption’ (as against symbolic consumption, the difference= being= that= whereas= the= latter= assumes= a= link= between= the= product= and= the=abstract=idea=it=expresses=as=lying=outside=of=it,=the=former=is=a=not=an=instantiation,=but=a=‘simulacrum’,=i.e.=a=self-refential=unit= that=encloses= the=meaning= it=represents)=has=wider=cultural= implications= for= the=maintenance= of= the= sacred= character= of=musical= products,=which is enforced through promotional techniques. The=research=is=exploratory=in=essence,=which=means=that=qualitative=methods=have=been=used= in= order= to= shed= light= into=the= above= hypotheses.= The= rationale= for= choosing=qualitative methods is presented in the next section. 4.3 Research Design

The=research=design=encompasses= three=qualitative=methods,=viz.=meta-analysis, in-depth interviews= and= focus-group=discussions.=Before= proceeding= to= illustrate= and= justify= the=employment=of=each=in=turn,=let=us=ponder=for=a=while=at=some=of=the=issues=that=urged=us=to employ qualitative, rather than quantitative methods. 4.3.1 Why Qualitative methods? Data collected by employing=qualitative=methods=are=often=described=as=‘soft’,=because=of=their= flexible= character= (Gordon/Langmaid= 1988).=Their= opponents= claim= that= the= data=generated=by=their=employment=are=not=representative=of=the=whole=population=from=which=the= sample= is=drawn,=due= the= latter’s= small=numerical=value.= In= this= chapter=we=do=not=intend=to=engage=in=an=argumentative=battle=with=the=advocates=of=quantitative=techniques=(the=usefulness=of=which=is=beyond=doubt=where=the=production=of=relevant=data=within=a=limited time-frame is called for in order for managerial decisions to be enabled), but rather to=point=out,=by=drawing=on=the=existing=literature,=why=qualitative=techniques=have=been=deemed= more= appropriate= for= the= project= at= hand.= On= a= general= level,= the= task= of=qualitative=research=is=to=“explicate=ways=people=in=particular=settings=come=to=understand,=account=for,=take=action=and=otherwise=manage=their=day-to-day lives” (Miles & Huberman 1994,= pp.6-7),= and= qualitative= data= are= applicable= “where= the= results= will=increase understanding,=expand=knowledge,=clarify=the=real=issues,=generate=hypotheses,=identify=a=range=of=behaviour,=explore=and=explain=consumer=motivations,=attitudes=and=behaviour,=identify= distinct= behavioural= groups,= provide= input= to= a= future= stage=of= research= and=development”=(Gordon/Langmaid=1988,=p.3).=Let=us=now=attempt=to=illustrate=how=these=key= driving-themes= of= qualitative= research= match= the= interpretive= oeuvre= of= this=dissertation.=Firstly,=it=is=certainly=a=central=aim=to=‘identify=distinct=behavioural=groups’.=As=the=quotation=from=Featherstone=goes=(Lit.Review=Chapter,=ft.6),=we=are=dealing=with=‘constellations with fluid boundaries’,= that= is= social= groups= that= are= not= necessarily=defined by sociodemographic variables, like gender, class, status,=but=rather=by=adopting=a=common life-style=with=shared=values=and=‘ritual=paraphernalia’=that=convey=these=values.=Age plays an indispensable part in defining consumer segments when it comes to different genres=of=pop=music=(like=rock,=soul,=reggae=etc.).=This=means=that,=at=least,=homogeneity=in= the= age= of= the= selected= sample= must= be= secured,= in= order= to= ensure= a= minimal=commonality= in= the= interpretive= repertoires= that= allow= consumers= to=make= sense=of= the=world.= In= this= respect=we= have= concentrated=on= the= teen-market,=which=has= the=highest=consumption= rate= for=popular=music=products=and=merchandise= that=pertains= to= the= life-styles= they= suggest= Secondly,= attitudes= and= behaviour= lie= at= the= forefront= of= our=exploratory= research,= given= that= one= of= the= driving= hypothetical= forces= behind= this=dissertation= is= that=promotional=discourses=are= to=a=great=extent= responsible= for= shaping=life-styles=by=feeding=images,=words=and=sounds=into=the=sphere=of=consumers’=everyday=communicative exchanges. Thirdly, it is indubitable that an analysis of how the meaning of musical= products= is= co-created= will= provide= useful= input= to= the= future= research= and=development of musical acts, by providing a meta-language which can function as a useful manual= for= translating= and= patterning= social= representations= that= ground= distinctive=

consumer= groupings.= = In= the= following= section=we= proceed= to= analyse= the= qualitative=methods that will be used in the primary and secondary data collection process. 4.3.2 Secondary literature This=method=is=called=meta-analysis=in=the=research=methodologies=literature.=The=reason=for= this= description= is= that= it= is= not= of= inductive= nature,= i.e.= drawing= inferences= from=empirical=data,=but=of=deductive=character,=i.e.=imposing=a=priori=models=(while=allowing for model-revision in the case of a radical mismatch between data and model) on collected data. The rationale= for= employing= this=method= is= that= it= allows= us= to= formulate= a= theory= of=‘iconic=consumption’,=and= show=how= in= the=case=of= the=products=of= the=music industry, promotions= techniques= enhance= their= value.=This=model=will= allow= companies= to= trace=different= psychic= values= that= exist= in= the= products= for= consumers,= as= “the= records=companies, whilst they might control the way music is produced, are unable=to=control=the=meanings= invested= by= audiences= and= the= uses= to= which= they= are= put.= These= are=appropriated=by=various=groups=and=individuals=and=used=for=the=expression=of=subjective=identities,= symbolic= resistance,= leisure= pursuits= and=musical= creation= in= everyday= life”.=(Keith=Negus,=The=Discovery=and=Development=of=Music=Artists= in= the=Popular=Music=Industry, Phd Thesis, Southbank University 1988, p.8) Meta-analysis=draws=on=a=range=of=paradigms=borrowed=from=the=social=sciences,=with=an=emphasis=on=social=phenomenology,=psychoanalysis,=and=semiotics.=An=explanation=of=the=key-terms to be used, as well as their relevance to the present research will be provided. 4.3.3 In-depth interviews As= a=background= to= the= theoretical= exploration=of= the= concept=of= ‘iconic consumption’, information= that=has=been=collected=by=numerous= in-depth= interviews=with=musical=acts=over= the= last= year,= as= well= as= with= members= of= record= companies’= promotions= and=marketing= people,= will= be= used.= The=rationale= for= this= method= is= that= it= offers= the=opportunity= to= gain= first-person= information= = about=how= ‘cultural=mediators’= reflect=on=their=function=within=the=virtual=organisation.==Given=that=the=purpose=of=these=data=is=not=to=validate=our=hypotheses,=but=rather=to=help=in=the=process=of=their=construction,=they=do=not= appear= in= the= Data= Analysis= chapter,= but= rather= they= are= cited= wherever= deemed=appropriate= in=order= to=add=emphasis= to=argumentative=points.=“In=generating= interview=data,=a=range=of=quite=different=cases=are=usually=selected, which may, for example, include acknowledged atypical cases such as extremes” (Silverman 1985, p.114). It is effectively a multiple= case= approach,= each= case= casting= further= light= on= the= situation= as= a= whole.=Generalisation from such research follows=what=Mitchell=(1983)=terms=‘a=logic=of=analytic=induction’,= which= is= far= removed= from= the= logic= of= statistical= inference.=It does not guarantee representativeness in the statistical sense, but it is possible to extrapolate results by an appeal to the causal relations which characterise the object of study.=In=addition,=a=great=deal=can=be=extracted=from=interview=data=by=interpreting=their=nature.=It=is important to recognise that what an interviewee says is usually a partial and rationalised account=of=what=s/he=thinks=and=does,=which=implies=that=interpretation=has=to=come=into=

play.= This=will= enable= a= far=more= complete= reconstruction= of= the= understandings= and=thought= processes= of= the= interviewees= than= simply= taking= accounts= at= face= value.=Furthermore,= what= interviewees= say= or= think= they= do=may=well= differ= from=what= they=actually= do.=Of= course,= interview= data= from= one= interviewee=who=works= in= one= of= the=‘nodes’=of=the=virtual=organisation,=for=example,=may=contain=misapprehensions=about=the=node’s=operations,=and=indeed=it=may=not=be=sensible=to=assume=that=organisations=have=a=consensual=view.=But=even=if=this=is=a=reasonable=assumption,=and=given=a=well=informed=interviewee, there may still be significant contradictions between what is generally thought to happen, and what actually does happen in reality. On these grounds, responses gained in the= process= of= in-depth= interviews= are= integrated= in= the= interpretive= framework= of= the=theoretical=model=of=‘consumer=psychoanalysis’,=and=the=description=of=the=music industry as=a=virtual=organisation,= thereby=demonstrating= the=dynamic=and=on-going=character=of=every interpretive venture undertaken in the realm of the social sciences. 4.3.4 Focus-group discussions This method will be used as part of exploratory research into the perceptions of fans about their=preferred=musical=act(s),=as=well=as=promotions=techniques=(like=air-play, live shows, premiums-gifts)= they= think= have= exerted= an= impact= on= their= formation= of= opinions= and=attitudes= about= that= act.= In= addition,= an= attempt=will= be=made= to= show= how= the= three=psychoanalytic=categories=of=fetish, taboo, simulacrum,=are=inscribed=in=their=behaviour=and help shape their interaction with others. As=with=every=projective=technique,=focus-group discussions suffer from the limitations of time-consuming= interpretation,= as=well= as= from= the=difficulty=of=making=generalisations=about the findings, given the limited number of participants. However,= the=rationale=that=governs=their=employment=is=that,=as=often=is=the=case=when=researchers=explore=the=impact=of=promotions=techniques=on=sales,=it=is=important=to=gain=a=first-person=view=of=how=image-making=affects=consumers’=perceptions=about=the=product.==In=addition,=given= that= the=hypotheses= to=be=explored= include= = the= impact=of=promotions=techniques= on= intra-group= coherence,= it= is= important= to= observe= how= consumers= of= a=particular=musical=act=behave=as=a=group,=i.e.=how=they=are=mutually=mirrored=against=each=other= in= the= process= of= communicative= exchanges= that= rely= on= the= employment= of=commonly shared, meaning-laden=signifiers.=As=Gordon=and=Langmaid=stress=“groups=can=be= observed,= which= is= particularly= useful= for= members= of= the= creative/marketing=development=team=who=can=experience=consumer=vocabulary,=attitudes=and=reactions=first=hand…the= social= and= cultural= influences= on= attitudes= and= behaviour= are= highlighted”=(op.cit.,=p.11). The selection of the sample will be made on the basis of musical preferences. Mini-groups (4-6= participants)= have= been= preferred= over= the= conventional= 6-8= group= as= “focused=information=is=required=(for=example=reactions=to=press=advertisements),=and=longitudinal=information=on= the= individuals= is= required”= (idem,=p.12).=Representativeness10=has=been= 10=The=term=‘representativeness’=in=this=case,=is=not=used=in=the=statistical=sense,=i.e.=the=sample=being=representative=of=the=whole=population=from=which=it=is=drawn,=but=rather=as=reflecting=its=appropriateness=with=regard=to=the=chosen=consumer=segment=on=which=this=dissertation=concentrates,=i.e.=teenagers=who=

secured=insofar=as=the=focus-group=members=were=selected from the list of the fan-clubs of THE=SMITHS,=DEPECHE=MODE=(Virgin=Records),=MADONNA=(Warner=Music)=and=PULP=(Polygram=Records)==in=Greece.==The=fact=that=the=participants=are=of=Greek=origin=does not limit the applicability of the findings and the discussion that revolves around them to= consumers= of= other= ethnic= backgrounds,= as= popular= music= is= one= of= the= ‘global’=products par excellence. “Music speaks a universal language of emotions. Popular music is now=the=lingua=franca=for=a=large=segment=of=the=world’s=youth=population.=It’s=probably=fair= to= say= that=music= is= the=most= universal=means= of= communication=we= now= have,=instantly traversing language and other cultural barriers…Indeed, whereas consumption of other=media=products= is=often= limited=by=geographical availability and consumer income, almost=anyone,=anywhere=can= listen= to=popular=music,=often= regardless=of=whether= they=want=to=or=not.=In=this=respect=popular music is certainly the most global aspect of our ‘global village’”=(Burnett=1996,=p.1). The=discussion=will=be=based=on=a=set=of=driving= themes= (a= list=of=which= is=provided= in=Appendix I), while giving significant space for improvisation on behalf of the participants, as=it=is=crucial=to=give=them=the=opportunity=to=articulate=meaning=in=their=own=way.=The=discussions=will=also=include=tangible=cues,=like=print=advertisements=and=record=covers,=as=the interpretative ground, and will be recorded on tape. The=analysis=of= the=data=will=be=undertaken=by=bearing=on=semiological11/psychoanalytic paradigms,=against=the=background=of=which=discourse=analysis=will=be=carried=out,=as=it=is=of=major=concern,=when=analysing=consumer=behaviour,=to=pay=close=attention=not=only=to=conscious= responses,= but= to= hidden/unconscious= implications= as=well,= as=Mick= stresses=(1986,=p.207).= INSERT FIGURE FROM MICK This is one of the main reasons, as well, why qualitative methods have been preferred over quantitative.=“Qualitative=methods=are=privileged=within=the=naturalistic=approach=because they= are= thought= to= meet= a= number= of= reservations= about= the= uncritical= use= of=quantification= in= social= science=practice.= In=particular= the=problem=of=inapproapriately fixing meanings where these are variable and renegotiable in relation to their context of use;= the= neglect= of= the= uniqueness= and= particularity= of= human= experience”=(Henwood & Pidgeon, p.16, my highlighting). 4.4 Analytical techniques

shape=great=part=of=their=life-style on the basis of cultural imagery offered by promotional discourses. As already mentioned=in=section=3.1,=what=we=are=concerned=with=here=is=‘distinct=behavioural=groups’. 11=“Semiology=is=the=science=that=studies=the=sign=systems=based=on=both=linguistic=and=non-linguistic communication.=It=studies=language,=non-verbal=communication,=signs,=symbols,=etc,=and=formulates=underlying=rules=that=allow=simultaneous=interpretation=of=a=multiplexity=of=diverse=communication.=Semiology=extends=into=social=communication=such=as=art,=literature,=fashion,=advertising=and=product=use.=The concepts of=signs=and=codes=is=an=important=one=in=semiology.=Signs=reflect=the=social=mores=and=social=order;=codes=are=the=systems=into=which=signs=are=organized.=In=advertising,=for=example,=communication=takes=place=when=the=advertising=message=(a=set=of=encoded signs) is decoded by recipients of=the=message.=Thus=advertising=is=not=only=about=copy=and=visual=content=but=about=the=structural=relationships=between=these=and=other=elements=of=the=message.=The=responses=people=make=(or=stimuli,=in=general,=such=as=packs, products, concepts etc.) comprise a set of layers of meaning” (Robert Worcester & John=Downham=1986,=pp.47-48).

The=primary=and=secondary=data=collected=by=using=qualitative=research=methods=will=be=analysed=on= the=basis=of=discourse=analysis,= the= task,=analytical= tools=and= limitations=of=which are outlined in the following sections. 4.5 What is Discourse Analysis?

Discourse= analysis= is= the= study= of= language= seeing= it= not= as= simply= reflecting=psychological and social=life,=but=constructing=it.=Discourse=analysts=argue=that=language,=in=the=form=of=discourses,=is=seen=to=be=the=functional=tool=for=building=a=social=reality=and=central to how we think. “Language embodies the ‘sediment’ of social structure and social practices=and=thus=cannot=be=a=neutral=medium=of=description”=(Eagleton=1983,=quoted=in=Elliott,=p.64)

Discourses= themselves= have= been= = given= a= variety= of= definitions,= for= example,=Parker= said= that= discourses=were= “a= system= of= statements=which= constructs= an= object” (Discourse= Dynamics,= Routledge= 1992,= p.5).= Parker= summarizes= the= meaning= of=discourses under seven headings, as follows(op.cit. pp. 6-17):

1. A=discourse=is=realized=in=texts,=while=texts=are=“delimited=tissues=of=meaning=reproduced in any form that can be given an interpretative gloss”.

2. A= discourse= is= about= objects,= meaning= that= “Discourse= constructs=‘representations’= of= the= world= which= have= a= reality= almost= as= coercive= as=gravity, and, like gravity, we know of the objects through their effects”.

3. A= discourse= contains= subjects,= meaning= that= “= a= subject= is= a= location=constructed=within= the= expressive= sphere=which= finds= its= voice= through= the=cluster of attributes and responsibilities assigned to it as a variety of object”.

4. A=discourse=is=a=coherent=system=of=meanings,=meaning=that=“recurrently=used=systems=of= terms=used= for= characterizing= and= evaluating= actions,= events= and=other=phenomena…= a= limited= range=of= terms=used= in=particular= stylistic= and=grammatical=constructions=organised=around=specific=metaphors=and=figures=of=speech”.

5. A=discourse=refers=to=other=discourses,=meaning=that=“discourses=embed,=entail=and=presuppose=other=discourses=to=the=extent=that=the=contradictions=within=a=discourse=open=up=questions=about=what=other=discourses=are=at=work”

6. A discourse=reflects=its=own=way=of=speaking,=meaning=that=a=text=is=articulated=in=such=a=way=as=to=convey=certain=implicit=meanings=that=can=be=re-worked=by=showing how its terms interlock.12

7. A= discourse= is= historically= located,=meaning= that= “discourses= are= located= in=time,=in=history,=for=the=objects=they=refer=to=are=objects=constituted=in=the=past=by the discourse or related discourses”.

The=main= protocol= behind= discourse= analysis= is= looking= at=what= the= discourses=

present=in=text=are=trying=to=achieve,=in=order=to=gain=“a=better=understanding=of=social=life= 12=This=systematic=approach=to=discourse=reflects=what=Van=Dijk=(1997,=p.30)=calls=‘functionality’,=meaning=that=“later=elements=in=the=discourse may have special functions with respect to previous ones”.

and=social=interaction”=(Potter=and=Wetherell,=1987,=p.25).=This=is=carried=out=by=relating=the=structure=of=the=language,=present=in=texts,=to=its=desired=function,=observing=the=social=forces= that= operate= behind= utterances.= “The= question= is= not= so= much= why= people=understand= one= another,= or= even= what= they= understand,= but= the= organisational= forms=through= which= they= achieve= that= understanding”= (Silverman,= p.118).= And= more=importantly,= “Discourse= is= not= assumed= to= necessarily= reflect= underlying= attitudes= and=dispositions”=(Elliott,=op.cit,=a=point=we=have=made=repeatedly= throughout= the=Literature=Review,=especially=while=mentioning= the=weak= interpretive=value=of=product= image/self-concept=congruence=hypothesis).=“The=relativism=and=reflexivity=which=discourse=analysis=prompts= constitutes=one=more=discipline= in= the= social= sciences= as=postmodern”= (Parker,=op.cit.,=p.70).

Discourse= analysts= seek= to= examine=how=people=use= language= to= construct= their=own=social=world,=and=believe=that=no=particular=reading=of=a=text=is=superior=to=another,=therefore all discourse analysis rests on the same level in terms of quality.

4.6 Problems associated with the use of Discourse Analysis

As= Ian= Parker= and= Erica= Burman(1993)=has= pointed= out= in= his= criticism= of= discourse=analysis,= there= are= many= fundamental= flaws= which= underlie= the= process= of= discourse=analysis.=According=to=him,=there=are=six=main=problems=which=immediately=emerge=when=developing=criticisms=of=this=form=of=analysis=(other=problems=do=emerge,=but=in=general=these are just extensions of these six main points.):- 1. “It is very labour intensive.” -=Analysts=have=to=waste=time=transcribing=interviews=

and sorting out which parts of the masses of information are linked, making the process quite difficult, simply because there is so much information present in the texts.

2. “It is difficult to ascertain whether different discourses are present within the text as discrete phenomena, or whether the changes in context are in fact responsible for the changes in meaning.” -i.e.=are=apparent=changes=in=the=text=due=to=the=fact=that=the= interviewee= has= changed= the= topic= they=were= speaking= about= or= have= they= just=changed their opinion?

3. “It becomes too difficult to view the text in terms of empirical generalisations, therefore the wider context is often not considered.” - Discourse analysts often have difficulty=looking=at=the=wider=picture=as=they=have=usually=been=concentrating=on=the=particular aspects of a single, specific text.

4. “The methodology of discourse analysis is not rigorous enough, cutting down the variety of possible interpretations made available by the text.” - In=general,= the=way= in=which=discourse=analysis= is=undertaken=unfairly= limits= the=number=of=ways= in=which the=text=can=be=interpreted.=

5. “The analyst has the power to impose meaning onto sections of the interviewees’ text which may not have been originally present.” This problem of reading too much in

the=text=is=one=of=the=biggest=pitfalls=in=discourse=analysis.=If=analysts=do=fall=into=this=trap,=they= are= effectively= attributing= their= own=meanings= onto= text=which=might= have= been=intended= to= be= taken= in= a= completely= different= light= by= the= speaker,= resulting= in= a=considerably inaccurate analysis. For example,=interviewees=may=attribute=slang=meanings=to sentences which the analysts take literally (therefore analysts do require some degree of cultural competence to understand the complete meanings of certain phrases.) In=conclusion,= these= five=points=seem= to=shed=a=rather=dim=light=upon=the=validity=of=the=technique=of=discourse=analysis.= If=no=piece=of=discourse=analysis= is=more=accurate= than=other,=how= can= standards=be= set,= and=how= can= an= accurate= representation=of= a=person’s=beliefs=be=given=without=being= coloured= by= the= attitudes= of= the= analyst= involved?=This=question=gives=rise=to=the=claims=that=“Discourse=analysis=challenges=the=truth=claims=and=methodological= adequacy= of= the= psychological= approaches=most= common= in=marketing=research,= in= that= it= is=posited= that= the=methods= that=underlie= attitude= theory= fail= to= take=account=of=the=variability=of=human=thought=and=bolster=a=spurious model of thinking as uniform, rational and divisible into equal interval categories”=(Burman=1991,=quoted=in Elliott, op.cit., my highlighting). 4.7 Implications of Discourse Analysis The=methodological= implications=of=discourse=analysis=are=multifarious.=Here= follows=a=summary=of=the=main=points,=as=described=by=Elliott=(Marketing=Intelligence=and=Planning=14/6=1996,=pp.64-67)=: 1. Texts used in discourse analysis=vary=from=written=reports=and=reviews=to=broadcast=

elements. 2. Sample size is not the major issue, but rather how language is used in accounting for

a= particular= phenomenon.= In= our= case,= the= employment= of= discourse= analysis= in=analysing=focus-group= discussions= aims= to= show= how= the= three= elements= that= are=definitive= of= musical= products= (fetish,= taboo,= simulacrum)= surface= in= consumers’=discourse= and= provide= useful= cultural= cues= for= the= construction= of= coherent= and=meaningful intra-group communication.

3. Representativeness is the key criterion,= therefore= the= participation= in= the= focus-groups of consumers with similar musical tastes and life-styles is essential.

4. Variability in accounts= (“Interpretive= repertoires”= verging= on= distinctive= ‘world-senses’)=is=crucial,=in=order=to=get=as=many=situated=reflections=on=a=subject-matter=as=possible,=thus=showing=the=different=ways=in=which=meaning=can=be=generated=from=a=single source (be it a song, a cd-cover=or=a=print-ad, a review etc)

5. Generation of patterns=that=accommodate=similarities=and=differences=in=responses,=allowing= for= comparisons=with= the= hypotheses= that= provide= the= general= conceptual=framework of the research-project.

My=aim=is=to=use=certain=visible=cues=(record-covers,=press-clips)=that=have=been=used=as=part=of=promotional=discourses= in=order= to=shape= the= image=of=a=musical=product,=during=

the= course= of= the= focus-group=discussions.=This=method=offers= the=opportunity= to= elicit=certain=reactions=(both=verbal=and=gestural13)=from=the=consumers=that=are=indicative=of=the=ways=meaning= is= constructed= out= of= the= consumptive= experience,= as=well= as= how= this=meaning is made part of and reflected in consumers’ daily communicative exchanges with their peers and group members. The=responses=will=be=clustered=under=general=categories= in=order= to=make= inferences=as=regards the ways whereby the general features indicative of musical products, as have been singled= out= and= described= in= Ch.2,= are= inscribed= in= their= situational= responses= to= the=aesthetic=features=of=musical=products,=as= it=should=not=be=forgotten= that= the=meaning=of=these=features=is=not=readily-given, but constantly mediated by consumers’ receptivity that is shaped by different interpretative repertoires. Discourse analysis is capable of providing insights=“but=not=without=the=active=interpretation=of=both=researcher=and=reader=who=co-construct meaning” (Elliott, op.cit., p.66). 4.8 Analysis at work Having=thus=far=dealt=with=the=meaning,=limitations=and=implications=of discourse analysis, we=should=now= turn= to= illustrate= the=different=ways=of=analysis= that=have=been=sugested.=The=following=recommendations=stem=from=Teun=Van=Dijk’s=work=on=Discourse=Analysis=(Discourse=as=Structure=and=Process,=Sage=Publications=1997)=and will be largely followed in the analysis of the focus group discussion data, presented in the next chapter: 1. Select=a=sequence= in=which=whatever= interests=you=occurs,=by= looking=at= identifiable=

boundaries between topics. The selection will take place by isolating passages from the transcribed data and re-ordering them according under the driving hypotheses.

2. Characterize= the=actions= in= the=sequence,= i.e.= the=actions=performed= in= the=course=of=speech-acts.= Speech-acts= are= discursive= entities= that= accomplish= certain= actions,= i.e.=performing= a= command= in= the= utterance= ‘Close= the= Door’.= Group= participants=accomplish=actions= in= their=utterances,=either= indirectly,= through=descriptions=of=past=activities,=or=directly,= in= the= intra-group=communication.=It=will=be=shown=how= these=actions= are= reflected= in=participants’=utterances,= and=how= they= reflect=group-activity which largely shapes their life-style.

3. Consider= how= the= speakers’= packaging= of= actions,= including= their= selections= of=reference=terms,=provides=for=certain=understandings=of=the=actions=performed=and=the=matters=talked=about.=This=is=a=very=important=step=of=analysis=as=it=helps=us=show=how=the= selection= of= particular= adjectives= and= expressions= in= the= description= of= events,=reflects=our=preconceived=categories (not necessarily, but systemically, i.e. as instances of=a=meta-reflective=discourse=attempting=to=systematise=‘common’=discourse=in=order=to= render= it= operational= for= future= exploration= into= building= the= image= of= recording=artists),=as=well=as=how=these=categories,=and=therefore=the=entire=model=of=Consumer=Psychoanalysis, is in a dynamic relationship with newly emerging data.

13=Given=that=no=video-recording=tools=were=used=during=the=group-discussions, we have to rely on recollections=of=gestural=responses,=which=are=in=certain=parts=enabled=by=the=tone=of=the=voice=that=can=be=heard=in=the=recorded=tapes.=

4. Consider= how= the=ways= the= actions=were= accomplished= implicate= certain= identities,=roles= and/or= relationships= for= the= interactants.= It= has= already= been= stressed= in= the=previous chapter that particular ‘identities’ and roles is not primarily at issue here. This is the focus of behaviourism, and draws on the deductive assumptions of psychological models. Consumer psychoanalysis, instead,=aims=to=offer=a=glimpse=of=the=ontological=framework=of=consumption=of=musical=products,=that=is=the=generic=meaningful=totality=in=which=words,= images= and= sounds= are= invested=with=meaning= as= a= result= of= the=processes=of=condensation,=substitution=and dsiplacement. In addition, as it has already been=suggested,==instead=of=placing=the=notion=of=a=‘coherent=selfhood’=at=the=centre=of=our= analytical= focus,= the= notions= of= split= subjectivity= and= ‘phantasmatic= unity’= are=preferred.=Therefore,=what=will=be=shown=is=how=certain=actions=accomplished=in=the=discourse=of=the=interactants=suggest=a=use=of=musical=products,=either=individually=or=collectively, as taboos, fetishes and simulacra.

4.9 Conclusion: Interpretivism as a method in Consumer Psychoanalysis References= to= interpretation= and= interpretivism= (or= Hermeneutics)= were= made= in= the=previous chapter. Further elucidation of the method and its tools is necessitated in order to render= the=mission=of=discourse= analysis= intelligible.=Hirschman= and=Holbrook= in= their=‘Postmodern=Consumer=Research’=(1992)=stress,=by=drawing=on=Gadamer’s=seminal=work=‘Truth=and=Method’,=that=“the=hermeneutical=task=is=to=attain=a=fusion=of=the=horizon=of=the=text=with= that=of= the= researcher”= (p.88).= In=other=words,= the= task=of=interpretation=lies=in=the=realm=of=creating=a=match=between=the=interpretive=repertoires=of=the=analysands=and=the=analyst.=However,=they=do=not=place=any=emphasis=on=the=crucial=distinction=between=explanation= and= interpretation,=which= is= one= of= the=main= features= that= distinguish= the=positivist= approaches= from= the= humanities.= Explanatory= approaches= assume= that= the=discourses= they=weave= in= order= to= encapsulate= observed= phenomena= are= invested=with=truth-value=about=the=observed=objects.=The=positivist=discourse=is=a=series=of=truth-claims corresponding= to= the= states= of= affairs= they= represent.=On= the= contrary,= the= interpretive=oeuvre= does= not=make= any= claims= to= the= truth-value=of= its= textual=artefact,=but=aims= to=elucidate= phenomena= (or= construct= them,= as= the= consumptive= phenomenon= and= its=surroundings=are=not=just=‘out=there’,=but=depend,=to=a=large=extent,=on=the=discourse=of=the=researcher=for=its=existence).=It=is=an=aspect-of-seeing,=aimed=at=‘picturing’=the=world=and=not gaining the whole picture, which is an impossible task. What is crucial in interpretivism is=the=meta-reflective=level=of=analysis,=or=the=set=of=categories=coined=by=the=researcher=in=order=to=categorize=or=class=distinctive=phenomena=under=general=categories.=“There=is=no=particular=reason=why=this=process=of=conversion=of=object-languages=into=metalanguages=and= these= latter= into=object-languages=should=ever=stop.= In=short,= =no=metalanguage=can=ever provide an epistemological terra firma=from=which=to=contemplate=the=ocean=of=sign-systems”= (Moriarty= 1991,= p.89).=The= difference= between= interpretivism= and= traditional=consumer=behaviour=research=methods,=as=we=see=it,=lies=in=that=whereas=the=former=does=not=ascribe=to=its=categories=the=status=of=deductive=principles=(a=point=already=stressed=in=the= previous= chapter),= the= latter= assumes= that= the= ‘observed= facts’= are= instances= or=symptoms= of= its= operational= categories,=as if= social= phenomena= depended= upon= the=

researcher’s= categories= for= their= existence.= Interpretive= categories= give= us= insights= into=social=representations=and= the=ways=whereby= they=yield=coherence=among=social=groups,=which= insights,=as=Elliott=&Ritson= (1995)= stressed,=are= the=outcome=of=a=co-creation=of=meaning=between= the=researcher=and= the=researched=phenomenon.= =Research,=essentially, aims= at= finding= out= how= consumers= relate= to= their= ‘myths’.= It= is= an= attempt= to= ground=theory on empirical foundations and vice versa, so that the theoretical model does not sink into=the=quagmire=of=mere=speculation,=as=well=as=the=empirical=findings do not assume the character=of=mere=chance-events.=And=as=every=myth=appears=in=a=narrative=form,=so=the=consumptive= phenomenon= can= only= be= rendered= intelligible= by= being= deployed= in= a=narrative=structure.=Discourse=analysis=is=the=interpretive=method par excellence=in=which=the=narrative= structure=of=actions=becomes=apparent.=Given= that= it= is=only= in=action= that=consumers=demonstrate=the=impact=of=the=‘code’=construed=by=promotions=techniques,=the=narrative structure they use to describe this chain of actions will be the ‘primary matter’ on which=interpretation=will=operate.=“The=logic=of=action=consists=in=an=interconnected=series=of=action=kernels=which=together=constitute=the=structural=continuity=of=the=narrative…=To=explain= a= narrative= is= to= grasp= this= entanglement,= this= fleeting= structure= of= interlaced=actions”=(Paul=Ricoeur,=Hermeneutics,=Cambridge=University=Press=1989,=p.156).=Finally,=what= is= aimed= by= employing= discourse= analysis= as= a=method= of= investigation= into= the=phenomenon= of= the= impact= of= promotional= discourses= on= consumer= psychology= in= the=popular=music= industry,= is= precisely= the= interpretive= insights= it= helps= us= bring= into= the=process=of=product=image-making, of building popular myths that sustain the bonds among societal= group-members= and= demarcate= the= cultural= spaces= where= everyday= action= is=situated.=In=the=next=chapter=the=methodological=tools=displayed=so=far=are=put=into=action,=and= interpretation=proceeds=on= the=basis=of= the=fundamental=categories=as= laid=out= in= the=Literature Review in accordance with the hypotheses that drive the analytical focus of this dissertation.

5. Discussion of Research-findings

5.1 Introduction The= discussion= that= follows= leans= against= the= background= of= the= methodological assumptions= laid=out= in= the=previous=chapter.= It=would=be= sadly=banal= to=claim= that= the=interpretation=that=will=be=offered=carries=‘bias’,=as=it=has=been=repeatedly=shown=how=the=researcher’s=own=experience=and==interpretive=repertoire=are=to=a=large=extent responsible for= transforming= the= analysands’=discourse= through= another=discourse,= even=more= so= in=qualitative=data= analysis.= “People,= including= research=people,= share= common= ‘bins’= and=‘causal=arrows’=in=the=ways=they=construe=and=carve=up=social=phenomena,=and=they=will=use= them= explicitly= or= implicitly= to= decide= which= questions= they= think= are= the= most=important=and=how=one=should=go=about=getting=the=answers”=(Miles=&=Huberman=1984,=p.34).=What=must=be=guarded=against= is= the=possibility=of=over-interpretation,=or= reading=more into the text than what is already there, even though it is difficult to decide about this ‘more’.=This= ‘more’= that= resides= in= the= text= is= the=excessive=element= that=belongs= to= the=realm=of= the=con-text.= “The= context= can=be= seen=as= immediately=relevant=aspects=of= the=situation=(where=the=person=is=physically,=who=else=is=involved,=what=the=recent=history=of=their=contact=is,=and=so=on),=as=well=as=the=relevant=aspects=of=the=social=system=in=which=the=person= is=functioning=(a=classroom,=a=school,=a=department,=a=company,=a=family,=an=agency,=a=local=community).=To=focus=solely=on=individual=behaviour=without=attending=to=contexts= amounts= to= ‘context-stripping’= with= attendant= risks= of=misunderstanding= the=meaning=of=events”=(Miles=&=Huberman=1984,=p.92).=As=regards= the= immediate=context,=only=Group=3=members=(Depeche=Mode=fan-club) had a friendly relationship among them, which= they= developed= through= regular= club-organised= activities.= The= rest= three= groups=members=met=with=each=other= in= the= context=of= the=discussion.=As= regards= the= indirect=context, and the implications it gives rise to, it will be exposed in the ensuing analysis. The

con-text14=is=what=constrains=us=from=giving=an=ultimate=account=of=a=phenomenon,=and=at=the same time what allows us to offer ever new interpretations. Just as there is no ‘primary event’= per= se= that= constitutes= the= observed= phenomenon,= other= than= its= inauguration= in=writing,=in=analysis,=so=the=analysis=can=proceed=ad=infinitum,=or=begin=perpetually=anew. The= perspective= chosen= to= account= for= the= observed= phenomenon= can= be= linked=analogically=to=the=perspective=given=to=the=photographic=theme=by=the=photographer.=The=analogy=holds=insofar=as=just=like=the=photographer,=the=consumer=researcher=imposes=as=a rule=an=interpretive=framework=in=his/her=field=of=analysis.=“Through=photographs,=we=also=have=a=consumer=relation=to=events,=both=to=events=which=are=part=of=our=experience=and=to=those=which=are=not”= (Sontag=1984,=pp.155-156).=Just= like= the=photographic=theme,=any=analysis is always already a substitute for the source (just like the ‘primary event’ has been substituted= in= the=process=of= its=simulacral=effects),=a=supplement= that= installs=discursive=barriers in the various experiential fields. “One wishes=to=go=back=from=the=supplement=to=the=source;=one=must=recognize=that=there is a supplement at the source” (Jacques Derrida, Of Grammatology, trans. Gayatri Spivak, John Hopkin’s University Press 1976, p.304). 5.2 Exploring the nature of the research hypotheses In this section it will be shown how the primary research findings validate our hypotheses that: (i) a.=The= ‘primary= image’= (i.e.= image= formed= through= the= various= promotions=means=

applied= by= the= primary= agencies= of= cultural=mediation),= the= ‘secondary= image’= (i.e.=image= formed= through= the= reflection=of= the=promotion=messages=on= the=discourse=of=the press people, or secondary agencies of cultural mediation), and the ‘tertiary image’ (i.e.= image= formed= by= the= consumers)= of= a=musical= product= constitute= its= concept,=which is the outcome of co-creation of meaning. b. Certain=promotions=techniques=are=more=important=than=others=in=shaping=‘tertiary=

image’ (ii)=The=effect=of=the=product=image=on=consumer=psychology=is=related=to=the=circulation=of=the=constantly re-doubled signifiers in the communicative trajectory that promotes intra-group coherence through sacralizing ritual processes. (iii)The= circulation=of= signifiers= is= responsible= for= the= creation= and=maintenance=of= the=‘iconic’= function= of= musical= products.= ‘Iconic= consumption’= (as= against= symbolic=consumption,= the= difference= being= that=whereas= the= latter= assumes= a= link= between= the=product=and= the=abstract= idea= it=expresses=as= lying=outside=of= it,= the= former= is=a=not=an=instantiation,=but=a= ‘simulacrum’,= i.e.=a=self-referential=unit= that=encloses= the=meaning= it=

14=The=word=is=hyphenated=in=order=to=show=how=its=grammatical=form=encloses=the=meaning=of=the=word,=hence ‘com-‘=(from=the=latin=adverb=‘cum’,=which=means=with=or=alongside)=and=‘text’,=or=what=comes=alongside=the=text.

represents)=has=wider=cultural=implications=for=the=maintenance=of=the=sacred=character=of=musical products, which is enforced through promotional techniques. 5.2.1 Hypothesis 1 a. A semiotic account of the co-creation of meaning In= this= section=a= semiotic= interpretation=will=be=offered=of=how= the= image=of=a=musical=product=is=shaped=in=the=process=of=co-creation of meaning among primary, secondary and tertiary image-makers.=The=textual=analysis=aims=at=laying=bare=the=context=that=embeds=it,=including= the=ways=whereby= the= three= fundamental= analytic= categories= that= shape= the=meaning of the musical product, that is the fetish, taboo and simulacrum are evinced in the structure=of=the=discourse woven by the distinct classes of cultural mediators. The= three= texts= stem= from= an= official= Virgin= Records= press= release= (October= 1997)=antedating=a=tour=by=the=Verve=(leading=rock=act)=[PR=in=the=analysis],=a=review=of=a=Verve=live-show= from= the=musical= newspaper=Melody=Maker= (17= January= 1998)= [MM= in= the=analysis]= ,= and= transcribed= fans’= comments= appearing= at= the= end= of= both= of= the=aforementioned texts [FC in the analysis] (cf. Appendix … for the texts). The= interpretation=proceeds=by=singling=out=phrases= that=reflect= the=key-themes=raised=in=these=texts,=followed=by=an=interpretation=along=the=lines=of=the=analytic=categories=of=this=dissertation. 1.=“The=thing=about=the tour is it’s the closest you get to living=and=the=closest to going completely crazy= at= the= same= time”= (PR).= “Dragging= the= needy= into= another= world,=another= world,=another plane,= another=mind;=showing them the other side, reminding them=of=love,=of=need,=of=passion.=A POSTCARD FROM THE EDGE OF REALITY” (MM).=“We=are=making=music=of=its=time=and=people=have=tapped=into=it=and=because=of=that=people=relate=to=it…”=(PR). 2. “Tonight, the power could fail completely, the building could collapse, the world could stop spinning and we’d keep singing”= (MM).= “I= think= that’s= what=great music= is=about… it can have a timeless depth to it”=(PR). 3.=“…he=raises=an=arm,=provoking=a=riot=of=sound=from=the=rammed-in=crowd,=4,000-odd vocal chords grinding together into a single, terrifying roar”=(MM)=“But= it’s=during=the=quieter=songs=that=this=sense of togetherness=floods=over=into=the=audience,=songs=like=‘The Drugs don’t work’, which summons a blissful sing-along”=(MM).=“When=we=used=to=go= on= stage…= you’d= hear= this=wall= of= sound…= people= can= now=make= sense= of= it= and=people= individually= in= the=audience have got their own interpretation of the music now”=(PR) 4.=“the=passion’s=still= there,…the=way= it=melts=and=freezes=your=heart= in the space of a single note,=the=way=it=cares” (MM). “When I’m on stage with my eyes closed… I’m in a beautiful place, in a beautiful space”=(PR).= 5.= “It’s= geographical= music,=it’s global music,= built= upon= Richard’s= ‘lucid= dreams’,=dreams where he can make anything happen”=(MM) 6.=“I=absolutely=adore=Richard,=I=think=he’s=a=god=and=actually=I=think=I=follow=his=religion=totally, he’s very spiritual” (FC)

7.=“I=gave=him=(Richard)=a=box=with=the=angel=Lucifer=on=it=with=some=fortune=things=in=it=and=a=key=that=I=wore=around=my=neck=when=the=Verve=broke=up=until=the=Verve=got=back=together”=(FC) 8. “We really got our money’s worth” (FC) The=ensuing=semiotic=interpretation=of=the=above=extracts=aims=to=lay=bare=the=relationship=between the chain of signifiers established through distinctive classes of discourses and the signifieds they metaphorically allude to. The relationship is meta-phoric,=i.e.=transposes=us=to another dimension of discourse, as the etymology of the word suggests (from the Greek verb ‘phero’, which means transpose and the adverb ‘meta’, which means ‘post’ or ‘after’, in this case to another dimension), given that the context underpinning the text is obliquely alluded to. The numerals were used to partition the fragments in order to point out certain driving themes to be explored semiotically. The=Verve= in= the= no.1= passages= are= exposed= as= ‘sending= a= postcard= from= the= edge= of=reality’,= and= as=bringing= to= light= the= ‘other= side’.=A= semiotic-psychoanalytic=reading=of=these=passages=suggests=that=the=Verve is the arche-signifier for the primary signified, what grounds= the=chain=of=signifiers= that=makes=up= the=musical=product=and=at= the=same= time=what= grounds= the= ‘reality= principle’,= which= is= a= hyperreal= construct= consisting= of= a=multiplicity=of=simulacra.=The=Verve=are=presented=in=a=heroic=fashion,=having=crossed=the=borders=circumscribed=by=the=taboo=of=the=primary=signifier, which cannot be found within the=grid=of=significations=(see= the=next= two=sections=for=an=analysis=of= the=paradoxes=for=consumer=behaviour=this=‘absence’,=which=is=the=signified,=gives=rise= to),=and=sending= to=their disciples a ‘postcard’ (and the use=of=this=term=certainly=refers=to=Derrida’s=use=of=the=concept= in= his= book= ‘The= Postcard:= From= Socrates= to= Freud= and=Beyond’)=wherein= a=fragmentary= account= (hence= the= sending= of= a= ‘postcard’= rather= than= a= treatise= on= the=‘Other’,= for= example)= of=what= they= ‘gazed’= beyond= the= hyperreal,= in= the= realm= of= the=‘Real’,=is=inscribed.==And=the=simulation=of=this=heroic=act,=which=reminds=us=of=Dante’s=descent= into= the=Inferno=or=Hercules’=descent= into=Hades,= takes=place=on= tour,= i.e.= in= the=live-show=Crusade,=which=aims= to=carry= the=message,=or= send= the=postcard,= to=as=many=consumers= as= possible,= thus=metonymically= displacing= the= Phallus= by= the= signifier= the=Verve.=The= heroic= narrative= continues=with= an= allusion= to= the= ‘atemporal’= and= ‘depth’=(no.2)=dimensions=of=this other-worldly=experience.=Just=like=in=classic=narratives=the=hero=defies=and=upsets=biological=operations=such=as=birth=and=death,=thus=showing=the=power=of=‘culture’=over=nature,=so=the=Verve,=after=having=crossed=the=borders=of=the=hyperreal,=are=equipped=with=super-natural=powers= that=allow= them= to= transpose= their=audience= to= that=‘other’=dimension=no=matter=what=happens.=And=this=other=dimension=is=a=‘beautiful=place’=(no.4), i.e. where all becoming has reached an end and Platonic, ideal beauty can be=gazed=in= its=nudity.=Of=course= this= is=a=dreamscape= (which=does=validate=our=use=of= the= three=functions=of=the=dream-work=in=analysing=the=ways=musical=products=operate=in=consumer=psyche),= so= the=narrative15=continues= (no.5)=by=alluding= to=Ricard’s= [Richard=Aschcroft,=Verve’s=vocalist]=‘lucid=dreams’,=where=anything=can=happen.=But=why=lucid?=Apparently=because= they= are= imprinted= with= the= vision= of= the= ‘other= side’,= where= the= ‘mask’= of= 15=And=given=that=narratives=are=discursive=renditions=of=past=actions=(cf.4.8)=the=narratives=at=hand=are=renditions=of=the=‘actions’=performed=during=The=Verve’s=live-shows,=which=include=music,=lights,=smoke,=in=general=all=the=essential=ingredients for a successful stage-setting.

hyperreality= has= finally= dropped= and= the= ‘Real’= can= be= gazed= face= to=face;=which= is=impossible, as it will be explained in the following sections, as “the simulacrum [sc. which is= the= constitutive= unit= of= the= hyperreal]= masks=the absence= of= a= profound= reality”=(G.Deleuze,=cf.=2.6.3).=This=is=why=The=Verve=is=‘global=music’,=as=it=signifies=a=common=signified=that=binds=consumers=around=the=globe,=and=the=latter=is=the=quest=for=the=absent=centre=of= the=simulacrum,=with=all= the=concomitant= implications=for= the=will-to-consume musical= products= as= taboos= and= fetishes.= Fans= follow= the= same= pattern= that= grounds=religious thinking, i.e. uncritical devotion to its a-historic narrative, albeit in a secularized16 manner.=“I=adore=Richard,=he’s=a=God”=(no.6)=is=testimony=to=this=speculative=remark.=And=just=as=Richard=bears=the=‘gifts’=of=the=‘otherside’,=so=consumers=who=are=mirrored=in=this=process= of= semiotic= exchanges= repeat= the= gesture= by= giving= Richard= personal= items,=invested=with=psychic=value,=like=a=Angel=Lucifer=necklace=(no.7)=that=is=believed=to=bring=good=lack.=And=what=all=exchanges=boil=down=to,=“We=got=our=money’s=worth”=(no.8),=i.e.=portion of consumers’ disposable income was exchanged for a ‘view’ of the otherside. This=semiotic=analysis,=we=believe,=shows=how= the=narratives=employed=by=primary=and=secondary image-makers respectively are responsible for shaping the cultural imagery of a musical= product,= in= this= case= ‘global’,= ‘heroic’= imagery,=which= in= turn= is= inflected= in=consumers’= personal= lives,= appropriated= as= a=meaningful= hyperreal= structure= that= helps=them navigate=the=vast=sea=of=the=Real.=The=inclusion=of=fans’=comments=in=the=narratives=of= the= two= image-makers= also= shows= how= the= projected= image= is= re-introjected=by= its=narrators, thus constituting the circular movement of the co-creation of meaning. b.= The= product-concept= of= a=musical= product= has= been= found= to= consist= of= distinctive=visual,=aural=and=verbal=cues,=as=a=result=of=co-creation=of=meaning=.=Their=evaluation=by=consumers= varies,= not= only= at= an= opinion-level,= but= at= the= level= of= actual= use,= and= is determined=by=the=exchange=value=with=which=they=invest=the=product,=as=will=be=shown=below.= Insofar= as= one= of= the=main= tasks= of= discourse= analysis= is= to= explore= possible=contradictions=that=arise=between=analysands’=descriptions=of=actions=and=actions=that may stem=either=from=a=confused=perception=of=the=issue=at=hand=or=from=lack=of=reflection=on=the=issue,=a=couple=of=empirical=observations=on=the=findings=must=be=made=along=theses=lines.=The=first=observation=concerns=contradictions=among==Maria’s=(Group=1)=statements=who claimed at one point that ‘lyrics and melody’ are the two most important features of a musical=product,=and=at=another=point=claimed= that=posters= is=a=very= important=means=of=communication among her peers, which contradiction possibly stems from a lack of clarity with=regard=to=the=concept=of=a=musical=product.=Promotional=means=such=as=posters=and=t-shirts are often viewed as peripheral to the ‘central’ elements of music and lyrics, however indispensable their part may be in differentiating products, building and maintaining brand-images=and=constructing=fan-bases,= in=a=few=words=all= the=essential=features= that=make=a=product=successful.=The=second=observation= =concerns= the= ‘significance’=of= the=different=elements=in=the=first=two=steps=of=image-making,=before=being=re-evaluated=and=re-created

16=It=should=be=emphasized==how=the=secular=approximation=of=the=‘transcendent’=Real=is=linked=to=a=dram-world.=The=employment=of=this=narrative=shows=that=popular=discourse=is=still=grounded=in=18th=C,=thinking,= and=that=Feuerbach=wasn’t=that=far=from=explaining=this=narrative=when=he=said=that=religion=is=the=dream=of=the=human=mind,=or=when=Nietzsche=one=century=later=resembled=it=to=a=‘dream=world’.

by end-consumers, which is extremely hard to pinpoint, as it depends on purely situational factors.=How=can=we=measure=the=effectiveness=of=a=promotional=campaign=with=reference=to= the= relative= (to= the=mission-objective(s))= effectiveness= of= the= distinctive= parts= that=comprise it? Promotions effectiveness is one of the ‘burning issues’ at the moment, both in trade=and=academic=literature17,=and=it=is=hoped=that=the=discussion=of=the=research=findings in= this=dissertation=will=point= towards=some=directions=worth=exploring= in= the=course=of=selecting the appropriate promotions techniques when it comes to developing new musical products=or=enhancing=the=‘value’=of=existing=ones.==As=regards=the=second=part,=I=think=it=clearly= emerged= from= the= discussion= that= certain= promotions= techniques= have= a=more=lasting= impact= on= the= formation= of= consumers’= world-sense.= The= 3rd= group= members=unanimously= agreed= that= video-clips= offer= more= feed-back= for= their= ordinary=communicative= exchanges= than= print-adverts,= which= are= aimed= merely= at= creating=awareness=with= regard= to= forthcoming= releases.= 1st= group=members= also= agree= on= the=primacy= of= live-shows= over= other= promotions= techniques= in= constructing= a= ‘direct’=relationship with the group, emphasizing that it is on stage that they can check whether the band’s=project= is= ‘real’.=This=quest= for=authenticity=has=been=described= in= the=Literature=Review=chapter,=and=corroborated=in=the=light=of=the=research=findings,=as=a=quest=for=the=‘centre’ of the simulacrum, that is the exhaustion of its symbolic and imaginary effects that circulate=on=the=surface.=The=video-clip is just one step in the process of approximating the ‘essence’=of=the=musical=product,=the=next=one=being=the=attendance=of=a=live-show.=In=the=latter,=different=responses=were=given=with=regard= to= its=significance.=For=example,=Filio=(Group=3)=feels= the=need= to=be=close= to= the=scene,= to= the=‘staging=of= the=event’,=and= this=makes= her= feel= more= ‘at= one’= with= the= group= and= its= followers.= “By= virtue= of= the=communalizing=effect=of=the=music=on=its=listeners,=they=also=identify=with=each=other,=so=that=a=sense=of=communal= togetherness= is=created”= (Bradley=1992,=p.52).=“You= feel= like=one”, as Filio stressed, “You participate in something common…” (Maria, group 1), or, as Williamson= (1978,= p.51)= puts= it,= “We= are= appellated= as= already= in= a= group= of= one”.=Importance= is=measured=against= the=background=of= the= impact=of=each= technique=on= the=formation= of= life-styles= based= on= the= imagery= that= the= discourses= around= the=musical=product=help=create.=In= these=respects,= it=became=evident= in= the=course=of= the=discussion=that= the= ‘live= event’= is= primarily= responsible= for= maintaining= the= state= of= ‘aesthetic=hallucination’,=as=Baudrillard= termed= it,= in=which= the= hyperreal=world= of= consumers= is=situated.=The=fact=that=the=club=holds=live-nights=during=which=local=acts=perform=songs=of=Depeche=Mode,=as=well=as=replicate=the=gestures=and=movements=of=the=‘original’=act,=is=a=striking=example=of=how=the=promotional=technique=of=the=live-show=has=the=power=of=re-viving or staging consumers’ world-sense. The theatrical representation of the ‘meaning of life’,= the= quest= for= the= centre,= is= effected= through= the= repetition= of= the= effects= of= the=simulacrum on=the=participants=of=the=live-event,=instances=of=which=are=glimpsed=through=the appropriation of the ‘centre’ of the simulacrum in the symbolically invested possession of= fetishes,= such= as= t-shirts=and= limited-edition= items.=However,=we= should= distinguish between= ‘mild’= and= ‘hardcore’= fans,= as= it= became= evident= that= the= participants= of= the=second=group=were= less=prone= to=claim= that=a=product=has= ‘extra=value’= if= it=comes= in=a=limited=edition=or=with=extra=lyrics=and/or=pictures=sheets.=The=‘importance’=of=the=various=promotions= techniques,=as=already= stressed,= lies= in= their=power= to=establish=a= system=of= 17=See,=for=example,=the=article=“Ad=Nausea”=in=CA=magazine,=June=1998.

equivalences,=sustained=by=the=exchange=value=of=different=items.=What=personalises=these=items,=what=makes=them=customized,=even=though=they=are=mass=market=products= (and= it=has=been=stressed=repeatedly=in=the=secondary=literature=that=this=is=the=major=achievement=of=the=‘mass=market’,=i.e.=its=capacity=to=inseminate=to=consumers=the=belief=that=they=are=‘different’= even= though= they= are= consuming= ‘mass’=products),= is=precisely= the=different=portions=of=libidinal=energy=(if=we=follow=Freud’s=quasi-naturalistic=explanation)=they=are=invested= with= by= individuals= or= the=multiple= ways= in= which= they= are= ‘encoded’= with=‘evocative=powers’,=i.e.=powers=to=respond=to,=make=up=for=and=cover=up=certain=emotions.=This= truism= has= been= repeatedly= stressed= in= official= trade= literature:= “More= than= ever,=today’s fashion-conscious=pop=and=rock=acts=insist=that=the=merchandise=offered=their=fans=emphasises their individuality. As a result they ask for special branding on everything from caps,=T-shirts=and=jackets=to=badges=and=keyrings”=(Followers=of=Fashion,=Music=Week).=“The=idea=of=a=T-shirt=as=a=statement=of=culture=and=identity=has=impacted=on=the=market,=with styles like skinnies, ringers and long sleeves now widely available” (Those little added extras”,=in=Music=Week=6/12/97).=The=‘covering=up’=ultimately=boils=down=to=the=constant=re-covery=of=the=primary=event=of=the=loss=of=the=Phallus,=to=use=the=Lacanian=terminology employed= earlier= on,=which= is= the= necessary= and= sufficient= condition= for= entering= the=Symbolic=Order= of= language.= This= order= has= been= defined= as= comprised= of= a=web= of=interlocking signifiers (verbal, visual, aural, tangible), which is self-subsistent, hyperreal.=It=has= been= also= been= noted= that= the= primary= site= of= the= inscription= of= these= signifiers= in=consumer=behaviour= is= the=bodily= level=or= the= level=of=affection= (hence= the=passive,=un-critical, workings of the signifying system or ‘cultural code’ shared by primary, secondary and=tertiary=image-makers).=Therefore,=what=is=exchanged=for=promotional=items=is=levels=of= intensity,= first= and= foremost,= before= assuming= symbolic= value.= Of= course,= the=prioritisation=of=the=one=of=the=other=assumes=cogency=only=on=a=formal=level,=whereas=in=practice= it=may=be=a=contemporaneous=process.=What= is= the= focal=point=we=wish= to=put=forward,=however,=is=that=the=‘importance’=of=particular=techniques=cannot=be=assessed=in=absolute= terms,=and,=moreover,= it=cannot=be=approached=solely=from=the=production=side.=Different strategies that use different techniques must be extremely thoughtful of ‘what’ is targeted= exactly= before= proceeding= to= the= implementation= stage.= However,= there= are=startling=examples=of=musical=products,=like=the=ones=which=have=gathered=whole=hosts=of=loyal=fans=explored= in= this=chapter,= that=owe= their=success= to= the=fact= that= they=created=a=whole= ‘mythology’=around= them.=And= the=way= this=myth= is=maintained= is=shown= in= the=‘real-life actions’ of consumers, which become significant by bearing largely on the textual edifice= that= was= woven= by= numerous= cultural=mediators’= sets= of= discourses= on= these=musical=simulacra.=As=‘importance’=is=a=synonym=with=‘significance’=(and=this=synonymy=shows= how= everyday= discourse=is= structured= as= a= grid= of= significations),= it= becomes=apparent=that=the=importance=of=various=promotions=techniques=can=only=be=measured=by=what= they=‘mean’= to=consumers.=And= in= this=case,=quantitative=measurement=scales=(like=Likert scales) fall short of interpretive value, as it is highly unlikely that any of us is able or willing to convert psychical significance, or portions of libidinal energy, into a finite set of numerical values (i.e. 1-7).=“It=is=difficult=to=quantify=the=success=of=jackets=as=promotional tools,= but= they= played= a= role= in= building= international= awareness= of= the=Verve”= (Orgie=Agostine-= Virgin= Records= International= Marketing= Manager,= in= “Firing= Up= the=Imagination”,=Music=Week).=The=neutrality=of=any=measuring=system=can=only=be=ensured

on= a=monetary= basis,=which= is= the= ultimate= aim= of= ‘investing’= on= certain= promotional=strategies.=But= in=order= to=calculate= the=exchangeability=of=a=musical=product=one=has= to=calculate= ‘what’= it= is= exchanged= for,= that= is= how= equivalences= can= be= drawn= a= priori between=cultural= signifiers= floating=on= the= surface=of= the=musical= simulacrum=and= their=capacity= to=attract=consumers’= imagination,= i.e.=simulate= the=process=of= recuperating= the=‘primary=event’=by=providing=a=sufficient=‘stage-setting’=or=cultural=imagery. “I=mean=that=all= that=Madonna= is= about= comes= through= in=her= singing= and=dancing=on stage”.= (Niki,=Group=4).= “I= think= that=on= stage=Madonna= is=her= ‘true= self’.=She= shows= that= she= is= the=center= of= attention…= Everything= else= is= just= complementary= to= what= she’s= doing= up=there…” (Jenny, Group 4). And= as= the= bodily= dimension= is= always=more= powerful= and= immediate,= given= its= pre-reflective,=pre-conscious,=pre-symbolic=character,= tangible=benefits=(i.e.=benefits= that=can=stimulate=the=senses,=as=we’ve=seen=that=the=Order=of=the=Real=is=the=body=simpliciter)=are=always=more=preferable=to=intangible=ones.=In=these=terms=we=might=say=that=the=provision=of more tangible benefits (like posters, limited edition gadgets) is the most successful path for provoking interest for the more ‘intangible’ benefits, like aural signifiers or the musical content. It became evident, either directly or indirectly, from the discursive rendition of all four=groups=participants’=actions=that=the=significance=‘promotional=messages’=assume=for=their= lives= (i.e.=world-sense)= structures= to= a= large= extent= their= ‘situational= selves’18,= the=projected=sum=of=which=equals=their=ego-ideal.=Direct=evidence=is=suggested,=for=example,=by=Eleutheria=(Group=3)=who=recollected=how=under=the=aegis=of=a=Depeche=Mode=song=in=a=club=direct=contact=with=sexual=implications=became=possible,=or=by=Leonidas=(Group=1)=who=stated= that=Pulp=bring=him=closer= to=what=he=would= like= to=be.= Indirect=evidence= is=suggested, for example, by gazing at posters or gazing at a=record-cover, as participants of all=groups=stated.=The=fact=that=the=visual=encounter=with=the=effects=of=the=simulacrum=did=not=generate=any=further=thoughts,=but=provoke=a=loss=in=the=‘image’,=which,=as=Baudrillard=remarked= is=what=constitutes= the= ‘passive=magic’=of= the=hyperreal,=can=be= interpreted=as=suggestive= of= what= was= called= in= the= Literature= Review= chapter= by= using= Lacanian=terminology,= ‘gazing= at= the= nudity= of= the= Phallus’= (“…just= stood= there,= gazing…”,=Panagiotis,=Group=2)=that=can=only=be=achieved in dissimulation. The pervasiveness of the gaze= that= spans= the= entire= continent= of= the= imaginary= landscape=made= up= of= tangible=signifiers is an attempt to break free from the Symbolic Order of language and merge with the=Real,=which=is=the=Impossible=as= the=necessary=condition=for=rekindling= the=desire= to=exhaust= the=range=of=consumptive=alternatives.=“To=experience= the=world= in= the=form=of=images= is,=precisely,= to= reexperience= the=unreality= and= remoteness=of= the= real”= (Sontag=1984,=p.164).=Paraphrasing,= for=consumers= to=construct= their= interpretive= repertoire= that=secures them their world-sense on the cultural imagery of the musical products is to widen the= distance= between= the= simulacrum= and= its= absent= centre,= i.e.= the=Order= of= the=Real.=Dissimulation=is=deemed=to=be=the=accompanying=state=of=mind,=as=it=can=show=what=it=is=like=to=scratch=the=surface=of=signification,=and=gaze=at=the=‘other=side’=of=the=mirror,=while=

18= Situational= self= has= been= defined= by= Belk= as= “all= those= factors= particular= to= a= time= and= place= of=observation=which=do=not= follow= from= a=knowledge=of=personal= (intra-indivdual)= and= stimulus= (choice-alternative)=attributes=and=which=has=a=demonstrable=and=systematic=effect=on=consumer=behaviour”=(1975,=p.175).

achieving=nothing=else=but= the= ‘manic’=proliferation=of=mirrorings.=This= =manic= state= is=experienced most forcefully when gazing at the simulacrum in its physical form, i.e. at the band-members= on= stage,=which= brings= the= consumer= one= step= closer= to= its= ever= anew=receding=centre.=And=given= that= this=approximation=happens=as=a=result=of= the=‘speeding=up’=of= the= rhythms=of=virtual= time= in=order= to= lapse= into= the=a-temporality=of= the=centre=(which= phenomenon= is= rendered= intelligible= once= the= cessation= of= the= movement= of=signifiers=on= the=periphery=of= the= simulacrum= is=pictured),= the= experiencing= of= ecstatic=states,=like=‘hysteria’=or=loss=of=the=senses=is=justified.=Just=bear=in=mind=George’s=(Group=3)= recollection= of= Thekla’s= reaction= to= the= appearance= of=U2= on= stage,= as=well= as= his=recollection=of=her=utterance=“Time=has=stopped=for=me”=or=Filio’s=(Group=3)=anticipation=of=a=hysteric=response=at=the=sight=of=her=‘cultural=icon’.=Having=substituted=the=Real=for=the musical simulacrum, at the centre of which reside the creators as bodily entities, i.e. as the= un-imaginative=core=of= the=cultural= imagery= created=by=promotional=discourses,= the=visual= contact= that= is= established=between=band= and= consumers=becomes= an=unbearable=experience,= and= at= the= same= time= overabundantly= pleasant.= In= short,= the= mood=accompanying= this= consumptive= phenomenon= is=jouissance, which= accords= with= the=principles= of= the= revised=model= of= Hedonic= Consumption= laid= out= in= the= Lit.Review=chapter.=Of=course,=given=that=the=dissimulating=state=in=which=the=Real=is=gazed=is=that=of=an= ‘aesthetic= hallucination’,= waking= from= the= dream-world= of= the= simulacrum= is= a=necessary=prerequisite=for=maintaining=its=oneiric=character.=Hence=the=inevitable=paradox=that= arises= in= the= face= of= this= situation,= i.e.= the= fact= that,= as= already= analysed= in= the=Literature=Review=chapter,=the=‘gaze’=can=only take place in dissimulation, which affirms and=at=the=same=time=negates=the=truthfulness=of=what=is=seen,=i.e.=the=fleeting=centre=of=the=simulacrum.=Thekla=remained=speechless=for=two=hours=at=the=hotel,=after=having=met=the=‘real’=band,=before=waking=up=from=her=hallucinatory,=trance-like=state,=and=Maria=(Group=1)=couldn’t=find=any=words=to=articulate=her=visual=encounter=with=her=cultural=icon,=thus=witnessing a temporary breakdown of the symbolic order-=the=taboo-=and=a=diving=into=the=Order=of= the=Real.=Therefore,= the=significance=of= the=promotional= technique=of= the= live-show=for=consumer=psychology=lies=in=that=it=promises=a=dissimulatory=encounter=with=the=Real= (remembering= Anna’s=-1st= Group-= words= about= the= ‘reality’= of= the= live-show= as=against the=‘staged’=nature=of=the=video-clip),=while=the=other=promotional=techniques=are=anticipatory= tools= that= verge= on= the= orders= of= the= Imaginary= and= the= Symbolic.= Their=importance= relies= on= their= situational= significance= in= terms= of= either= maintaining= or=conflicting= with= consumers’= ideal-ego,= and= is= measured= according= to= exchange=equivalences= established= by= consumers= between= product-use= and= intensity= levels=accomplished. 5.2.2 Hypothesis 2 The=participants=explained=in=their=own=words=how=the=signifiers=that make up the musical product= impact= on= their= psychic= structure= by= being= de-doubled= in= the= process= of= their=constant= re-inscription=in=communicative=trajectories,=either=between=them=and=the=act=or=amongst= them=as=a=group=of= fans.=They=explicitly= stated=that=even= though= the=band=has=written=a= track= for=a=particular=purpose,= they=appropriate= its=meaning= in=order= to=match=their=personal=lives.=The=melody=as=a=string=of=aural=signifiers,=the=lyrics=as=a=set=of=verbal=

signifiers,=the=posters,=print-ads=as=a=plenum of visual signifiers, the live-show=and=video-clip=as=a=mixture=of=all=of=the=above,=each=appertaining=to=different=semiotic=realms=(the=Imaginary= and= the= Symbolic)= =with= fluid= boundaries= that= allow= for= crossings= between=barriers, assume different meanings=when=applied=to=different=situations=that=emerge=in=the=course= of= consumers’= lives.= However= divergent= these= experiences= may= be,= they= all=converge=at= the=cross-roads=of= the=group’s=collective=world-sense,=which=is=expressed=in=the= ritual= practices= of= club-meetings,= trips= to= live-shows,= night-outs. Intra-group coherence is maintained by the group’s instantiation of the aesthetic features that make up the ‘meaning’ of the product, such as wearing club T-shirts, and waving at each other in the same way as the lead-singer waves at the end of the video-clip=(as=Group=3=members=do).=What=are=the=‘neo-tribe=paraphernalia’=in=this=case?=For=Anna=and=her=friends=(Group=1)=it=seems=that=posters=is=a=way=of=intra-group=coherence,=something=like an emblem that suggests a ‘shared past’ for the group, recalling Bradley. “You can re-live the past by playing these songs…” (George, Group 3). The=collection=of=posters,=in=this=case,=is=not=driven=by=the=same=forces=at=work=in=the=case=of= the= hardcore= fan,=who= functions= on= the=principle=of= the=exhaustibility=of=collectable=items,=but=rather=on= the= iconic=principle=of=providing=for=oneself=definite= images=for= the=essentially non-imagistic Order of the Real. The identification with the images of the artists works=on= the=Order=of=the=Imaginary,=and=its=fetishistic=character=is=evinced=by=the=way=whereby its heterogeneous elements are accommodated under the significatory umbrella of the= ‘name’=of= the= artist,=which= is= a=hyperreal= inscription=of= the=Name-of-the-Father,= in=psychoanalytic terms. We’ve seen that the Name-of-the-Father is the primary signifier that is the starting-point of the chain of signifiers that constitutes the Symbolic Order, on which local=cultures=are=founded.=Therefore,=Georgia’s=(Group=1)=passionate=exclamation=“Pulp=is my life” is nothing else but a metonymic registering (i.e. displacement of the name of the primary=signifier=by=and=into=a=signifier=within=the=chain=of=signification,=Pulp.=The=same=paradox that was described in the previous section with respect to the dissimulatory ‘gaze’ of the centre of the simulacrum arises here. The power of the ‘gaze’ in shaping the cultural imagery= communicated= through= musical= products= has= been= recognized= from= various=people=working=in=the=industry,=such=as=Stephen=Brown=(press=strategist=at=Excess=Press- PR= company),= who= stressed= that= “The= teen= press= react= best= to= strong,= visually-led marketing= campaigns=where= the=music= is=only=one=of= the= colours= in= the=palette”= (from=Music=Week).=The=primary=signifier=(Pulp)=assumes=its= transcendent=value=as=grounding=the chain of signifiers only once it is inscribed in the chain, in a dissimulatory fashion, that affirms=and=at=the=same=time=negates=the=possibility=of=its=linguistic=rendering)=of=the=very=principle= that= grounds= individuals’= cultural= life.= Let= us= re-iterate=McCracken’s= (1988,=p.112)=remark= that=“Normally= the=purchase=of=a=good=does=not=violate= the=displacement=rule…=What=is=being=bought=is=not=the=whole=bridge=but=a=small=part=of=it”.=The=way=the=images=in=the=poster=are invested with psychic value has been described as the outcome of the=triple=process=of=substitution,=condensation,=displacement.=The=promotional=messages=that=are=communicated=through=these=processes=add=up=to=the=extra-value=of=the=product.==The=extra-value=added=to=the=product=through=the=consumption=of=promotional=messages=is= evinced= in= the= ways= whereby= these= messages= are= inscribed= in= intra-group communication,= such= as= the= adoption= of= particular= modes= of= dancing= or= the=communication= through= lyrics.=Maria= (Group= 1)= stated= that= she= likes= to= discuss= about=

personal matters with her peers, while listening to Pulp and emphasized the aesthetic value she=ascribes= to=Jarvis’=voice.=Manolis= (Group=2)=stated= that=Chumbawamba’s=song=was=like=a=‘national=anthem’=during=his=peer-group’s=recent=holiday,=and=they=had=memorized=the=song=after=listening=to=it=repeatedly=on=the=radio.=Let=us=recall=Barthes’=analysis=of=the=‘grain of the voice= ’,= the= impact= of= which= does= not= take= place= on= the= plane= of=‘signification’=but= rather=of= ‘signifiance’,=where= the=melody=works=on= language,=not=at=what= it=says=but=at= the=“voluptuousness=of= its=sound-signifiers”=(Middleton).=“Her=voice=has=all=these=colors…=It=makes=you=feel=rather=than=think=what=she=sings=about…”=(Jenny,=Group= 4).=Whence=the=pre-symbolic,=emotive=and=bodily=levels=on=which=the=aural=aspect=of=the=musical=product=impacts=on=consumers=as=a=group,=transposing=them=to=the=level=of=affection= through= a= chain=of= signifiers=bound=up= contiguously.=This= is= the=point=where=‘value’=is=exchanged=for=money.=And=what=is=exchanged=here=is=a=portion=of=desire=for=a=portion=of=cultural=imagery.=What=is=consumed=is=a=set=of=signifiers=that=circulate=on=the=surface of the simulacrum, the musical product. “Our first level of involvement in the=ad’s=[and=we=might=substitute=ad=with=‘promotional=image’,=in=order=to=encompass=the=rest=of=the=available=promotions= techniques]=meaning= is= in=our= recognition=of=certain=signifiers=from referent myth systems. The advertisement cannot claim to have created that meaning, for=do=we=not=‘know’= it=already?=Values exist not in things but in their transference” (J.Williamson=1978,=p.43,=my=highlighting).=If=‘values’,=such=as=personal,=cultural,=group=values=are=what=is=exchanged=for=musical=products,=then=the=former=is=the=signified=of=the=latter.=This=is=what=is=meant=by=the=‘re-doubling’ (de-doublement,=in=Derrida’s=words)=of signifiers: The same images=(i.e.=the=actors=in=a=video-clip,=the=ordering=of=drawings=in=a=record-cover,= the= gestures= of= the= musicians= in= a= live-show) can be exchanged for different values, depending on the ‘embeddedness’ of the signifiers.= Thus,= the=signifiers=are=constantly=re-doubled=as=they=enter=different=communicative=contexts,=such=as=uttering=the=song-title=of=‘In=Your=Room’,=which connotes the desire for sexual contact, as= Filio= stressed.= Therefore,= the= cultural= imagery= is= disseminated= in= the= contexts= of=intersubjective= ‘interpellative= dialectic’,=where= individual= consumers= are= ‘called= upon’=(demanded,=to=use=the=Lacanian=term,=which=is=part=of=the=triple=structure=of=need-desire-demand,=as=exposed=in=the=Lit.Review=Chapter)=to=give=their=own=accounts=of=the=subject-matter,=which=is=the=musical=product.=The=dialectic=takes=place=through=‘sacralizing=ritual=processes’.=This=means=that=the=quest=for=meaning=is=not=a=one-man-project,=but=rather=the=outcome= of= a= group= effort= that= constructs= its= world-sense= on= the= basis= of= shared=interpretive= repertoires.=The= ‘gaze’= as= encoded=with= cultural=meaning=has= already=been=found= to=be=operational=in=the=consumptive=phenomena=of=live-shows=and=posters.=What=has=not=been=commented=on=is=the=notion=of=‘ritualistic=fusion’,=which=has=been=described=as= one= of= the=most= crucial= sacralizing= processes,=which= promote= consumption= through=‘contamination’. Belk=provided= the=example=of= lighting=of=matches=at= the=end=of=a= rock=concert. Primary research findings suggest more variable ways whereby ‘contamination’ is achieved.=Wearing=huts=in=a=live-show=was=one=way=whereby=club-members=of=Group=3=maintained their=coherence=as=a=group=of=disciples=following=their=favourite=cultural=icon.=Whistling a Chumbawamba tune was a way of maintaining group-identity=amongst=Group=2=consumers.=Dancing=and=singing-along=during=a=live-show=is=a=way=of=communicating=‘directly’= for= Group= 1= consumers.= And= the= most= important= thing,= each= ‘common’=experience=bears=a=different=meaning=for= individual=consumers,=the same ‘promotional

currency’ is exchanged for different ‘psychic goods’,= in= the= process= of= connotative=displacement.=There=is=no=end=in=the=process=of=connotative=displacement=of=meaning,=as=the chain of associations it gives rise to can be extended ad infinitum, depending solely on the particular ‘real-life’19 stories it reflects. How is this reflection enabled? 5.2.3 Hypothesis 3 Through= ‘iconic= consumption’= or= ‘simulacral= consumption’,= as= it=was= termed= in=Ch.2.=There= it=was= shown= how= the= relationship= between= signifier= and= signified=was= neither=symbolic=nor=indexical=stricto=sensu,=even=though=it=shares=elements=of=both.=It=is iconic, that=is=bearing=an=abstract=resemblance=to=the=‘depicted=object’,=while=the=resemblance=can=be=discerned=only=by=those=who=share=the=code=or=are=members=of=the=conventional=nexus=in= which= this= resemblance= ‘makes= sense’.= As= Bradley= argues,= “music= in= certain=circumstances=assumes=a=sort=of= iconicity.=This= is=not= the=same=as=simple= reference-= as=when=words= refer= to= ‘things’-=but= it= is=a=special=kind=of=musical=meaning=none= the= less,=namely= that=which= is= often= called= the= expression= of= emotions”= (op.cit.,= p.25,= also= see=Grayson’s=and=Barthes’=theses=on=‘iconicity’=and=resemblance=in=2.2).=However,=emotions=are=not=‘raw’,=but=rather=elaborated=through=a=meaningful=system=that=allows=us=to=ascribe=particular= adjectives= to= each= of= them.= Therefore,= emotions= of= joy,= sadness= have= been=reported= to= be= either= caused= by= or= alleviated= through= music.= And= this= process= of=‘alleviation’ or ‘healing’ is the same as the one of the phenomenological letting-dissappear of=the=‘primary=event’=through=the=investment=of=its=traces=in=the=cloak=of=definite=images.=Through a process of ‘sublimations’, that is discursive investments of the primary libidinal flow,=the=absent=centre=of=the=simulacrum=is=glimpsed=in=its=fleeting=emotive=inscriptions,=which= reside= in= the= conventional= net= of=meanings= shared= by= the= group= of= consumers.=“Music= can= function= as= such= an= icon,= when= makers= and= listeners= agree= the= codal=conventions of ‘emotional expression’” (idem.). Consumers, by uncritically subscribing to these codal conventions, become enmeshed in this nexus of significations that equips them with=interpretive=repertoires,=sufficient=for=making=sense=of=‘irrational’=emotions.=“Things=‘mean’=to=us,=and=we=give=this=meaning=to=the=product,=on=the=basis=of=an=irrational=mental=leap=invited=by=the=form=of=the=advertisement=[promotional=image]”=(Williamson,=op.cit.).=Iconic=consumption,=therefore,=is=responsible=for=compartmentalising=the=primary=process=of= unobstructed= libidinal= flow= by= creating= ephemeral,= i.e.= contextually= and= historically=bound, associations between signifiers, that do not have a fixed referent, but rather assume meaning= in= a= self-referential,= hyperreal= grid= of= concepts.= Just= like= the= pictorial=representation=of=Genesis,=for=example,=endows=the=fans=of=a=particular=religious=cult=with=the=iconic=paraphernalia=that=allow=them=to=glimpse=the=creation=of=the=universe,=the=aural,=verbal= and=pictorial= rendition=of= emotions= allow= the= consumers=of=musical=products= to=make=sense=of=the=irrational=part=of=their=existence.=This=repertoire=assumes=the=character=of=a= ‘life-vest’,= as=Filio= (Group=3)=put= it,= that=guards= consumers= against= sinking= in= the=

19=Bands=with=strong=imagery=are=called=‘life-style’=acts,=and=are=targeted=mainly=towards=late=teens=market=segments.=“The=best=the=press=can=do=is=sell=the=concept=of=the=band.=Only=after=they’ve digested what they’ve=read=and=either=heard=something=on=the=radio=or=had=it=further=recommended=by=friends=do=most=people actually go out and buy the record” (Rob Partridge-=Managing=Director=Coalition=Music=and=Media,=in=Press=to=Impress,=Music=Week).

archipelagos= of= desire.=The= suggestion= that= this= iconic= function= is= the= outcome= of= the=‘circulation of signifiers’ in the realm of the intra-group communicative trajectory has also been=shown= to=be=operative.:=“I=think=I=identify=with=her=lyrics=and=image.=The=way=she=dresses= is= unique.= It=was= a=wise=move= for= her= to= start= a= new= clothes-brand”=(Dimitra,=Group=4)).=“I=agree=with=Dimitra= that=Madonna=has=a=unique=dressing-code.=I=remember=when=we=were=15=we=used=to=dress=like=her=and=have=loads=of=fun.=Now=we=still=wear=t-shirts=and=stuff,=but=not=all=those=flashy=clothes=we=used=to=wear=then”=(Maria,=Group=4).=The= verbal= interaction= that= takes= place=between= the=members=of=Group=4,= for=example,=shows=how=consumers=are=mirrored=against=each=other=on=the=basis=of=the=‘cultural=mirror’=or=‘code’=of= the=musical=simulacrum.=The=communicative=exchanges= that= take=place=are=founded=on= the= signifiers= that=make=up= the=simulacrum,= in= the=case=at=hand=Madonna’s=dressing=code,=which=is=an=indispensable=part=of=her=projected=life-style.=Madonna=would=not=have=been=so=successful=if=she=hadn’t=offered=such=a=strong=set=of=cultural=imagery=to=stimulate= the= teen-market’s= imagination.= And= this= stimulation= occurs= insofar= as= the=circulation= of= promotional= discourses= in= intra-group= communication= allows= for= the=individuation=of=signifiers.=“I=have=a=big=poster=at=the=ceiling,=facing=my=pillow,=so=when=I=wake= up= I= can= see=Madonna= in= front= of=me.”= (Niki,=Group= 4)=Niki= reflects= herself= in=Madonna’s= picture,= the= poster= is= not= seen= as=merely= a= poster,= but= rather= as= a= cultural=mirror, a way whereby consumers identify with the cultural code through self-reflection. = “Leonidas:= “I= regard= video-clips= as= one= step= before= live-shows.= It= gives= you= the=opportunity=to=see=how=the=band=moves,=their=expressions…=The=video-clip shows that the music is real, if you know what I mean…” Georgia (to Leonidas): “Don’t you think that the video-clip is like a small gig?” Leonidas: “Sometimes, when instead of a script it includes shots from live-shows…” Anna: “But again, you can’t compare these two… The live-show is more immediate, more direct… The video-clip is somehow pre-meditated.””=(Group=1) The above dialogue also shows how the effects of promotional techniques of the live-show and= the= video-clip= respectively,=which= offers= an= abundant= array= of= signifiers,= circulate=within= the= group= of= consumers.=Each=member= of= the= group= reflects= differently= on= the=‘value’ of the techniques, albeit they all participate in the same consumptive phenomenon. Georgia=and=Leonidas=are=more=prone=to=claim=that=the=video-clip=has=the=same=effect=on=them=as=the=live-show,=whereas=Anna=prefers=the=live-show,=because=it=is=more=direct.=But=still,=even=though==the=techniques=are=put=under=constant=trial,=their=iconic=function=has=not=been= challenged.=On= the= contrary,= it= is= reinforced= by= being= immersed= in= the= group’s=communicative trajectory, by being reflected on the participants’ discourse=on=it,=that=is=on=their=bringing=their=individual=perspective=and=values=in=order=to=trace=its=significance.=But=this= reading=would=be= far= too=easy.= It=has=been= stressed= that= ‘personality= traits’=are=not=sufficient in explaining the motivations to consume musical products. If we relied solely on what=is=stated=in=the=utterances=we=wouldn’t=be=able=to=discern=a=general=pattern=in=order=to bring into light the aspects of an underlying context. Therefore, we have to ‘dig deeper’ in=order=to=bring=this=context=to=the=surface,=and=a=way=to=do=this=might=be=to=pay=attention=not=strictly= to=what= is=said,=but=rather=how= it= is=said.=Hence,=what=matters= in= the=case=at=hand=is=not=the=different=opinions=consumers=express=on=the=subject-matter,=but=rather=the=act= that= they= ‘do’= express= opinions.= And= they= express= them= in= a= way= that= discloses=eagerness= and= pervasiveness= (which,= in= the= terms= of= pragmatics,= is= called= the=

perlocutionary force=of=an=utterance,= i.e.= the=‘mood’=accompanying=an=utterance,=which=gives= a= special= twist= to= its= semantic= content),= which= points= to= a=desire,= or,= better,= a=demand=to=locate=the=center=of=the=simulacrum=in=its=various=effects.=And=the=paradoxical=element= in= this=demand= is=what= regenerates=motivation,= as=was=proven= in= the=previous=sections.=What=matters=here= is= that= the=circulation=and= inscription=of=signifiers= in=group-discourse is actually responsible for maintaining the iconic status of musical products, that is its capacity to provide a verbal/ audio-visual code for consumers’ emotive responses. Iconic= consumption= has= also= been= found= to= be= responsible= for= the=maintenance= of= the=sacred= character= of= musical= products.= The= club-members= laid= out= their= intentions= of=establishing a Depeche Mode museum, where all the collectable items will be displayed for ‘mass= supplication’.= Promotional= discourses,= and= let= us= repeat= that=what= is=meant= by=discourse is the entire gamut of semiotic elements, either verbal, aural or visual, that make up a self-subsistent complex of significations, are thus responsible for creating the ‘sacred’ character= of=musical= products,= by= offering= identifiable= ‘icons’= for= irrational= emotions.=Every=effect=of= the=musical=product=as=simulacrum=on= the= listener= is=at= the=same= time=a=taboo,= as= it= discloses= an= aspect= of= consumers’= split= subjectivity,= effected= through= the=fetishistic=identification=with=these=effects,=and=at=the=same=time=transposing=the=event=of=the= ‘barring’= ($)= (cf.2.6.2)= to= ever= further= depths.= Thanasis= (Group= 2)= ‘re-lives’ unconsciously= the= act= of= the= splitting= by= gazing= at= the= record-cover= of= Pearl= Jam.=“Whichever= way= you= approach= it= [i.e.= the= cover]= it= says= ‘Don’t= Open= me’”.= This=transposition= is= effected= through= the= proliferation= of= signifiers= (and= subsequently= the=enhancement=of=the=complexity=of=the=‘cultural=code’=within=the=accommodating=auspices=of=which=the=translation=of=irrational=desire=into=products=to=be=invested=takes=place),=and=the=promotional=discourses=which=generate=them.=The=webs=of=significations=born=out=of=this=process=are=suggestive=of distinctive life-styles,=which=bind=consumer=segments=with=fluid=boundaries=with= the=‘glue’=of= the=cultural= imagery=on=offer.=“Madonna=is=a=way=of=life”=(Niki,=Group=4).=“Pulp=is=my=life…”=(Georgia,=Group=1).=“Bono=has=been=one=of=my=favorite=singers...It’s=not=only= the= lyrics,=but= the=whole= life-style.= I=mean= they=can=shift=between=sounds=without=losing=their=originality”=(Manolis,=Group=2).=And=insofar=as=life,=here,= refers= to= cultural= life= we= can= see= the= wider= cultural= implications= of= the= sacred=character= of= the=musical= product.=The= chain= of= signifiers= that= constitutes= the= image= of=distinctive=products=is=raised=to=an=emblematic=status=that=nurtures=the=cultural=life=of=its=disciples.=The=participants=of=group=4=‘grew=up’=with=Madonna= imagery,=participants=of=group=3= ‘grew=up’=with=Depeche=Mode= imagery,=participants=of=Group1=grew=up=with=Pulp= imagery.=Given= that= on= top= of= every= local= cultural=manifestation= certain= ‘sacred’=principles=reign=supreme,=the=local=culture=of=each=of=these=groups=has=been=found= to=be=built= on= the= sacred= foundations= of= the= fetishistic= and= tabooic= character= of= the=musical=simulacrum. 5.3 Conclusion =It=is=hoped=that=the=attempt=to=guide=the=reader=through=the=previous=discussion=into=the=ways=whereby=the=principle=hypotheses=of=this=dissertation=can=be=explored=by=analysing=the=discourse=of=focus-group=participants=was=frutiful.=It=is=also=hoped=that=the=importance=of=understanding= the= communicative=potential=of=promotional=discourses,=on=which= the=

successful=performance=of=musical=products=in=the=market=is=dependent,=was=clarified=by=drawing= on= the= interpretive= categories= of= the= conceptual= model= of= Consumer=Psychoanalysis.=In=the=following=chapter=certain=conclusions=will=be=drawn=on=the=basis=of=this=discussion,=with=regard=to=the=implications of the findings for marketers, as well as for future research in the field of promotions in the music industry.

6. Conclusions and Recommendations 6.1 Introduction In this chapter the discussion of the findings presented in Ch.5 will be summarized with an added= emphasis= on= their= implications= for= conceptual= model= building= and= research=methodology,=as=regards=their=theoretical=contribution.=Additionally,=their=contribution=to=the field of brand management will be discussed, which, in the music industry, corresponds to=the=research=for=new=talent,=its=development,=and=maintenance=throughout=the=product=life-cycle.= It= will= be= explained= why= the= significance= of= the= discourses= woven= by=promotional= techniques=for=consumers’= intra-group=communication=as=well=as=individual=subjectivities=is=instrumental=in=understanding=the=‘product=concept’=of=musical=products,=which consists mainly of symbolic (or simulacral/iconic) , rather than functional attributes, the=value=of=which=is=strictly=extrinsic,=i.e.=dependent=on=the=exchange=value=it=assumes=in=communicative exchanges taking place amongst consumers and in consumers’ relationship with=their=own=‘id’.=Finally,=the=limitations=of=this=dissertation,=as=well=as=suggestions=for=potential areas of future research will be pointed out. 6.2 Theoretical Contribution 6.2.1 Contribution on a Conceptual Model level First=and=foremost,=the=points=where=Consumer=Psychoanalysis=diverges=from=Consumer=Behaviour,= as= were= illustrated= throughout= the= thesis,= must= be= recapitulated.= Hence,=whereas the latter prioritizes a set of personality traits as being endemic in and constitutive of=consumer=behaviour,=whether=viewed=from=an=egocentric=or=an=interactive=perspective,=the= former= lays= emphasis= on= the= pre-personality= formative= features= and= the= psychic=processes responsible for their formation. As a result of this, musical products are not seen as= corresponding= to= particular= pre-existing= needs,= but= rather= as= being= instances= of=symptom-formation=(cf.=Glossary),=i.e.=traces=of=unconscious processes. More specifically, the= term= Iconic=or=Simulacral=Consumption=was= coined= in=order= to= account= for= certain=gaps= in= the= Symbolic= Consumption= and= Hedonic= Consumption= literature.= The= main=differences between these perspectives are the following: 1. The= product= does= not= necessarily= bear= a= one-to-one= symbolic= relationship=with=an=

abstract idea.

2. An= abstract= idea= refers= to= a= cultural= value= (i.e.= status,= power)= that= is= part= of= a=supposedly all-encompassing cultural framework. Iconic Consumption emphasizes the role=of=musical=products=for=maintaining=and=communicating=consumer=identity=in=the=context= of= local= cultures,= i.e.= axiological= grids= of= consumer= groups= with= fluid=boundaries.

3. Both= Symbolic= and= Iconic= Consumption= emphasize= the= ‘extrinsic= properties’= of=products. However, whereas the former conceives of these properties as relating to the realm=of=abstract= ideas,= the= latter= locates= them= in= the= realm=of= situationally=defined=stimuli.

4. The=former=distinction=also=lays=claim=to=the=fact=that=iconic=consumption=is=closer=to=the=primary=level=of=‘affect’=(cf.=Glossary=and=ch.2),=which=precedes=the=formation=of=symbolic=links.=The=distinction=between=affective=and=symbolic=levels=also=alludes=to=the=distinctive=orders=of=the=Imaginary=and=the=Symbolic,=which,=despite=constituting=different=paths=for=approximating=the=Order=of=the=Real=(cf.2.5),=they=assume=an=order=of=precedence.=This=order=is=the=outcome=of=the=fact=that=the=Imaginary=is=prior=to=the=individual’s immersion in the linguistic order, on which the Symbolic impinges.

5. Iconic=consumption= is=also=attentive= to= the=definition=of=a= ‘product=concept’.= In= this=area,=it=was=suggested=that=the=musical=product=is=the=sum=of=verbal,=aural=and=visual=codes= that= shape= up= its= meaning.= The= product= is= encoded= by= distinctive= sets= of=promotional=discourses,=appertaining=to=the=two=orders=of=image-making, and decoded by consumers. The latter, in turn, redefine its meaning, thus constituting the product as a= result= of= the= process= of= co-creation= of=meaning.=Meaning= here= attaches= to= the=semantic=and=pragmatic= relationship=between= the=chain=of=signifiers=and= the= field=of=potential=signifieds,=which=collectively=make=up=the=‘grid=of=signification’.=Therefore,=iconic= consumption= is= a= theoretical= paradigm= aiming= to= explore= how= the= product=concept=of=musical=products=is=generated=in=an=incessant=process=of=signification,=that=marks a substitutive interplay between signifiers and signifieds.

6. With=regard=to=Hedonic=Concumption,=its=principles=are=also=applicable=in=accounting for= the= impact=of= the=musical=product,=as=a=result=of=promotional= techniques=and= the=discourses=they=give=rise=to,=on=consumer=psychology.=However,=certain=lack=of=clarity=on= the= definitional= plane= urged= us= to= reconsider= some= of= its= principles,= again= by=drawing=on=the=paradigm=of=Iconic=Consumption.=The=arguments=that=were=developed=in 2.7.1 and 2.7.2 respectively bore on the conflict among the psychoanalytic concepts of= ‘pleasure= principle’= (cf.= Glossary)= and= ‘jouissance’,= which= can= be= rendered=intelligible= and= applicable= only= once= the= distinction,= loosely= speaking,= between=‘personality’ or ‘ego’ and ‘split subjectivity’ has been grasped.

7. Finally,=Iconic=Consumption=aims=to=effect=an=interpretive=shift=from=inter-subjective paradigms,=which=presuppose=the=existence=of=distinct=egos,=towards=an=approach=that=prioritizes=‘fusion’=and=‘communion’=among=consumer-group=members,=which= is= the=way sacralizing processes manifest themselves.

8. Finally,= the= contribution= of= the=model= of= Consumer= Psychoanalysis= to= theoretical research= is=aimed=at=widening= the=perspectival=horizons=of=consumer=researchers,=by=reaching more indirect levels of analysis.

6.2.2 Contribution on a Methodological level In= the=process=of= in-depth=interviews=or=focus-group=discussions=it=is=highly unlikely that consumers=will=allude=directly=to=the=traces=of=events,=which,=anyway,=are=not=inscribed=in=consciousness,=but=rather=in=the=systems=of=the=pre-conscious=and=the=unconscious,=to=use=Freud’s=psychic= topography.=The= interpretive=method=of= consumer=psychoanalysis=is=an=attempt= to= reach= and= map= these= levels= by= drawing= on= the= unconscious= functions= of=substitution,=displacement=and=condensation=(cf.2.6.1).=The=ultimate=aim=of=this=method=is=to=enable=the=design=of=associative=frameworks,=which=will design whole networks linking imagery= and=unconscious=wish-fulfillments=of= = targeted-audiences.=This=over-ambitious project can only be enforced in the case of high-profile artists, as it requires prolonged and sustained=market=research=and=planning=in=order=to=render=this=network=of=associations=as=close= to= consumer= expectations= as= possible.=As= regards= specific= research=methods= and=methods of analysis, it is certainly hoped that an example of how the qualitative method of focus-group discussions, as an exploratory method into consumers’ unconscious processes that=govern=the=transformation=of=promotional=discourses=into=interpretive=repertoires,=was=shown to be a useful tool. As regards analytical frameworks, it is hoped that the usefulness of= Interpretivism=was= demonstrated=while= examining= the= ‘polysemic= dissemination’= of=promotional messages in different communicative contexts. Finally, as regards the tools of analysis=of= the= research= findings,= the=minimally=used=method=of=discourse=analysis=was=rendered= operative,= thus= opening= up=multiple= levels= of= analysis= and= showing= how= the=sequence=of= the=presentation=of=given=data=can=alter= the=direction=of=a= thesis’=analytical=focus. 6.3 Implications of the research findings for brand management It= is= strongly= believed= that= the= research= findings= of= this= dissertation= have= important=implications for brand-management in the popular music industry. Given that brand-names are= the= initial= differentiating= properties= amongst= relatively= homogeneous= commodities,=their=efficient=management=depends=on=a=deep=understanding=of=how=they=can=maximize=consumer= satisfaction.= Consumer= Psychoanalysis= offers= useful= insights= into= how= this=understanding=of=consumer=behaviour=can=be=achieved=with= regard= to=musical=products=and the merchandise that complements them: 1. Given= that= consumer= satisfaction= for= this= particular= product= class= is=measured= not=

according= to= the= tangible=benefits= they=offer,=but=rather= to= their=‘iconic=effects’,= it= is=suggested=that=efficient=brand-management must follow=the=path=of=providing=cultural=imagery=as=stimulating=for=the=senses=as=possible,=insofar=as=the=effects=of=the=musical=product=have=been=found=to=impact=first=and=foremost=consumers’=bodily=and=emotive=farbric.

2. Kotler= (1991)= identifies= four= distinctive= classes= of= loyal= consumers,= viz= “Hardcore=loyals,=consumers=who=buy=one=brand=all= the= time,=Soft-core=loyals,=consumers=who=are=loyal=to=two=or=three=brands,=Shifting=loyals,=consumers=who=shift=from=favouring=one=brand=to=another,=and=Switchers,=consumers=who=show=no=loyalty=to=any=brand”.=

The=primary=research=findings=of=this=dissertation=drew=on=the=consumer=behaviour=of=the= first= and= second= classes,= therefore= it=was= an= attempt= to= identify= how= perceived=value= of= existing= brands= can= be= enhanced= by= capitalising= on= the= communicative=potential of promotional discourses.

3. Having= used= Lacan’s= triple= structure= of= need-desire-demand,= it= was= shown= how=musical products function on the levels of Desire and Demand, rather than need, which is biologically determined.=Demand=is=what=is=laid=upon=the=consumer=by=the=Order=of=the Real, and is a call for fulfillment of one’s utmost potential (ontologically conceived as the potential for becoming one with the Other). Desire is the conative element in the consumer psyche that=strives=after=fulfilling=the=Demand.=Icons=must=be=strong=enough=in= order= to= channel= this= desire= in= the= direction= suggested= by= the= entire= imagery=surrounding=the=product,=i.e.=the=desire=to=consume=as=many=records,=collectable=tems,=posters,=t-shirts as possible.

4. Given= that= the= teen-market= is=primarily=driven=by=visual= stimuli,=emphasis=must=be=given in the first place on the establishment of a strong visual relationship between the product-package=and=the=consumer,=which=means=that=the=‘gaze’=is=the=primary sense to=be= targeted.=The=way= images= interlock=must=be=capable=of=producing=a=hyperreal=pattern= that=will= function= primarily= on= the= Imaginary=Order,= thus= giving= rise= to= a=distinctive cultural code operates unconsciously by creating bonds amongst consumers of a particular brand-name.

5. The= issues=of=price=and=product-use= (or=better=product-exchange)=that=emerge=in=the=context=of=brand-management must be dealt with according to the principles of what is exchanged= and=how=much= the= consumer= is=willing= to=pay= for= the= subject-matter= of=exchange. “Sometimes the most expensive an item is, the more likely it is to sell”, says Event=marketing=director=Jeremy=Goldsmith.=“It’s=reverse=psychology=but=it’s=quite=a=well-known=marketing=ploy”=(“Those=little=added=extras”,=in=Music=Week=6/12/97).=It=has= been= found= that= the= strongest= the= significance= of= the= imagery= of= the=musical=product= for= consumers,= the=more= they= are= likely= to= spend= on= acquiring= collectable=items=and=mechandise,=in=an=attempt=to=fetishistically=recuperate= the=absent=centre=of=the= simulacrum.=Therefore,= record-companies=can=capitalize=on=existing=and/or=new=brand-names= that= have= been= deemed= to= be= successful= according= to= their= mission=objectives= with= regard= to= the= development= of= particular= artists= in= order= to= offer=innovative consumptive outlets, such as those suggested in the previous chapter.

6. Also, important implications arise for consumer segmentation. “In recent years there as been= increasing= dissatisfaction= with= socio-economic= classifications.= Advertising agencies and those responsible for communicating brand propositions not only wish to whom to communicate with but also what to say. This has led firstly to a growth in the use= of= qualitative= research= and= secondly= to= the= use= of= ‘life-style’=or= ‘psychological variables’=in=market=segmentation…=Under=this=system,=market=segments=are=defined=qualitatively=in=terms=of=consumers’=attitudes,=values=and=interests…=There=are=those,=however,=who=have= expressed=doubt= about= the=use=of= life-style=segmentation.=They=argue= that= for=marketing= purposes,= attitudes= cannot= be= generalized,= but= tend= to= be=specific= to= individual=product= fields=or= in= some=cases=brands= themselves.”= (Graham=Hankisnon & Philipa Cowking, The Reality of Global Brands1996, pp.23-24). There is no=doubt= that= in= this= thesis=‘life-style’=segmentation=has=been=followed=in=identifying=

and= structuring= the= teen=market= segment= for= popular=music.=However,= at= the= same=time,=difference=in=focus=as=regards=the=nature=of=life-style segmentation has also been emphasized.=Instead=of=using=traditional=variables=of=attitudes,=interests=and=values,=we=concentrated=on=psychic=conditions=prior=to=the=formation=of=those=features.=By=using=psychoanalytic= vocabulary= and= interpretive= methods,= it= was= pointed= out= why= this=particular= product-class= is= functional= in= terms= of= its= capacity= to= give= expression= to=unconscious= processes,= by= providing= identifiable= icons= around=which= the= inter-play between=‘id’=and=consciousness=takes=place,=as=well=as=why=a=life-style,=in=these=terms,=is=not=the=outcome=of=prior=attitudinal=attributes,=but=rather=a=direct=expression=of=the=strife for approximating the Other, as the fundamental precondition of split subjectivity (cf.=2.6.2).=In= this=context,= it= is=also=crucial= that=marketers=pay=close=attention= to= the=group-dynamics which are largely responsible for structuring this meaning-laden=path,=as=the=approximation=to=the=Other=is=not=a=one=man’s=project,=but=rather=the=result=of=a=fusion=or=loss=in=the=imagery=of=musical=products.=This=is=one=more=aspect= that=has= to=be=borne=in=mind=before=considering=the=communicative=potential=of=a=new=product,=or=when=redefining=the=brand-image=of=an=existing=one.=As=regards=the=second=point,=we=are certainly in accord that with the ‘objection’ that the models devised=on=the=basis=of=‘life-style’= segmentation= are= restricted= to= the= specific= product-classes,=only= it= is=not=clear=why= this= claim= is= a= criticism= rather= than= a=witticism.= Postmodern= consumer=research= is= bound= up= with= an= exhaustive= attentiveness= to= the= particular,= and= is=concerned= with= cases= that= can= provide= illuminating= insights= into= consumptive=phenomena, rather than formulating grandiose statements, which are hardly applicable in the ‘real world’.

7. Brand-management=cannot=be=conceived=as=separate=from=image-making.=It=is=hoped=that=once=managers=get= their=busy=heads=round= the=concepts=of=Iconic=Consumption,=and=understand=its=implications=for=marketing=practice,=then=the=expanded=notions=of=‘image’= and= ‘cultural= imagery’=will= be= given= thoughtful= consideration.= Given= that=popular=music= is= the= ‘anthem’=of=a=global=village,= the=development=of=artists=on= the=basis=of=most=global=‘wants’=and=‘needs’=and=the=patterning=of=promotional=discourses=on=globally=binding=narratives= (as=was=shown=by= the=semiotic=analysis=of= the=global=arche-signifier=The=Verve=in=5.2.1.a=-=and=here=the=definitive=article=‘The’=is=indicative=of the grammatical inscription of the power of the name to circumscribe, i.e. define the boundaries,= of= the= Hyperreal= Space)= can= benefit= from= the= cost-efficiency= of=standardised=promotional=plans,= in= terms=of=planning,= implementing=and=controlling=promotional strategies.

8. As=regards=budget-analysis for media allocation, it is also believed that this dissertation could= turn=out= to=give=some=useful=directives.=The=successful=targeting=of=specialized=teen=mags,=and=more=effort=in=designing=print-ads,=which=were=declared=by=the=focus-groups=participants=to=lack=in=‘imaginative’=content=and=to=have=merely=an=informative=function,= should= be= given= thoughtful= consideration.=As= regards= the= communicative=potential=of=promotional=discourses,= the= live-show=still= remains= the=most=prominent=technique for the particular classes of loyal consumers, as it is stimulating for the entire sensory=spectrum.=It=is=also=the=most=representative example of a ‘sacralizing process’, which, according to the principles of Iconic Consumption, are responsible for building and=maintaning=cultural=icons=or=musical=acts.==However,=the=communicative=potential=

of=other=promotional=means,= such=as=posters,= t-shirts=and=collectable=items,=was=also=found to be significant, depending on situational responses and exectations. In general, different=‘rites=of=passage’,= indicative=of= the= teen-market,=are=strongly=shaped=by=the=imagery=of=musical=products.=Therefore,==the=selection=of=the=appropriate=media=in=the=appropriate season can help boost sales by capitalising on the communicative potential of=distinct=promotional=techniques,=and,=from=a=long-term=perspective,=can=help=create=a=‘hype’=around=an=artist,=thus=enforcing=the=brand-image=and=expanding=the=product=concept.

9. Finally,=qualitative=marketing= researchers= can=benefit= from= the= appropriation=of= the=model= of= Consumer= Psychoanalysis= in= order= to= interpret= ‘raw= data’,= and= disclose=hidden=dimensions=in= the=consumptive=phenomenon=of=musical=products=and= related=merchandise.

6.4 Limitations 1. The discussion findings are not generalisable to all types of loyal consumers, as above-

mentioned, but rather to hardcore and softcore loyals. 2. The=number=of=focus=group=discussions=was=not=big=enough= to=ensure=a=wider=range=

and=focus=of=responses.=However,= it=was=stressed= in=ch.4= that= in= this=case=‘size=does=not matter’, but rather the depth of the answers is what is more important.

3. Time-limitations=acted=as=a=barrier= to=widening= the=exploratory=scope= to= incorporate=‘primary= consumers’,= i.e.= press-people,= which= would= be= an= interesting= consumer-segment to explore in the future.

4. Even= though= popular= music= has= been= termed= one= of= the= ‘global= products’= par=excellence,= it=would=be= interesting= to=do=a=cross-cultural=study=in=order=to=determine=whether=cultural=variables,=such=as=language=and=religion,=for=example,=influence=the=decoding of promotional messages of musical products.

5. In=order= to=capture= the=consumptive=phenomenon=as=a=whole,=this=thesis=did=not=pay=close=attention= to=discrete=musical=styles,=which=are= indeed=suggestive=of=distinctive=life-styles.=Even=though=the=way=life-styles=are=shaped=by=promotional=techniques=was=hopefully= shown= to= be= the= case,= no= historical= evidence=was= given= about=musical=movements= in= order= to= show= the= historical= embeddedness= of= certain= musical=movements.=This=doesn’t=imply=why=there=are=clear-cut=reasons=for=why=certain=social=groups=consume=certain=kinds=of=music.=As=McClary=(1992)=stresses=“While=we=can=point to general patterns of pop use, the precise link between sounds and social groups remains=unclear.=Why=is=rock’n’roll=youth=music,=whereas=Dire=Straits=is=the=sound=of=yuppie USA?”. However, for the keen reader who would like to find more about them, we suggest Bradley’s bibliography.

6. Again,= in=order= to=approach= the= impact=of=promotional= techniques=from=a=wider=and=all-encompassing perspective, we intentionally disregarded significant detail as regards the=multiple=uses=and=exchanges= to=which=different=promotional= tools=can=be=put= in=

consumers’= lives.= It= is=hoped= that= future= research=will=give=a=more=detailed=account=than this one.

7. It= could= be= leveled= against= our= redefinition= of= popular=music= that= it= goes= against=established=definitions=of=what=popular=music= is=measured=against,= i.e.=against=sales-figures= and= charts-placement.= For= reasons= of= political= correctness,= i.e.=maintaining=groups’= radical= difference= that= cannot= be= assimilated= to= a= hierarchical= pattern= of=musical taste, which is a post-modern imperative, we chose this alternative route.

6.5 Recommendations - Future areas of research 1. On=a=theoretical=level,=Consumer=Psychoanalysis=should=be=expanded=as=a=theoretical=

approach=in=its=own=right,=both=in=the=realm=of=conceptual model and method building. Even= though= secondary= literature= thrives=with= speculative= excursions= into= the= far-corners=of=the=entertainment=business,=from=films=and=books=to=theater,=not=much=has=been=done,=at=least=to=the=author’s=knowledge=up-to-date,=to=explore=these=phenomena=empirically=by=drawing=on=consumer=research=methods.=Let=us=hope=that=the=minimal=evidence=to=the=usefulness=of=psychoanalysis=in=consumer=research=this=thesis=attests,=will=be= followed=by=more=promising=oeuvres=either= in= the=music= industry=or= related=industries in the entertainment business.

2. On an empirical level, it is hoped that promotional techniques in their own right will be explored= in= greater= depth,= always= with= both= eyes= focused= on= the= network= of=associations they offer to consumers’ psychic lives.

3. Research=exploring=the=perceptions=of=people=who=work=for=the=different=parts=of=the=virtual organization would also offer more insights into the primary production process of cultural imagery, especially where A&R members are concerned.

4. Gender= differences,=which= remained= unaccounted= for= in= this= thesis,=would= also= be=interesting= to=explore,= since= special=packaging=designed= for=different=genders=might=help boost sales, and increase the customization of musical products.

5. Finally, it is certainly hoped that an able mathematician will devise a statistical model in order=to=accommodate=unconscious=processes,=thus=rendering=psychoanalytic=research=into consumer behaviour less time-consuming and more able to yield mass, quantifiable results= and= maintaining= a= constantly= updated= database= that= will= allow= for= sharp=modifications in promotional strategies, especially in such an opportunistic business as the music industry, where musical trends do not have a fixed time-limit.

6.6 Conclusion It is hoped that by now a way to listen to the seductive melodies of the Sirens of the music industry= has= been= opened= up.= It= is= hoped= that= it=will= lead= to= a= highway,=where=many=individual=efforts=will= intersect= in=order= to=create=a=map= for= the=hyperreal= space=of= the=entertainment= business,= ways= that= will= offer= the= opportunity= to= engage= in= successful=promotional=planning=in=terms=of=the=unconscious=associations=that=arise=in=the=consumer=psyche.

APPENDIX I

FOCUS GROUP DISCUSSIONS 1. Focus Group Design The=focus-group=discussions=will=last=for=1-1.5=hours.=The=discussion=will=be=unstructured=to=a=large=extent,=which=means=that=the=following=outline=is=not=a=rule-book=to=be=followed=in= a= step-wise= fashion.= Apart= from= the= warm-up= introductory= general= questions,= the=remainder= of= the= questions= rely= on= the= ensuing= driving= themes,= while= allowing= for=considerable improvisation on behalf of the participants. Detours are much more important

than= restraining= their= expressiveness,= as= returning= to= already=discussed= topics= shows= to=what extent they focus of the questions asked in the course of following discussions. (a) Introduction • are gripped by certain issues that concern their relationship with a musical act. Finally,

the answers provided by the participants of each focus-group have been used, in turn, to amend or enrich the scope and self-presentation and presentation of everyone else

• thanking the participants for their co-operation • outline of the general topic to be discussed • explanation of the use of the tape-recorder • explanation of the importance of behaving as a group • ensure anonymity (b) General Discussion • Listing of favourite musical acts • Stating the time-period they have been listening to them (c) Discussion focusing on their favourite acts • What is a musical product? Asked to rank the various features of a musical product

(music, lyrics, cover, band-image) • What does the act ‘mean’ for them? • In what contexts of their daily lives do they apply this meaning(s)? • How do they communicate with their peers on the basis of this act? (d) Discussion focusing on promotions techniques in relationship to these acts • Which promotions techniques are more important as regards their communicative

content? • Listing of cases in which promotional messages have acted as vehicles of intra-group

communication. • What kind of ‘value’ do they derive from making use of promotional items, such as

posters, limited edition items, t-shirts? (e) General Discussion regarding live-shows memories (f) Conclusion • Thanking the participants for their co-operation

2. Transcribed Data Group 1 The=first=focus-group=discussion=took=place=in=the=context=of=the=appearance=of=Pulp=in=a=big= festival= in=Athens.= The= participants= comprised=of= 3= females= (Maria-= 18,=Anna-19, Georgia-17)=and=2=males=(Nikos-19,=Leonidas-19),=all=students,=who=had=just=been=in=the=backstage= area= in= order= to=meet= their= favorite= act,= courtesy= of=Polygram=Records.=The=discussion=went=on=for=almost=one=hour.=Its=course was smooth, without any overreactions on= behalf= of= the= participants.= They= did= not= interact= regularly,= but= rather= voiced= their=opinions= in= turn.= It=came=as=a=surprise= that= they=had=already=speculated=on=many=of= the=suggested=issues=regarding=their=relationship=to=their=favorite=act,=as=will=be=shown=in=the=ensuing analysis of the discussion. For how long have you been listening to Pulp? Leonidas: “5 years” Maria: “ Almost 3 years” Anna: “Over 4 years” Georgia: “5 years” Nikos: “4 years” Is this the first time you ever go to a Pulp gig? (Unanimously): “Yes” How do you feel that you’re just about to see you favorite act ‘live’ ? Leonidas:=“I’ve=seen=video-taped=shows=before,=and=video-clips.=I=think=this=gig=will=meet=my expectations” Nikos:=“I’ve=come=all= the=way= from=Patra= [northern=Greece],=so= they’d=better=be=good”=(laughs) Georgia: “ Anxious, what can I say?” Anna: “I’m trembling…” Maria: “Anxious” In=what= respects=do=you=believe=video-clips=relate=to=live-shows?=Would=you=regard= the=former as a preamble to the latter?

Leonidas: “I regard video-clips as one step before live-shows.=It=gives=you=the=opportunity=to=see=how= the=band=moves,= their=expressions…=The=video-clip=shows=that=the=music=is=real, if you know what I mean…” Georgia (to Leonidas): “Don’t you think that the video-clip is like a small gig?” Leonidas: “Sometimes, when instead of a script it includes shots from live-shows…” Anna: “But again, you can’t compare these two… The live-show is more immediate, more direct… The video-clip is somehow pre-meditated.” What do you think is so special about live-shows? Leonidas: “The whole atmosphere, I think… Everyone seems to be enjoying themselves… You get out of your head completely…” Nikos: “I think you can have the time of your life, especially when you’re with friends” Georgia: “Yeah, especially when you’re with friends” Anna:=“Well,=even=if=you’re=not=with=anyone,=you=can=still=enjoy=yourself.=I=think=the=live-show=has=something=into=it…=It’s=that=immediacy,=where=you=can=laugh=with=everybody… communicate in a special way by dancing and singing-along…” Maria:=“I=agree=with=Anna…=In=live-shows=you=participate=in=something=common,=just=for=the moment… It is a great experience” Is Pulp a ‘hot issue’ for discussion with your friends? Anna: “Not=so=much=now,=as=it=used=to=be=two=years=ago,=with=‘Different=Class’.=Pulp=was=something=completely=new=to=us,=and=we=tried=to=follow=each=and=every=move,=by=reading=international press, and through MTV” Leonidas:=“On=a=daily=basis!=Jarvis=is=a=pop-icon… He’s=been=through=so=much=hardship,=from= the=‘Do=You=Remember= the=First=Time’=period=until= today.=We’ve=been=following=each move with my mates”. Anna:= “Jarvis=is=God!= It’s= his= style…=Very= delicate…=Me= and=my= friends,=we’ve= got=posters of him everywhere” Maria:= “Pulp’s= image= is=very=unique.= Jarvis’=voice=has= this=particular= tinge= that’s=very=romantic.=We=like=gathering=in=a=room,=listening=to=the=music=and=talking=about=personal=matters. After all, music is a personal thing”. Nikos:=“Whenever=we=go=out=with friends, we prefer a bar that plays Pulp. It brings us in a good=mood”. In what respects are Pulp important for your personal lives? Nikos: «Apart from the fact that they fill up my spare time in a pleasing way, their music is uplifting, it makes me feel better about myself». Could you describe what you mean by ‘feeling better about yourself’? Nikos: “Well, whenever I’ve done something in a wrong way Pulp’s music and lyrics help me make up for it. It’s like a compensation for something lacking”.

Maria: «There is something special about their music and this helps me feel special… ». Georgia: “Pulp is my life…” Leonidas: “I prefer listening to Pulp, especially ‘Different Class’ (Pulp’s previous album), when=alone…=It’s=not=music=you=could==listen=to=as=a=background=to=some=other=activity.=Most preferably in the dark, in a placid environment, with nobody else around”. What=is=Pulp=for=you?=Is=it=just=the=music,=or=is=it=the=lyrics,=the=cover,=the=whole=image=as=well? Maria:=“Music=and=lyrics=is=the=most= important= thing.=I= like=Pulp,=because= they=also=got=style”. Leonidas: “Melody is the most important thing, definitely”. Nikos: “Certainly, but sometimes lyrics add an extra twist to the melody. I think these two are complementary”. Anna:=“I= think=each=element=plays=a=particular=part.=Sometimes=you=pay=attention= to= the=lyrics, sometimes to the melody, the cover, everything really…” Georgia: “I agree with Anna”. What other merchandise do you buy apart from records? Maria:=“Most=of=the=t-shirts I can get hold of in record-shops,=and,=of=course,=posters!” Georgia: “Mostly posters” Nikos: “I’m not a great fan of posters, but I do get most of the limited edition releases”. Leonidas: “Videos and limited edition singles”. Anna:=“Posters=and…=my=favourite=t-shirt=I=enjoy=wearing=when=going=for=clubbing=with=friends” Georgia=was=very= enthusiastic= to= find=out= about=Pulp= singer’s= favorite= cd’s,=during= the=group’s=meeting=backstage=with= the=band-members,=and=she=said=she=was=going= to=buy=them=straight=away.=She=acted=as=if=her=idol=had=shared=a=secret=with=her,=which=made=the=whole encounter fascinating. Leonidas=had=asked= Jarvis=Cocker= (Pulp’s= singer)= to= sign=his=personal=notebook=during=their meeting, and said that «I will never separate from this notebook». At this stage the discussion was interrupted as the band appeared on stage. After the end of the show, they were asked to describe it: Leonidas: “Definitely the best live I’ve ever seen”. Maria: “I don’t know what to say…” (looking shocked) Georgia: “I’ll remember this day for a very, very long time”

Nikos: “Tonight’s version of ‘Common People’ was even better than the record” Anna: “The best band in the world” Group 2 All=males,=fans=of=different,=and=congenial,=styles=of=music=(new=wave,=punk,=alternative rock).= Panagiotis= (18),= Thanasis= (18),= Dimitris= (18),= Stauros= (19),= Manolis= (18),= all=students.=The=sample=was=selected=randomly=from=the=Smiths=fan=club=(major=80’s=U.K.=new=wave=band)=in=Athens,=and=the=discussion=took=place=in=a=cafe.=It=lasted=for=about=two=hours,= and= the= topics= covered=were= live-shows,=print-advertisements,=record-covers=and=their=impact=on=consumer=psychology=and=intra-group=communication.=Below=we==present=the= findings= of= the= discussion= in= a= systematized=way,= that= is= by= categorizing=various=answers=under=different=headings.=Interpretation=of=the=utterances=is=provided,=in=order=to=extract certain themes that emerged in the course of the dialogue. The=discussion=started=by=asking=the=participants=to=list=bands=they=have=been=listening=to=for a considerable amount of time (at least two years). This preliminary question is crucial in=that=it=provides=a=common=ground=for=further=questions,=as=different=styles=of=music=are=accompanied=by=different= frameworks=of= signification,=and=are= responsible= for= creating=different worlds. 1. The live-show as an experience of ecstatic ritualistic fusion Which are the live-shows that have been imprinted in your memory? Manolis: «U2 (97)» Dimitris: «Ramones (93)» Thanasis: «Black Sabbath (98)» Panagiotis: «Ozric Tentacles (98)» Stauros:=«U2=(97)» Would=you=regard=the=experience=of=these=shows=as,=in=a=certain=sense,=ecstatic,=meaning=that you ‘lost’ or ‘forgot’ yourself in the spectacle? Dimitris:=«I=remember= the=crowd=dancing= like=mad...=The=band=didn’t= stop=between= the=tracks, everything was moving very fast, you didn’t have time to think what was going on. It hit me like an explosion». Panagiotis: «The Ozric Tentacles show was a mix of very bright lights and ‘trippy’ music [the= adjective=was=uttered= in=English].=Everybody=just stood there, gazing.= I=can=only=compare=it=to=the=Tindersticks=show=I=saw=this=year.=You=just=lost=yourself=in=the=melody.=It=took=me=some=time=to=recover». Manolis: «The U2 show was massive»

Stauros: «Tell me about it..» Manolis:=«I=couldn’t=believe= it=when= I=saw=Bono= (U2’s=singer)=on=stage.= = It=was= like=a=dream=come=true.=I=have=been=a=fan=of=this=band=for=at=least=8=years.=Bono=has=been=one=of=my=favorite=singers...It’s=not=only=the=lyrics,=but=the=whole=life-style.=I=mean they can shift between= sounds=without= losing= their=originality.=Bono=has=been= involved=with=so=many=things, from modelling to music. He’s really something...» How did it feel to participate in such a big event with 15,000 people? Manolis:=«It=was=great!=It=wasn’t=one=of= those=gigs=where=people=chat=and=drink=and=do=not pay attention to the artists. Everyone was really into it, enjoying themselves... ’Cause, let’s=face=it,=U2=have=been=if=not=the=biggest,=one=of=the=biggest=bands=on=earth.=It’s=not=a=small thing to see them live, especially if you have been listening to them continuously for such a long time». In the course of the discussion the theme of the ‘taboo’ emerged completely unexpectedly, while=discussing= about= cd= covers= and= their= adding= extra= value= to= the=musical= product.=Before= recording= the= answers=on= the= ‘cover’= issue,= let=us=glance= at= the= function=of= the=musical=product=as=a=taboo.=The=utterance=concerns=the=latest=cd=(digipack,=i.e.=unfolding=cover)= by= the=major=American= rock= act=Pearl= Jam= (on=Epic=Records,=division=of=Sony=Music): Thanasis:=«= =I=really= like= this=cover=because= it=unfolds=both=ways...=Whichever=way=you=open=it=there=is=s=‘Stop’ sign printed on the cover,=like=it=wants=to=say=don’t=open=me.=It=makes you wanna see what’s inside». This=is=clearly=an=example=of=the=‘logic=of=transgression’=which=grounds=the=particular=cd.=It= is= a= simulation= of= breaking= the= ‘taboo’= in= an= immanent=world,= the= prohibited= act= of=gazing at the nudity of the repressed primary signifier. 2. Is the musical product the sum of different aesthetic features (music, cover layout, lyrics)?

Dimitris: «The lyrics and the music are equally important. I wouldn’t buy a record just for its cover, but I would prefer if there was a nice cover». Panagiotis:=«I=like=the=Smiths=cover=of=‘Meat=is=Murder’.=It’s=catchy...=I=can=look=at=it=for=hours..» Stauros:=«It=has=occurred= in= the=past= to=buy=a=record=because= the=cover= looked=nice=and=the music was crap!» 3. The lyrics as a medium of intra-group communication Has= it= ever=happened= to=you= to= sing= a= tune=or= a= string=of= lyrics=with=your=peers= for= a=certain amount of time?

Manolis:= «= I= recently= came= back= from= vacations= in= Mykonos.= During= our= stay=Chumbawamba’s song-lyrics ‘I get knocked down, but I get up again, till everybody keeps me down...’ were like a national anthem.=We=sang=this=song=on=the=boat,=on=the=street, everywhere». Thanasis:=«In=my=group=we=sang=Chumbawamba’s=new=song=‘Ole,=Ole,=Ole’=[the=Mundial=song]». Dimitris:= «It= has= happened= with= a= lot= of= different= songs.= At= times= we= stack= with= a=particular tune and repeated it over and over». Did you get the feeling that this tune brought you closer to each other? Dimitris: « I think so...» Manolis: « It makes us feel like a group». Does= it=mean=anything=else= for=you=or= is= it= just=something=spontaneous=with=no= further=meaning? Panagiotis: « You don’t think about it, you just do it» Dimitris: « It’s not reflective, if you know what I mean...» Where did you first listen to this song by Chumbawamba? Both : «Rock FM» [Athen’s largest radio-station] Panagiotis:= «None= of= us= bought= the= record,=we=memorized= it= by= listening= to= it= on= the=radio» Would=you=say= that=repeated=exposure= to= the=advertising=of=a=record,=either= through=TV=ads,=print=ads=or=air-play, makes you more prone to buy the record? Have you ever made a purchase as a result of this? Dimitris:=«=It=depends=on=the=record.=If=it’s=something=good=then=I=might=buy=it.=If=it’s=not=worth, it makes you angry to listen to or read about it all the time» Manolis:=«Sometimes= it= happens= that= they= play= a= good= track,=which=makes= you= buy= a=record.=When=you= listen= to= the=whole= thing=you=discover= there=was=only=one=good=song=about it. This makes you really angry». Do= you= believe= that= repeated= exposure= to= advertising= or= promotion=through= air-play reminds you of a record you wanted to buy but forgot about it? Dimitris: «If the record is good, then you can’t forget about it» Manolis:=«=Sometimes,= though,=you=may= forget...=Then=advertising=certainly=helps=you.=However, when it is very intense and frequent it tends to be tiresome» When=it=comes=to=the=live-show,=do=you=talk=about=it=with=your=peers=after=its=end?=Did=it=alter your image about the band?

Panagiotis: «The Ozric Tentacles gig made a big impression on us. We didn’t talk about=it=all= the= time,=but=we=have=good=memories= from= it.= It=was=a=spectacle=we=won’t= forget.= I=have to admit that I didn’t know much about the band before the gig, but that same week I bought=their=new=record.=In some way it kept the memories alive». Stauros:=«I’ve=been=a=fan=of=U2=for=quite=some=time,=and=I=had=the=records=long=before=the=show». Did you talk about it with your peers? Stauros: «We still talk about it, even though not as vividly as we did a week after its end». Would you say that it brought you closer to your idols? Stauros:=«=It=wasn’t=the=same=as=meeting=them,=for=example.=But=it=was=something=like=the=real=thing...=You=could=see=them=and=this=helps=you=to=evaluate=whether=they=are=authentic=or not; if they feel what they play in the record» Did your peers think the same? Stauros:=«We=were=all=speechless=during= the=show;= it=was= like=a=dream...=After= the=end,=back= to= the= real=world...= I= remember=we=kept=commenting=about=how= ‘big’=Bono= [U2’s=singer] looked on stage...» 4. The musical product as a simulacrum (not representation), comprised of a chain of signifiers

Do=the=song-lyrics mean something for you, apart from what they say? Dimitris: « Sometimes they remind me of past events... They put me in different moods». Panagiotis:=«=When=we=sing=them=with=my=friends=we=don’t=think=about=what=they=might=mean. They just put us in a funny mood». Stauros: « When you’re depressed they can put you in the right mood. In another occasion they=may=be=relaxing.=To=be=honest=I=pay=more=attention=to=the melody than the ‘meaning’ of the lyrics». Has=it=ever=occurred=to=you=to=be=alone=and=look=at=a=record-sleeve=for=hours=or=whistle=a=tune, with no particular reason? Manolis:=«=Once= I=was=staring=at= the= record-sleeve=of=‘The=World=Won’t=Listen’=by=the=Smiths=for=1=hour=or=so...» Thanasis:=«=I=stuck=with= the=sleeve=of=‘Blood,=Sugar,=Sex,=Magic’=by= the=Red=Hot=Chili=Peppers.=The=same=design=is=reprinted=four=times=on=the=cover=and=it=is=like=a=circle=if=you=move it around.» Panagiotis: “I like staring at the Smiths ‘Meat is Murder’ cover…”

Dimitris:=“I=would= say= ‘Meat= is=Murder’= is=quite=eye-catching…= I=also= like= the=Smiths=cover of ‘Queen is Dead’… There is a certain apathy in this cover” Stauros: “Yeah, but ‘The World Won’t Listen’ is by far better… It’s ‘real-life’ stuff, rather than=a=portrait…” Dimitris: “It depends on how you look at it…” Stauros:=“I=guess=so…” Thank you very much for your cooperation Group 3 All participants are members of the DEPECHE MODE fan-club in Athens. George=(21) Marios (18) Eleutheria (19) Despoina (19) Filio (19) Introduction:=We=are=gathered=here= in=order= to= talk=about=your= favourite=act(s)=and= the=various promotions techniques relating to them, i.e. live-shows, print ads, merchandise etc. Feel= free= to=express=your=opinions= in=any=way,=as=well=as= interrupt=me= for=questions=of=clarification=and=remarks.=This=is=not=a=one-to-one=interview,=so=you=can=participate=all=at=the same time. Filio=(enthusiastic):=We=all=look=forward=to=the=Depeche=Mode=gig=in=Milan.=It’s=going=to=be=hysterical,=you=know=everyone=wants=to=go=to=the=front,=touch=their=feet,=their=hands…=Some=of=us=want=to=take=them=with=us…=You=know=it’s=a=life-long=dream=for=us…Some=members got a job in order to be able to pay for the expenses of the trip. So, getting in touch with Depeche Mode is a life-long dream? Despoina: Certainly. I have been a fan since a very early age. How many hours do you spend on a daily basis listening to Depeche Mode? Filio:=All=day=long.=Preferably=their=older=tracks.=It’s=something=you=can’t=get=rid=of.=It’s=‘inside’ you. (pointing to her heart). Different tracks correspond to different dispositions.

Which tracks would you term ‘happy songs’ and which ones ‘sad songs’? Filio:=There=is=not=any=clear-cut=answer=to=this.=A=‘happy=song’=like=‘Route=66’=can=make=you= feel=melancholic=at= the=same= time,=depending=on=your=disposition.= If= I’m=sad= I=can=listen= to= ‘In=Your=Room’= and= get=more= sad,= for=many= reasons.=Even= though=Depeche=Mode have written the song for a certain reason, I translate it into something else. Eleutheria: It’s not just the lyrics, it’s the melody as well. When I listen to ‘In Your Room’ I may be thinking of someone, and at the same time listen to ‘Enjoy The Silence’ and think I’m better off on my own. Filio:= I’ve=heard=other=members=of= the=club= saying= that= they’re= really=depressed,=either=because=of=family=problems=or=sentimental=problems=and=that=Depeche=Mode=make=their=life worth living. The=way=you=present=it=shows=that=Depeche=Mode=is=a=very=personal=experience=for=you;=perhaps, something you like ‘doing’ individually, without the presence of anyone else. Filio:=Of= course.= I= don’t= like= excitement= outlets= such= as= clubs= or= bars.= I’d= rather= stay=indoors and listen to music, unless we go out with club-members. Can you recall an experience that made you feel that Depeche Mode exist only for you? Despoina:=As=Filio=said=even=though=the=band=wrote=a=track=for=a=particular=purpose,=you=can=always=use=it=for=your=own=purposes.=I=would=listen=to=‘In=Your=Room’, for example, when I’m sad or when I’ve lost something dear to me. Eleutheria:=I=remember=when=we=lost=someone=with=whom=we=were=very=close,=the=only=thing I could do was listen to Depeche Mode. It was just me and Depeche Mode. But we are talking about Depeche Mode for quite some time now, without having clarified what=Depeche=Mode=is. Is it the lyrics, the melody, the cover artwork, altogether? Eleutheria:= I= think= everything.= I= remember= looking= at= the= record-cover= of=Violator= for=hours without any particular reason, like looking into the infinite… Filio:=Whenever=I=am=looking=at=the=cover=of=Violator=I=feel=like=I=live=in=it.=It’s=like=I’m=part=of=it.=I=can=even=smell=the=flower=[sc.=The=album=‘Violator’=has=a=painted=red=rose=on=the=cover].=I=also=look=at=the=back=cover,=and=everything=printed=on=it,=from=the=track-list to the label catalogue number. George:= It=happened= to=me=with= the= record-cover=of= ‘Black=Celebration’,=and=all= those=weird symbols it depicted. Does=the=artwork=of=a=print=ad=have=the same impact on you as the record cover? George:=Record=advertisements=are=not=anything=special.=Normally= it’s= the=record=cover=with= the= date= of= its= release.=However,= it= does=make= you= anticipate= the= release= of= the=record. I think the video-clip has a much stronger effect.

Do=you=believe=that=the=video-clip is one step closer to the ‘essence’ of the band, given the visual contact that is established? Filio:=Certainly.=Every=time=you=watch=a=video-clip=you=pay=attention=to=how=the=band=is=dressed,=what’s= the=colour=of= their=hair,= the=gestures,=everything.=Next=day=you=may=see=ten fans dressed in exactly the same way. George:=The=way=they=wave=at=each=other=at=the=end=of=the=video-clip for ‘It’s not good’ is remarkable. We wave at each other in exactly the same way (Laughs) Is=there=any=other=gestural=tip=that=has=become=a=channel=of=communication=amongst=you,=either a facial expression, a salutation or a clothe? Despoina:=Yes…= In= the=video-clip=of=‘It’s=not=good’= the=singer=has=his=arms=around=his=waste=and= leans=backwards= in=a=very=special=way.= In=our=meetings=you=can=see=a= lot=of=people doing the same, while dancing or talking to each other. How=do=you=feel=that=George=is=the=only=one=in=this=group=who=has=seen=Depeche=Mode=live? Eleutheria (attempting to strangle him): I envy him. Despoina: Respect, in some way, and admiration. And=how=do=you=feel=that=you’re=travelling=with=the=club=in=September=to=see=them=live=in=Milan? Filio:= I=don’t=know=how= I’m=going= to= react= in= the=show.= I=might=cry,= I=might=scream,= I=don’t=know.= George:= I= remember= Thekla,= a= club-member,= in= a=Depeche=Mode= gig=we= attended= in=London==two=years=ago.=We=were=standing=at=the=front=row,=and==she=was=standing=on=my=shoulders.=Suddenly,= the=guitar-player=pointed=at=her=and=she=faded,=breaking=her=watch=while=falling.=Later=on=I=gave=her=a=backstage=pass=to=meet=with=the=band,=and=I=remember=her=sitting=afterwards=in=the=foyer=of=the=hotel=not=wanting=to=speak=to=anyone.=She=was=in=a=state=of=a=shock.= Filio:=I=remember=her=saying=that=‘Now=Depeche=Mode=are=on=stage…=Time=has=stopped=for me’ George:= I=also= remember=another=girl,= to=whom= I=had=given=a=backstage=pass,=who=was=following=the=band=around=collecting=their=extinguished=cigarettes.=Afterwards,=she=would=be demonstrating them to everyone pointing out who had been smoking what! What=kind=of=objects=that=relate=either=directly=or=indirectly=to=the=band=(t-shirts,=posters=etc.), have acted as ‘fetishes’ for you ? Despoina: I can’t separate from the Hysterica t-shirt [sc. The name of the fan-club]

George:=My=favourite=object=is=a=miniature=of=a=Depeche=Mode=speaker,=which=has=been=produced= in=only=fifty=copies.=It= is= the=exact=replica=of= the=box=of=Martin’s=engagement=ring,=and=it=was=given=as==a=present=to=hardcore=fans.=Inside=the=box=there=is=a=DM=budge.=Of course never wear it in fear of losing it. Does= the=possession=of=very= limited= edition= items=make=you= feel= closer= to= the=band?= I=mean,=you=own=items=that=even=the=band-members themselves ignore their existence. This makes you more Depeche than Depeche! George (approvingly) : More Depeche than Depeche! Have you ever felt in a live-show that you lost yourself in the crowd? George:=Many=times.=Even=though=when=you=go=backstage=the=primary=feeling=of=awe=is=slightly= lost.=During= gigs= I= usually= sit= in= the= back.= I=want= to= have= an= overview= of= the=concert. Filio:=On=the=contrary=I=like=being=in=the=crowd,=in=the=front=row.=You=can=always=catch=something. You feel like one… Would=you= say= that= the= live-show= is= something= like=a= ritual,= a=process= that=brings=you=closer to your peers and other fans? Filio:=It=brings=you=closer=to=other=club-members. You communicate in a very special way and=when=you=recollect=it=afterwards=it=is=only=within=the=group=that=you=can=understand=each=other. People from outside cannot make sense because they haven’t felt it. Marios: The same happens when we invite local acts to play Depeche Mode tracks. We all gather= in= the= front=and=we= feel= like=we’re=seeing=Depeche=Mode.=There= is=a=singer= that=moves and sings exactly like them. It’s like being there. Eleutheria: In club-parties, when we’re standing next to each other, it feels like something ‘more’.=I=don’t=know=how=to=describe=this=‘more’.=It’s=like=we’re=all=the=nodes=in=a=long=chain.=I=remember=during=one=of=the=club-meetings=one=guy=grabbed=me=and=danced=with=me. I didn’t even know him, but it felt very nice, very spontaneous and direct. Having= created= this= distinctive=world,=with= all= the= objects= and=words= that=make= up= its=universe,=can=you=give=examples=of=how=words=or=objects=are=employed=as=vehicles=of=communication? Filio:=If=another=sings=the=lyrics=of=‘In=Your=Room’=I=think=the=implications=are=obvious=(Laughter=in=the=group) George: I think we pride in this club of having brought people closer=to=each=other. Marios: Do you know how many couples have emerged from our meetings? Filio: I like to know that this person is one of ours; that he wears a Hysterica t-shirt. George:=When=we=visited=France=to=see=Depeche=Mode=live,=all=fifty=of=us=wore=small hats (blue for the boys, red for the girls) and everyone stared at us.

If I asked you to describe the world of Depeche Mode, which words would you use? George: Dark and obscure… Marios: Grey… Eleutheria: Incurably romantic, and… Despoina: Magic! Do=you=find=shelter=in=this=world,=when=facing=dead-ends=either=in=your=personal=or=work=lives? Despoina: Yes, it’s like a life-vest… Eleutheria: Especially in my personal life.. Have=you=ever=identified=yourselves=with=the=images=of=your=favorite=artists=as=depicted=in=a=poster=or=video-clip? George: I believe that you always put yourself in the place of your idol. You think you are David, you are Mark or anyone else… This is how a fan works, just like a football fan… If somebody tells you the opposite he must be lying. Having= invested= so=much= energy=on= this=band,=what=do=you= expect= from= them= for= the=future? Filio: To break up! Why do you say this? Filio:= I=wouldn’t= like= to= see= them= releasing= a= song= that= is=not=them.=Everything=has=an=expiration date, and I don’t want to see their decline. Would you ever build a Depeche Mode museum? Eleutheria:=We=were= thinking= about= this= the= other= day.=We=would= like= to= exhibit= our=collections for fifteen days and tour different cities. Filio: If Depeche Mode ever broke=up=Hysterica=would=not=cease=to=exist.= Have you ever felt that you betrayed Depeche Mode in any of your actions? George:=With=the=new=album…=Two=months=have=passed=and=I=still=haven’t=memorized=the lyrics. Everybody=pointing= to=Marios=“Yes=Marie,=you=do,=all= the= time…”= (in=a= reprimanding=style). Marios= (in= an= apologetic= fashion):= There= was= one= period= when= I= was= listening= to= a=completely different style of music…

Have=you=ever=felt,=due=to=unexpected=circumstances,=that=you=wake=up=from=the=dream-world of Depeche Mode? George:=Many= times,= especially=when= facing= economic= problems.=But= I= always= come=back…=Thank=God=the=songs=are=always=there=to=remind=you=of=past=experiences…=You=can re-live the past by playing these songs… Thank you very much for your=co-operation. Group 4 =All= females,=members= of=Madonna’s= fan-club,= based= in= Athens.= The= names= of= the=participants= are=Maria= (18),= Dimitra= (19),= Jenny= (18),= Niki= (19).= The= first= three= are=Lyceum students, the fourth one is university-student.=The=discussion=took=place=at=a=café.=The discussion lasted for about one hour. Here follows the transcription: For how long have you been listening to Madonna? Jenny: “ It’s been about four years. It all started in the hype surrounding her Erotica album (93), which I think is the best album she’s done so far” Dimitra: “Around three years” Maria: “I would say around the same amount of years”. Niki: “Five years”. What is it so special about Madonna that you find exciting?

Dimitra:=“Undoubtedly= she= is= the= sex-symbol=of= the=decade…=Also= she= is=an=excellent=stage-performer, a stereotype for showmanship”. Niki:=“The=fact=that=she’s=changed=her=image=so=many=times,=and=she’s=still=at=the=top.=I=mean if you compare what she does not to what she did in 1983, you wouldn’t tell that it’s the=same=person.=I=like=both=her=old=and=new=stuff,=even=though=I=grew=up=with=‘Like=A=Prayer’,=which=is=the=more=‘reserved’=album=Madonna=did.=Her=new=album=‘Ray=of=Light’=sounds=much=like=what=she=did=when=she=first=started,=but=more=updated.=It’s=got=more=of=that dance stuff which has become popular ever since the release of ‘Erotica’. I think she’s unique in what she’s doing.” Maria:=“The=way=she=treats=men=(laughs=from=the=group)…=Basically=the=fact=that=she=can=be whatever she wants, get money out of it, and still be one of the best artists on earth”. Jenny:=“=Her=music=is=very=uplifting=and=at=the=same=time=very=emotional.=It=has=the=power=to=bring=all=your=emotions=out…=Whether=sad=or=happy,=Madonna=will=always=make=me=feel alright…” Dimitra=what= do= you= like= in= particular= about= her= showmanship?=Have= you= ever= seen=Madonna live? Dimitra:=“I=haven’t=seen=her=live,=but=I’d=love=to…=I’ve=seen=many=broadcast=live-shows, video-clips=and=I=own=a=couple=of=her=video-tapes.=The=whole=‘spectacle’=is=amazing.=The=way the dance acts move on stage, along with Madonna is better than a theater. When you see Madonna appearing in a cloud of smoke this is where you say ‘She’s a Goddess’”. Would the rest of you agree that Madonna is=a=Goddess=on=stage? Maria:= “Not= just= on= stage…= She’s= a=Diva…= Every= time= you= open= a= newspaper= or= a=magazine there’s no chance that you won’t read something about her”. Jenny: “She definitely is a Diva. In all her aspects… either in the video-clip of ‘Erotica’=or=‘Ray=of=Light’.=The=video-clip=of=Erotica=is=very=artistic.=I=like=it=because=it=is=black=and=white, lot simpler than what usually comes out”. Niki:=“I=think=that=on=stage=Madonna=is=her=‘true=self’.=She=shows=that=she=is=the=center=of=attention… Everything else is just complementary to what she’s doing up there…” Niki,=could=you=elaborate=on=what=you=mean=by=saying=that=Madonna=is=her=‘true=self’=on=stage? Niki:=“I=mean=that=all=that=Madonna=is=about=comes=through=in=her=singing=and=dancing=on stage”. Don’t you get the same results while listening to her records? Niki:=“I=think=the=live-show=is=an=additive=to=the=record.=It’s=more=direct=in=a=way,=as=you=can see what’s going on in front of your eyes”.

Does=everybody=else=agree=that=the=live-show=is=more=direct,=and=if=yes=what=do=you=mean=by ‘direct’ here? Jenny:=“Definitely= the= live-show= is=where= you= get= in= touch=with=Madonna.= Even= if= I=haven’t=see=her=live,=I=can=judge=from=the=video-tapes=that=it=is=a=unique=experience.=There=is something like a dialogue going on between her and the crowd”. Dimitra: “I agree with Jenny that you get in touch with your idol” Maria:=“=…and=at=the=same=time=with=everyone=else=in=the=show.=It’s=also=an=occasion=for=meeting people with the same interests”. Apart=from= the= live-show=do=you=believe= that=other= items,= like=posters,= t-shirts, jewelry, collectable records, bring you closer to the artist? Maria: “What do you mean by ‘closer’?” Do they strengthen the image of Madonna for you, do they help you communicate directly with the artist, like the live-show? Maria:=“It’s=not= the=same=as= the= live-show,=but=I=like=collecting=them.=I=feel=in=a=certain=way=that…=that=I=state=part=of=myself=when=I’m=wearing=a=Madonna=t-shirt.=I=used=to=have=a lot of posters in my room,=but=we=had=to=re-paint it, so…” Dimitra:=“I=still=have=posters=in=my=room,=but=not=so=many=as=I=used=to=have=when=I=was=15.= I=don’t=buy= t-shirts,=I=prefer=listening=to=the=music.=But=I=did=buy=a=sliver=medallion=with=Madonna= engraved= on= it= last= year,= and= I= still= wear= it,= see?= (demonstrating= her=medallion) Jenny:=“Posters=are=nothing= like= live-shows,=but= they= still= tell=you= something=about= the=image of the artist”. Niki: “I’d say that live-shows=cannot=be=compared=to=posters”. Do you have any posters in your room? Niki: “Allover the place. If you get in you think that Madonna is watching at you. I have a big=one=at=the=ceiling,=facing=my=pillow,=so=when=I=wake=up=I=can=see=Madonna=in=front=of=me.” Do you really believe that she’s looking at you? Niki: “Not literally, but it does help me get out of bed…” (laughs in the group) Do=you=identify=yourself=with=Madonna=when=looking=at=a=poster=or=when=seeing=her=live=in a broadcast show? Niki: “Sometimes I wish I was her, but again I don’t know if I could handle the pressure”.

Dimitra: “I think I identify with her lyrics and image. The way she dresses is unique. It was a=wise=move=for=her=to=start=a=new=clothes-brand”. Jenny: “The lyrics to her new album ‘Ray of Light’ are not as emotional as True Blue, but they= are= very= uplifting.=Especially= the= homonymous= track=makes= you= feel= like= you’re=moving=progressively=towards=the=sun.=Her=voice=has=all=these=colors…=It=makes=you=feel=rather than think what she sings about… The contrary happens with most of contemporary rock acts, which I find very flat and unemotional”. Maria:=“I=agree=with=Dimitra=that=Madonna=has=a=unique=dressing-code.=I=remember=when=we were 15 we used to dress like her and have loads of fun. Now we still wear t-shirts and stuff, but not all those flashy clothes we used to wear then”. Do you listen to Madonna alone or with friends? Maria: “Both. It’s different” Niki: “Both” Dimitra: “Both” Jenny: “Both” What’s different in these two circumstances? Dimitra: “When you’re alone it’s more personal. It is personal when you’re with friends as well, but I guess the atmosphere is different”. Niki:=“=It=depends=on=the=occasion…=Sometimes=you=just=want=to=be=alone=in=your=room=and= travel=with= the= sound,= and= sometimes= you= just=want= to= listen= to= the=music=while studying. With friends it’s more like having fun”. Jenny:=“In=group=meetings=we=always=listen=to=Madonna=before=going=out=or=on=vacation.=It puts us in a good mood. It’s the same when I’m alone, but more personal…” Maria:= “When= I’m= alone= I= listen= to=more= ‘moody’= songs,= like= the= ‘True=Blue’= album,=whereas with friends we listen mostly to the songs from ‘Ray of Light’. Is Madonna a regular discussion-topic with friends? Dimitra:=“She’s=always=a=topic=in=our=discussions.=She=keeps=changing=all=the=time,=you=never=run=out=of=topics…” Maria: “All the time…” What do you usually talk about? Dimitra: “About everything, from her dresses to the jet-set parties she attends…” Maria:=“=Mostly=her=style…=Keeping=up-to-date=with=Madonna’s=style=helps=you=see=what the fashion-trends will be like in a couple of years”. Jenny:=“Her=baby=was=a=massive=change=in=her=life…=It=brought=happiness=to=her=tortured=life… I sympathize with her…We talked a lot about it recently…”

Have=you=ever=caught=yourselves=staring=at=Madonna’s=face=at=a=record-cover=or=poster=and getting ‘lost’ in the image? Jenny:= “Many= times…Especially= the= record-covers= of= ‘True=Blue’= and= ‘Ray= of= Light’=where Madonna is at her most ‘sensational’…” Dimitra:=“=‘Erotica’=is=my=favourite=period=of=Madonna.=All=the=hype=created=around=this=album, and her naked photos was very callenging for its time, and still is…” Maria:=“I=agree= that=Erotica= is=the=album=where=Madonna=is=more=liberated=than=ever.=I=just= like= the=way= she= doesn’t= care= about=what= others= say,= she= does= her= own= thing.=As=regards record covers, I’ve spent hours staring at True Blue, more than any other album.” Niki: “Erotica is the most sensational album. I still think its record-cover is the best ever” Do= you= believe,= then,= that=Madonna= is= not= just= about= the=music,= but= about= all= those=features= as= above-mentioned,= that= is= her= cover-portraits,= poster-pictures,= fashion-style, lyrics? Niki: “Madonna is a way of life” Jenny: “Most definitely” Dimitra:= “= She’s= an= idol,= worth= following= in= all= her= aspects…= I= still= haven’t= found=something that would disturb me about her image”. Maria: “I think different aspects of Madonna reflect different aspects of life” Maria, could you expand on that? Maria:= “I=mean= that= her= image= changed= so=much= throughout= her= albums= that= she= has=covered=almost=all=aspects=of=what=life=is=about.=Erotica=is=about=sex=and…=sex=(laughs=in=the=group),=and=Ray=of=Light= is=about=her=motherhood=and= stuff.=True=Blue= is= to= some=extent about romance… At least for me all the important emotions are=there…” Madonna, then, significantly affects your personal and social lives… Maria: “Certainly”. Dimitra: “I would say so…” Jenny: “Definitely”. Niki: “Yes”. Thank you for your co-operation.

Appendix 3

GLOSSARY OF TERMS Abbreviations L = J. Laplanche & J.B.Pontalis, The Language of Psychoanalysis, Hogarth Press, London 1973 Affect:=Term=borrowed=by=psycho-analysis from German psychological usage. It connotes any= affective= status,=whether= painful= or= pleasant,=whether= vague= or=well= defined,= and=whether= it= is=manifested= in= the=form=of=a=massive=discharge=or= in= the=form=of=a=general=mood.=According=to=Freud,=each=instinct=expresses=itself=in=terms=of=affect=and=in=termsof=ideas. (L p.13) Cathexis:=The=fact=that=a=certain=amount=of=psychical=energy=is=attached=to=an=idea=or=to=a=group=of=ideas,=to=a=part=of=the=body,=to=an=object=etc.=(L=p.62) Condensation:= One= of= the= essential= modes= of= the= functioning= of= the= unconscious=processes: a sole idea represents several associative chains at whose point of intersection it is located. From the economic point of view, what happens is that this idea is cathected by the sum of those energies which are concentrated upon it by virtue of the fact that they are attached=to=these=different=chains.=Condensation=can=be=seen=at=work=in=the=symptom=and,=generally=speaking,=in=the=various=formations=of=the=unconscious.=But=it=in=dreams=that=its=action=has=been=more=clearly=brought=out.=It=is=shown=up=here=by=the=fact=that=the=manifest=account= is= laconic= in=comparison=with= the= latent=content=of= the=dream:= it=constitutes=an=

abridged translation of the dream. Condensation should not, however, be looked upon as a summary:=although=each=manifest=element=is=determined=by=several=latent=meanings,=each=one= of= these,= inversely,=may=be= identified= in= several= elements;=what= is=more,=manifest=elements=do=not=stand=in=the=same=relationship=to=each=of=the=meanings=from=which=they=derive, and so they do no subsume them after the fashion of the concept” (L 83) Consciousness:= From= the= functional= standpoint,= the= perception-consciousness= system=stands opposed to the unconscious and preconscious as systems of mnemic traces: here no lasting= trace=of=any=excitation=remains.=From= the=economic=point=of=view,= the=system= is=characterised= by= the= fact= that= it= has= at= its= disposal= a= freely=mobile= energy= capable= of=hypercathecting a given element (the mechanism of attention).(L p.84) Displacement:= The= fact= that= an= idea’s= emphasis,= interest= or= intensity= is= liable= to= be=detached=from=it=and=to=pass=on=to=other=ideas,=which=were=originally=of=little=intensity=but=which=are=related= to= the=first= idea=by=a=chain=of=associations.=This=phenomenon,= though=particularly= noticeable= in= the= analysis= of= dreams,= is= also= observed= in= the= formation= of=psychoneurotic= symptoms= and,= in= a=general=way,= in= every=unconscious= formation.=The=psycho-analytic= theory= of= displacement= depends= upon= the= economic= hypothesis= of= a=cathectic energy able to detach itself from the ideas and to run along associative pathways. The=‘free’=displacement=of=this=energy=is=one=of=the=cardinal=characteristics=of=the=primary=process in its role as governor of the functioning of the unconscious system” (L p.121) Distortion:= Overall= effect= of= the= dream= of= the= dream-work:= the= latent= thoughts= are=transformed=into=a=manifest=formation=in=which=they=are=not=easily=recognisable.=They=are=not=only= transposed,= as= it=were,= into= another=key,=but= they= are= also=distorted= in= such= a=fashion that only an effort of interpretation can reconstitute them. (L=p.124) Dream-work:= The=whole= of= the= operations=which= transform= the= raw=materials= of= the=dream-work stimuli, day’s residues, dream-thoughts-=so=as=to=produce=the=manifest=dream.=Distortion is the result of dream-work.=(L=p.125) Ego:=Economically,=the=ego=appears=as=the=‘binding’=factor=in=the=psychical=processes;=in=defensive=operations,=however,= its= attempts= to=bind= instinctual= energy= are= subverted=by=tendencies=characteristic=of=the=primary=process,=and=these=efforts=take=on=a=compulsive,=repetitive and unrealistic aspect. (L p.130) Ego-Ideal:=As=a=distinct=agency,= the=ego-ideal=constitutes=a=model= to=which= the=subject=attempts=to=conform=(L=p.144) Fixation: The fact that libido attaches itself firmly to persons or imagos, that it reproduces a=particular=mode=of=satisfaction,=that=it=retains=an=organisation=that=is=in=accordance=with=the characteristic structure of one of its stages of development. A fixation may be manifest and immediate or else it may be latent. The notion of fixation is usually understood within the=framework=of=a=general=approach=presupposing=an=ordered=development=of=the=libido=(fixation= at= a= stage).= It=may= also= be= viewed,= aside= from= any= genetic= reference,= in= the=context=of=the=Freudian=theory=of=the=unconscious,=as==a=name=for=the=mode of inscription of= certain= ideational= contents= (experiences,= imagos,= phantasies)= which= persist= in= that=unconscious in unchanging fashion and to which the instinct remains bound. (L p.162) Free energy:= Terms= connoting= the= Freudian= distinction= between= the= primary= and=secondary=processes=when=viewed=from=the=economic=standpoint.=In=the=primary=process,=the= energy= is= said= to= be= free= or=mobile= inasmuch= as= it= flows= towards= discharge= in= the=speediest=and=most=direct=fashion=possible;=in=the=secondary=process,=on=the=other=hand,=it=

is=bound= in= that= its=movement= towards=discharge= is=checked=and=controlled.=Genetically=speaking,=the=free=state=of=energy=is=seen=by=Freud=as=prior=to=the=bound=one,=and=the=latter=is=said= to=be=characteristic=of=a=more=advanced=stage= in= the=structuring=of= the=psychical=apparatus=(L=p.171) Id:= The= id= constitutes= the= instinctual= the= pole= of= the= personality;= its= contents,= as= an=expression of the instincts, are unconscious, a portion of them being hereditary and innate, a=portion=repressed=and acquired (L p.197) Identification:=Psychological=process=whereby=the=subject=assimilates=an=aspect,=property=or=attribute=of=the=other=and=is=transformed,=wholly=or=partially,=after=the=model=the=other=provides. It is by means of a series of identifications=that=the=personality=is=constituted=and=specified. (L p.205) Imaginary:=In= the=sense=given= to= this= term=by=Jacques=Lacan,=one=of= the= three=essential=orders=of=the=psycho-analytic field, namely the Real, the Symbolic and the Imaginary. The imaginary=order= is= characterised= by= the= prevalence= of= the= relation= to= the= image= of= the=counterpart (le semblable). a. From=the=intrasubjective=point=of=view,=the=basically=narcissistic=relation=of=the=subject=

to=his=ego. b. from= the= intersubjective= point= of= view,= a= so-called=dual= relationship=based=on-= and=

captured= by-= the= image= of= a= counterpart= (erotic= attraction,= aggressive= tension).=For=Lacan,=a=counterpart=(i.e.=another=who=is=not=me)=can=only=exist=by=virtue=of=the=fact=that the ego is originally another.

c. As= regards=meaning,= the=Imaginary= implies=a= type=of=apprehension= in=which=factors=such as resemblance and homeomorphism play a decisive role, as is borne out by a sort of coalescence of the signifier with signified. (L p.210)

Imago:= The= Imago= is= often= defined= as= an= ‘unconscious= representation’.= It= should= be=looked= upon,= however,= as= an= acquired= imaginary= set= rather= than= as= an= image:= as= a=stereotype= through=which,= as= it=were,= the= subject=views= the=other=person.=Feelings= and=behaviour,=for=example,=are=just=as=likely=to=be=the=concrete=expressions=of=the=imago=as=are mental images. (p.211) Instinct:=According=to=Freud,=an=instinct=has=its=source=in=a=bodily=stimulus;=its=aim=is=to=eliminate=the=state=of=tension=obtaining=at=the=instinctual=source;=and=it=is=in=the=object,=or thanks to it, that the instinct may achieve its aim (L p.214) Interpretation: Procedure which, by means of analytic investigation, brings out the latent meaning= in= what= the= subject= says= and= does.= Interpretation= reveals= the= modes= of= the=defensive conflict=and= its=ultimate=aim= is= to= identify= the=wish= that= is=expressed=by=every=product=of=the=unconscious.=(L=p.227) Latent content: Group of meanings revealed upon the completion of analysis of a product of the unconscious-=particularly=a=dream.=Once=decoded,=the=dream=no=longer=appears=as=a=narrative= in= images=but=rather=as=an=organisation=of= thoughts,=or=a=discourse,=expressing=one=or=more=wishes.=(L=p.235) Libido:= Energy= postulated= by= Freud= as= underlying= the= transformations= of= the= sexual=instinct=with=respect=to=its=object=(displacement=of=cathexes),=with=respect=to=its=aim=(i.e.=sublimation),= and= with= respect= to= the= source= of= sexual= excitation= (diversity= of= the=erotogenic=zones).(L=p.239)

Manifest Content: Designates the dream before it receives any analytic investigation, as it appears=to=the=dreamer=who=recounts=it.=By=extension,=we=speak=of=the=manifest=content=of=any= verbal= product-= from= phantasies= to= literary= works-= which= we= intend= to= interpret=according to the analytic method. (L 243) Object:=In=correlation=with=the=instinct,=the=thing=in=respect=of=which=and=through=which=the=instinct=seeks=to=attain=its=aim.=It=may=be=a=person=or=a=part-object=(part=of=a=person’s=body) or a phantasied one. (L p.273) Objet petit a:=The=‘objet-petit-a’=represents=the=machine=that=unleashes=desire.=It=is=really=Lacan’s=formula=for=the=lost=object=which=underpins=symbolisation,=cause=of,=and=‘stand=in’, for desire. Desire takes place in a specific place. All the objects have some relationship to= separation.=The breath, the voice, a song, all of these things can be objects of desire. Evan a glance can be an ‘objet-petit-a’.=(Sarup=1992,=p.69) Phallic Woman: Woman=endowed,=in=phantasy,=with=a=phallus.=This=image=has=two=main=forms: the woman is represented either as having an external phallus or phallic attribute, or else=as=having=preserved= the=male’s=phallus= inside=herself.= (L=311)=This= is= the=Freudian=interpretation,=the=limitations=of=which=exceed=the=scope=of=this=dissertation.=The=Lacanian=notion= of= the= Phallus= (see= below)= has= been= used= in= this= dissertation= (cf.= 2.6.2= for= an=interpretation using Madonna as an example) Phallus: The use of the term underlines the symbolic function taken on by the penis in the intra-= and= inter-subjective= dialectic...=The phallus turns out to be the meaning- i.e. what is symbolised- behind the most diverse ideas…=Jacques=Lacan=has=attempted=re-orientation=of=psycho-analytic= theory=around= the= idea=of= the=phallus=as= the= ‘signifier=of=desire’. (L pp.312-314) Phantasy:=Phantasy=has=a=number=of=different=modes:=conscious=fantasies=or=day-dreams [sc.=Cf,=for=example=5.2.1=a),=unconscious=phantasies=like=those=uncovered=by=analysis=as=the structures underlying a manifest content, and primal phantasies (L 314) Pleasure Principle:=One=of=the=two=principles=which,=according=to=Freud,=govern=mental=functioning: the whole of psychical activity is aimed at avoiding unpleasure and procuring pleasure.=Inasmuch=as=unpleasure=is=related=to=the=increase=of=quantities=of=excitation,=and=pleasure=to=their=reduction,=the principle in question may be said to be an economic one (L 322). [sc. This position was challenged by Freud himself in his essay ‘Beyond the Pleasure Principle’,=in=the=context=of=traumatic=neurosis.=Also,=the=Lacanian=concept=of=Jouissance=was=a=step=beyond the formal symmetry between pleasure/unpleasure). Preconscious:=Term=used=by=Freud=in=the=context=of=his=first=topography:=as=a=substantive,=it=denotes=a=system=of=the=psychical=apparatus=that=is=quite=distinct=from=the=unconscious=system=(Ucs);=as=an=adjective,=it=qualifies=the=operations=and=contents=of=this=preconscious=system= (Pcs).=As= these=are=not=currently=present= in= the= field=of=consciousness,= they=are=unconscious=in=the=descriptive=sense=of=the=term,=but=they=differ=from=the=contents=of=the=unconscious= system= in= that= they= are= still= in= principle= accessible= to= consciousness= (e.g.=knowledge= and= memories= that= are= not= presently= conscious)…= It= also= describes= what=escapes= immediate= consciousness=without= being= unconscious= in= the= strict= sense= of= the=word.= As= far= as= systems= are= concerned,= the= term= qualifies= contents= and= processes=associated,=mainly,=with=the=ego-but=also,=to=some=extent,=with=the=super-ego=(L=pp.325-326)

Primary Repression:=Hypothetical=process=described=by=Freud=as= the=first=phase=of= the operation=of= repression.= Its= effect= is= the= formation=of= a= certain=number=of=unconscious=ideas- the ‘primal repressed’. (L 333) Primary Process/ Secondary Process:=The= two=modes=of= functioning=of= the=psychical=apparatus=as=specified=by=Freud.=From=the=economico-dynamic=point=of=view,=in=the=case=of the primary process, psychical energy flows freely, passing unhindered, by means of the mechanisms=of=condensation=and=displacement,=from=one=idea=to=another=and=tending=to=completely= recathect= the= ideas=attached= to= those=satisfying=experiences=which=are=at= the=root=of=unconscious=wishes=(primitive=hallucination);=in=the=case=of=the=secondary=process,=the=energy=is=bound=at=first=and=then=it=flows=in=a=controlled=manner:=ideas=are=cathected=in=a=more=stable=fashion=while=satisfaction=is=postponed,=so=allowing=for=mental=experiments=which test out the various possible paths leading to satisfaction. (L 339) Psychoanalysis:=As=a=method=of=investigation=which=consists=essentially=in=bringing=out=the=unconscious=meaning=of= the=words,= the=actions=and= the=products=of= the= imagination=(dreams,=phantasies,=delusions)=of=a=particular=subject.=The=method=is=founded=mainly=on=the= subject’s= free=associations,=which= serve=as= the=measuring-rod=of= the=validity=of= the=interpretation.=(L=367) Reality Principle:=One=of=the=two=principles=which=for=Freud=govern=mental=functioning.=The reality principle is coupled with the pleasure principle, which it modifies: in so far as it succeeds in establishing its dominance as a regulatory principle, the search for satisfaction does= not= take= the= most= direct= routes= but= instead= makes= detours= and= postpones= the=attainment=of=its=goal=according=to=the=conditions=imposed=by=the=outside=world.=Viewed=from the economic standpoint, the reality principle corresponds=to=a=transformation=of=free=energy into bound energy. (L 379) Representability:=Requirement= imposed=on= the=dream-thoughts;= they=undergo=selection=and= transformation= such= as= to= make= them= capable= of= being= represented= by= images- particularly visual images (L 389) Repression:=Strictly=speaking,=an=operation=whereby= the=subject=attempts= to=repel,=or= to=confine to the unconscious, representations (thoughts, images, memories) which are bound to= an= instinct.= Repression= occurs= when= to= satisfy= an= instinct-= though= likely= to= be=pleasurabnle= in= itself-=would= incur= the= risk= of= provoking= unpleasure= because= of= other=requirements. (L 390) Sublimation:=Process=postulated=by=Freud=to=account=for=human=activities=which=have=no=apparent=connection=with=sexuality=but=which=are=assumed=to=be=motivated=by=the=force=of=the sexual instinct. The main types of activity described by Freud as sublimated are artistic creation and intellectual inquiry. (L 431) Substitute Formation: Economically, the symptom furnishes the unconscious wish with a replacement=satisfaction;=symbolically,=one=content=of= the=unconscious= is=supplanted=by=another according to certain chains of association (L 434) Symbolic:=It=covers=those=phenomena=with=which=psycho-analysis=deals=in=so=far=as=they=are=structured like a language (L 439) Symptom-Formation:=Term=used=to=denote=the=fact=that=the=psychoneurotic=symptom=is=the=result=of=a=specific=process,=of=a=psychical=working=out…Freud=assimilates=symptom-formation=to=the=return=of=the=repressed=(L=446)

Transference:= A= process= of= actualisation= of= unconscious= wishes.= Transference= uses=specific=objects=and=operates=in=the=framework=of=a=specific=relationship=established=with=these=objects.=(L.455)

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