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Country music as impression management: A meditation on fabricating authenticity
6 references·16 citing·44 second hop
Country music as impression management: A meditation on fabricating authenticity (2000)Country music as impression management: A…Creating Country Music: Fabricating Authenticity. (1999)Creating Country Music: Fabri…Creating country music: fabricating authenticity (1998)Creating country music: fabri…Why 1955? Explaining the advent of rock music (1990)Why 1955? Explaining the adve…A Social Psychologist Discovers Chicago Sociology (1989)A Social Psychologist Discove…Cycles in Symbol Production: The Case of Popular Music (1975)Cycles in Symbol Production: …The Presentation of Self in Everyday Life. (1956)The Presentation of Self in E…The show must go on(line): Livestreamed concerts and the hyper-ritualisation of genre conventions (2023)The show must go on(line): Li…Holographic ABBA: Examining Fan Responses to ABBA’s Virtual “Live” Concert (2023)Holographic ABBA: Examining F…Put Your “Hand Emotes in the Air:” Twitch Concerts as Unsuccessful Large‐Scale Interaction Rituals (2022)Put Your “Hand Emotes in the …Authenticity among distilleries: Signaling, transparency, and essence (2022)Authenticity among distilleri…The Relationship between Brand Authenticity, Brand Equity and Customer Satisfaction (2020)The Relationship between Bran…Authenticité et objectivation d’un genre musical : les Fabulous Trobadors face à la naissance d’un « rap français » (1987-1993) (2020)Authenticité et objectivation…Keeping It Real: How Perceived Brand Authenticity Affects Product Perceptions (2019)Keeping It Real: How Perceive…Space and place in world music production (2015)Space and place in world musi…Sell (It) Yourself: Marketing Pleasure in Digital DIY (2014)Sell (It) Yourself: Marketing…Gone country: An investigation of Billboard country songs of the year across social and economic conditions in the United States. 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this work references cited by second hop

References

  • 1956The Presentation of Self in Everyday Life.25,991 cited
  • 1989A Social Psychologist Discovers Chicago Sociology7,179 cited
  • 1975Cycles in Symbol Production: The Case of Popular Music594 cited
  • 1999Creating Country Music: Fabricating Authenticity.484 cited
  • 1990Why 1955? Explaining the advent of rock music289 cited
  • 1998Creating country music: fabricating authenticity69 cited

Cited by

  • 2004Endogenous Explanation in the Sociology of Culture173 cited
  • 2019Keeping It Real: How Perceived Brand Authenticity Affects Product Perceptions151 cited
  • 2008Cultural omnivorousness as a combination of highbrow, pop, and folk elements: The relation between taste patterns and attitudes concerning social integration122 cited
  • 2011Artistic Prosumption50 cited
  • 2010"We are not strippers": How Belly Dancers Manage a (Soft) Stigmatized Serious Leisure Activity50 cited
  • 2007The Presentation of Dead Selves in Everyday Life: Obituaries and Impression Management44 cited
  • 2020The Relationship between Brand Authenticity, Brand Equity and Customer Satisfaction41 cited
  • 2022Put Your “Hand Emotes in the Air:” Twitch Concerts as Unsuccessful Large‐Scale Interaction Rituals33 cited

Only edges whose both ends are imported exist here. Widen the year window, or show the whole map. Back to the work

2008
Reconsidering Rap's “I”: Eminem's Autobiographical Postures and the Construction of Identity Authenticity
30 cited
  • 2023Holographic ABBA: Examining Fan Responses to ABBA’s Virtual “Live” Concert17 cited
  • 2023The show must go on(line): Livestreamed concerts and the hyper-ritualisation of genre conventions16 cited
  • 2014Gone country: An investigation of Billboard country songs of the year across social and economic conditions in the United States.13 cited
  • 2015Space and place in world music production10 cited
  • 2022Authenticity among distilleries: Signaling, transparency, and essence10 cited
  • 2014Sell (It) Yourself: Marketing Pleasure in Digital DIY6 cited
  • 2020Authenticité et objectivation d’un genre musical : les Fabulous Trobadors face à la naissance d’un « rap français » (1987-1993)5 cited