This dissertation aims at gaining an understanding about the current conceptualization that the music industry has regarding music artists as brands, in order to bridge the gap between the consumer goods’ branding theory, the arts branding literature and the music business’ reality. Although the body of literature pertaining to arts marketing is vast (O’Reilly, 2011), the one related to arts branding is small. Moreover, when it comes to music artists branding, the academic works are even scarcer. A definition of music artists brands, and related constructs such as music artists brand identity, music artists image, music artists brand loyalty and brand equity have not yet been presented by the literature. Pervaded by Cultural branding principles and by adopting Grounded theory, this research conceptualizes music artists as brands through the perspectives of nine music industry’s professionals. Based on unstructured interviews conducted with these practitioners, the concept of music artists as brands is contextualized within the decline of record sales during the 2000s. Music artists brands are characterized as multidimensional constructs understood as systems of values and experiences that foreground their identity upon the artists’ songs and human essence. Moreover, music artists are brands that are constructed following a Brand-orientation approach (Urde, 1999) and for which, in response to the culture of contemporary society, the image is constituted solely on visual elements. Aligned with Cultural branding, music artists are conceptualized as entities, which are socially constructed and found their value upon their fans. This co-creation of the brand frames the music industry within a service-dominant logic (Vargo and Lusch, 2004) in which the delivery of experiences is fundamental (Iglesias et al, 2011). This research positions brand alliances between artists and commercial brands as an implicit element of the definition of music artists brands, their brand identity and brand equity. Furthermore, as an implied aspect of these constructs, co-branding alliances are placed as enhancers of the music industry’s short and long-term sustainability. Lastly, contrary to common statements found in the literature, a harmonious coexistence between art, brands, artists and commercialization is acknowledged by this dissertation.

This dissertation aims at gaining an understanding about the current conceptualization that the music industry has regarding music artists as brands, in order to bridge the gap between the consumer goods’ branding theory, the arts branding literature and the music business’ reality. Although the body of literature pertaining to arts marketing is vast (O’Reilly, 2011), the one related to arts branding is small. Moreover, when it comes to music artists branding, the academic works are even scarcer. A definition of music artists brands, and related constructs such as music artists brand identity, music artists image, music artists brand loyalty and brand equity have not yet been presented by the literature. Pervaded by Cultural branding principles and by adopting Grounded theory, this research conceptualizes music artists as brands through the perspectives of nine music industry’s professionals. Based on unstructured interviews conducted with these practitioners, the concept of music artists as brands is contextualized within the decline of record sales during the 2000s. Music artists brands are characterized as multidimensional constructs understood as systems of values and experiences that foreground their identity upon the artists’ songs and human essence. Moreover, music artists are brands that are constructed following a Brand-orientation approach (Urde, 1999) and for which, in response to the culture of contemporary society, the image is constituted solely on visual elements. Aligned with Cultural branding, music artists are conceptualized as entities, which are socially constructed and found their value upon their fans. This co-creation of the brand frames the music industry within a service-dominant logic (Vargo and Lusch, 2004) in which the delivery of experiences is fundamental (Iglesias et al, 2011). This research positions brand alliances between artists and commercial brands as an implicit element of the definition of music artists brands, their brand identity and brand equity. Furthermore, as an implied aspect of these constructs, co-branding alliances are placed as enhancers of the music industry’s short and long-term sustainability. Lastly, contrary to common statements found in the literature, a harmonious coexistence between art, brands, artists and commercialization is acknowledged by this dissertation.

En esta obra, que terminó un año antes de morir, Eduardo Galeano sale a cazar para mostrarnos –con crudeza, con humor, con ternura, el mundo en que vivimos. En este episodio recordamos a uno de los autores más importantes en América Latina.

En 1969, Vivian Gornick empezó a escribir sobre feminismo para el Village Voice. En "Mirarse de frente", su libro publicado en 2019 por la Editorial Sexto piso, Gornick escribe sobre sus impresiones del movimiento y la mayor enseñanza que dejó para el resto de su vida.

This dissertation aims at gaining an understanding about the current conceptualization that the music industry has regarding music artists as brands, in order to bridge the gap between the consumer goods’ branding theory, the arts branding literature and the music business’ reality. Although the body of literature pertaining to arts marketing is vast (O’Reilly, 2011), the one related to arts branding is small. Moreover, when it comes to music artists branding, the academic works are even scarcer. A definition of music artists brands, and related constructs such as music artists brand identity, music artists image, music artists brand loyalty and brand equity have not yet been presented by the literature. Pervaded by Cultural branding principles and by adopting Grounded theory, this research conceptualizes music artists as brands through the perspectives of nine music industry’s professionals. Based on unstructured interviews conducted with these practitioners, the concept of music artists as brands is contextualized within the decline of record sales during the 2000s. Music artists brands are characterized as multidimensional constructs understood as systems of values and experiences that foreground their identity upon the artists’ songs and human essence. Moreover, music artists are brands that are constructed following a Brand-orientation approach (Urde, 1999) and for which, in response to the culture of contemporary society, the image is constituted solely on visual elements. Aligned with Cultural branding, music artists are conceptualized as entities, which are socially constructed and found their value upon their fans. This co-creation of the brand frames the music industry within a service-dominant logic (Vargo and Lusch, 2004) in which the delivery of experiences is fundamental (Iglesias et al, 2011). This research positions brand alliances between artists and commercial brands as an implicit element of the definition of music artists brands, their brand identity and brand equity. Furthermore, as an implied aspect of these constructs, co-branding alliances are placed as enhancers of the music industry’s short and long-term sustainability. Lastly, contrary to common statements found in the literature, a harmonious coexistence between art, brands, artists and commercialization is acknowledged by this dissertation.

"Mi lucha" es una serie autobiográfica de seis novelas publicadas en la década de los 2000, escritas por el autor noruego Karl Ove Knausgård en la que el escritor ficciona su propia vida.

Esta novela está ambientada en los años 40, en medio de violencia, abandono y enfermedad, un grupo de mujeres se sobrepone a la vida en medio de la dificultad y gracias al arte. Sus batallas no son menores, de hecho, se convierten en su única salida de escape. Una vez afuera de la oscuridad y la ceguera, la pequeñez se convierte en recuerdo y el mundo se despliega ante sus ojos, a través del arte.

This dissertation aims at gaining an understanding about the current conceptualization that the music industry has regarding music artists as brands, in order to bridge the gap between the consumer goods’ branding theory, the arts branding literature and the music business’ reality. Although the body of literature pertaining to arts marketing is vast (O’Reilly, 2011), the one related to arts branding is small. Moreover, when it comes to music artists branding, the academic works are even scarcer. A definition of music artists brands, and related constructs such as music artists brand identity, music artists image, music artists brand loyalty and brand equity have not yet been presented by the literature. Pervaded by Cultural branding principles and by adopting Grounded theory, this research conceptualizes music artists as brands through the perspectives of nine music industry’s professionals. Based on unstructured interviews conducted with these practitioners, the concept of music artists as brands is contextualized within the decline of record sales during the 2000s. Music artists brands are characterized as multidimensional constructs understood as systems of values and experiences that foreground their identity upon the artists’ songs and human essence. Moreover, music artists are brands that are constructed following a Brand-orientation approach (Urde, 1999) and for which, in response to the culture of contemporary society, the image is constituted solely on visual elements. Aligned with Cultural branding, music artists are conceptualized as entities, which are socially constructed and found their value upon their fans. This co-creation of the brand frames the music industry within a service-dominant logic (Vargo and Lusch, 2004) in which the delivery of experiences is fundamental (Iglesias et al, 2011). This research positions brand alliances between artists and commercial brands as an implicit element of the definition of music artists brands, their brand identity and brand equity. Furthermore, as an implied aspect of these constructs, co-branding alliances are placed as enhancers of the music industry’s short and long-term sustainability. Lastly, contrary to common statements found in the literature, a harmonious coexistence between art, brands, artists and commercialization is acknowledged by this dissertation.

Los personajes de esta novela encarnan el costado más real - y a la vez imprevisible - de la compleja relación que tenemos con la tecnología, renovando la noción del voyeurismo y exponiendo al lector a los límites del prejuicio". ¿Quiénes somos delante la cámara? ¿cómo queremos ser vistos en la web? Descubran en "Kentukis", cómo los avatares de la red transitan con soltura los límites de muchas otras realidades humanas.

En esta nueva entrega recordamos dos textos de la pluma de Emilia Pardo Umaña, una mujer pionera en el periodismo colombiano, que hacen parte del libro "Crónicas de una mujer de 1.49", publicado por el Fondo de Cultura Económica.