In comparison to the heated debate over the origins of trust in political institutions, few studies have empirically examined the linkage between trust in political and nonpolitical institutions at the individual level. In this study, we utilize a two-step methodology to investigate attitudes toward the government in the broader context of attitudes toward related nonpolitical institutions in South Korea. Results from latent class analysis reveal that political trust is an integrated part of a more general set of attitudes toward social and economic institutions. In addition, results from multinomial logistic regression analysis corroborate past studies that found a positive relationship between perceptions of institutional performance and trust in institutions while partially supporting theories advocating the importance of interpersonal trust for institutional trust. This study points to the possibility of interpersonal trust ''spilling up'' to trust in institutions and the likelihood that trust in one institution ''spills over'' to trust in other related institutions.

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Prior research in organizations has shown that the spanning of distinct social categories usually leads to an unfavorable reaction from the audience. In the music field, however, a recombination of categories has long been celebrated as a major source of innovation. In this research, we conduct a systematical research on the effect of spanning behavior by musicians with a particular focus on the structural heterogeneity of categorical boundaries. We first ask whether the blending of distinct music genres is penalized in the music field, and then investigate how the outcomes of spanning behavior are differentiated by the structural characteristics of each genres. After collecting a comprehensive dataset of musicians in the United States from diverse sources including AllMusic, iTunes, and MusicBrainz, we construct a two-mode network of musicians and subgenres. In calculating musicians’ genre-spanning behavior, we suggest a new diversity metric by incorporating the affinity between genres. Our results suggest that genre-generalist musicians who combine distinct music genres are more likely to be devaluated by listeners compared to genre-specialists who adhere to a single genre. Moreover, we find that musicians tend to be more penalized when they blend genres that have nonporous boundaries rather than penetrable boundaries. This research expands our understanding of the conditions under which boundary crossing leads to negative audience evaluation.