141Critics suggest that contemporary consumer culture creates overworked and overshopped consumers who no longer engage in civic life. The authors challenge this conventional criticism against consumption within an individualistic lifestyle and argue instead that consumers who are "downshifting" do engage in civic life. In particular, this research examines downshifting attitudes among members of freecycle.org, a grassroots "gift economy" community. Results of an online survey show that downshifting consumers are indeed less materialistic and brand-conscious. They also tend to practice political consumption (e.g., boycotts, buycotts). Most important, they tend to engage in a digital form, but not a traditional form, of civic and political participation. The authors contend that alternative forms of consumption might be a new form of civic engagement.

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In this article, the authors analyze the field of cultural consumption in the United States. Using the 2000 DDB Lifestyle Study, they examine a cross-section of Americans in terms of their occupational categories, media usage, consumption practices, social behaviors, and indicators of civic and political engagement. In doing so, the authors find many parallels to the determinants of taste, cultural discrimination, and choice within the field structure observed by Bourdieu in 1960s French society. However, there are also some notable differences in terms of the composition of cultural capital consistent with the concept of omnivorousness. The distribution of positions is largely defined by patterns of taste that discriminate between refinement, moderation, nurturance, and a communal orientation, on one side, and coarseness, excess, aggressiveness, and an individual orientation, on the other. Historical and national differences partly account for this variation, but a major role may be played by the increasing formation of identities around media and consumption, leading to a more gendered and ideological positioning of taste cultures in the U.S context.

How people with ostomies—a surgically created opening in the body that expels bodily wastes—use social media to challenge ostomy stigma represents a growing area of research, especially the creation, posting, and circulation of ostomy selfies within online health communities. This project contributes to this research by examining reactions by a mass audience to news stories about a viral ostomy selfie posted by ostomate Bethany Townsend to a Crohn’s disease Facebook page. By analyzing the user-generated comments associated with this news coverage, this study illuminates how ostomy selfies are interpreted outside the highly sympathetic audiences that populate online health communities. Analysis reveals positive and negative reactions, posted by ostomates and non-ostomates alike, coexist within the comments. Implications of the conflicting reactions to ostomies, in general, and ostomy selfies, in particular, are discussed with regard to the effort to destigmatize ostomies in society.

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This article examines the online retailer Huckberry.com as a singular, centralized authority responsible for marketing "lumbersexuality" as an emergent, gender-normative taste regime. As an evolution of the devalued hipster marketplace myth, analysis reveals Huckberry promotes an adaptable taste regime to its young, educated, urban, White male clientele that unites goods, meanings, and practices across multiple fields of consumption that reconnect indie consumption and taste with a fantasy of "authentic" masculinity. We argue that Huckberry offers men semiotic resources that merge the urban with the outdoors in a way that enables the enactment of a fraught though seemingly durable masculine identity project that weaves the extraordinary and mythological into the quotidian. Implications of this gendered taste regime are discussed in relationship to the ways in which lumbersexuality is mobilized as a more authentically masculine alternative to the ironic stance of hipsterism and the supposed phoniness of mass culture.

This essay examines the first season of Storage Wars and suggests the program helps mediate the putative crisis in American masculinity by suggesting that traditional male skills are still essential where knowledge supplants manual labor. We read representations of "men at work" in traditionally "feminine" consumer markets as a form of masculine recuperation situated within the culture of White male injury. Specifically, Storage Wars appropriates omnivorous consumption, thrift, and collaboration to fit within the masculine repertoire of self-reliance, individualism, and competition. Thus, the program adapts hegemonic masculinity by showcasing male auction bidders adeptly performing feminine consumer practices. Whether the feminine is assimilated into the male body or represented as its Other, we contend that the expressions of masculinity in Storage Wars render women obsolete and subjugated in the marketplaces of the 21st-century economy and contribute to the mediation of the contemporary crisis in masculinity.

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