DOCSLIB.ORG

Heavy Metal Cover Songs –

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Heavy Metal Cover Songs – TAKEN TO THE EXTREME: HEAVY METAL COVER SONGS – THE IMPACT OF GENRE Ike Brunner A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August, 2006 Committee: Melissa M. Spirek, Ph.D., Advisor Jeremy Wallach, Ph.D., Graduate Faculty Representative Laura Lengel, Ph.D. John Warren, Ph.D. © 2006 Enter your First and Last Name All Rights Reserved iii ABSTRACT Melissa Spirek, Ph.D., Advisor Investigations of popular music forms that have been negatively portrayed in popular media, such as heavy metal and rap, have been largely limited to analyses of lyrics (e.g., Hansen & Hansen, 1991; St. Lawrence & Joyner, 1991; Ballard & Coates, 1995; Anderson, Carnagey, & Eubanks, 2003), even though evidence of the sound being more important than the words was demonstrated as far back as 1969 (Robinson & Hirsch). The present investigation was conducted in response to this void in the literature. To test the music, a two-part multimethodological study was employed, consisting of an experiment and surveys, to analyze how music genres are cognitively processed by listeners. The first study tested differences in people’s perceptions of different music genre labels and their impact on song lyrics. The second study tested differences in musical genres using pop original and heavy metal cover songs as stimuli. Data collection was gathered via questionnaires consisting of both open- and closed-ended items. When rigorously assessing people’s behaviors, perceptions, and self-reports identifying media consumption preferences, the investigation’s findings refute a direct effects approach to music listening and underscore the complexity of individual difference factors. Most notably, a distinction between the concepts of music and lyric was found, providing evidence that previous research in this area has not accounted for the complex nature of music consumption. Detailed results of hypotheses testing are provided and discussed in relation to previous research. Additionally, arguments are advanced for using more complex theoretical perspectives and data collection methods. Finally, the results of both studies provide directions for future research to explore. iv ACKNOWLEDGMENTS This dissertation could not have been completed without the funding provided by the project advisor, Dr. Melissa Spirek. My sincere appreciation to her for financial, scholarly and emotional support throughout the project, from initial development through final manuscript revisions. This investigation benefited immensely from her expertise in design and analysis. I would like to also express my gratitude to the other committee members – Drs. Wallach, Warren and Lengel – for their time, guidance and support throughout the process. Thanks to Dr. Gajjala for serving on the committee while in Bowling Green and providing comments and recommendations on drafts. Thanks to all for the hours you spent discussing this project with me and helping to formulate different strategies for thinking about the topic. Thanks to Rich Rowlands for discussing means of conducting the study and for support throughout my tenure as graduate student/assistant in the Office of Research Compliance. Thanks to Dr. Victoria Smith-Ekstrand and Michael Meredith for allowing me to recruit participants from their classes and adjusting their schedules to accommodate my study. Thanks to all who have spent countless hours discussing music, particularly heavy metal, in an effort to feed my curiosity and knowledge as to others’ perceptions of the culture: Michael McGill, Jason Schmitt, Nick Zoffel, Dr. Spirek, Dr. Wallach, Dr. Lengel, and Dr. Warren. My appreciation to the School of Communication Studies for providing the resources for conducting the study and additional assistance in that regard. Finally, thanks to my parents for the emotional and financial support during my time at BGSU, especially for seeing me through to the end of the dissertation process. Also, thanks to other family and close friends for reminding me how long the process was taking and urging me to finish. v TABLE OF CONTENTS INTRODUCTION ...........................................................................................................................1 CHAPTER I: LITERATURE REVIEW..........................................................................................9 Popular Press and Legal Cases ............................................................................................9 Theoretical Framework......................................................................................................16 Culture-Based Heavy Metal Research...............................................................................27 Experiment-Based Heavy Metal Research ........................................................................34 Cover Songs.......................................................................................................................42 Current Investigation .........................................................................................................44 CHAPTER II: METHOD ..............................................................................................................47 Study 1 ...............................................................................................................................47 Participants.............................................................................................................48 Demographics ................................................................................................48 Music Consumption.......................................................................................49 Materials ................................................................................................................51 Procedure ...............................................................................................................52 Study 2 ...............................................................................................................................52 Participants.............................................................................................................53 Demographics ................................................................................................53 Music Consumption.......................................................................................54 Materials ................................................................................................................55 Procedure ...............................................................................................................57 CHAPTER III: RESULTS.............................................................................................................59 vi Study 1 ...............................................................................................................................59 Study 2 ...............................................................................................................................87 CHAPTER IV: DISCUSSION ....................................................................................................102 Findings............................................................................................................................104 Investigation’s Contributions and Strengths....................................................................111 Investigation’s Challenges and Limitations.....................................................................114 Future Research Implications ..........................................................................................122 REFERENCES ............................................................................................................................125 APPENDIX A..............................................................................................................................139 APPENDIX B ..............................................................................................................................145 APPENDIX C ..............................................................................................................................149 APPENDIX D..............................................................................................................................158 APPENDIX E ..............................................................................................................................172 APPENDIX F...............................................................................................................................176 vii LIST OF TABLES Table Page 1 Survey Participants’ CD Ownership.......................................................................................50 2 Experiment Participants’ CD Ownership................................................................................56 3 Stimuli Effects for Hypothesis 1.............................................................................................66 4 Adolescent Listening for Hypothesis 1...................................................................................70 5 Listener Responses for Hypothesis 1......................................................................................71 6 Stimuli Effects for Hypothesis 2.............................................................................................77 7 Adolescent Listening
Load more

Recommended publications
  • Aretha Franklin's Gendered Re-Authoring of Otis Redding's
    Popular Music (2014) Volume 33/2. © Cambridge University Press 2014, pp. 185–207 doi:10.1017/S0261143014000270 ‘Find out what it means to me’: Aretha Franklin’s gendered re-authoring of Otis Redding’s ‘Respect’ VICTORIA MALAWEY Music Department, Macalester College, 1600 Grand Avenue, Saint Paul, MN 55105, USA E-mail: [email protected] Abstract In her re-authoring of Otis Redding’s ‘Respect’, Aretha Franklin’s seminal 1967 recording features striking changes to melodic content, vocal delivery, lyrics and form. Musical analysis and transcription reveal Franklin’s re-authoring techniques, which relate to rhetorical strategies of motivated rewriting, talking texts and call-and-response introduced by Henry Louis Gates, Jr. The extent of her re-authoring grants her status as owner of the song and results in a new sonic experience that can be clearly related to the cultural work the song has performed over the past 45 years. Multiple social movements claimed Franklin’s ‘Respect’ as their anthem, and her version more generally functioned as a song of empower- ment for those who have been marginalised, resulting in the song’s complex relationship with feminism. Franklin’s ‘Respect’ speaks dialogically with Redding’s version as an answer song that gives agency to a female perspective speaking within the language of soul music, which appealed to many audiences. Introduction Although Otis Redding wrote and recorded ‘Respect’ in 1965, Aretha Franklin stakes a claim of ownership by re-authoring the song in her famous 1967 recording. Her version features striking changes to the melodic content, vocal delivery, lyrics and form.
    [Show full text]
  • PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
    PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized.
    [Show full text]
  • Logging Songs of the Pacific Northwest: a Study of Three Contemporary Artists Leslie A
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 Logging Songs of the Pacific Northwest: A Study of Three Contemporary Artists Leslie A. Johnson Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC LOGGING SONGS OF THE PACIFIC NORTHWEST: A STUDY OF THREE CONTEMPORARY ARTISTS By LESLIE A. JOHNSON A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester, 2007 The members of the Committee approve the Thesis of Leslie A. Johnson defended on March 28, 2007. _____________________________ Charles E. Brewer Professor Directing Thesis _____________________________ Denise Von Glahn Committee Member ` _____________________________ Karyl Louwenaar-Lueck Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS I would like to thank those who have helped me with this manuscript and my academic career: my parents, grandparents, other family members and friends for their support; a handful of really good teachers from every educational and professional venture thus far, including my committee members at The Florida State University; a variety of resources for the project, including Dr. Jens Lund from Olympia, Washington; and the subjects themselves and their associates. iii TABLE OF CONTENTS ABSTRACT .................................................................................................................
    [Show full text]
  • TSJUDER and ABSU at the INFERNO FESTIVAL 2012!
    TSJUDER and ABSU at the INFERNO FESTIVAL 2012! The legendary pioneers of true Norwegian Black Metal TSJUDER and the American occult extreme metal band ABSU will hit the INFERNO stage in 2012! Together with AGALLOCH , ANAAL NATHRAKH , BORKANAGAR, ARCTURUS and WITCHERY the 2012 edition of the INFERNO METAL FESTIVAL will be even darker and more extreme than ever! THE INFERNO METAL FESTIVAL has become a true black Easter tradition for metal fans, bands and music industry from all over the world with nearly 50 concerts every year since the start back in 2001. The festival offers exclusive concerts in unique surroundings with some of the best extreme metal bands and experimental artists in the world, from the new and underground to the legendary giants. At INFERNO you meet up with fellow metalheads for four days of head banging, party, black-metal sightseeing and expos, horror films, art exhibitions and all the unholy treats your dark heart desires. THE INFERNO METAL FESTIVAL invites you all to the annual black Easter gathering of metal, gore and extreme in Oslo, Norway from April 4. -7.april 2011. - Four days and a hell of a lot of bands! TSJUDER: Tsjuder crawled up from beneath anno 1993. Their intention was to create the rawest form of Black Metal, and continue that for the lifetime of the band. The line-up has shifted through the years but the permanent line-up came with Anti- Christian joining original members Nag and Draugluin in 2000. The band is known worldwide for their uncompromising Black Metal. Inspired by bands like Celtic Frost, Darkthrone, Kreator and Sodom the main composers Nag and Draugluin developed TSJUDERs distinctive sound which made the band legendary.
    [Show full text]
  • Traditional Funk: an Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio
    University of Dayton eCommons Honors Theses University Honors Program 4-26-2020 Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Caleb G. Vanden Eynden University of Dayton Follow this and additional works at: https://ecommons.udayton.edu/uhp_theses eCommons Citation Vanden Eynden, Caleb G., "Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio" (2020). Honors Theses. 289. https://ecommons.udayton.edu/uhp_theses/289 This Honors Thesis is brought to you for free and open access by the University Honors Program at eCommons. It has been accepted for inclusion in Honors Theses by an authorized administrator of eCommons. For more information, please contact [email protected], [email protected]. Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Honors Thesis Caleb G. Vanden Eynden Department: Music Advisor: Samuel N. Dorf, Ph.D. April 2020 Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Honors Thesis Caleb G. Vanden Eynden Department: Music Advisor: Samuel N. Dorf, Ph.D. April 2020 Abstract Recognized nationally as the funk capital of the world, Dayton, Ohio takes credit for birthing important funk groups (i.e. Ohio Players, Zapp, Heatwave, and Lakeside) during the 1970s and 80s. Through a combination of ethnographic and archival research, this paper offers a pedagogical approach to Dayton funk, rooted in the styles and works of the city’s funk legacy. Drawing from fieldwork with Dayton funk musicians completed over the summer of 2019 and pedagogical theories of including black music in the school curriculum, this paper presents a pedagogical model for funk instruction that introduces the ingredients of funk (instrumentation, form, groove, and vocals) in order to enable secondary school music programs to create their own funk rooted in local history.
    [Show full text]
  • Karaoke Songs by Title
    Songs by Title Title Artist Title Artist #9 Dream Lennon, John 1985 Bowling For Soup (Day Oh) The Banana Belefonte, Harry 1994 Aldean, Jason Boat Song 1999 Prince (I Would Do) Anything Meat Loaf 19th Nervous Rolling Stones, The For Love Breakdown (Kissed You) Gloriana 2 Become 1 Jewel Goodnight 2 Become 1 Spice Girls (Meet) The Flintstones B52's, The 2 Become 1 Spice Girls, The (Reach Up For The) Duran Duran 2 Faced Louise Sunrise 2 For The Show Trooper (Sitting On The) Dock Redding, Otis 2 Hearts Minogue, Kylie Of The Bay 2 In The Morning New Kids On The (There's Gotta Be) Orrico, Stacie Block More To Life 2 Step Dj Unk (Your Love Has Lifted Shelton, Ricky Van Me) Higher And 20 Good Reasons Thirsty Merc Higher 2001 Space Odyssey Presley, Elvis 03 Bonnie & Clyde Jay-Z & Beyonce 21 Questions 50 Cent & Nate Dogg 03 Bonnie And Clyde Jay-Z & Beyonce 24 Jem (M-F Mix) 24 7 Edmonds, Kevon 1 Thing Amerie 24 Hours At A Time Tucker, Marshall, 1, 2, 3, 4 (I Love You) Plain White T's Band 1,000 Faces Montana, Randy 24's Richgirl & Bun B 10,000 Promises Backstreet Boys 25 Miles Starr, Edwin 100 Years Five For Fighting 25 Or 6 To 4 Chicago 100% Pure Love Crystal Waters 26 Cents Wilkinsons, The 10th Ave Freeze Out Springsteen, Bruce 26 Miles Four Preps, The 123 Estefan, Gloria 3 Spears, Britney 1-2-3 Berry, Len 3 Dressed Up As A 9 Trooper 1-2-3 Estefan, Gloria 3 Libras Perfect Circle, A 1234 Feist 300 Am Matchbox 20 1251 Strokes, The 37 Stitches Drowning Pool 13 Is Uninvited Morissette, Alanis 4 Minutes Avant 15 Minutes Atkins, Rodney 4 Minutes Madonna & Justin 15 Minutes Of Shame Cook, Kristy Lee Timberlake 16 @ War Karina 4 Minutes Madonna & Justin Timberlake & 16th Avenue Dalton, Lacy J.
    [Show full text]
  • Serra-Joan-Identification-Of-Versions
    Identification of Versions of the Same Musical Composition by Processing Audio Descriptions Joan Serrà Julià TESI DOCTORAL UPF / 2011 Director de la tesi: Dr. Xavier Serra i Casals Dept. of Information and Communication Technologies Universitat Pompeu Fabra, Barcelona, Spain Copyright c Joan Serrà Julià, 2011. Dissertation submitted to the Deptartment of Information and Communica- tion Technologies of Universitat Pompeu Fabra in partial fulfillment of the requirements for the degree of DOCTOR PER LA UNIVERSITAT POMPEU FABRA, with the mention of European Doctor. Music Technology Group (http://mtg.upf.edu), Dept. of Information and Communica- tion Technologies (http://www.upf.edu/dtic), Universitat Pompeu Fabra (http://www. upf.edu), Barcelona, Spain. Als meus avis. Acknowledgements I remember I was quite shocked when, one of the very first times I went to the MTG, Perfecto Herrera suggested that I work on the automatic identification of versions of musical pieces. I had played versions (both amateur and pro- fessionally) since I was 13 but, although being familiar with many MIR tasks, I had never thought of version identification before. Furthermore, how could they (the MTG people) know that I played song versions? I don’t think I had told them anything about this aspect... Before that meeting with Perfe, I had discussed a few research topics with Xavier Serra and, after he gave me feedback on a number of research proposals I had, I decided to submit one related to the exploitation of the temporal information of music descriptors for music similarity. Therefore, when Perfe suggested the topic of version identification I initially thought that such a suggestion was not related to my proposal at all.
    [Show full text]
  • Access the Best in Music. a Digital Version of Every Issue, Featuring: Cover Stories
    Bulletin YOUR DAILY ENTERTAINMENT NEWS UPDATE MAY 28, 2020 Page 1 of 29 INSIDE Sukhinder Singh Cassidy • ‘More Is More’: Exits StubHub Amid Why Hip-Hop Stars Have Adopted The Restructuring, Job Cuts Instant Deluxe Edition BY DAVE BROOKS • Coronavirus Tracing Apps Are Editors note: This story has been updated with new they are either part of the go-forward organization Being Tested Around information about employees who have been previously or that their role has been impacted,” a source at the the World, But furloughed, including news that some will return to the company tells Billboard. “Those who are part of the Will Concerts Get Onboard? organization on June 1. go-forward organization return on Monday, June 1.” Sukhinder Singh Cassidy is exiting StubHub, As for her exit, Singh Cassidy said that she had been • How Spotify telling Billboard she is leaving her post as president planning to step down following the Viagogo acquisi- Is Focused on after two years running the world’s largest ticket tion and conclusion of the interim regulatory period — Playlisting More resale marketplace and overseeing the sale of the even though the sale closed, the two companies must Emerging Acts During the Pandemic EBay-owned company to Viagogo for $4 billion. Jill continue to act independently until U.K. leaders give Krimmel, StubHub GM of North America, will fill the the green light to operate as a single entity. • Guy Oseary role of president on an interim basis until the merger “The company doesn’t need two CEOs at either Stepping Away From is given regulatory approval by the U.K.’s Competition combined company,” she said.
    [Show full text]
  • Songs by Title
    Karaoke Song Book Songs by Title Title Artist Title Artist #1 Nelly 18 And Life Skid Row #1 Crush Garbage 18 'til I Die Adams, Bryan #Dream Lennon, John 18 Yellow Roses Darin, Bobby (doo Wop) That Thing Parody 19 2000 Gorillaz (I Hate) Everything About You Three Days Grace 19 2000 Gorrilaz (I Would Do) Anything For Love Meatloaf 19 Somethin' Mark Wills (If You're Not In It For Love) I'm Outta Here Twain, Shania 19 Somethin' Wills, Mark (I'm Not Your) Steppin' Stone Monkees, The 19 SOMETHING WILLS,MARK (Now & Then) There's A Fool Such As I Presley, Elvis 192000 Gorillaz (Our Love) Don't Throw It All Away Andy Gibb 1969 Stegall, Keith (Sitting On The) Dock Of The Bay Redding, Otis 1979 Smashing Pumpkins (Theme From) The Monkees Monkees, The 1982 Randy Travis (you Drive Me) Crazy Britney Spears 1982 Travis, Randy (Your Love Has Lifted Me) Higher And Higher Coolidge, Rita 1985 BOWLING FOR SOUP 03 Bonnie & Clyde Jay Z & Beyonce 1985 Bowling For Soup 03 Bonnie & Clyde Jay Z & Beyonce Knowles 1985 BOWLING FOR SOUP '03 Bonnie & Clyde Jay Z & Beyonce Knowles 1985 Bowling For Soup 03 Bonnie And Clyde Jay Z & Beyonce 1999 Prince 1 2 3 Estefan, Gloria 1999 Prince & Revolution 1 Thing Amerie 1999 Wilkinsons, The 1, 2, 3, 4, Sumpin' New Coolio 19Th Nervous Breakdown Rolling Stones, The 1,2 STEP CIARA & M. ELLIOTT 2 Become 1 Jewel 10 Days Late Third Eye Blind 2 Become 1 Spice Girls 10 Min Sorry We've Stopped Taking Requests 2 Become 1 Spice Girls, The 10 Min The Karaoke Show Is Over 2 Become One SPICE GIRLS 10 Min Welcome To Karaoke Show 2 Faced Louise 10 Out Of 10 Louchie Lou 2 Find U Jewel 10 Rounds With Jose Cuervo Byrd, Tracy 2 For The Show Trooper 10 Seconds Down Sugar Ray 2 Legit 2 Quit Hammer, M.C.
    [Show full text]
  • Universal Music Group's Profit Margins Grew in 2020, Despite
    BILLBOARD COUNTRY UPDATE APRIL 13, 2020 | PAGE 4 OF 19 ON THE CHARTS JIM ASKER [email protected] Bulletin SamHunt’s Southside Rules Top Country YOURAlbu DAILYms; BrettENTERTAINMENT Young ‘Catc NEWSh UPDATE’-es Fifth AirplayMARCH 3, 2021 Page 1 of 31 Leader; Travis Denning Makes History INSIDE Universal Music Group’s Sam Hunt’s second studio full-length, and first in over five years, Southside sales (up 21%) in the tracking week. On Country Airplay, it hops 18-15 (11.9 mil- (MCA Nashville/Universal Music Group Nashville), debuts at No.Profit 1 on Billboard’s lion audienceMargins impressions, up 16%).Grew Top• Country TuneCore Albums Unveils chart dated April 18. In its first week (ending April 9), it earnedRewards 46,000 Program equivalent album units, including 16,000 in album sales, ac- TRY TO ‘CATCH’ UP WITH YOUNG Brett Youngachieves his fifth consecutive cordingas Indie to Nielsen Distributors Music/MRC Data. in 2020, Despiteand total Country Airplay No.Pandemic 1 as “Catch” (Big Machine Label Group) ascends SouthsideFend Off marks Major Hunt’s second No. 1 on the 2-1, increasing 13% to 36.6 million impressions. chartLabels: and fourth Exclusive top 10. It follows freshman LP BY ED CHRISTMAN Young’s first of six chart entries, “Sleep With- Montevallo, which arrived at the summit in No - out You,” reached No. 2 in December 2016. He • David Crosby Sells vember 2014 and reigned for nineEven weeks. in Toa nearly date, year-long economic downturn, the hit 1.487 billionfollowed euros with ($1.68 the multiweek billion), orNo. a 1s20% “In Casemargin.
    [Show full text]
  • Digital Entertainment Meets Social Media Paul Verna, Senior Analyst [email protected]
    June 2009 Digital Entertainment Meets Social Media Paul Verna, Senior Analyst [email protected] Executive Summary: Three pillars of the entertainment industry—music, movies and video games—are facing disruptive changes that are prompting them to explore opportunities in digital distribution, digital marketing and social media. 103969 Key eMarketer Numbers — Digital Entertainment The recorded music industry is the most beleaguered of all. Knocked off balance by the emergence of the MP3 in the late $4.56 billion US digital music spending in 2013, up from $3.00 billion in 2009 1990s, it has not recovered since. CD sales are plummeting and 82.6% US digital music spending as a percent of total US digital revenues are not picking up the slack.The industry faces recorded music spending in 2013, up from 41.0% in 2009 an uncertain future as it grasps at alternative business models. $5.52 billion Total US recorded music spending in 2013, down from $7.31 billion in 2009 The film business is facing problems of its own, but it is $2.65 billion US online advertising spending by MPAA-member fundamentally healthier.A period of sustained growth in film studios and their subsidiaries in 2013, up Hollywood’ s two core businesses—box-office receipts and from $1.24 billion in 2009 DVD sales/rentals—has stopped and new physical and digital 14.2% Percent of film studio advertising budgets spent online in 2013, up from 7.7% in 2009 formats have not taken a solid place in the revenue mix. $681 million US in-game advertising spending in 2013, up from $443 million in 2009 The video game industry has escaped much of this trouble.
    [Show full text]
  • A Dub Approach to Defining a Caribbean Literary Identity in the Contemporary Diaspora
    ABSTRACT Title of Document: ON THE B-SIDE: A DUB APPROACH TO DEFINING A CARIBBEAN LITERARY IDENTITY IN THE CONTEMPORARY DIASPORA Isis N. Semaj, Doctor of Philosophy, 2013 Directed by: Professor Merle Collins, Department of English Drawing from Jamaica’s socio-politically distinct dub musical genre, “On the B: Side” argues that the literary aesthetics of Caribbean migration and history can be analyzed according to a model of dub. As I define it, the dub aesthetic is marked by erasures, repairs, re-invention, and re-creation. It is thematically and formally captured in migration and represented in the experience of dislocation and home(lessness), memory and the layering of time, political silences and cultural amplification, and the distinct social climate associated with the 21st century push toward celebrating diasporic communities and marking progress through globalization. Given these contemporary circumstances, the Caribbean subject at home locally and at home in the diaspora necessarily demonstrates an acute investment in memory recall and a strong motivation toward building cultural posterity. This dissertation, therefore, explicates how the more recent literature reaches back in new ways that facilitate the survival of a uniquely Caribbean literary identity into the future. This dissertation analyzes works by Ramabai Espinet, Edwidge Danticat, and Anthony Winkler to highlight the ways in which relocation and dislocation intersect for the Caribbean subject. Additionally, I examine works by Marion Patrick Jones and Diana McCaulay, who represent another category of unbelonging and homelessness in the Caribbean that is read in the middle class’s exclusion from national and regional discourse on authenticity. Interrogating the space of Caribbean fiction, the dissertation moves through the deconstruction and reinvention of migration to arrive at the diasporic intersections of erasure, rupture, and repair.
    [Show full text]