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This chapter aims to make sense of the growing research that examines the role of culture in mergers and acquisitions. We provide a detailed review of the many related but distinct constructs that have been introduced to the literature. While each construct has contributed to our understanding of the role of culture, the lack of connections made among constructs has limited the consolidation of contributions. The review shows what these constructs mean for mergers and acquisitions, what major findings have been discovered, and, most importantly, how constructs interrelate. Our discussion provides several opportunities to foster the needed consolidation of this research.

Since the arrival of mass production, commodification has been plaguing markets – none more so than that for music. By separating production and consumption in space and time, commodification challenges the very conditions underlying economic exchange. This chapter explores authenticity as the institutional response to the commodification of music, rekindling the relationship between isolated market participants in the increasingly digitized world of music. Building upon the “Production of Culture” perspective, we unpack the commodification of music across five different institutional realms – (1) production, (2) consumption, (3) selection, (4) appropriation, and (5) classification – and provide a thoroughly relational account of authenticity as an institutional practice.

Biology and Politics (or Biopolitics) has been a part of the political science firmament since the 1960s. Over time, it has become less an odd outlier in the discipline and more a tolerated (and sometimes respected) part of the enterprise. After about 50 years of existence, this is a proper time to reflect on where biopolitics has been, where it is now, and where it might go as an academic endeavor. Indeed, some have said that the best step would for biopolitics to no longer be seen as a special, narrow part of political science – but a part of every field in the discipline, integrated into the larger world of the study of politics.

Emotions and affect continue to garner widespread interest in the organizational sciences, and psychometric instruments tend to be the most often utilized method of assessing emotional phenomena in the workplace. However, psychometric questionnaires/surveys suffer from various shortcomings in that they may not adequately capture the underlying emotional experiences of individuals for various reasons (such as social desirability, lack of awareness, political posturing, and so forth). Neuroscience approaches allow researchers to directly assess the underlying neural activity that is occurring inside individuals’ brains. Accordingly, neuroscience can help researchers to overcome some of the limitations of surveys, thus allowing for both broader conceptualization and measurement. We briefly discuss the various neuroscience methodologies that can be used to help researchers gain insight into how individuals in the workplace experience emotions. Our discussion targets emotional contagion and emotional regulation as two areas that could especially benefit from utilizing a neuroscientific approach. We end the chapter with a consideration of practical implications.

The concept of the music scene has served sociologists well in providing a template for studying the organization of various musical styles and the people who work together to create the musical experiences. Writers including Howard Becker, Richard Peterson, Andy Bennett, David Grazian, and Joseph Kotarba have explored music scenes ranging from jazz, blues and rock to country and Latino styles. Although there is no one consensual definition of music scene, the notion of place, in a physical, empirical, and geo-local sense, seems to be a universal concern in the literature. In this chapter, we will outline a more inclusive, interactionist-oriented, and updated concept of the music scene that is at once interactionist in tone and perspective, while sensitive to dramatic changes occurring both in the world of politics and in the world of digital media. Perhaps most importantly, the concept of music scene can provide insight into the historical fact that, in spite of technological advancements, the live music experience is still at the heart of musical experiences across communities and cultures.