Meyersohn and Katz believe that fashions in areas such as gaming, music, and clothing offer a “functional alternative to its predecessor” (595). Businesses also seem to be aware of this attribute, as Hirsch notes that “one of its [companies involved in the production of cultural goods] goals is to create and satisfy consumer demand for new fashions and fads” (642). This can easily be observed in the annual cycle where the previous must-have Christmas toy is forgotten in place of a new product, or in the constant stream of pop mega-hits trampling their