In this article, we propose a new explanation for why certain cultural products outperform their peers to achieve widespread success. We argue that products’ position in feature space significantly predicts their popular success. Using tools from computer science, we construct a novel dataset allowing us to examine whether the musical features of nearly 27,000 songs from Billboard’s Hot 100 charts predict their levels of success in this cultural market. We find that, in addition to artist familiarity, genre affiliation, and institutional support, a song’s perceived proximity to its peers influences its position on the charts. Contrary to the claim that all popular music sounds the same, we find that songs sounding too much like previous and contemporaneous productions—those that are highly typical—are less likely to succeed. Songs exhibiting some degree of optimal differentiation are more likely to rise to the top of the charts. These findings offer a new perspective on success in cultural markets by specifying how content organizes product competition and audience consumption behavior.

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This paper examines the effect of status loss on organizations' price-setting behavior. We predict, counter to current status theory and aligned with performance feedback theory, that a status decline prompts certain organizations to charge higher prices and that there are two kinds of organizations most prone to make such price increases: those with broad appeal across disconnected types of customers and those whose most strategically similar rivals have charged high prices previously. Using panel data from U.S. News & World Report's annual rankings of private colleges and universities from 2005 to 2012, we model the effect of drops in rank that take a school below an aspiration level. We find that schools set tuition higher after a sharp decline in rank, particularly those that appeal widely to college applicants and whose rivals are relatively more expensive. This study presents a dynamic conception of status that differs from the prevailing view of status as a stable asset that yields concrete benefits. In contrast to past work that has assumed that organizations passively experience negative effects when their status falls, our results show that organizations actively respond to status loss. Status is a performancerelated goal for such producers, who may increase prices as they work to recover lost ground after a status decline.

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Many organizations rely on group work to generate creativity, but existing research lacks theory on how groups’ responses to recognition for creative achievement shape their subsequent creative outcomes. Through an inductive study of bands nominated for a Best New Artist Grammy from 1980 to 1990, we develop a theory of reactions to early recognition in creative groups. Our multi-method analyses include oral histories from members of each band and quantitative data, which we use to triangulate the processes they describe. Our findings reveal that groups developed sets of emergent reactions and active adjustments to the recognition and its consequences, which we call “recognition orientations.” We identify three such orientations—absorbing, insulating, and mixed—that reflect how groups interpret recognition and integrate it into their subsequent processes. Most groups struggled by absorbing recognition, which led to internalizing expectations and opening their relationships to outsiders, ultimately inhibiting creativity. Some groups began to insulate themselves from recognition by externalizing expectations and bounding relationships, allowing them to sustain creative output over time. Finally, other groups developed a mixed orientation, initially experiencing the pitfalls of elevated recognition-seeking but ultimately attempting to insulate their need for external recognition by refocusing on their creative process. These findings reveal that recognition can upend the creative process, and groups that begin absorbing recognition are, ironically, less likely to earn it again in the future. Filling a critical research gap on creative production among groups that intend to continue working together, the results distinguish the skills needed to manage recognition from those needed to generate creativity, and offer insight into how groups enact longevity.