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Grindhouse Ago-Go: Sounding the Collagenous Commons of Rob Zombie’s The Lords of Salem

  • Larrie Dudenhoeffer
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Abstract

Over the course of a career in industrial metal music, Rob Zombie made deft, extensive, and often daring use of track remixing, cross-media sampling, and genre mashup, making allusion to older horror films and incorporating dialogue from them into songs. The title for “More Human than Human,” for example, comes from the script for Ridley Scott’s Blade Runner (1982), while the sample in it of a woman moaning in sexual ecstasy comes from the much more esoteric adult science fiction film Café Flesh (1982). Similarly, “Living Dead Girl,” from the album Hellbilly Deluxe (1998), takes its title from a 1982 exploitation film from Jean Rollin, and it also contains scraps of dialogue from such films as Mel Welles’s Lady Frankenstein (1971) and Wes Craven’s The Last House on the Left (1972). “Dragula,” from the same album, while it also quotes from horror films, namely Lucio Fulci’s City of the Living Dead (1980), Harry Kümel’s Daughters of Darkness (1971), and Michael Reeves’s Witchfinder General (1968), more cryptically nods to another media format, its title making reference to the name of Grandpa Munster’s dragster in The Munsters television sitcom. This music speaks to Zombie’s transmedia1 interests, specifically regarding the convergence of electronic music and digital filmmaking in terms of the aesthetic techniques, intertextual resonances, and multi-channel audiovisual capabilities that they share.

Keywords

Auditory Cortex Digital Medium Radio Station Music Video Cultural Artifact 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

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Notes

  1. 2.
    Steve Appleford, “Album Review: Rob Zombie’s Hellbilly Deluxe 2,” The Los Angeles Times. February 2, 2010. http://latimesblogs.latimes.com/music_blog/2010/02/album-review-rob-zombies-hellbilly-deluxe-2.html.Google Scholar
  2. 3.
    Lawrence Lessig, Remix: Making Art and Commerce Thrive in the Hybrid Economy, (New York: Penguin Books, 2008), 28, 36.CrossRefGoogle Scholar
  3. 10.
    Marshall McLuhan, Understanding Media: The Extensions of Man (Cambridge, MA: The MIT Press, 1994), 43, 45.Google Scholar
  4. 14.
    See Joseph Tompkins, “What’s the Deal with Soundtrack Albums: Metal Music and the Customized Aesthetics of Contemporary Horror,” Cinema Journal 49, no. 1 (2009): 70, for a discussion of the ways that media synergies diversify the market for film music through channelling it across diverse outlets, “including soundtrack albums, online forums, radio, cable, and sat-ellite television, music videos, music charts, advertisements, and entertainment reviews.”Google Scholar
  5. 15.
    Lev Manovich, The Language of New Media (Cambridge, MA: The MIT Press, 2001), 267.Google Scholar
  6. 18.
    Thomas Leitch, “Twice-told Tales: Disavowal and the Rhetoric of the Remake,” in Dead Ringers: The Remake in Theory and Practice, ed. Jennifer Forrest and Leonard R. Koos, (Albany, NY: State University of New York Press, 2002), 53.Google Scholar
  7. 28.
    Chuck Tryon, Reinventing Cinema: Movies in the Age of Media Convergence (New Brunswick, NJ: Rutgers University Press, 2009), 173.Google Scholar

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© Larrie Dudenhoeffer 2014

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  • Larrie Dudenhoeffer

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