“…Many articles have been written openly exploring the nature, scope and importance of the phenomenon of cultural omnivorousness (Warde and Gayo-Cal, 2009) introduced in the USA to emphasize that people of higher socioeconomic status are not in contradiction to participating in popular cultural activities, but rather that the symbolically meaningful boundaries between “elite” and “popular” activities can be crossed. Based on Peterson's work, scientists have determined musical taste (Sonnett, 2004; Chan and Goldthorpe, 2007; Garía-Álvarez et al , 2007; Sintas and Alvarez, 2004; Purhonen et al , 2010; Dyndahl et al , 2014; Vlegels and Lievens, 2017), literature taste (Van Eijck and Lievens, 2007; Sullivan and Katz-Gerro, 2007; Hedström and Ylikoski, 2010; Lizardo, 2014; Cutts and Widdop, 2017), stage arts (López-Sintas and Katz-Gerro, 2005; Warde et al , 2007), sports (Wilson, 2002; Widdop and Cutts, 2013; Gemar, 2019) and tourism (Lin et al , 2019; Duffy and Pang, 2020) within the perspective of cultural omnivorousness in different countries and different samples.…”