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The authors examine the tensions between the public and commercial functions of social media platforms with a particular focus on how Instagram influencers look to demonstrate their “authenticity” whilst also pursuing commercial objectives. Drawing on a large-scale quantitative content analysis of the accounts of prominent Dutch fashion and lifestyle influencers, the authors demonstrate an “authenticity gap” between the way these influencers claim to be authentic in the way they talk about influencer culture, and the extent to which they actually implement “authenticity marker’s” in their Instagram posts.

Wicke and Shepherd (1993) stated that socialist rock (and, by extension, metal) is more authentic than its capitalist counterpart because authenticity is tied to commercialism. This is, however, a very Western view of authenticity. Cushman's (1995) interviews suggest that rock musicians were themselves discussing authenticity in the late 1980s and with this comes notions of a socialist authenticity hitherto unexplored, related not to the official and unofficial cultures of Soviet Russia but rather to culture beyond that dichotomy. Other markers of authenticity also become more important: the Russian language is paramount here as the style of metal most prevalent at the time required clear lyrics, and so being able to be identified as a local, Russian, metal musician adds credence to one's status as an authentic, and particularly Russian, metal scene member. This chapter explores the precise circumstances in the early-mid-1980s which brought about metal music in Soviet Russia and how authenticity was determined among scene participants. It highlights the genesis of Russian metal in Russian rock and Western metal music. Then, a replacement is proposed for commercialism, the main marker of authenticity, in the Soviet Russian context, based on Yurchak's (2005) concept of vnye (meaning, approximately, to exist outside of or beyond Soviet society), as well as investigating other, less important markers of authenticity in their uniquely Russian context. One exemplar band, Aria, held both official and unofficial statuses, is used to illustrate the difficulty of making metal music in the Soviet period, as well as how certain aspects of authenticity could vary among rock and metal bands.

Facilitated by image retouch tools, social media influencers can digitally enhance their self-image in product recommendation posts. This paper proposes that image enhancement may serve as a cue for the audience to assess the authenticity of the influencer (“true to oneself”), which further affects the influencer's product recommendation effectiveness (i.e. attitudes toward the post and recommended product).

Experiment 1 examines the effect of image enhancement on consumers' perceived influencer authenticity and product recommendation effectiveness. Experiment 2 considers the moderating role of post type, examining the effects in informational versus storytelling posts.

Consumers perceived an influencer to be more authentic when the image is not enhanced; in turn, consumers reported more favorable attitudes toward the post and the recommended product upon reading the post. The effects are moderated by post type: the effect of image enhancement (through perceived influencer authenticity) exists in posts using an informational message format but is attenuated for those using a storytelling message format.

This research enriches the literature on authenticity cues by documenting a novel visual cue and contributes to influencer marketing by identifying a nuanced interactive effect between image enhancement and post type on recommendation effectiveness.

The author focusses on corporate history from a media aesthetic perspective using the case of the Danish brewer Carlsberg. Through a careful examination of the company’s website that draws on Kress and Van Leeuwen’s work on modality, the author examines how images and symbols of the past and present are intertwined so as to ‘curate’ history and present the brand as both deeply rooted and authentic.

Mass-market production of souvenirs, their disposability and their mixed up, interpretive styling may detach the tourist from the actual experience. Conversely, it is the personal relationship that is formed between the tourist and the souvenir that makes the object authentic. The personalization of souvenirs, through 3D printing, offers opportunities for a different approach to manufacturing that influences notions of authenticity. In this way, it is possible to escape the serial reproduction of culture, engage tourists in the creation of meaning, and (re)frame the connections among them, their visited places, and their souvenirs. This chapter considers how the personalization of souvenirs through 3D printing technologies challenges and redefines existing notions of authenticity in touristic consumption.

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 author explores the contemporary logics of branding and authenticity among contestants in the reality television show, RuPaul’s Drag Race. In the chapter, the author points to the inherent tension in performing a drag persona that is perceived as authentic by audiences whilst at the same time looking to take advantage of any financial opportunities that being on the show may generate. This tricky balancing act is examined in relation to the case of the drag persona, Tina Burner, who was criticised for not being authentic enough and overbranding herself. The chapter highlights the competing demands that contestants on a high-profile reality show must deal with and the difficulty of deciding ‘when to keep it real in reality TV’.

In this paper, we first develop the concepts of authentic leaders, authentic leadership, and authentic leader development. We suggest a definition of authentic leaders, which is based on the leader’s self-concept: his or her self-knowledge, self-concept clarity, self-concordance, and person-role merger, and on the extent to which the leader’s self-concept is expressed in his or her behavior. Following, we offer a life-story approach to the development of authentic leaders. We argue that authentic leadership rests heavily on the self-relevant meanings the leader attaches to his or her life experiences, and these meanings are captured in the leader’s life-story. We suggest that self-knowledge, self-concept clarity, and person-role merger are derived from the life-story. Therefore, the construction of a life-story is a major element in the development of authentic leaders. We further argue that the life-story provides followers with a major source of information on which to base their judgments about the leader’s authenticity. We conclude by drawing some practical implications from this approach and presenting suggestions for further research.