Louie Louie

Marsh, Dave

doi:10.3998/mpub.6722

Cited by 21 publications

(4 citation statements)

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“…Another is that aggressive lyrical content of popular music is often discernible only to the most attentive of listeners, whereas videobased media (including music videos) make their violent content abundantly and graphically clear. Some rock music songs have such garbled lyrics that they have given rise to debates about what the lyrics are (e.g., "Louie, Louie"; "Inna-Godda-Da-Vida"; see Marsh, 1993). A third difference concerns attention.…”

Section: Media Differencesmentioning

confidence: 99%

Exposure to violent media: The effects of songs with violent lyrics on aggressive thoughts and feelings.

Anderson

Carnagey

Eubanks³

2003

Journal of Personality and Social Psychology

368

286

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Five experiments examined effects of songs with violent lyrics on aggressive thoughts and hostile feelings. Experiments 1, 3, 4 and 5 demonstrated that college students who heard a violent song felt more hostile than those who heard a similar but nonviolent song. Experiments 2-5 demonstrated a similar increase in aggressive thoughts. These effects replicated across songs and song types (e.g., rock, humorous, nonhumorous). Experiments 3-5 also demonstrated that trait hostility was positively related to state hostility but did not moderate the song lyric effects. Discussion centers on the potential role of lyric content on aggression in short-term settings, relation to catharsis and other media violence domains, development of aggressive personality, differences between long-term and short-term effects, and possible mitigating factors.

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Section: Media Differencesmentioning

confidence: 99%

Exposure to violent media: The effects of songs with violent lyrics on aggressive thoughts and feelings.

Anderson

Carnagey

Eubanks³

2003

Journal of Personality and Social Psychology

368

286

View full text Add to dashboard Cite

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“…''Book covers'' such as Nanci Griffith's and Joe Jackson's, Other Voices: A Personal History of Folk Music, provide a magnificent musicological song-by-song companion piece to Griffith's reverent contemporary folk cover collaborations, Other Voices, Other Rooms (1993) and Other Voices, Too: A Trip to Bountiful (1997). Dave Marsh's Louie Louie (1993) lineage and Bill Moyers's documentary Amazing Grace (1992) demonstrate the rich cultural heritage contained in a song, whether pop or traditional. Internet access, such as the detailed ''Dylan cover albums'' web site designed to accommodate the voluminous Dylan cover catalog, provides convenient click outlets for avid fans and musicologists to trace a song's lineage.…”

Section: Lost and Found In Translation: Only The Song Survivesmentioning

confidence: 98%

Re‐flections on the Cover Age: A Collage of Continuous Coverage in Popular Music

Plasketes¹

2005

Popular Music and Society

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“…Interestingly, there was no occurrence of the lexical verb f-word in the Country music genre. The common description of Rock music genre is that it is a genre of foul language and constant exposure to this genre has led to juvenile delinquency, undesirable attitude, stereotyped sex-roles and sexual violence (Marsh, 1993;Sutcliffe, 2011). The findings in this research have shown that this description is true to some extent.…”

Section: Distribution Of F-word and F-word Variations In Dcoeslmentioning

confidence: 99%

Diachronic Analysis of the Profane Words in English Song Lyrics: A Computational Linguistics Perspective

Muhammad,

Goyak,

Zaini

et al. 2022

MJM

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This diachronic study aims to explore the linguistic phenomena of the verb f-word in English song lyrics across genres and time via various corpus computational tools. A specialised corpus named Diachronic Corpus of English Song Lyrics (DCOESL) consisting of Country, Pop, Rhythm and Blues (R&B), and Rock genres from the years 1960 to 2009, was built for the analysis. Linguistics analysis of English song lyrics corpus was used as the research design. Computational corpus instruments were adopted to generate data. The findings reveal that corpus computational tools it has provided an avenue for researchers to explore languages across time. Additionally, the study shows that f-word in English song lyrics experience ascending trend since the 1980s, with highest occurrences in R&B (38pmw). F-word in DCOESL has strong collocational strength with personal pronoun me (17321pmw), MI=3.442. Personal pronoun me is very significant to the node f-word, T-score=3.274. F-word in DCOESL has highest significant lexical association with f-word in the spoken register of COCA, G2COCASPOKEN=102.40, df=1, p<.0001. It exhibits that the highest occurrences of f-word in DCOESL reflects social actions and a high preference for simple present tense, and simple sentence structure. In conclusion, the computational corpus analysis of f-word in English song lyrics has found that f-word prominently co-occur with personal pronoun in simple sentence structure and in simple present tense, in order to mirror English conversational discourse. The implication of this study is English song lyrics, especially from R&B genre, are a potentially authentic corpus resource for exploring spoken English.

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Louie Louie

Cited by 21 publications

References 0 publications

Exposure to violent media: The effects of songs with violent lyrics on aggressive thoughts and feelings.

Exposure to violent media: The effects of songs with violent lyrics on aggressive thoughts and feelings.

Re‐flections on the Cover Age: A Collage of Continuous Coverage in Popular Music

Diachronic Analysis of the Profane Words in English Song Lyrics: A Computational Linguistics Perspective

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