"If we modify those aspects of Mulvey's [ed note -- Laura Mulvey, feminist film theorist] analysis that are specific to film, in particular the way that compulsive sadistic response to threat is rationalized via narrative, it becomes clear that a similar mechanism propels the commodification of music objects. Consumerist compulsion is rationalized in a narrative of trends and styles, the object's story of becoming obsolete. Through an intricate interweaving of disavowal and fascination, the music industry has succeeded in seizing a medium that optimizes both. Voyeuristic fascination is concentrated into issues of ffidelity; 'unfaithful' music objects (scratched records, obsolete technology) are diagnosed and controlled. Fetishistic pleasure is organized around the reconstitution of the visual and the substitution of musical objects for the impending loss that they trigger. Thus, in fetishistic audiophilia the scramble to negotiate the menacing void manifests itself in one of three ways: (1) the attempt to reconstitute the image of the disembodied voice; (2) the assertion of the autonomy of sound and the fetishization of audio equipment; and (3) the attempt to fill the void with recorded music objects."