DOCSLIB.ORG

Ghostface Killah More Fish Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ghostface Killah More Fish Mp3, Flac, Wma Ghostface Killah More Fish mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: More Fish Country: Japan Released: 2006 MP3 version RAR size: 1146 mb FLAC version RAR size: 1725 mb WMA version RAR size: 1788 mb Rating: 4.5 Votes: 833 Other Formats: MIDI DXD ADX MP4 XM WMA VOX Tracklist Hide Credits Ghost Is Back 1 –Ghostface Killah Mixed By – Jason GoldsteinProducer – Ghostface*, J-LoveScratches – DJ FinesseVocals [Additional] – Tristan WildsWritten-By – J. Elias* Miguel Sanchez 2 –Ghostface Killah Featuring – Sun God Written-By – D. Ames* Guns N' Razors 3 –Ghostface Killah Featuring – Cappadonna, Killa SinProducer – Metal Fingerz DOOM*Written-By – D. Dumile*, D. Hill*, J. Grant* Outta Town Sh*t 4 –Ghostface Killah Producer – Lewis ParkerVocals [Additional] – "Big O" Caruso*Written-By – L. Parker* Good Featuring – Mr. MaygreenMixed By – Jason GoldsteinProducer – Koolade, 5 –Ghostface Killah Ronald “P-Nut” Frost*Vocals [Additional] – Trife Da God*Written-By – M. Sasek*, R. Frost* Street Opera 6 –Ghostface Killah Featuring – Sun God Block Rock 7 –Ghostface Killah Producer – MadlibWritten-By – O. Jackson* Miss Info Celebrity Drama (Skit) 8 –Ghostface Killah Vocals – Miss InfoVoice [Voiceover] – Eric Edwards –Shawn Wigs & Pokerface 9 Ghostface* Producer, Written-By – K. Flack* Greedy Bi*ches 10 –Ghostface Killah Featuring – Redman, Shawn WigsVocals [Skit] – Tracy MorganWritten-By – R. Noble* Josephine Drums – Big D Drums [Additional] – Eric "E Dub" IsaacsFeaturing – The Willie Cottrell BandGuitar – Larry CottrellKeyboards [Keys] – Carolyn 11 –Ghostface Killah (momdukes) Isaacs*Mixed By – Chach*Mixed By, Producer, Recorded By – Hi-TekVocals – Billie Cottrell, Michelle Cohen, Willie CottrellWritten-By – T. Cottrell*, W. Cottrell* Grew Up Hard 12 –Trife Da God* Featuring – Solomon Childs Blue Armor 13 –Ghostface Killah Featuring – Sheek LouchVocals [Additional] – Jamie SethWritten-By – S. Jacobs* You Know I'm No Good Baritone Saxophone – Ian Hendrickson-SmithBass Guitar – Nick MovshonDrums – Homer SteinweissEngineer [Assistant] – Jesse Gladston*, –Ghostface* & Amy Mike MakowskiGuitar – Binky Griptite, Thomas BernneckMixed By – Tom 14 Winehouse ElmhirstMixed By [Assistant] – Matt PaulPiano [Wurlitzer] – Victor AxelrodProducer, Recorded By – Mark RonsonRecorded By – Vaughan MerrickTenor Saxophone – Neal SugarmanTrumpet – Dave GuyWritten-By – A. Winehouse*, M. Ronson* Alex (Stolen Script) 15 –Ghostface Killah Producer – Metal Fingerz DOOM*Written-By – D. Dumile* Gotta Hold On 16 –Shawn Wigs Featuring – EamonWritten-By – E. Doyle* *Bonus Track - Back Like That (Remix) 17 –Ghostface Killah Featuring – Kanye West, Ne-YoMixed By – Nico*Producer – Xtreme Recorded By – Michael TocciWritten-By – K. West*, S. Smith*, V. Brown Credits A&R [A&R Direction] – Dennis Coles, Ghostface Killah, Mike Caruso A&R [Administration] – Javon Greene, Terese Joseph A&R [For Starks Enterprises] – Jonathan Kaslow, Patrick "Plain Pat" Reynolds* A&R [Island Def Jam] – Lenny S.* A&R [Operations] – Leesa D. Brunson Art Direction – Dawud West, Ghostface* Coordinator [Photography And Art Coordination] – Tai Linzie Creative Director [Creative Direction] – Grace Miguel Design, Artwork [Ghostface Killah Logo] – Dawud West Engineer [Assistant Mix Engineer] – Christian Baker (tracks: 1 to 13, 15, 16) Executive-Producer – Dennis Coles, Ghostface Killah, Mike Caruso , The Carter Administration Executive-Producer [Co-executive] – Scutch Robinson* Featuring – Trife Da God* (tracks: 2, 3, 5, 11) Management – Mike Caruso Mastered By – Tony Dawsey Mixed By – Anthony “Acid” Caputo* (tracks: 2 to 4, 6 to 13, 15 to 17) Mixed By [Co-mixer] – Lucas McClellan (tracks: 2 to 4, 6 to 16) Photography By – Scott Schafer* Producer – Anthony Acid (tracks: 10, 12, 16), Fantom Of The Beat* (tracks: 2, 6, 13) Recorded By – Anthony “Acid” Caputo* (tracks: 1 to 13, 15 to 17) Written-By – A. Caputo* (tracks: 10, 12, 16), C. Evans* (tracks: 2, 6, 13), D. Coles* (tracks: 1 to 7, 9 to 17), M. Evans (tracks: 2, 6, 13), T. Bailey* (tracks: 2, 3, 5, 11, 12) Notes JAPAN ORIGINAL Dennis Coles a.k.a. Ghostface Killah Other versions Category Artist Title (Format) Label Category Country Year Ghostface More Fish (CD, Def Jam B0008165-02 B0008165-02 US 2006 Killah Album) Recordings Ghostface More Fish (2xLP, Def Jam B0008165-01 B0008165-01 US 2006 Killah Album) Recordings Ghostface More Fish (CD, Def Jam B0008165-02 B0008165-02 US 2006 Killah Album, Promo) Recordings Ghostface More Fish (2xLP, Def Jam B0024381-01 B0024381-01 US 2016 Killah Album, RE) Recordings Ghostface More Fish (CD, Universal Music 171 694-3 171 694-3 Australia 2007 Killah Album) Australia Related Music albums to More Fish by Ghostface Killah Wigs - The 45 King Ghostface Killah - 36 Seasons Ghostface Killah - Shaolin's Finest Ghostface Killah - Cobra Clutch Ghostface Killah Featuring Ne-Yo - Back Like That Ghostface Killah & Doom - Chinatown Wars Ghostface Killah - Bulletproof Wallets Ghostface Killah - Cherchez LaGhost.
Load more

Recommended publications
  • B S E R V E R the Independent Newspaper Serving Notre Dame and Saint Mary’S
    One of our own Another tragedy in Littleton Scene reviews current St. Edward's Hall Two Columbine students are found dead in a Tuesday assistant rector Erik Goldschmidt local resturant and authories are looking new musical project. for answers. FEBRUARY 15, Scene ♦ page 13 News* page 7 2 0 0 0 O b s e r v e r The Independent Newspaper Serving Notre Dame and Saint Mary’s VOL XXXIII NO. 83 h t t p ://OBSERVER.ND.EDU Despite antics, election ends in run-off of favorites By TIM LOGAN News Editor Despite Darths, a “death” and the debate that many called a debacle, when all the votes were counted Monday evening, it was the two favorites who were left standing in the student body presidential race. Keough Hall senator Brian O’Donoghue and sophomore class vice president Brooke Norton will face Hunt Hanover and junior class presi­ dent John Micek in the run-off elections Thursday. O’Donoghue/Norton received 43 percent of the 3,818 votes cast. Ilanover/Micek garnered 34 percent. John Osborn and Mark Donahey, the Board of Trustees report chairs for student government, finished a distant third with 6.7 percent. The two tickets still alive from the original field of 10 promised to campaign diligently in the next three days. The Run-off “We’re going to keep ♦ What: final elec­ going,” O’Donoghue said. tion for student “We’re going to get our word out to the students body president and and we're going to keep vice president on pushing.” Micek had similar plans ♦ When: Thursday, for his campaign.
    [Show full text]
  • Journal of Hip Hop Studies
    et al.: Journal of Hip Hop Studies June 2016 Published by VCU Scholars Compass, 2016 1 Journal of Hip Hop Studies, Vol. 3 [2016], Iss. 1, Art. 1 Editor in Chief: Daniel White Hodge, North Park University Senior Editorial Advisory Board: Anthony Pinn, Rice University James Paterson, Lehigh University Book Review Editor: Gabriel B. Tait, Arkansas State University Associate Editors: Cassandra Chaney, Louisiana State University Jeffrey L. Coleman, St. Mary’s College of Maryland Monica Miller, Lehigh University Associate & Copy Editor: Travis Harris, PhD Student, College of William and Mary Editorial Board: Dr. Rachelle Ankney, North Park University Dr. Jason J. Campbell, Nova Southeastern University Dr. Jim Dekker, Cornerstone University Ms. Martha Diaz, New York University Mr. Earle Fisher, Rhodes College/Abyssinian Baptist Church, United States Dr. Daymond Glenn, Warner Pacific College Dr. Deshonna Collier-Goubil, Biola University Dr. Kamasi Hill, Interdenominational Theological Center Dr. Andre E. Johnson, University of Memphis Dr. David Leonard, Washington State University Dr. Terry Lindsay, North Park University Ms. Velda Love, North Park University Dr. Anthony J. Nocella II, Hamline University Dr. Priya Parmar, SUNY Brooklyn, New York Dr. Soong-Chan Rah, North Park University Dr. Rupert Simms, North Park University Dr. Darron Smith, University of Tennessee Health Science Center Dr. Jules Thompson, University Minnesota, Twin Cities Dr. Mary Trujillo, North Park University Dr. Edgar Tyson, Fordham University Dr. Ebony A. Utley, California State University Long Beach, United States Dr. Don C. Sawyer III, Quinnipiac University https://scholarscompass.vcu.edu/jhhs/vol3/iss1/1 2 et al.: Journal of Hip Hop Studies . Sponsored By: North Park Universities Center for Youth Ministry Studies (http://www.northpark.edu/Centers/Center-for-Youth-Ministry-Studies) Save The Kids Foundation (http://savethekidsgroup.org/) Published by VCU Scholars Compass, 2016 3 Journal of Hip Hop Studies, Vol.
    [Show full text]
  • Rock Album Discography Last Up-Date: September 27Th, 2021
    Rock Album Discography Last up-date: September 27th, 2021 Rock Album Discography “Music was my first love, and it will be my last” was the first line of the virteous song “Music” on the album “Rebel”, which was produced by Alan Parson, sung by John Miles, and released I n 1976. From my point of view, there is no other citation, which more properly expresses the emotional impact of music to human beings. People come and go, but music remains forever, since acoustic waves are not bound to matter like monuments, paintings, or sculptures. In contrast, music as sound in general is transmitted by matter vibrations and can be reproduced independent of space and time. In this way, music is able to connect humans from the earliest high cultures to people of our present societies all over the world. Music is indeed a universal language and likely not restricted to our planetary society. The importance of music to the human society is also underlined by the Voyager mission: Both Voyager spacecrafts, which were launched at August 20th and September 05th, 1977, are bound for the stars, now, after their visits to the outer planets of our solar system (mission status: https://voyager.jpl.nasa.gov/mission/status/). They carry a gold- plated copper phonograph record, which comprises 90 minutes of music selected from all cultures next to sounds, spoken messages, and images from our planet Earth. There is rather little hope that any extraterrestrial form of life will ever come along the Voyager spacecrafts. But if this is yet going to happen they are likely able to understand the sound of music from these records at least.
    [Show full text]
  • “My Logo Is Branded on Your Skin”: the Wu-Tang Clan, Authenticity, Black Masculinity, and the Rap Music Industry
    “MY LOGO IS BRANDED ON YOUR SKIN”: THE WU-TANG CLAN, AUTHENTICITY, BLACK MASCULINITY, AND THE RAP MUSIC INDUSTRY By Ryan Alexander Huey A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of History – Master of Arts 2014 ABSTRACT “MY LOGO IS BRANDED ON YOUR SKIN”: THE WU-TANG CLAN, AUTHENTICITY, BLACK MASCULINITY, AND THE RAP MUSIC INDUSTRY By Ryan Alexander Huey The rap group, the Wu-Tang Clan came out of a turbulent period of time in both the rap music industry and American society in the early 1990s. Lawsuits over sampling in rap music forced producers to rethink the ways they made music while crack cocaine and the War on Drugs wreaked havoc in urban communities across the nation, as it did in the Clan’s home borough of Staten Island, New York. Before the formation of the group, Gary “GZA” Grice, had managed to land a recording contract as a solo artist, but his marketing was mismanaged and his career stagnated. He returned in 1992 as one of the nine member collective, who billed themselves as kung fu movie buffs melding low-fi, eerie productions with realistic raps about ghetto life. Drawing from the vibrant underground rap scene of New York City in the 1970s and 1980s, Brooklyn’s rich African American chess tradition, the teachings of the Five Percenters, and the cult following for Hong Kong action cinema, the Clan became a huge hit across the country. Each member fashioned a unique masculine identity for himself, bolstering their hardcore underground image while pushing the boundaries of acceptable expressions of manhood in rap music.
    [Show full text]
  • Rotunda Library, Special Collections, and Archives
    Longwood University Digital Commons @ Longwood University Rotunda Library, Special Collections, and Archives 2-11-2015 Rotunda - Vol 93, No 16 - Feb 11, 2015 Longwood University Follow this and additional works at: http://digitalcommons.longwood.edu/rotunda Recommended Citation Longwood University, "Rotunda - Vol 93, No 16 - Feb 11, 2015" (2015). Rotunda. Paper 2137. http://digitalcommons.longwood.edu/rotunda/2137 This Article is brought to you for free and open access by the Library, Special Collections, and Archives at Digital Commons @ Longwood University. It has been accepted for inclusion in Rotunda by an authorized administrator of Digital Commons @ Longwood University. For more information, please contact [email protected]. LONGWOOD UNIVERSITY The Rotunda Wednesday, February 11, 2015 Searching through our archives since 1920 Mural Plan Alpha Beta Psi #20BeautifulWomen No Money, No Problem BY BEN BLUMENTHAL BY STEPHANIE MENDOZA BY NATALIE JOSEPH BY HALLE PARKER Ideas for campus construction ABY welcomes seven women in A hashtag takes over instagram Coaches and players break sites for graduation their second walk with a positive message down the role of a walk-on PAGE 4 PAGE 3 PAGE 16 PAGE 13 Newest exhibition opens at LCVA Students and members of the community came out to get the first glances of Artificial/Life. PAGE 10 PHOTOS BY PHOTO EDITOR CARSON REEHER LU shopping to outsource health center BY TRAVIS LYLES NEWS EDITOR If the deal ends up being successful, it would consist of a three-year initial contract, with seven successive, one-year contract options, starting next school year. Longwood officials say that within the next week they could finalize a deal At the end of the 2013-14 academic year, the health center lost three of its six- commissioning the university’s Health Center to an outside party.
    [Show full text]
  • Brent Kolatalo Music Credits
    MUSIC CREDITS ! " AWARD ARTIST ALBUM SONG ROLE LABEL #1 Album, Additional To Pimp a Platinum, Kendrick Lamar "The Blacker the Berry the Sweeter the Juice" Production, Top Dawg Ent. Butterfly Grammy Writer #1 Album, 11x Uptown Platinum Single, Mark Ronson ft. "Uptown Funk" Percussion Sony Special Grammy Bruno Mars #1 Album, 2x If You're Platinum, Drake Reading This "6 God" Music Cash Money Grammy it's too Late #1 Album, 2x Unorthodox Atlantic Bruno Mars “Young Girls” Big Drums Platinum Jukebox Records #1 Album, My Beautiful “Gorgeous”,”Power”,”All Of The Lights”, Drum Platinum, Kanye West Dark Twisted “Lost in the World”,”Who Will Survive in Programming, Rocafella Grammy Fantasy America” Keys Red Bull Single "Borderline" Mix Gallant Sound #1 Album, 4x MMLP2 “Don’t Front” Producer Shady Platinum Eminem Deluxe Edition Drum #1 Album, Polydor Lana Del Rey Born To Die “Born To Die”, “Diet Mountain Dew” Programming, Platinum Records Musician Additional Production, Interscope #1 iTunes Oh My My "All These Things" One Republic Drums, Keys, Records Guitars "One Night, "Worth It", "Nothing At All", "Wild #1 iTunes Timeflies One Night EP Mix Def Jam Ones" #1 Album, Magna Carter Sample “Some where In America” Roc Nation Platinum Jay-Z Holy Grail Recreation #1 Album, Platinum, Drake Take Care “Lord Knows” Musician Young Money Grammy Drum Interscope #1 Lady Gaga Joanne "Come to Mama" Programming, Records Engineer Atlantic E.P. All songs Producer, Mix Skrizzly Adams Records WWW.BRENTK.COM 1 MUSIC CREDITS ! " AWARD ARTIST ALBUM SONG ROLE LABEL #1 Album,
    [Show full text]
  • Roots of Techno: Black Djs and the Detroit Scene
    ARCHIVES OF AFRICAN AMERICAN MUSIC AND CULTURE liner notes NO. 12 / WINTER 2007 Roots of Techno: Black DJs and the Detroit Scene aaamc 07-08.indd 1 12/11/07 4:01:21 PM aaamc mission: From the Desk of the Director The AAAMC is devoted to the collection, preservation, and With this issue of Liner Notes, the “modular” traveling exhibits that dissemination of materials for AAAMC is pleased to introduce a focus on various genres and themes the purpose of research and new publication format and layout, in African American music. Drawing study of African American content from the AAAMC’s signature music and culture. which we hope will be more reader- collections, the exhibits will feature www.indiana.edu/~aaamc and library-friendly and allow us topics as diverse as the Rhythm & to more easily phase in new types of Blues era (1945-1965), music of the content. We welcome your feedback Civil Rights and Black Power eras, Table of Contents about this change! Comments can exploration of rap and hip-hop be sent to [email protected]. culture, funk as a philosophy and From the Desk of musical style, and the little-known the Director ......................................2 Over the past year, the AAAMC roles of black pioneers in genres such developed some exciting new In the Vault .........................................4 as rock and techno. These exhibits are initiatives and continued to implement funded by a grant from IU’s Office of AMGP Series Book Release ...4 projects that are part of our five-year the Vice Provost for Research under plan.
    [Show full text]
  • Montana Kaimin, February 25, 2015 Students of the University of Montana, Missoula
    University of Montana ScholarWorks at University of Montana Associated Students of the University of Montana Montana Kaimin, 1898-present (ASUM) 2-25-2015 Montana Kaimin, February 25, 2015 Students of the University of Montana, Missoula Let us know how access to this document benefits ouy . Follow this and additional works at: https://scholarworks.umt.edu/studentnewspaper Recommended Citation Students of the University of Montana, Missoula, "Montana Kaimin, February 25, 2015" (2015). Montana Kaimin, 1898-present. 5786. https://scholarworks.umt.edu/studentnewspaper/5786 This Newspaper is brought to you for free and open access by the Associated Students of the University of Montana (ASUM) at ScholarWorks at University of Montana. It has been accepted for inclusion in Montana Kaimin, 1898-present by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. GHOSTFACE KILLAH’S SOUR SOUL LEAVES SOUR TASTE page 5 MK Wednesday, February 25, 2015 montanakaimin www.montanakaimin.com FUNGUS AMONG US A couple’s crusade against cancer Charlie Ebbers live in such harsh conditions. to UM in January through Bra- SOUND OFF Montana Kaimin Swirling a dark, viscous liq- zil’s “Science Without Borders” uid around a medium-sized program. De Santana studies Professors researching at the cylinder, Andrea explains, technology and chemical pro- University of Montana have “This compound could make cesses in Brazil. Since she’s turned to the Berkeley Pit’s a great source for a potential been in Montana, she has been fungi as a potential building drug type of compound.” extracting small water samples block in the cure for cancer.
    [Show full text]
  • May Oxford’S Music Magazine 2016
    [email protected] @NightshiftMag NightshiftMag nightshiftmag.co.uk Free every month NIGHTSHIFT Issue 250 May Oxford’s Music Magazine 2016 20 acts - five venues - one night PUNT 2016th The best new music in Oxford - May 11 Four-page Punt pullout preview inside also in this issue: COMMON PEOPLE previewed Introducing LEADER plus All your local music news, reviews and previews WIN CORNBURY FESTIVAL TICKETS! NIGHTSHIFT: PO Box 312, Kidlington, OX5 1ZU. Phone: 01865 372255 NEWS Nightshift: PO Box 312, Kidlington, OX5 1ZU Phone: 01865 372255 email: [email protected] Online: nightshiftmag.co.uk LITTLE BROTHER ELI launch their debut album with a show in June. The band, who play at Common People Festival this month, will release `Cold Tales’ on Friday 24th June before playing a JURASSIC 5, KODALINE AND MYSTERY JETS are among 50 headline show at The Bullingdon new acts to be added to the line-up for this summer’s Truck Festival. on Saturday 25th. They will be The list of new acts, announced at the end of March, also includes supported by Neverlnd. Tickets, SOAK, Blossoms, Swim Deep, Neck Deep, Coasts, Norman Jay, priced £8, are on sale now at Clean Cut Kid, Spring King, Eliza and the Bear, Black Honey, SUPERNORMAL FESTIVAL wegottickets.com. Public Access TV and Nightshift faves Pumarosa. has announced the first batch of They, and many others besides, including local acts Cassels and The names of acts playing this year’s PEERLESS PIRATES launch Dreaming Spires, join already announced headliners Manic Street event. An extensive A-Z of acts their debut album with their Preachers, Catfish & the Bottlemen and Everything Everything, confirmed includes Apostille; biggest hometown show to date plus Circa Waves, Jack Savoretti, Young Fathers, Rat Boy and We Asig Nargik; Bas Jan; Big Joanie next month.
    [Show full text]
  • SHOW and PROVE: the CINEMATIC AESTHETICS of HIP-HOP by DAVID SHANE GILLEY Bachelor of Arts in English University of Oklahoma No
    SHOW AND PROVE: THE CINEMATIC AESTHETICS OF HIP-HOP By DAVID SHANE GILLEY Bachelor of Arts in English University of Oklahoma Norman, OK 1997 Master of Arts in English University of Central Oklahoma Edmond, OK 2001 Master of Library and Information Science University of Oklahoma Norman, OK 2018 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY December 2019 SHOW AND PROVE: THE CINEMATIC AESTHETICS OF HIP-HOP Dissertation Approved: Stacy Takacs Dissertation Adviser Graig Uhlin Jeff Menne John Kinder ii Acknowledgements reflect views of the author and are not endorsed by the committee members or Oklahoma State University. ACKNOWLEDGEMENTS I would like to first thank my fellow grad students on my first go-round at OSU, especially Scott Krzych, Lyn Megow, Kim Tolson, and Debbie Olson. They all were good friends and comrades in the trenches of grad school. A huge thank you goes to the faculty at OSU in the English Department who were so instrumental in my education. Rich Frohock, Ron Brooks, Hugh Manon, Peter Rollins, and Melissa Ianetta all come to mind as being patient and helpful as I made my way. I owe a debt of gratitude to the OSU Graduate College and their willingness to work out my leave of absence. They were always so patient with my questions; if they did not have the answer, they always found one. Thank you also to the current English Department and its Graduate Coordinator Katherine Hallemeier, who was always helpful in my return to the department.
    [Show full text]
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title Derivative Media: The Financialization of Film, Television, and Popular Music, 2004-2016 Permalink https://escholarship.org/uc/item/69w0v6n3 Author Dewaard, Andrew Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Derivative Media: The Financialization of Film, Television, and Popular Music, 2004-2016 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Film and Television by Andrew Michael deWaard 2017 © Copyright by Andrew Michael deWaard 2017 ABSTRACT OF THE DISSERTATION Derivative Media: The Financialization of Film, Television, and Popular Music, 2004-2016 by Andrew Michael deWaard Doctor of Philosophy in Film and Television University of California, Los Angeles, 2017 Professor John T. Caldwell, Chair This dissertation traces the entrance of the financial industries – particularly private equity firms, corporate venture capital, and institutional investors – along with their corresponding financial logic and labor, into the film, television, and music industries from 2004-2016. Financialization – the growing influence of financial markets and instruments – is premised on highly-leveraged debt, labor efficiencies, and short-term profits; this project argues that it is transforming cultural production into a highly consolidated industry with rising inequality, further decreasing the diversity and heterogeneity
    [Show full text]
  • UNIVERSITY of CALIFORNIA Los Angeles Derivative Media: The
    UNIVERSITY OF CALIFORNIA Los Angeles Derivative Media: The Financialization of Film, Television, and Popular Music, 2004-2016 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Film and Television by Andrew Michael deWaard 2017 © Copyright by Andrew Michael deWaard 2017 ABSTRACT OF THE DISSERTATION Derivative Media: The Financialization of Film, Television, and Popular Music, 2004-2016 by Andrew Michael deWaard Doctor of Philosophy in Film and Television University of California, Los Angeles, 2017 Professor John T. Caldwell, Chair This dissertation traces the entrance of the financial industries – particularly private equity firms, corporate venture capital, and institutional investors – along with their corresponding financial logic and labor, into the film, television, and music industries from 2004-2016. Financialization – the growing influence of financial markets and instruments – is premised on highly-leveraged debt, labor efficiencies, and short-term profits; this project argues that it is transforming cultural production into a highly consolidated industry with rising inequality, further decreasing the diversity and heterogeneity it could provide the public sphere. In addition to charting this historical and industrial shift, this project analyzes the corresponding textual transformation, in which cultural products behave according to financial logic, becoming sites of capital formation where references, homages, and product placements form internal economies. The concept of ‘derivative media’ I employ to capture this phenomenon contains a double meaning: ii increasingly, the production process of popular culture ‘derives’ new content from old (sequels, adaptations, franchises, remakes, references, homages, sampling, etc.), just as the economic logic behind contemporary textuality behaves like a ‘derivative,’ a financial instrument to hedge risk.
    [Show full text]