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Deriving pleasure and meaning from one’s job is especially potent in the cultural industries, where workers routinely sacrifice monetary rewards, stability, and tidier careers for the nonmonetary benefits of self-expression, autonomy, and contribution to the greater good. Cultural labor markets are consequently characterized by the continual churning of its workforce; the lure of “cool” employment attracts an oversupply of aspirants while precariousness and routinized work lead to short careers. This article draws on qualitative data to further conceptualize the appeal and limits of nonmonetary rewards over time. Why do workers stay in precarious “cool” jobs? More specifically, how do workers stay committed to their jobs and perform the requisite deep acting for their roles? Through qualitative research on two sets of workers – music industry personnel and craft cocktail bartenders – this article examines patterns in these workers’ “experiential careers.” We identify three strategies cultural workers use to re-enchant their work lives: (1) deep engagement, (2) boundary work, and (3) changing jobs. In doing so, we show how the experiential careers of cultural workers resemble more of a cycle of enchantment than a linear path to exiting the field.

The study of markets encompasses a number of disciplines – including anthropology, economics, history, and sociology – and a larger number of theoretical frameworks (see Plattner, 1989; Reddy, 1984; Smelser & Swedberg, 1994). Despite this disciplinary and theoretical diversity, scholarship on markets tends toward either realist or constructionist accounts (Dobbin, 1994; Dowd & Dobbin, forthcoming).¹ Realist accounts treat markets as extant arenas that mostly (or should) conform to a singular ideal-type. Realists thus take the existence of markets as given and examine factors that supposedly shape all markets in a similar fashion. When explaining market outcomes, they tout such factors as competition, demand, and technology; moreover, they can treat the impact of these factors as little influenced by context. Constructionist accounts treat markets as emergent arenas that result in a remarkable variety of types. They problematize the existence of markets and examine how contextual factors contribute to this variety. When explaining market outcomes, some show that social relations and/or cultural assumptions found in a particular setting can qualify the impact of competition (Uzzi, 1997), demand (Peiss, 1998), and technology (Fischer, 1992). Constructionists thus stress the contingent, rather than universal, processes that shape markets.

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.

The exponential growth of digital technologies and their increased importance in both organizational and everyday life poses new challenges to paradox research within management studies. Management scholars taking a paradoxical lens have predominantly focused on social paradoxes within the confines of the organization. Technological change has often been treated as an exogenous force bringing previously latent tensions to the fore. Such newly salient paradoxes are viewed as instigating managerial sensemaking and exploration of strategic responses that will re-establish equilibrium. Our investigation of how digital innovations disrupted London taxiwork and global music distribution shows something different. The paradoxical tensions raised by emerging digital technologies inevitably play out at industry and societal levels. Concomitant changes in boundaries, categories, and potentials for action that shape and channel ongoing industry transformation call for organizational responses and adaptation. Critically, such tensions must be interpreted within the context of industry arrangements absent a centrally controlling actor. Rather than episodes of exogenous change, the nature of the digital, along with interactions across multiple sources of agency, continually surface complex dynamic and systemic tensions within and across industries. Our findings highlight the importance of explicitly accounting for the inter-relatedness and mutual dependence of the social and technical elements of change. As digital innovation expands and starts to impact all aspects of human experience it is critical for management scholars to reflect how the paradoxical perspective can be expanded to better understand these contemporary large-scale changes.

Purpose – The purpose of this chapter is to relate to the reader how overlapping advancements in technology and the diffusion of popular music into the habitus of listeners have provided the framework for an instrumental rationalization of litigious approaches to copyright protection by their owners. Namely, the personalization of music, which has evolved with the aid of technological advancements, has privatized music consumption, thus establishing socio-legal parameters that limit consumption to an individual action.

Design/methodology/approach – We discuss the concepts of habitus and taste, communality in music ownership, communicative action, and technology-driven consumption as they relate to the instrumental rationalization of industry-led governance structures defining music ownership rights. These arguments are supported in part by a consideration of historic examples of tension and responding legal actions.

Findings – The primary outcome from this chapter is to illustrate the extent to which the recording industry has traditionally held a role in guiding copyright policy. The chapter concludes by illustrating the current legitimation crises encountered by the recording industry and policy makers as consumers abandon traditional ownership paradigms en masse.

Originality/value of chapter – The technologies associated with the Internet and music consumption continue to evolve. This chapter highlights the differing interests in controlling music interests, and casts light on how agency has influenced structural developments central to copyright.

Using a novel measure incorporating stylistic and acoustic data on recorded music from 1967 to 2017, we search for trends in the evolution of musical diversity in 125,340 albums. We find that temporal patterns of diversity differ for stylistic and acoustic data. We also find that the patterns differ dramatically by genre. Some genres, such as blues, jazz, and pop-rock, decrease in diversity over time; most other genres increase in diversity. The causes of these different trends present a puzzle for future research. We also find different patterns for recordings that made the Billboard 200 charts compared to all recordings, suggesting an association between selection processes driven by consumer popularity and diversity. Moreover, associations of diversity and industry structure found in prior research do not hold when we analyze data beyond the smaller sample of the more popular recordings found in Billboard. These findings have implications for many prior studies based exclusively on best-selling recordings

We advance theory of how founder identity affects business model (BM) design during new venture creation and contribute to the cognitive perspective on BMs. We look at BM design as a longitudinal process involving a variety of cognitive work that is co-shaped by the founder identity work. Based on an in-depth nine-year process study of a single venture managed by three founders, we observed that a novelty-centered BM design resulted from cognitive work co-shaped by founder identity construction and verification processes. Yet, more remarkably, we noted that founder identity verification decreased over time and observed a process that we labeled “identity-business model decoupling.” It meant that the founders did not alter their founder identity but, over time, attentively grew self-aware and mindfully disengaged negative identity effects to design an effective BM. Our results provide a dynamic view on founder identity imprinting on ventures’ BMs and contribute to the identity, BM, and entrepreneurship literatures.