Doctor of Philosophy (Ph.D.), Bowling Green State University, 2017, American Culture Studies

Although fan fiction as a literary and cultural phenomenon has a rich and well-studied history – transformative works have been published as far back as the time of Don Quixote – more taboo subcultures of the genre have gone largely unexplored within academia, as has the relationship between fans and authors within such genres. This dissertation examines several unique subgenres of fan participation within the BBC's Sherlock fandom and J. R. R. Tolkien's The Hobbit fandom, including genres that focus on genderbending and genderswapping, nonconsent, and male reproduction. I draw on the work of Gerard Genette and the concept of paratextuality to argue that readers of fan fiction have a far greater impact upon their communities – and even the texts they read – than previous scholars have observed. Furthermore, using both this concept and a literary analysis approach, I examine what narratives about gender roles, sexual orientation, and even reproduction emerge within the text, highlighting both transgressive rhetoric and instances where hegemonic ideologies are upheld, consciously or otherwise, through both authorial and fan-contributed content. Ultimately I suggest that although some fics may end up reinforcing restrictive normative gender models or ideas about reproduction, these genres nonetheless offer both writers and readers a literary framework through which they can push back against rigid gender roles and question the legitimacy of our established understandings of gender, sex, and even reproduction itself.

Committee: Susana Peña Dr. (Advisor); Bill Albertini Dr. (Committee Member); Radhika Gajjala Dr. (Committee Member); Ellen Gorsevski Dr. (Committee Member) Subjects: American Studies; Gender; Gender Studies

Doctor of Philosophy (Ph.D.), Bowling Green State University, 2017, Media and Communication

This dissertation looks at documentary and nonfiction fans: Who are they? Why do they watch? What types of conversations are held online? It provides a first step in building the foundation of nonfiction fandom scholarship, but also provides a step into the building of documentary scholarship. This project grows out of an interest in both nonfiction and documentary media studies as well as an interest in how people interact with their fandom and media series of choice. Preliminary research showed little attention to nonfiction fandoms and yielded virtually no research on the topic. Documentary and nonfiction fans are either forgotten or deemed as unimportant to those studying media fandoms. But this project argues it is crucial to remember and to study this group of fans. They are carrying out a dialogue from a nonfiction film, about a topic that the filmmaker deemed important enough to produce a film. If fans of fictional media are important for merchandising and advertisement, should fans of nonfictional media be important too? Should their desire to learn the truth and not just be entertained be remembered and studied? In the case of entertainment fare, programmers want to know about and stay connected with fans because of the commercial potential. Audience numbers equal ratings and affect ad rates. But what about nonfiction? Three different formats of documentaries, Serial (podcast), Audrie & Daisy (feature documentary, streaming), and FRONLTINE'S The Choice 2016 (televised documentary), offer three case studies consisting of interviews of filmmakers and content analysis of tweets from each of the documentaries. In addition, a survey of Serial fans was conducted to provide a deeper insight into one of the three case studies. These three case studies help identify how conversations from nonfiction fans vary across release platform and/or how multiple episodes might impact the interactivity of a fandom. This study carves out a new research agenda into fan stud (open full item for complete abstract)

Committee: Thomas Mascaro Ph.D. (Advisor); Kristen Rudisill Ph.D. (Other); Louisa Ha Ph.D. (Committee Member); Lara Martin Lengel Ph.D. (Committee Member) Subjects: Film Studies; Mass Communications; Mass Media

Master of Arts (MA), Bowling Green State University, 2021, Popular Culture

In a small town in Mississippi in 1982, eleven-year-old Chris Strompolos commissioned his friends Eric Zala and Jayson Lamb to remake his favorite film, Raiders of the Lost Ark (1981). This remake would dominate their summer vacations for the next seven years. Over thirty years later in January 2020, brothers Mason and Morgan McGrew completed their shot-for-shot live action remake of Toy Story 3 (2010). This project took them eight years. Fan remake films such as Raiders of the Lost Ark: The Adaptation (1989) and Toy Story 3 in Real Life (2020) represent something unique in fan studies. Fan studies scholars, such as Henry Jenkins, have considered the many ways fans are an example of an active audience, appropriating texts for their own creative use. While these considerations have proven useful at identifying the participatory culture fans engage in, they neglect to consider fans that do not alter and change the original text in any purposeful way. Sitting at the intersection of fan and adaptation studies, I argue that these fan remake films provide useful insights into the original films, the fans' personal lives, and fan culture at large. Through the consideration of fan remake films as a textual object, a process of creation, and a consumable media product, I look at how Raiders of the Lost Ark: The Adaptation and Toy Story 3 in Real Life reinforce the fans' interpretations of the original films in a concrete way in their own lives and in the lives of those who watch.

Committee: Jeffery Brown Dr. (Advisor); Becca Cragin Dr. (Committee Member); Radhika Gajjala Dr. (Committee Member) Subjects: Film Studies

Doctor of Philosophy (Ph.D.), Bowling Green State University, 2012, American Culture Studies/Popular Culture

Jimmy Buffett's beach bum lifestyle music was essentially solidified with his album Changes in Latitudes, Changes in Attitudes in 1977, and it is his fans, collectively known as Parrotheads, who have continued to help him achieve such success. This dissertation examines not only Parrotheads, but also the ways in which this fan group has invested in, and engaged with, the “Margaritaville State of Mind” that Buffett and his fans have cultivated together. Derived from Buffett's hit song, “Margaritaville,” Buffett's beach bum escapism ethos has transformed his fandom into an experience and, further, a lifestyle – a state of mind and a state of being – to be enjoyed by his fans whether it is through their celebration of their fandom, or even in the goods and services they purchase. Moreso, this work explores various ways that a tropical escapism lifestyle is evoked and developed by Parrotheads through the many fan activities they engage with as part of belonging to their local Parrothead clubs. Parrotheads have chosen, as an integral part of their fandom, to raise money for local social and environmental charities, all in the name of their fandom. Another aspect examined in this dissertation investigates how Parrotheads are not only developing and becoming active participants, but also performing their fandom in social networking sites developed specifically for them. Ultimately, this project highlights how some music fans are embracing new types of music-centered leisure cultures in contemporary society. Parrotheads are a fascinating example of an organization functioning as a social club, united by love of a musician and his message; in this instance, a literal and figurative investment in Jimmy Buffett and his trop-rock music, from which they have worked together to cultivate a mythical Margaritaville.

Committee: Radhika Gajjala (Committee Chair); Susana Peña (Committee Member); Donald McQuarie (Committee Member); Robert Sloane (Committee Member); Cindy Hendricks (Committee Member) Subjects: American Studies

Master of Arts (MA), Bowling Green State University, 2013, Popular Culture

In this thesis, I examine the relationship of ludology and audience agency to the narrative structure of video games, specifically by examining the ludological narratives of the games in the Silent Hill series, with a focus on the most recent entry in the franchise, Silent Hill Downpour. While much has been written about the conflict between narratology and ludology in video games scholarship, I propose an alternate way of studying games; one that acknowledges the variety of gaming experiences available and recognizes the necessity of tailoring methodological approaches to specific types of games. This experientially-tailored view of studying games acknowledges the structured narrative experiences found in the medium while also taking into account the importance of player interaction and the role that player agency can have on the direction and eventual outcome of a specific player's narrative experience. Alongside an in-depth structural analysis of the narrative in Silent Hill Downpour, I examine the ways in which the loyal fans of the Silent Hill franchise discuss the franchise's narrative elements online through internet message boards and social media, allowing a more focused analysis of how individual player experiences affect an audience's perception of narrative structure and what this might tell us about reader-response theory, participatory fandom, and culturally-specific methods of decoding.

Committee: Marilyn Motz (Committee Chair); Jeff Brown (Committee Member); Kristin Rudisill (Committee Member) Subjects: Communication; Mass Media; Multimedia Communications

Doctor of Philosophy (Ph.D.), Bowling Green State University, 2023, American Culture Studies

In 2020, people across the world began to live nearly all their lives online thanks to the global COVID-19 pandemic. Social media allowed people in quarantine and isolation to safely interact no matter where in the world they were. For some, however, this way of online existence had been happening for years. Fans of all sorts of media texts and media objects had flocked to digital realms for years as a way of finding others who felt the same way they did. Some fans choose to use their social media platform of choice to put forward a digital fan identity that fore fronted their role as a fan rather than any aspect of their offline identity. This work looks at the ways that specific social media platforms can impact the ways that fan communities form and how these communities can have impact on the sociopolitical views that users are exposed to. Using the sociopolitical touchstone of the Black Lives Matter movement in May and June 2020, this project utilizes a mixed-methods analysis of digital conversations across Twitter, TikTok,and Instagram. In comparing the three platforms it becomes clear that the unique affordances of each platform combine with unique dynamics of each fan group to privilege the voices and beliefs of socially acceptable fans. It also becomes clear that the distinctive affordances of each platform have the ability to shape offline interactions and sociopolitical ideals in different ways. We can see here just a glimpse into how the online can shape the offline in ways that have growing implications for our understanding of the social and political world.

Committee: Radhika Gajjala Ph.D. (Committee Chair); Andrew Schocket Ph.D. (Committee Member); Yanqin Lu Ph.D. (Committee Member) Subjects: American Studies

Doctor of Philosophy (PhD), Ohio University, 2020, Instructional Technology (Education)

Learning never ends in the classroom. This dissertation is a mixed methods study exploring how Chinese fans continue to learn informally in cyberspace as they gain and practice knowledge of copyright via their online fan activities. Based on a large-sample online survey and in-depth qualitative interviews, this dissertation found that online fan activities have been the main channel through which Chinese fans gain copyright knowledge and have profoundly influenced their attitudes and actions towards copyright issues. Although generational differences influence the learning trajectories of fans, basic knowledge about rules for copyrights established by early fans have been disseminated and accepted as community norms. In this process, the state and the content industry policy changes have also influenced fans' attitudes about copyright issues. The findings also suggest that copyright advocacy is a fannish activity within the Chinese digital creative fandom. Chinese fans' copyright awareness, like the Chinese digital creative fandom itself, has developed under the influence of foreign culture. However, it is also driven by a natural enthusiasm for appreciating and protecting the creators in an environment where copyright infringement is rampant. Fans' multiple roles within the fandom make copyright advocacy relevant to most of the community members: they are fans of the original media products, creators of fanworks, and fans and/or friends of fanwork creators. These emotional attachments push fans to engage in copyright discussions and disputes online, which provide numerous learning opportunities for the participants. This research project investigated the nuances and heterogeneity of fans' concerns about copyright, providing new materials for discussions of copyright and fandom, as well as informal learning online. Plagiarism, as a sub-topic of copyright, is also addressed in this dissertation.

Committee: Greg Kessler (Committee Chair) Subjects: Asian Studies; Education; Intellectual Property

Doctor of Philosophy, The Ohio State University, 2020, English

This dissertation, Today Your Barista Is: Genre Characteristics in The Coffee Shop Alternate Universe, works to categorize and introduce a heretofore unrecognized genre within the medium of fanfiction: The Coffee Shop Alternate Universe (AU). Building on previous sociological and ethnographic work within Fan Studies, scholarship that identifies fans as transformative creators who use fanfiction as a means of promoting progressive viewpoints, this dissertation argues that the Coffee Shop AU continues these efforts within a defined set of characteristics, merging the goals of fanfiction as a medium with the specific goals of a genre. These characteristics include the Coffee Shop AU's structure, setting, archetypes, allegories, and the remediation of related mainstream genres, particularly the romantic comedy. The purpose of defining the Coffee Shop AU as its own genre is to help situate fanfiction within mainstream literature conventions—in as much as that's possible—and laying the foundation for future close reading. This work also helps to demonstrate which characteristics are a part of a communally developed genre as opposed to individual works, which may assist in legal proceedings moving forward. However, more crucially this dissertation serves to encourage the continued, formal study of fanfiction as a literary and cultural phenomenon, one that is beginning to closely analyze the stories fans produce alongside the fans themselves. Far from writing chaotically, fanfiction authors have spent the last six decades developing structured forms of literature for online spaces, of which the Coffee Shop AU is a part, yet most scholarship has yet to acknowledge that structure outside of overly broad categories (such as slash) or equally specific tropes (such as bed sharing). Defining what is currently one of the most popular genres written today—a genre that is the product of and is now helping to produce other genres—is the first step in filling this gap.

Committee: Sean O'Sullivan (Advisor); Matthew Birkhold (Committee Member); Jared Gardner (Committee Member); Elizabeth Hewitt (Committee Member) Subjects: Gender; Gender Studies; Literature; Mass Media; Romance Literature

Bachelor of Science of Journalism (BSJ), Ohio University, 2020, Journalism

Media fandom — defined here by the curation of fiction, art, “zines” (independently printed magazines) and other forms of media created by fans of various pop culture franchises — is a rich subculture mainly led by women and other marginalized groups that has attracted mainstream media attention in the past decade. However, journalistic coverage of media fandom can be misinformed and include condescending framing. In order to remedy negatively biased framing seen in journalistic reporting on fandom, I wrote my own long form feature showing the modern state of fandom based on the generation of late millennial women who engaged in fandom between the early age of the Internet and today. This piece is mainly focused on the modern experiences of women in fandom spaces and how they balance a lifelong connection to fandom, professional and personal connections, and ongoing issues they experience within fandom. My study is also contextualized by my studies in the contemporary history of media fan culture in the Internet age, beginning in the 1990's and to the present day. In both my academic and professional projects, I also examine how other journalists should best write about fandom spaces and other Internet communities populated by marginalized people.

Committee: Eve Ng Dr. (Advisor); Bernhard Debatin Dr. (Advisor) Subjects: Journalism

Doctor of Philosophy, The Ohio State University, 2020, Comparative Studies

Fan communities, once considered marginal, have become an object of study across many academic disciplines. While considerable energy has been devoted to studying fans' creative works, little work has attended to religiosity in fandom, beyond superficial comparisons of fan behaviors to religious ones. As yet, no one has produced an analysis of this relationship addressing the complexity of a subculture that behaves religiously (by any academic understanding) but does not usually identify itself as religious. This dissertation examines the religious nature of fan practices as seen in pilgrimages related to the mega- franchises Harry Potter, Doctor Who, and Sherlock. The aim is not merely to demonstrate that these pilgrimages are religious, but also to explicate how religiosity works in such non-traditional contexts--that is, through pilgrimages in commercial and ordinary spaces that make no claim to transcendent authority. This analysis questions assumptions about what makes a shrine a shrine, a community religious, or a narrative or ritual an expression of values and belief. This research examines seven fan pilgrimage sites using ethnographic data, including participant observation, surveys, and interviews. Sites include the Wizarding World of Harry Potter in Orlando, FL; the Warner Bros. Studio Tour London: The Making of Harry Potter; Platform 9 3/4 at King's Cross Station in London, UK; filming locations and sites that inspired the Harry Potter movies in Oxford, UK; the Doctor Who Experience, Cardiff, UK; Ianto's Shrine, Cardiff, UK; and the memorial to Sherlock Holmes at St Bartholomew's Hospital, London, UK. Analysis focuses on three themes: creation of sacred space, imagined community, and emergences of belief in ritual and other actions common to fan pilgrimage and traditional religious pilgrimage. Drawing on studies of religion and popular culture, folk belief, fan culture, and narrative theory, this interdisciplinary investigation of fan pilgrimages adv (open full item for complete abstract)

Committee: Hugh B. Urban (Advisor); Katherine Borland (Committee Member); Merrill Kaplan (Committee Member); Isaac Weiner (Committee Member); Ross P. Garner (Committee Member) Subjects: Folklore; Mass Media; Religion

Doctor of Philosophy, The Ohio State University, 2019, Dance Studies

Since its premiere, YouTube has rapidly emerged as the most important venue shaping popular dance practitioners and consumers, introducing paradigm shifts in the ways dances are learned, practiced, and shared. YouTube is a technological platform, an economic system, and a means of social affiliation and expression. In this dissertation, I contribute to ongoing debates on the social, political, and economic effects of technological change by focusing on the bodily and emotional labor performed and archived on the site in videos, comments sections, and advertisements. In particular I look at comments and fan video as social paratexts which shape dance reception and production through policing genre, citationality, and legitimacy; position studio dance class videos as an Internet screendance genre which entextualizes the pedagogical context through creative documentation; and analyze the use of dance in online advertisements to promote identity-based consumption. Taken together, these inquiries show that YouTube perpetuates and reshapes established modes and genres of production, distribution, and consumption. These phenomena require an analysis that accounts for their multivalence and the ways the texts circulating on YouTube subvert existing categories, binaries, and hierarchies. A cyclical exchange—between perpetuation and innovation, subculture and pop culture, amateur and professional, the subversive and the neoliberal—is what defines YouTube and the investigation I undertake in this dissertation.

Committee: Harmony Bench PhD (Advisor); Katherine Borland PhD (Committee Member); Karen Eliot PhD (Committee Member); Ryan Skinner PhD (Committee Member) Subjects: Art Criticism; Communication; Dance; Ethnic Studies; Intellectual Property; Mass Media; Performing Arts; Technology; Web Studies

Master of Arts (MA), Ohio University, 2017, Sociology (Arts and Sciences)

Through ethnographic research methods, this thesis investigates the lived experience of self-identified LGBT or queer women in nerd and geek cultural spaces. Collecting interview data from fan convention attendees, the researcher found five common themes central to the experiences of her respondents. Those themes were safety and sexuality, discrimination and prejudice based on sexual orientation and gender, community and welcoming, gender expression, and the importance of visibility and representation to marginalized social groups. Summarily, the researcher found that negative aspects of nerd and geek cultural spaces tend toward sexism rather than homophobia and transphobia, though both forms of exclusion are present in the subculture. These negative aspects of fan conventions in particular are endured by LGBT women in favor of the strong sense of community and acceptance by those who share their stigmatized statuses. Those interviewed also offered suggestions for creating a safer, more inclusive environment for all who may attend fan conventions.

Committee: Christine Mattley (Committee Chair); Elizabeth Lee (Committee Member); Rachel Terman (Committee Member) Subjects: Gender; Gender Studies; Glbt Studies; Sociology; Womens Studies

Doctor of Philosophy, The Ohio State University, 2017, EDU Teaching and Learning

Developing from my own interest in the geographic and cultural defamiliarization found in the Hunger Games series, this dissertation explores the ways in which the Hunger Games novels and film adaptations reflect U.S. cultural geographies and identities and how fan response extends narratives of U.S. identity, particularly analyzing these fan responses through a lens of restorying (Thomas and Stornaiuolo, 2016). Cultural geographies of colonialism in the United States, Black history in the United States, Appalachian culture, and US military tactics are reflected in Panem, and the familiar is made strange to the reader. These parallels between the fictional world of Panem and the real world of the United States provide historical referents and cultural contexts that enrich the reading of both the series and the world in which we live. Following these assertions, I examine identities within the Hunger Games series as performances contextualized by the cultural geographies in which the characters interact. The major characters of the Hunger Games interact with narratives of inequality, marginalization, and racism, illuminating the ways in which they develop and perform identity over the course of the novels and films. I then explore fan response, via a framework of restorying, as a form of social activism, particularly as fans creatively contribute to conversations on the visibility of marginalized identities in young adult literature. Four modes of restorying (mode, perspective, identity, and time) relate to the ways in which fans extend the narratives of the Hunger Games in a variety of subversive and revolutionary ways, writing themselves into the text, finding avenues for increasing racial diversity in the series, and imagining narratives outside the texts of the films and novels. The fan response examined in this dissertation is both liberatory and culturally transformative, expanding the domain of the Hunger Games to be more detailed, more inclusive, and more equ (open full item for complete abstract)

Committee: Mollie Blackburn (Advisor); Michelle Abate (Committee Member); Barbara Kiefer (Committee Member) Subjects: Education; Literature

Doctor of Philosophy (Ph.D.), Bowling Green State University, 2016, American Culture Studies

This dissertation studies the cultural significance of Canadian-American singer/songwriter Rufus Wainwright's (b. 1973) album All Days Are Nights: Songs for Lulu (Decca, 2010). Lulu was written, recorded, and toured in the years surrounding the illness and eventual death of his mother, beloved Quebecoise singer/songwriter Kate McGarrigle. The album, performed as a classical song cycle, stands out amongst Wainwright's musical catalogue as a hybrid composition that mixes classical and popular musical forms and styles. More than merely a collection of songs about death, loss, and personal suffering, Lulu is a vehicle that enabled him to grieve through music. I argue that Wainwright's performativity, as well as the music itself, can be understood as queer, or as that which transgresses traditional or expected boundaries. In this sense, Wainwright's artistic identity and musical trajectory resemble a rhizome, extending in multiple directions and continually expanding to create new paths and outcomes. Instances of queerness reveal themselves in the genre hybridity of the Lulu song cycle, the emotional vulnerability of Wainwright's vocal performance, the deconstruction of gender norms in live performance, and the circulation of affect within the performance space. In this study, I examine the song cycle form, Wainwright's musical score and vocal performance, live performance videos, and fan reactions to live performances in order to identify meaningful moments where Wainwright's musical and performative decisions queer audience expectations. While these musical moments contribute to the already rich and varied lineage of the gay male artist in both classical and popular music, I argue that Wainwright's queer performativity and nontraditional musical choices speak to larger issues important to American culture in the contemporary moment. These issues include the visibility of male public mourning and the healing power of artistic expression in the face of traumatic loss.

Committee: Jeremy Wallach PhD (Advisor); Kimberly Coates PhD (Committee Member); Katherine Meizel PhD (Committee Member); Christian Coons PhD (Other) Subjects: American Studies; Gender; Gender Studies; Glbt Studies; Music; Performing Arts

Doctor of Philosophy, The Ohio State University, 2014, English

Feminist activism in the United States and Europe during the 1960s and 1970s harnessed radical social thought and used innovative expressive forms in order to disrupt the “grand perspective” espoused by men in every field (Adorno 206). Feminist student activists often put their own female bodies on display to disrupt the disembodied “objective” thinking that still seemed to dominate the academy. The philosopher Theodor Adorno responded to one such action, the “bared breasts incident,” carried out by his radical students in Germany in 1969, in an essay, “Marginalia to Theory and Praxis.” In that essay, he defends himself against the students' claim that he proved his lack of relevance to contemporary students when he failed to respond to the spectacle of their liberated bodies. He acknowledged that the protest movements seemed to offer thoughtful people a way “out of their self-isolation,” but ultimately, to replace philosophy with bodily spectacle would mean to miss the “infinitely progressive aspect of the separation of theory and praxis” (259, 266). Lisa Yun Lee argues that this separation continues to animate contemporary feminist debates, and that it is worth returning to Adorno's reasoning, if we wish to understand women's particular modes of theoretical insight in conversation with “grand perspectives” on cultural theory in the twenty-first century. I argue that the separation between theory and praxis becomes visible in the history of women's experimental autobiography across media, in which the boundary between self and subculture can be delineated. In this project, I look at a contemporary transmedia storyworld that animates this conversation. In Felicia Day's comedy Web series The Guild, six introverted gamers collaboratively navigate both the complex storyworld of a massively multiplayer online role-playing game and daily life in suburban Los Angeles. The Web series is complemented by a series of comic books, which transform the forward-moving, (open full item for complete abstract)

Committee: Jared Gardner (Advisor) Subjects: Literature

Doctor of Philosophy (PhD), Ohio University, 2011, Mass Communication (Communication)

From 2006 to 2010, ABC broadcast Ugly Betty, a one-hour dramedy based on one of the most popular telenovelas of all time. This dissertation examines at Ugly Betty from a rhizomatic perspective that brings together the areas of representation, political economy, and fandom studies. In this sense, Ugly Betty is considered as the jumping off point to examine contemporary television as complex system. It produces and circulates representations of social life, which are also industrial commodities in economic exchanges, and catalysts for fan activity and participation. A rhizomatic perspective would argue that all of these processes are intertwined, and that accounting for these connections acknowledges the complexity of social life. Textual analysis is the method used in this dissertation. In textual analysis, the goal is to uncover the most likely interpretation for a particular text, which is why emphasis is placed on understanding the context in which this text is produced, circulates, and is interpreted by its audiences. In this dissertation, the author conducted three such textual analyses. The first one looks Ugly Betty as an industrial commodity that came to the screen as the consciousness industries as a whole turned their attention to Latinos(as), and the television industry began producing more Latino(a) themed content. The chapter also looks at the challenges of producing and broadcasting television shows in a post-network era (Lotz, 2007), characterized by rapid technological change, audience erosion, and widespread fragmentation. The second analysis focus specifically on Ugly Betty as an example of Latino(a) representation, by looking at the illegal immigration storyline that aired during the first and second seasons of the show. This chapter utilizes the concept of the myth, and posits the melting pot as a myth that allows Ugly Betty to normalize illegal immigration, by incorporating illegal Latino(a) immigrants into a broader narrative of nationhood and (open full item for complete abstract)

Committee: Mia Consalvo L. (Advisor); Jenny Nelson (Committee Member); Jerry Miller (Committee Member); Brad Jokisch D (Committee Member) Subjects: Communication