Gender Branding and the Modern Music Industry 2nd edition by Kristin Lieb 9781138064157 1138064157
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ISBN 10:1138064157
ISBN 13:9781138064157
Author:Kristin Lieb
Gender, Branding, and the Modern Music Industry combines interview data with music industry professionals with theoretical frameworks from sociology, mass communication, and marketing to explain and explore the gender differences female artists experience. This book provides a rare lens on the rigid packaging process that transforms female artists of various genres into female pop stars. Stars—and the industry power brokers who make their fortunes—have learned to prioritize sexual attractiveness over talent as they fight a crowded field for movie deals, magazine covers, and fashion lines, let alone record deals. This focus on the female pop star’s body as her core asset has resigned many women to being “short term brands,” positioned to earn as much money as possible before burning out or aging ungracefully. This book, which includes interview data from music industry insiders, explores the sociological forces that drive women into these tired representations, and the ramifications for the greater social world.
Gender Branding and the Modern Music Industry 2nd Table of contents:
1 Critical Frameworks for Considering Pop Stars
The Cultural Diamond
Sociological approaches to cultural production
Communication theory and pop star brands
Popular culture studies
The branding process
Artist brands
Person brands
Brand strength and brand equity
Brand meaning
Brand meaning and resonance
Product symbolism and self-concept
Cultural resonance
Multivocality
Celebrity endorsers and celebrity firms
Notes
References
2 Female Popular Music Stars as Brands
Evolution and lifecycle of celebrity firms and person brands
Contemporary notions of brand
Theoretical gaps: Person brands and short-term brands
Behind the scenes: Managing short-term person brands
Principle 1: There are different brand types for female musicians, depending upon how well they sell and stream, how often they tour, how much they are able to extend their brands into other entertainment realms, and how long they stay visible.
Principle 2: Sales and streaming drive top-level success, but brand extensions and diversification complete the standard pop star portfolio
Brand extensions
Extending brands via licensing deals
Collaborations as extensions
Collaborations as extensions in rap
Unlikely extensions
One: What’s in a name: Keep it real or adopt a pseudonym?
Two: Suggest what your brand means, but seek your audience’s (receiver’s) contributions to make it complete, then control what you can
Three: Artist “accessibility” is important—but have some boundaries, some self-awareness, and some graciousness
Four: The truth is better than fiction
Five: You can’t control culture, so work with it to get what you want
Summary
Notes
References
3 The Modern Music Industry
Revenue generation
Touring, music festivals, and Vegas residencies
Sponsorship, licensing, and endorsements
Celebrity endorsements and brand integrations
Labels
Social media
Independent labels
Radio
Retail
Gatekeeping
Navigating the deal-making process
Major labels and the blockbuster model
Summary
Notes
References
4 The Lifecycle for Female Popular Music Stars
Gender differences
The good girl
Good girls growing up
Good girls in a group
The bad girl
The temptress
Summary
Notes
References
5 The Lifecycle Model Part II
A change of focus
The diva
The exotic
The provocateur
The whore
The hot mess
Notes
References
6 The Lifecycle Model Part III
The survivor
Gay icon or in self-imposed exile
The gay icon
Self-imposed exile/protected status
Comeback queens and legends
The comeback/redemption
The legend
Summary
Notes
References
7 Theoretical Foundations for the Lifecycle Model
Popularity
Sexual scripting
Doing gender and gender performance
The male gaze
Face-ism and facial prominence
Hegemony and ISAs
Pop stars and fauxmosexuality
Bisexuality
The post-modern gaze?
Feminine types in music videos
Everyday pornography/The pornography of everyday life
Objectification theory
Production and consumption of popular culture
Feminist geography and gendered space
Summary
Notes
References
8 Intersectionality, Cultural Appropriation, and Gender-Based Harassment and Violence
Intersectionality
Cultural appropriation
Historical context
Elvis Presley and cultural appropriation
Cultural appreciation
Miley Cyrus and cultural appropriation
Robin Thicke and cultural appropriation
Miley Cyrus and intersectionality
Katy Perry and cultural appropriation
Negotiating cultural appropriation
Appropriation, power, and privilege
Sexual harassment
Sexual assault, aggravated assault, and domestic partner abuse
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