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Authenticity is an interactionist distinction that is symbolically created and negotiated in everyday life. This paper (1) investigates “underground” country musicians and their definitions of self, including the process of creating accounts and (2) demonstrates the importance of authenticity-based identity work as a symbolically constituted and socially negotiated process. The purpose here is not to celebrate “authentic” country music, but rather to examine how these artists construct and manage the perception of authentic identities and to also demonstrate how authenticity-based identity work serves as a meaningful addition to these artists’ identities.

Discussions with five different organisations are reviewed to establish the skills necessary to manage change. It is argued that structural change has to be accompanied by a change of ethos. This has to be supported by changes in the behavioural repertoire of managers, for example the ability to ask questions, to handle conflict, to manage groups. Work on these through courses using behavioural analysis methodology is described.

The purpose of this paper is to provide an in-depth consideration of the color line in the US music market, much deeper treatment than that of a superficial social construct.

Content analysis was performed using archives from the Performing Arts Division of the New York Public Library.

A complex intersection of social and capitalist influences is fueled by culture and economics, filtered through the contributions of artists and media. Six major categories: social, media, artist, culture, industry, and economics contribute to its development and propagation. It continues to affect contemporary music markets.

Interpretation of archival data is subject to availability of material and subjectivity of the researcher. Steps were taken to minimize bias. The research implies an opportunity for the US music market to celebrate diversity and social justice.

Focusing on the symbolic use of music, marketers have the opportunity to empower consumers to embrace diversity, reversing the trajectory of the color line.

Embracing cultural heritage and celebrating diversity can promote economic gain without detriment to cultural interests.

The present research provides a much deeper consideration of the color line in the American Music Market than previous literature does. The consideration includes a combination of forces, from profit focused to cultural.

The aim of this paper is to highlight the relationship between cataloging data and reference service and the importance of including reference librarians, in general resource description and access (RDA) training.

A literature review and the author’s experiences related to implementing RDA are presented with minimal cataloging jargon to help librarians better understand the effects of cataloging standards on reference service.

There is a noticeable lack of research and training related to RDA for audiences beyond technical services. More research is needed to determine how users are interacting with the catalog, how bibliographic data is supporting their discovery and access, what, if any, obstacles reference librarians encounter as a result of RDA and how future iterations of RDA may open bibliographic data to communities beyond the library.

This paper is one the few that discuss how RDA may affect reference service. It will be useful for providing librarians with a general understanding of the relationship between cataloging and reference and may serve as a starting point for further research.

I don’t remember exactly when I began to be interested in music, but my mother and godmother would laughingly recall when they knew I would be musically inclined. Though I was then in diapers, whenever Tommy Dorsey's recording of Boogie Woogie was played, I would immediately begin to pat my feet. My first conscious memory of reacting to music when I was very young were the times my father would sing little ditties and play his banjo. He could carry a tune, and he played the banjo quite well. His greatest musical feat, however, was as a whistler, and I would try to imitate his whistling style, without success as I grew older. Then too, my siblings and I would sing and recite little nursery rhymes before our parents, and I would compose songs for my sisters to sing. Before he died an early death at 37 my father gave me a mouth harp and a harmonica which I kept for many years; I later misplaced it while in college. I later bought another harmonica which I kept throughout my years in the U.S. Army, my travels throughout Europe, and throughout my years in graduate school. How and why we each possess the talents and skills we have are questions I’ve never fully understood. So I’ve concluded that we just have them, and we’ll never be able to explain it. Throughout this chapter four reference points will be used to explain my exposure to music and my music biculturality: schools, churches, home, and my neighborhood. If I make very few references to whites, it is simply because during my early life my contact with whites was minimal, and white individuals played a minor role in my life, as at home my world centered around my parents and godparents, siblings, and other family members, and neighborhood friends; at school my world was a completely black world. The first white I got to know outside of my early work experiences was the white Presiding Bishop of the Reformed Episcopal Church who visited St. John's Episcopal Church at least six or seven times a year.

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.

Discussion around authenticity has grown in marketing and consumption discourse in the last two decades. Consumers are viewed as seeking authenticity, and brands have responded to this. This chapter identifies three foundational categories of authenticity: personal, expressive and material. The main elements of each category are outlined. Key tensions are identified between authenticity as experienced by consumers and authenticity as leveraged for instrumental purposes by the marketplace.

It's morning drive time in northern New Jersey. All the stations in New York's empire of commercial broadcasting, home to Howard Stern and two major all‐news venues, are vying for your aural consciousness. You've got Don Imus on WFAN. Hot 97 shouts out your hip‐hop traffic updates. National Public Radio is jammed between the Christian Family Broadcasting Network and The Classical Station of the New York Times. But wait…over to the left. Isn't that…Klezmer music? Did that guy just say “morning chizuk?” What radio station is this?