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Technological innovations such as smart mobile devices and mobile applications gave rise to a new business model: collaborative consumption. This business model, which is receiving significant attention from researchers and practitioners, is characterized by an intermediating digital platform that facilitates exchanges between customers and peer service providers. However, many digital platform providers still fail to build a critical mass of demand and supply. Accordingly, the aim of this research is to develop a better understanding of the barriers perceived by both customers and peer service providers.

This study uses a mixed-method qualitative approach to develop a comprehensive understanding of the factors that explain the rejection of collaborative consumption. In particular, six focus groups and 14 in-depth interviews were conducted, totaling 50 Belgian participants (with a mean age of 33 years). In addition, 375 online critical incidents—retrieved from various sources, such as review websites and social networks—were used for triangulation purposes. All data were analyzed using a thematic analytic approach.

Customers and peer service providers reject collaborative consumption because of a complex set of multidimensional functional and psychological barriers. In particular, actors may perceive barriers related to complexity, value, risk, compatibility, contamination, image, and responsibility, which prevent them from participating in collaborative consumption.

This paper builds theory on the reasons why both customers and peer service providers reject collaborative consumption. The research identifies several barriers that were not captured in prior research. Digital platform providers can use the research findings to more fully understand actors' decision-making processes in collaborative consumption.

The current study examines the effectiveness of brand integrations in music videos by taking into account the impact of both brand placement characteristics (i.e., brand prominence, valence of artist–brand relationship) and audience characteristics (i.e., artist connectedness).

A 2 (prominence: prominent vs. subtle) by 2 (valence: positive vs. negative) by 2 (connectedness: high vs. low) between-subjects experimental design is used. Each respondent first watched one music video via YouTube in which one branded product was placed either prominently or subtly. To manipulate the valence of the artist–brand relationship respondents were instructed to read a magazine article that revealed either a positive or negative attitude of the artist toward the placed brand. Two hundred twenty young adults participated in this study.

This study shows that prominent placements appear to be beneficial for the attitude toward the integrated brand when an individual is strongly connected to the artist in the music video, while subtle placements are beneficial both when an individual is weakly or strongly connected to the artist. Further, negative celebrity-brand relationships do not seem to affect brand attitudes in a negative way.

Embedding the brand in a music video gives marketers and advertisers the chance to reach consumers in a new, creative way. But this study shows that the advertiser should pay attention to the way in which the brand is integrated. Further, negative celebrity information does not seem to affect brand attitudes in a negative way. This makes the music video a very interesting medium for advertisers.

The current study contributes to previous research on brand placement by investigating the effectiveness of brand placements in music videos and the role of artist connectedness. In addition, the study is original as it includes valence in the model.