This study examined how brokers on creative projects integrate the ideas of others. We use the term "nexus work" to refer to brokerage requiring synthesis or integration, rather than just communication or transference of ideas. With an ethnographic investigation of 23 independent music producers in the Nashville country music industry, we examined how producers in the brokerage role fostered the integration of others' contributions throughout four phases of the creative process. We discovered that ambiguity was an inherent part of the collective creative process and identifi ed three types: (1) an ambiguous quality metric (What makes a hit or constitutes success?);(2) ambiguous occupational jurisdictions (Whose claim of expertise entitles them to control the process?); and (3) an ambiguous transformation process (How should the work be done?). We show when each type of ambiguity became acute in the creative process and identify the practices producers used to leverage their brokerage role depending on the type of ambiguity confronted. In doing so, producers moved between two ideal conceptions of brokerage-as strategic actors extracting advantage from their position and as relational experts connecting others to foster creativity and innovation-to foster a collective creative outcome. •

The last two decades of research and policy discussion have illuminated important changes in both the opportunities and challenges facing artists and artistic workers as they pursue their careers and advance their artistry. The authors argue that artists need to be masters of navigating across historically disparate domains, for example, specialization and generalist skills, autonomy and social engagement, the economy's periphery and the core, precarious employment and self-directed entrepreneurialism, and large metro centers and regional art markets. In addition, artists both work beyond existing markets and create entirely new opportunities for themselves and others. As catalysts of change and innovation, artistic workers face special challenges managing ambiguity, developing and sustaining a creative identity, and forming community in the context of an individually based enterprise economy.

Analyses relying on two international surveys from over 100,000 men and women across 29 countries explore the relationship between maternal employment and adult daughters' and sons' employment and domestic outcomes. In the employment sphere, adult daughters, but not sons, of employed mothers are more likely to be employed and, if employed, are more likely to hold supervisory responsibility, work more hours and earn higher incomes than their peers whose mothers were not employed. In the domestic sphere, sons raised by employed mothers spend more time caring for family members and daughters spend less time on housework. Analyses provide evidence for two mechanisms: gender attitudes and social learning. Finally, findings show contextual influences at the family and societal levels: family-of-origin social class moderates effects of maternal employment and childhood exposure to female employment within society can substitute for the influence of maternal employment on daughters and reinforce its influence on sons.

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How does entrepreneurial leadership drive the process of forming and advancing opportunity? Drawing from an ethnographic field study of Nashville music producers, I develop a model of entrepreneurial leadership as creative brokering – the practices and process by which entrepreneurs lead and mobilize a complex network of actors in co‐creating and advancing opportunity. I find that entrepreneurial leaders encounter three tensions as they advance this process: 1) generating novel ideas and fitting them within the competitive landscape; 2) incubating opportunity and seizing the moment in the market; and 3) fostering experimentation and navigating hyper‐competition. I show when these tensions arise and identify six creative brokering practices through which leaders leverage their brokerage role to navigate these tensions in order to move opportunity forward. The paper offers a model of entrepreneurial leadership as creative brokering, extends extant creative brokering scholarship to consider more distal market actors, and shows how creative brokering and leadership towards creative outcomes involve iteratively stepping forward to infuse market perspective and exert control, and stepping back to let others shine and co‐create ideas.