The digitalization and emergence of the Internet have given rise to new platforms providing marketing, distribution and revenues to happen in the same place, a significant difference from the past. New platforms have become new places for artists to compete for, for instance, positions on toplists. This is the fundamental background to the occurrence of manipulated streams in the music industry. The purpose of this study has been to examine and create a deeper understanding of manipulated streams and its role in the music industry, from a marketing perspective. Thus, the study aims to provide knowledge on the meaning of having high streaming numbers, why streams are being manipulated and how they are used in marketing.  The empirical data is based on six interviews with people from different parts of the music business. The results indicate that manipulated streams affect expectations of the artist and provide an opportunity for the artist to stand out in today's information overload. The artists have gained more power and influence as they are now being compared with influencers, and can influence the way the audience listens to music. Moreover, the findings also indicate that actors and platforms of the music industry need adjustments to encounter the phenomenon of manipulated streams.  Lastly, we suggest that future research should focus on how to prevent the occurrence of manipulated streams, in addition to social media's effect on cognitive behaviours of the users in relation to high streaming numbers.

No one is perfect, and that includes the brands that we use. Therefore, there will inevitably come a time in a brand’s existence where a transgression occurs that will harm their relationships with its customers. The decision to forgive a brand after a transgression is a complex and individual process that evolves over time. With the rise of social media, the ease with which negative word-of-mouth can be spread is an increasing challenge for brands to manage. However, social media usage tends to differ between people from different generational belongings, or cohorts. As a testament to the fact that you are shaped by the time you grow up in, this paper analyzes how brand forgiveness differs between consumers from the generational cohorts of Generation X and Generation Z. Furthermore, it was investigated whether brand image is a decisive factor that affects the consumer’s willingness to forgive. This study suggests that a certain brand image implies increased expectations toward the brand, which affects the forgiveness process. The willingness to forgive does, however, differ depending on the generational cohort. In contrast to consumers from Generation Z, Generation X are more inclined to forgive a brand after a transgression.

Purpose: The aim of the study is to find out which factor of brand awareness, digital content marketing on social media and eWOM, has the greatest impact on a consumer's online purchase decision.  Methodology: A quantitative study that aims to create a basic understanding of which variable of brand awareness, social media content marketing and eWOM has the greatest impact on a consumer's purchase decision. Data was collected via online survey, with 319 responses, which are analyzed in order to draw a relevant conclusion.  Findings: Based on the collected survey data and previous studies, this study provides insights into the research question, “Which impacts consumers' online purchase decisions most: brand awareness, digital content marketing on social media, or eWOM?”. The findings suggest that brand awareness is perceived to have the most significant influence on respondents' online purchase decisions. However, it is important to note that further in-depth investigation is required to draw definitive conclusions and provide a comprehensive understanding of consumers' online purchase decisions. Therefore, the research question may remain partially unanswered, highlighting the need for future research in this area.  Research limitations: This study is geographically limited to consumers in Sweden and a survey is sent out to respondents of different ages via social media. / Syfte: Syftet med studien är att få svar på vilken variabel av varumärkeskännedom, digital innehållsmarknadsföring på sociala medier och eWOM som har störst påverkan på konsumentens köpbeslut online utifrån studiens insamlade data.  Metod: En kvantitativ studie som syftar till att skapa en grundläggande förståelse för vilken variabel av varumärkeskännedom, digital innehållsmarknadsföring på sociala medier och eWOM som har störst påverkan på en konsumentens köpbeslut. Data var insamlad via en online enkät, med 319 svar, som analyserades för att kunna dra en relevant slutsats.  Resultat: Baserat på den insamlade data från enkätundersökningen, samt tidigare teorier, ger denna studie en inblick i forskningsfrågan, “Vilket av varumärkeskännedom, digital innehållsmarknadsföring på sociala medier eller eWOM har störst påverkan på konsumenters köpbeslut online?”. Resultaten tyder på att varumärkeskännedom uppfattas ha störst inverkan på respondenternas köpbeslut online. Det är dock viktigt att notera att det krävs ytterligare djupgående undersökningar för att dra definitiva slutsatser och ge en omfattande förståelse för konsumenternas köpbeslut online. Därför kan forskningsfrågan förbli delvis obesvarad, vilket understryker behovet av framtida forskning inom detta område.  Avgränsningar: Denna studie är geografiskt avgränsad till konsumenter i Sverige och en enkät skickas ut till respondenter i olika åldrar via sociala medier.

This study examines the emotional experiences of 152 respondents visiting ‘light’, ‘lighter’, and ‘lightest’ dark tourism sites and the relationship those experiences have with positive word-of-mouth. Therefore, the theoretical contribution of this study fills in the research gap by focusing on the destinations on the ‘lighter’ periphery of Stone’s Dark Tourism Spectrum. The ‘lighter’ destinations which are more commercialized, education- or entertainment-based in nature. In contrast to the destinations on the ‘darker’ periphery of the Dark Tourism Spectrum which are commemorative and where death and tragedy actually occurred. Our results suggest that tourists experience a broad range of both positive and negative emotions when visiting these destinations. Specifically, emotions like Interest, Positive Surprise, Disgust, and Negative Surprise have been found to have a positive relationship with Positive Word-of-Mouth. The results also suggest the practical contribution of this study and confirm that the suppliers of ‘lighter’ destinations are properly managing the dark tourism sites which results in their visitors to spread positive word-of-mouth.

Football clubs have become more commercialized during the last decades and because of that their work with marketing and sponsorship has developed rapidly. Because of this, some football clubs, especially some women's football clubs, has had struggled with keeping up with the development. The purpose of this study is to review how women's football clubs and multi-section clubs (clubs with both women’s and men’s football teams) work with marketing, how they obtain sponsorships, and the differences, workwise, between these two types of organizations.The study is based on interviews with people from five different football clubs that play inOBOS Damallsvenskan, the top-tier division in Sweden. The interviews are focused on how the football clubs work with marketing and sponsorship but also the interviewee’s thoughts on how their organization stands out from other football clubs in OBOS Damallsvenskan.The result of the study shows that all football clubs work with the 7P marketing mix model,some clubs more than others. It also shows that all football clubs work with various ways of getting contracts with sponsors, thus all the football clubs work with sustainability to create interest from companies. Within different organizations, every woman’s football club believes that they must work harder than the multi-section clubs when it comes to gaining revenue, marketing, and reaching out to sponsors. The multi-section clubs confirm this. A difficulty within this matter is that studies have shown that football clubs develop rapidly both with marketing and sponsorship strategies, thus the geographical location must also be taken into consideration when one is trying to answer these questions accurately. A future study could include all the football clubs in OBOS Damallsvenskan or Elitettan. A study like that would answer the question more accurately since it would be based on answers from all the football clubs in the Swedens’ two top-tier divisions.

The study aims to analyze how user-generated content contributes to the representation ofcompanies in the context of digital trends. Digital marketing has become a norm forbusinesses in all fields and is a constantly changing phenomenon. Due to the overwhelminguse of influencer-marketing, trust in influencers has decreased. This has contributed to agrowing demand for authentic and relatable material on social platforms. Because of this,user-generated content is on the rise, especially on platforms like TikTok, which has becomean arena for digital marketing. This study examines how the brand Normal is portrayedthrough user-generated content through the TikTok-trend “Run, don’t walk to”. Normal is acompany that has become successful through user-generated content and electronic Word ofMouth (eWOM) on Tiktok, especially via the TikTok-trend “Run, don’t walk to”.We have used a qualitative multimodal analysis to study how the company Normal isportrayed in the trend “Run, don’t walk to”. The analysis examines several semioticresources: linguistic, auditory, visual and gestural and the interaction of the semioticresources. To understand the trend, the way users participate and interact is also studied. Wediscovered that Normal is portrayed in a positive way through user-generated content onTikTok. This is due to users' ambitious and authentic videos that load the brand withfavorable value and attributes. Users participate and interact primarily through archivingpurposes that include liking and archiving. Users' participation in the trend manifests itself ina similar way across all videos. The result is consistent with Dallas Smythe's theory ofaudience commodity, as users do not perceive the production of videos as a burden eventhough they contribute to the free marketing of the brand Normal. Users' participation in thetrend and the calls for consumption can be seen as a transaction and payment for an entry intothe consumer society.

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