The me you see: The creative identity as constructed in music documentaries

References

1. Alacovska, Ana, and Kärreman, Dan. ( 2022;), ‘ Tormented selves: The social imaginary of the tortured artist and the identity work of creative workers. ’, Organization Studies, article first, https://doi.org/10.1177/01708406221089594. Accessed 30 April 2022.
   [Google Scholar]
2. Ashforth, Blake E., and Mael, Fred. ( 1989;), ‘ Social Identity Theory and the organization. ’, The Academy of Management Review, 14:1, pp. 20–39.
   [Google Scholar]
3. Bain, Alison. ( 2005;), ‘ Constructing an artistic identity. ’, Work, Employment and Society, 19:1, pp. 25–46.
   [Google Scholar]
4. Baker, Michael Brendan. ( 2014;), ‘ Notes on the rockumentary renaissance. ’, Cinephile, 10:1, pp. 5–10.
   [Google Scholar]
5. Beattie, Keith. ( 2005;), ‘ It’s not only rock and roll: Rockumentary, direct cinema and performative display. ’, Australasian Journal of American Studies, 24:2, pp. 21–41.
   [Google Scholar]
6. Beech, Nic,, Gilmore, Charlotte,, Cochrane, Eilidh, and Greig, Gail. ( 2012;), ‘ Identity work as a response to tensions: A re-narration in opera rehearsals. ’, Scandinavian Journal of Management, 28:1, pp. 39–47.
   [Google Scholar]
7. Bilton, Chris. ( 2007), Management and Creativity: From Creative Industries to Creative Management, Malden, MA:: Blackwell;.
   [Google Scholar]
8. Bird, Christopher, and Lupton, Simon. ( 2019), The Show Must Go On: The Queen + Adam Lambert Story, UK:: Netflix;.
9. Boyatzis, Richard E.. ( 1998), Transforming Qualitative Information: Thematic Analysis and Code Development, Thousand Oaks, CA:: SAGE;.
   [Google Scholar]
10. Brady, Anita. ( 2011;), ‘ “This is why mainstream America votes against gays, Adam Lambert”: Contemporary outness and gay celebrity. ’, Celebrity Studies, 2:3, pp. 292–304.
    [Google Scholar]
11. Braun, Virginia, and Clarke, Victoria. ( 2006;), ‘ Using thematic analysis in psychology. ’, Qualitative Research in Psychology, 3:2, pp. 77–101.
    [Google Scholar]
12. Brett, Philip. ( 1994;), ‘ Are you musical? Is it queer to be queer?. ’, The Musical Times, 135:1816, pp. 370–76.
    [Google Scholar]
13. Bridgstock, Ruth. ( 2005;), ‘ Australian artists, starving and well-nourished: What can we learn from the prototypical protean career?. ’, Australian Journal of Career Development, 14:3, pp. 40–47.
    [Google Scholar]
14. Burke, Peter J., and Stets, Jan E.. ( 1999;), ‘ Trust and commitment through self-verification. ’, Social Psychology Quarterly, 62:4, pp. 347–60.
    [Google Scholar]
15. Caves, Richard E.. ( 2003), Creative Industries: Contracts between Art and Commerce, Cambridge, MA:: Harvard University Press;.
    [Google Scholar]
16. Chanan, Michael. ( 2013;), ‘ Music, documentary, music documentary. ’, in B. Winston. (ed.), The Documentary Film Book, London:: Palgrave Macmillan;, pp. 337–44.
    [Google Scholar]
17. Cohen, Nicole S.. ( 2012;), ‘ Cultural work as a site of struggle: Freelancers and exploitation. ’, Triple C, Cognition, Communication, Co-operation, 10:2, pp. 141–55.
    [Google Scholar]
18. Corbin, Nicola A.,, Smith, William A., and Garcia, J. Roberto. ( 2018;), ‘ Trapped between justified anger and being the strong Black woman: Black college women coping with racial battle fatigue at historically and predominantly White institutions. ’, International Journal of Qualitative Studies in Education, 31:7, pp. 626–43.
    [Google Scholar]
19. Csikszentmihalyi, Mihaly. ( 1988;), ‘ The flow experience and its significance for human psychology. ’, in M. Csikszentmihalyi, and I. S. Csikszentmihalyi. (eds), Optimal Experience: Psychological Studies in Flow in Consciousness, Cambridge:: Cambridge University Press;, pp. 15–35.
    [Google Scholar]
20. Csikszentmihalyi, Mihaly. ( 1996), Creativity: Flow and the Psychology of Discovery and Invention, New York:: HarperCollins;.
    [Google Scholar]
21. Currid-Halkett, Elizabeth, and Scott, Allen J.. ( 2013;), ‘ The geography of celebrity and glamour: Reflections on economy, culture and desire in the city. ’, City, Culture and Society, 4:1, pp. 2–11.
    [Google Scholar]
22. Danesi, Marcel. ( 2015), Popular Culture: Introductory Perspectives, Lanham, MD:: Rowan & Littlefield;.
    [Google Scholar]
23. Davies, Janet, and Mangion, Sandra. ( 2002;), ‘ Predictors of pain and other musculoskeletal symptoms among professional instrumental musicians: Elucidating specific effects. ’, Medical Problems of Performing Artists, 17:4, pp. 155–68.
    [Google Scholar]
24. Day, Susan X.. ( 2002;), ‘ “Make it uglier. Make it hurt. Make it real”: Narrative construction of the creative writer’s identity. ’, Creativity Research Journal, 14:1, pp. 127–36.
    [Google Scholar]
25. Dean, Deborah. ( 2005;), ‘ Recruiting a self: Women performers and aesthetic labour. ’, Work, Employment and Society, 19:4, pp. 761–74.
    [Google Scholar]
26. Draper, Jimmy. ( 2012;), ‘ Idol speculation: Queer identity and a media-imposed lens of detection. ’, Popular Communication, 10:3, pp. 201–16.
    [Google Scholar]
27. Duboff, Josh. ( 2019;), ‘ In Homecoming, Beyoncé wants us to see the work behind the spectacle. ’, Vanity Fair, 17 April, https://www.vanityfair.com/style/2019/04/beyonce-homecoming-netflix-coachella-documentary-work-behind-spectacle. Accessed 23 May 2022.
    [Google Scholar]
28. Dugdale, Paul. ( 2020), Excuse Me, I Love You, USA:: Netflix;.
    [Google Scholar]
29. Durham, Aisha. ( 2011;), ‘ Check on it: Beyoncé, Southern booty, and Black femininities in music video. ’, Feminist Media Studies, 12:1, pp. 35–49.
    [Google Scholar]
30. Dyer, Richard. ( 1986), Heavenly Bodies, London:: Routledge;.
    [Google Scholar]
31. Dyer, Richard. ( 2003), Heavenly Bodies: Film Stars and Society, London:: Routledge;.
    [Google Scholar]
32. Edgar, Robert,, Fairclough-Isaacs, Kirsty, and Halligan, Benjamin. ( 2013;), ‘ Introduction. ’, in R. Edgar,, K. Fairclough-Isaacs, and B. Halligan. (eds), The Music Documentary: Acid Rock to Electropop, New York:: Routledge;, pp. 1–22.
    [Google Scholar]
33. Eikhof, Doris Ruth, and Haunschild, Axel. ( 2006;), ‘ Lifestyle meets market: Bohemian entrepreneurs in creative industries. ’, Creativity and Innovation Management, 15:3, pp. 234–41.
    [Google Scholar]
34. Elias, Ana Sofia,, Gill, Rosalind, and Scharff, Christina. ( 2017;), ‘ Aesthetic labour: Beauty politics in neoliberalism. ’, in A. S. Elias,, R. Gill, and C. Scharff. (eds), Aesthetic Labouring, New York:: Palgrave MacMillan;, pp. 3–49.
    [Google Scholar]
35. Ellis, John. ( 2021;), ‘ How documentaries mark themselves out from fiction: A genre-based approach. ’, Studies in Documentary Film, 15:2, pp. 140–50.
    [Google Scholar]
36. Elsbach, Kimberly D.. ( 2009;), ‘ Identity affirmation through “signature style”: A study of toy car designers. ’, Human Relations, 62:7, pp. 1041–72.
    [Google Scholar]
37. Elsbach, Kimberly D., and Flynn, Francis J.. ( 2013;), ‘ Creative collaboration and the self-concept: A study of toy designers. ’, Journal of Management Studies, 50:4, pp. 515–44.
    [Google Scholar]
38. Feist, Gregory J.. ( 2019;), ‘ Creativity and the big two model of personality: Plasticity and stability. ’, Current Opinion in Behavioural Sciences, 27:1, pp. 31–35.
    [Google Scholar]
39. Fiske, John. ( 2010), Reading the Popular, London:: Routledge;.
    [Google Scholar]
40. Flew, Terry. ( 2005;), ‘ Creative economy. ’, in J. Hartley. (ed.), Creative Industries, New York:: Blackwell;, pp. 344–60.
    [Google Scholar]
41. Geeves, Andrew,, Jones, Samuel,, Davidson, Jane W., and Sutton, John. ( 2020;), ‘ Between the crowd and the band: Performance experience, creative practice, and wellbeing for professional touring musicians. ’, International Journal of Wellbeing, 10:5, pp. 5–26.
    [Google Scholar]
42. Gil, Ricard, and Spiller, Pablo T.. ( 2007;), ‘ The organizational dimensions of creativity: Motion picture production. ’, California Management Review, 50:1, pp. 243–60.
    [Google Scholar]
43. Giuffre, Liz. ( 2014;), ‘ I’m not dead yet: Music documentary’s role in asserting and celebrating artistic independence and resilience. ’, Studies in Australasian Cinema, 8:1, pp. 44–55.
    [Google Scholar]
44. Glăveanu, Vlad Petre, and Tanggaard, Lene. ( 2014;), ‘ Creativity, identity, and representation: Towards a socio-cultural theory of creative identity. ’, New Ideas in Psychology, 34:1, pp. 12–21.
    [Google Scholar]
45. Gotsi, Manto,, Andriopoulos, Constantine,, Lewis, Marianne W., and Ingram, Amy E.. ( 2010;), ‘ Managing creatives: Paradoxical approaches to identity regulation. ’, Human Relations, 63:6, pp. 781–805.
    [Google Scholar]
46. Hall, Stuart. ( 1981;), ‘ Notes of deconstructing the popular. ’, in R. Samuel. (ed.), People’s History and Socialist Theory, London:: Routledge;, pp. 227–40.
    [Google Scholar]
47. Hart, James. ( 2014;), ‘ Arts entrepreneurship and the hero adventure. ’, Journal of Arts Entrepreneurship Education, 1:1, pp. 49–72.
    [Google Scholar]
48. Haynes, Jo, and Marshall, Lee. ( 2017;), ‘ Reluctant entrepreneurs: Musicians and entrepreneurship in the new music industry. ’, The British Journal of Sociology, 69:2, pp. 459–82.
    [Google Scholar]
49. Hesmondhalgh, David, and Baker, Sarah. ( 2010;), ‘ A very complicated version of freedom: Conditions and experiences of creative labour in three cultural industries. ’, Poetics, 38:1, pp. 4–20.
    [Google Scholar]
50. Hesmondhalgh, David, and Meier, Leslie M.. ( 2015;), ‘ Popular music, independence and the concept of the alternative in contemporary capitalism. ’, in J. Bennett, and N. Strange. (eds), Media Independence: Working with Freedom or Working for Free, New York:: Routledge;, pp. 94–116.
    [Google Scholar]
51. Hobson, Janell. ( 2016;), ‘ Feminists debate Beyoncé. ’, in A. Trier-Bienieck. (ed.), The Beyoncé Effect: Essay on Sexuality, Race and Feminism, Jefferson, NC:: McFarland & Company;, pp. 11–26.
    [Google Scholar]
52. Hogg, Michael A., and Terry, Deborah J.. ( 2000;), ‘ Social identity and self-categorization processes in organizational contexts. ’, Academy of Management Review, 25:1, pp. 121–40.
    [Google Scholar]
53. Knowles, Beyoncé, and Burke, Ed. ( 2019), Homecoming USA:: Netflix;.
    [Google Scholar]
54. Hughes, Michael. ( 2000;), ‘ Country music as impression management: A mediation on fabricating authenticity. ’, Poetics, 28:2&3, pp. 185–205.
    [Google Scholar]
55. Istvandity, Lauren,, Baker, Sarah,, Cantillon, Zelmarie, and Homan, Shane. ( 2022;), ‘ Compromised histories: The impact of the production pressures on the construction of historical narrative in popular music documentaries. ’, in C. Anderton, and M. James. (eds), Media Narratives in Popular Music, London:: Bloomsbury;, pp. 163–80.
    [Google Scholar]
56. Ivcevic, Zorana, and Nusbaum, Emily C.. ( 2017;), ‘ From having an idea to doing something with it: Self-regulation for creativity. ’, in M. Karwowski, and J. C. Kaufman. (eds), The Creative Self: Effect of Beliefs, Self-Efficacy, Mindset, and Identity, New Haven, CT:: Yale University;, pp. 343–65.
    [Google Scholar]
57. Iverson, Gunnar, and Mackenzie, Scott. ( 2021;), ‘ Introduction: Images of sound and fury. ’, in G. Iverson, and S. Mackenzie. (eds), Mapping the Rockumentary: Images of Sounds and Fury, Edinburgh:: Edinburgh University Press;, pp. 1–18.
    [Google Scholar]
58. Kapsetaki, Marianna Evangelia, and Easmon, Charlie. ( 2019;), ‘ Eating disorders in musicians: A survey investigating self-reported eating disorders of musicians. ’, Eating and Weight Disorders: Studies on Anorexia, Bulimia and Obesity, 24:3, pp. 541–49.
    [Google Scholar]
59. Kaspi-Baruch, Oshrit. ( 2017;), ‘ Big five personality and creativity: The moderating effect of motivational goal orientation. ’, Journal of Creative Behavior, 53:3, pp. 325–38.
    [Google Scholar]
60. King, Barry. ( 2010;), ‘ Stardom, celebrity, and the money form. ’, The Velvet Light Trap, 65:1, pp. 7–19.
    [Google Scholar]
61. Koppman, Sharon. ( 2015;), ‘ Different like me: Why cultural omnivores get creative jobs. ’, Administrative Science Quarterly, 61:2, pp. 291–331.
    [Google Scholar]
62. Leavis, Frank Raymond. ( 1930), Mass Civilisation and Minority Culture, Cambridge:: Minority Press;.
    [Google Scholar]
63. Lebuda, Izabela, and Csikszentmihalyi, Mihaly. ( 2018;), ‘ All you need is love: The importance of partner and family relations to highly creative individuals’ well-being and success. ’, Journal of Creative Behavior, 54:1, pp. 100–14.
    [Google Scholar]
64. Liu, Angela,, Liu, Yong, and Mazumdar, Tridib. ( 2014;), ‘ Star power in the eye of the beholder: A study of the influence of stars in the movie industry. ’, Marketing Letters, 25:4, pp. 385–96.
    [Google Scholar]
65. Loroz, Peggy Sue, and Braig, Bridgette M.. ( 2015;), ‘ Consumer attachments to human brands: The “Oprah Effect”. ’, Connections, 32:7, pp. 751–63.
    [Google Scholar]
66. Loy, Stephen,, Rickwood, Julie, and Bennett, Samantha. ( 2018;), ‘ Popular music, stars and stardom: Definitions, discourses, interpretations. ’, in S. Loy,, J. Rickwood, and S. Bennett. (eds), Popular Music, Stars and Stardom, Canberra:: Australian National University Press;, pp. 1–21.
    [Google Scholar]
67. MacDonald, Raymond A. R., and Wilson, Graeme B.. ( 2006;), ‘ Construction of jazz: How jazz musicians present their collaborative musical practice. ’, Musicae Scientiae, 10:1, pp. 59–83.
    [Google Scholar]
68. Mead, George Herbert. ([1934] 2004;), ‘ The self: The “I” and the “me”. ’, in M. J. Hatch, and M. Schultz. (eds), Organizational Identity: A Reader, New York:: Oxford University Press;, pp. 30–34.
    [Google Scholar]
69. Morgan, George, and Nelligan, Pariece. ( 2015;), ‘ Labile labour: Gender, flexibility and creative work. ’, The Sociological Review, 63:1, pp. 66–83.
    [Google Scholar]
70. Myers, Erin. ( 2009;), ‘ “Can you handle my truth?”: Authenticity and the celebrity star image. ’, Journal of Popular Culture, 42:5, pp. 890–907.
    [Google Scholar]
71. Nairn, Angelique. ( 2020;), ‘ Chasing dreams, finding nightmares: Exploring the creative limits of the music career. ’, M/C Journal, 23:1, pp. 1–4.
    [Google Scholar]
72. Nairn, Angelique, and Gumbley, Sarah. ( 2019;), ‘ Creative entrepreneurialism: The use of social media as a promotional tool for fiction writers. ’, International Journal of Cultural and Creative Industries, 5:2, pp. 23–43.
    [Google Scholar]
73. Nairn, Angelique, and Matthews, Justin. ( 2020;), ‘ Drama at Disney: A thematic analysis of creative worker identity negotiation and identification in the documentary Waking Sleeping Beauty. ’, IAFOR Journal of Media Communication & Film, 7:1, pp. 5–22.
    [Google Scholar]
74. Naveed, Kashif,, Watanable, Chihiro, and Neittaanmaki, Pekka. ( 2017;), ‘ Co-evolution between streaming and live music leads a way to the sustainable growth of music industry: Lessons from the US experiences. ’, Technology in Society, 50:1, pp. 1–19.
    [Google Scholar]
75. Negus, Keith. ( 1995;), ‘ Where the mystical meets the market: Creativity and commerce in the production of popular music. ’, The Sociological Review, 43:2, pp. 316–41.
    [Google Scholar]
76. Nóvoa, André. ( 2012;), ‘ Musicians in the move: Mobilities and identities of a band on the road. ’, Mobilities, 7:3, pp. 349–68.
    [Google Scholar]
77. Olutola, Sarah. ( 2018;), ‘ I ain’t sorry: Beyoncé, Serena, and hegemonic hierarchies in Lemonade. ’, Popular Music and Society, 42:1, pp. 99–117.
    [Google Scholar]
78. O’Meara, Jennifer. ( 2021;), ‘ Manipulating (public) images in the contemporary music documentary. ’, in A. Cacelli, and D. Condon. (eds), Experiencing Music and Visual Cultures: Threshold, Intermediality, Synchresis, New York:: Routledge;, pp. 79–92.
    [Google Scholar]
79. Parekh, Bhikhu. ( 2009;), ‘ Logic of identity. ’, Politics, Philosophy & Economics, 8:3, pp. 267–84.
    [Google Scholar]
80. Pettinger, Lynne. ( 2015;), ‘ Embodied labour in music work. ’, The British Journal of Sociology, 66:2, pp. 282–300.
    [Google Scholar]
81. Pramaggiore, Maria. ( 2018;), ‘ Hearing voices in singer-songwriter music documentaries. ’, in M. Pramaggiore, and R. A. Honess. (eds), Vocal Projections: Voices in Documentary, London:: Bloomsbury;, pp. 65–80.
    [Google Scholar]
82. Preece, Chloe, and Kerrigan, Finola. ( 2015;), ‘ Multi-stakeholder brand narratives: An analysis of the construction of artistic brands. ’, Journal of Marketing Management, 31:11&12, pp. 1207–30.
    [Google Scholar]
83. Reckwitz, Andreas. ( 2017;), ‘ Practices and their affects. ’, in A Hui,, T. Schatzki, and E. Shove. (eds), The Nexus of Practices: Connections, Constellations, Practitioners, New York:: Routledge;, pp. 114–25.
    [Google Scholar]
84. Reid, Anna,, Petocz, Peter, and Bennett, Dawn. ( 2016;), ‘ Is creative work sustainable? Understanding identity, motivation, and worth. ’, Australian Journal of Career Development, 25:1, pp. 33–41.
    [Google Scholar]
85. Rojek, Chris. ( 2012), Fame Attack: The Inflation of Celebrity and Its Consequences, London:: Bloomsbury;.
    [Google Scholar]
86. Rowlands, Lorraine, and Handy, Jocelyn. ( 2012;), ‘ An addictive environment: New Zealand film production workers’ subjective experiences of project-based labour. ’, Human Relations, 65:5, pp. 657–80.
    [Google Scholar]
87. Saffle, Michael. ( 2013;), ‘ Retrospective compilations (re)defining the music documentary. ’, in R. Edgar,, K. Fairclough-Isaacs, and B. Halligan. (eds), The Music Documentary: Acid Rock to Electropop, New York:: Routledge;, pp. 42–54.
    [Google Scholar]
88. Scott, Craig R.,, Corman, Steven R., and Cheney, George. ( 1998;), ‘ Development of a structural model of identification in the organization. ’, Communication Theory, 8:3, pp. 298–336.
    [Google Scholar]
89. Scott, Michael. ( 2012;), ‘ Cultural entrepreneurs, cultural entrepreneurship: Music producers mobilising and converting Bourdieu’s alternative capitals. ’, Poetics, 40:3, pp. 237–55.
    [Google Scholar]
90. Singer, Grant. ( 2020), In Wonder, USA:: Netflix;.
91. Sluss, David M., and Ashforth, Blake E.. ( 2007;), ‘ Relational identity and identification: Defining ourselves through work relationships. ’, Academy of Management Review, 32:1, pp. 9–32.
    [Google Scholar]
92. Snapes, Laura. ( 2020;), ‘ The Chicks: We were used and abused by everybody who wanted to make money of us. ’, The Guardian, 18 July, https://www.theguardian.com/music/2020/jul/18/dixie-chicks-used-and-abused-by-everybody-who-wanted-to-make-money-off-us. Accessed 23 May 2022.
    [Google Scholar]
93. Stahl, Matt. ( 2008;), ‘ Sex and drugs and bait and switch: Rockumentary and the new model worker. ’, in D. Hesmondhalgh, and J. Toynbee. (eds), The Media and Social Theory, London:: Routledge;, pp. 231–47.
    [Google Scholar]
94. Stahl, Matt, and Meier, Leslie. ( 2012;), ‘ The firm foundation of organizational flexibility: The 360 contract in the digitalizing music industry. ’, Canadian Journal of Communication, 37:3, pp. 441–58.
    [Google Scholar]
95. Steptoe, Andrew. ( 1998;), ‘ Artistic temperament in the Italian renaissance: A study of Giorgio Vasari’s Lives. ’, in A. Steptoe. (ed.), Genius and the Mind: Studies of Creativity and Temperament, London:: Oxford;, pp. 252–70.
    [Google Scholar]
96. Stets, Jan E., and Burke, Peter J.. ( 2000;), ‘ Identity theory and social identity theory. ’, Social Psychology Quarterly, 63:3, pp. 224–37.
    [Google Scholar]
97. Swann Jr, William B.,, Milton, Laurie P., and Polzer, Jeffrey T.. ( 2000;), ‘ Should we create a niche or fall in line? Identity negotiation and small group effectiveness. ’, Journal of Personality and Social Psychology, 79:2, pp. 238–50.
    [Google Scholar]
98. Taylor, Stephanie, and Littleton, Karen. ( 2012), Contemporary Identities of Creativity and Creative Work, Farnham:: Ashgate;.
    [Google Scholar]
99. Thoelen, Annelies, and Zanoni, Patrizia. ( 2014;), ‘ Making claims on value: The rhetoric construction of aesthetic innovation by ethnic minority creatives. ’, Culture and Organization, 22:4, pp. 287–310.
    [Google Scholar]
100. Warhurst, Chris,, Nickson, Dennis,, Witz, Anne, and Cullen, Anne Marie. ( 2000;), ‘ Aesthetic labour in interactive service work: Some case study evidence from the “new” Glasgow. ’, Service Industries Journal, 20:3, pp. 1–18.
     [Google Scholar]
101. Wigert, Benjamin,, Reiter-Palmon, Roni,, Kaufman, James C., and Silvia, Paul J.. ( 2012;), ‘ Perfectionism: The good, the bad, and the creative. ’, Journal of Research in Personality, 46:6, pp. 775–79.
     [Google Scholar]
102. Willment, Nina. ( 2019;), ‘ Geographies of aesthetic labour and the creative work of grime DJs. ’, Geography Compass, 13:5, pp. 1–11.
     [Google Scholar]
103. Wilson, Lana. ( 2020), Miss Americana, USA:: Netflix;.
     [Google Scholar]
104. Zanoni, Patrizia,, Theolen, Annelies, and Ybema, Sierk. ( 2017;), ‘ Unveiling the subject behind diversity: Exploring the micro-politics of representation in ethnic minority creatives’ identity work. ’, Organization, 24:3, pp. 330–54.
     [Google Scholar]
105. Nairn, Angelique. ( 2022;), ‘ The me you see: The creative identity as constructed in music documentaries. ’, The Australasian Journal of Popular Culture, 11:1&2, pp. 9–26, https://doi.org/10.1386/ajpc_00048_1
     [Google Scholar]