When Grace Turns Your Heart up to 11” 2 Corinthians 8:1-7 20 June 2021

Total Page:16

File Type:pdf, Size:1020Kb

When Grace Turns Your Heart up to 11” 2 Corinthians 8:1-7 20 June 2021 “When Grace Turns Your Heart Up To 11” 2 Corinthians 8:1-7 20 June 2021 If you know anything about guitar amplifiers, then you know that they only go up to 10. All the knobs only go up to 10. So, the maximum volume level is 10. And, if you know anything about the movie This Is Spinal Tap, then you know that one scene where Nigel, the guitarist, explains that his guitar amplifier actually goes up to 11. * INSERT GUITAR AMP 11 PIC Here’s the dialogue as Nigel explains to Marty, the documentary filmmaker, how the band’s amplifiers all go up to 11: Nigel Tufnel: The numbers all go to eleven. Look, right across the board, eleven, eleven, eleven and... Marty DiBergi: Oh, I see. And most amps go up to ten? Nigel: Exactly. Marty: Does that mean it's louder? Is it any louder? Nigel: Well, it's one louder, isn't it? It's not ten. You see, most, most blokes, you know, will be playing at ten. You're on ten here, all the way up, all the way up, all the way up, you're on ten on your guitar. Where can you go from there? Where? Marty: I don't know. Nigel: Nowhere. Exactly. What we do is, if we need that extra push over the cliff, you know what we do? Marty: Put it up to eleven. Nigel: Eleven. Exactly. One louder. Marty: Why don't you just make ten louder and make ten be the top number and make that a little louder? Nigel: [there’s a long pause] These go to eleven. What we’re going to see today in God’s word is a bunch of churches in Macedonian turned their giving up to 11. These churches didn’t just give financially and stop at 10. They went up to 11 in their giving. One louder. Now, you may be uncomfortable right now because I just said the “G” word: giving. You may be thinking, “Here’s another preacher who is going to preach again about giving. Money. Money. Money. That’s all preachers preach about. That’s all churches care about. They’re always asking for money. Always talking about giving.” Well, I’m not going to preach about giving, or money today. And I’m not going to ask for your money either. Today, we’re going to talk about the other “G” word: grace. Because that’s what this passage is all about: the grace of God. And we’re going to see that from a passage that people think is about money. But, it’s not really a passage about money, or giving, or offering plates, or tithing, or building campaigns, or stewardship, or Dave Ramsey’s The Total Money Makeover. It’s not really about that stuff at all. So, turn in your Bibles to 2 Corinthians. And, yes, preachers do come here to 2 Corinthians chapters 8-9 to preach about money, and tithing, and giving, and stewardship, and “money makeovers,” but these passages are not even speaking about those issues, primarily. The big idea of 2 Corinthians chapters 8-9 is that God’s grace should change us; that we should be re-oriented in the way we live and love. So, yes, these chapters can apply to giving. And Paul will talk about giving. But, as we’ll see, the underlying motive for giving- or for any ministry that we do- should be a response to the grace of God, the unmerited favor of God, given to us, Hell-deserving sinners. What we’re going to see in these verses today is that- GRACE TURNS YOUR HEART FOR OTHERS UP TO 11! What I mean is that the joy that comes to us as a result of God’s grace to us in Christ should result in ministry to other people. Loving and caring for other people. In essence, we are called to “copy” the grace that we have received from God and then pass it on to others… even the people we don’t like…especially the people we don’t like! When you realize how good God has been to you, it should make you want to love and care for other people, empowered by His grace. It should make your heart turn up to 11. You should be like Nigel Tufnel and say, “Yes, other people may turn their hearts up to 10, but because of Jesus, my heart goes to 11.” Now, here’s what so crazy about all of this: Paul never uses the word money in chapters 8-9! Think about that! A lot of preachers suddenly get interested in 2 Corinthians when they start a new building campaign, usually ignoring chapters 1-7 to just plop down in chapter 8 because they want to talk about giving. But Paul never even uses the word money in these 2 chapters! And he’s certainly not thinking about building campaigns! But he does use the word grace…a lot! Paul spills a lot of ink on the word grace. Grace is all over these 2 chapters! In fact, Paul uses the word grace 10x in chapter 8 and 9- 8:1, 4, 6, 7, 9, 16, 19; 9:8, 14, 15. The word grace (Greek: charis), depending on the context, can be translated as: 1) divine enablement/power 2) divine favor 3) human privilege 4) monetary gift 5) word of gratitude And Paul will use a few of those uses in these chapters. Okay, let’s get into the text. LOOK AT VERSE 1… We want you to know, brothers, about the grace of God that has been given among the churches of Macedonia, for in a severe test of affliction, their abundance of joy and their extreme poverty have overflowed in a wealth of generosity on their part. Paul wants to pass on to the Corinthians the evidence of grace that came to churches in Macedonia. Those churches included churches like the churches in Philippi, Thessalonica, and Berea. And Paul tells them the Corinthians this in order to stimulate them to contribute financially to the suffering church in Jerusalem. In other words, the Macedonian church got wind that believers in Jerusalem were suffering, so they pooled their resources to help. And now Paul wants the Corinthians to do the same. But here’s what’s amazing about the Macedonian churches. What was happening in Macedonia when they “passed the offering plate?” In verse 2, Paul says that God’s grace dug deep into their hearts so they dug deep into their wallets during a severe test of affliction. The Macedonian churches were undergoing severe persecution for their faith. They were suffering intensely because they followed Jesus and yet when they heard that some churches in Jerusalem were suffering financially, they gave money to these poor churches in Jerusalem. In the middle of intense suffering, they sent money via PayPal to Jerusalem. Let me ask you: How would you react if they came in here and dragged away the pastoral staff and a few other church members and threw us in jail? What would be on your mind? What would be the concern of your heart? If you’re like me, I would be thinking, “How can I survive? What will happen to my family?” But, not the Macedonian churches! They weren’t merely concerned about themselves, they were also concerned about the suffering church in Jerusalem. Severe persecution broke out and they passed the offering plate! Wow! Who does that? People who have experienced the grace of God, that’s who! People who have rubbed the Gospel into their pores, that’s who! And even more so these days, people are talking a lot about how suffering and persecution may intensify in America in the coming years. And it may, what do I know? But when I think about that prospect, I want to think thoughts that are informed by this passage. Thoughts like, “Okay. Well, Jesus said that we would suffer. But, what if we passed the offering plate? What if, as we suffered, we reached deep into our pockets to help out poor Christians?” That’s what the Macedonians did. So, listen, when you hear people talking about how persecution is on the way, don’t panic. Don’t freak out. Just think to yourself, “If that happens, I bet the Holy Spirit is going to move through the church and cause people to give financially to help other poor Christians. I bet some Christians will lose their jobs because of their beliefs, but I bet the church will step up and buy groceries for one another, sharing their cars, helping each other teach their children school, etc. I bet the Gospel is gonna cause people’s hearts for others to turn up to 11 if the world turns the heat up on the church!” Listen, the same Spirit of God that was at work in the Macedonian churches when they endured intense suffering will be at work in our churches if we undergo the same thing. There is no need to be worried or scared. So, I suggest that we not focus on the fears that await us in the future. Let’s not stress about how churches might undergo persecution. Instead, let’s focus on what the Holy Spirit is going to do when His people, His church suffer. Do you think the Spirit is just going to sit back and do nothing? He loves the church more than all of us combined! He will take care of us.
Recommended publications
  • Endless Summer Cinema Free Outdoor Movies Across the Street from the Site of the New BAM/PFA
    FOR IMMEDIATE RELEASE Media Contact: Karen Larsen [email protected] (415) 957-1205 University of California, Berkeley Art Museum and Pacific Film Archive and the Downtown Berkeley Association present Endless Summer Cinema Free outdoor movies across the street from the site of the new BAM/PFA TWO FREE OUTDOOR FILM SCREENINGS CELEBRATE BAM/PFA’S MOVE TO DOWNTOWN BERKELEY; SCREENINGS OF PEE-WEE’S BIG ADVENTURE (OCT. 3) AND THIS IS SPINAL TAP (OCT. 10) WILL TAKE PLACE ON THE UC BERKELEY CRESCENT LAWN ACROSS THE STREET FROM THE NEW BAM/PFA BUILDING SITE Berkeley, CA, August 22, 2014—The University of California, Berkeley Art Museum and Pacific Film Archive (BAM/PFA) will host a pair of free outdoor movies across the street from the site of BAM/PFA’s future home in downtown Berkeley on consecutive Fridays in early October 2014. A copresentation with the Downtown Berkeley Association, Endless Summer Cinema will feature two hilarious eighties comedies that became a template for new styles of comedic filmmaking—the strange Technicolor playground of Tim Burton’s first film, Pee-wee’s Big Adventure, and the rockumentary that begat all rockumentaries, Rob Reiner’s This is Spinal Tap. Pee-wee’s Big Adventure (1985) takes audiences on a lovably absurd cross-country journey on October 3 as Paul Ruebens’s Pee-wee Herman character hits the road to recover his most prized possession: a tricked- out forties Schwinn cruiser. Encounters with a fraudulent psychic, a jealous lover, and a biker gang guarantee a memorable trip. The highly stylized film launched the directorial career of Tim Burton, who would continue with a hugely successful run of his quirky and visually distinctive comedies throughout the eighties and nineties.
    [Show full text]
  • Spinal Tap, L-R: Harry Shearer As Derek Smalls, Christopher Guest As Nigel Tufnel and Michael Mckean As David St
    PHOTO: MAtt MINDLIN ::music This is (still) Spinal Tap, L-R: Harry Shearer as Derek Smalls, Christopher Guest as Nigel Tufnel and Michael McKean as David St. Hubbins. By Mr. Bonzai Spinal Tap MocuMentary StarS are ‘Back FroM the DeaD’ During this 25th anniversary of the film a one-hour DVD and a pop-up diorama Cherney mixed half of the thun- and album This is Spinal Tap, the band package that unveils three 12-inch ac- derous new album at his Studio Ed at has reunited to set the record straight, tion figures of the band and a propor- The Village, while Vanston mixed the once and for all. What a stupendous tionally sized Stonehenge. ear-splitting remainder at his studio, relief for the countless fans who em- Tracking for Back From the Dead The Treehouse. Mastering was done pathized with Tap’s well-documented took place at The Village in L.A. with by Gavin Lurssen with publicist Bobbi fall from grace and money. All of the engineer Ed Cherney and longtime Fleckman peering over his shoulder. original album has been re-recorded, Tap collaborator CJ Vanston producing. Vanston explains, “Spinal Tap is re- along with much anticipated never- Guest artists include Phil Collen of Def recording the entire first album because released material for a total of 19 tracks. Leppard, John Mayer, Keith Emerson they thought the original album was a The release, out June 16, also includes and Steve Vai. hatchet job, just like the movie.” With WWW.MIXONLINE.COM I JUNE 2009 MIX 47 ::music spinal tap worldwide attention focused on Tap’s trium- Smalls: Which Castro would that be? Why do you call your studio The Treehouse? phant independent release of Back From the Dead St.
    [Show full text]
  • This Is Heavy Metal: Spinal Tap Und Ihre Beziehung Zur (Medialen) Realität Des Metals
    Herbert Schwaab This is Heavy Metal: Spinal Tap und ihre Beziehung zur (medialen) Realität des Metals In dem Videoclip zu dem Song Hell Hole, der als Extra auf der DVD der Mock-Rockumentary This Is Spinal Tap (Rob Reiner, USA 1984) zu finden ist, gibt es neben wunderbaren Rekonstrukti- onen der Posen und Manierismen der Heavy Me- tal und der MTV Kultur ein eigenartiges Motiv in der Schlusssequenz: Zunächst sehen wir Bilder der Band Spinal Tap in einer Konzertsituation, in der typischen Inszenierung der etwas weniger einfallsreichen Musikvideos der 1980er Jahre. Abb. 1: Videostill Hell Hole, Die letzte Einstellung zeigt dieselbe Konzertsi- Spinal Tap in Miniatur tuation, diesmal allerdings als Miniaturnachbil- dungen der Band auf einer Puppenbühne. Zum Schlussakkord des Songs geht ein an deutlich sichtbaren Drähten aufgehängter Skelettarm über die Actionfiguren der Band, die Verstärker und Instrumente hinweg und zerstört die Szenerie. Dieses Video ist eines der vielen Details, aus dem sich das Universum der fik- tiven Band Spinal Tap speist, die seit ihrer filmischen ›Erfindung‹ ein erstaun- liches Nachleben führt. Zu diesem Universum gehört nicht nur der Film selbst, die darin zu findenden Rekonstruktionen der Bandbiografie (wie alte Aufnah- men von Fernsehshows aus den 1960er Jahren, fiktive, liebevoll gemachte Plat- tencover) oder das Bonusmaterial auf der DVD (wie Werbeclips,¯1 Videos und Talk-Show-Auftritte), das Soundtrackalbum im schwarzen Cover, sondern auch Konzerttourneen, das ›reguläre‹ Album Break Like The Wind von 1992, Auftritte bei den Simpsons¯2 und dem Live Earth Konzert von 2008, einer Vielzahl liebe- voll gemachter Merchandising-Produkte¯3 sowie etliche Auftritte der Schau- spieler ›in character‹ in weiteren Talk-Shows¯4 oder in Zeitschriften.¯5 Dieser Beitrag wird sich den Film und das Universum der fiktiven Band ge- nauer anschauen, um zu bestimmen, was er als Parodie von Heavy Metal über Heavy Metal zu sagen hat und welches Wissen über oder Bild von Heavy Metal dadurch entsteht.
    [Show full text]
  • I'm Grateful This Book Was Wr
    Voices of Latin Rock The People and Events That Created This Sound by Jim McCarthy with Ron Sansoe Foreword by Carlos Santana Hal Leonard Directly from the Mission District in San Francisco, the explosive fusion of Latin, salsa and rock is chronicled by a writer who has followed the music and the musicians for over 30 years. As Latin music continues to become more mainstream, the inter- est in its musical roots grows. This book sheds light on these musical pioneers, and is gorgeously illus- trated with over 800 B&W photos, plus artwork from rare album covers. 324 pages, 8.5" x 10" 00331224.........................................$24.95 (ISBN 0-634-08061-X) From the Inside: Linkin Park’s Meteora “Gems of information about the electrifying by Steve Baltin music and its creators.” —Publishers Weekly principal photography by Greg Waterman Bradson Press “I’m grateful this book was written.” The first authorized book from this rock band that has sold over 28 million —Carlos Santana CDs in three years. Filled with deluxe full-page, full-color photos on pre- mium paper, with candid captions written by the band members themselves. 192 pages, 12.25" x 10.25" 00331234 Hardcover .............................................................................$26.95 (ISBN 0-9603574-1-6) Taylor Guitars 30 Years of a New American Classic by Michael John Simmons PPV Medien This gorgeous book tells the story of a small San Diego guitar-building company that trans- formed into an industry leader that produces more than 70,000 high-quality guitars a year. Features dozens of full-color photos of many rare guitars.
    [Show full text]
  • Adapting Copyright for the Mashup Generation
    ARTICLE ADAPTING COPYRIGHT FOR THE MASHUP GENERATION PETER S. MENELL† Growing out of the rap and hip hop genres as well as advances in digital editing tools, music mashups have emerged as a defining genre for post-Napster generations. Yet the uncertain contours of copyright liability as well as prohibitive transaction costs have pushed this genre underground, stunting its development, limiting remix artists’ commercial channels, depriving sampled artists of fair compensation, and further alienating netizens and new artists from the copyright system. In the real world of transaction costs, subjective legal standards, and market power, no solution to the mashup problem will achieve perfection across all dimensions. The appropriate inquiry is whether an allocation mechanism achieves the best overall resolution of the trade-offs among authors’ rights, cumulative creativity, freedom of expression, and overall functioning of the copyright system. By adapting the long-standing cover license for the mashup genre, Congress can support a charismatic new genre while affording fairer compensation to owners of sampled works, engaging the next generations, and channeling disaffected music fans into authorized markets. INTRODUCTION ........................................................................ 443 I. MUSIC MASHUPS ..................................................................... 446 A. A Personal Journey ..................................................................... 447 † Koret Professor of Law and Director, Berkeley Center for Law & Technology, University of California at Berkeley, School of Law. I thank my sons Dylan and Noah, Peter DiCola, Kembrew McLeod, Gregg Gillis, DJ Guzie, and DJ Solarz for inspiration and background about mashup culture. I also thank Mark Avsec, Jane Ginsburg, Eric Goldman, Molly Van Houweling, David Nimmer, Dotan Oliar, Sean Pager, and participants at the Berkeley Law IP Scholarship Seminar, Berkeley Law Faculty Seminar, and Fifth Annual Internet Law Work-in-Progress Conference for comments.
    [Show full text]
  • TMR Volume 11 15Apr21
    TURNING IT UP TO ELEVEN: THE PERILS OF THE LOUDNESS WAR DAN SINGER ocky British rock star Nigel Tufnel (Christopher Guest) and fictitious producer Marty DiBergi (Rob Reiner) are standing in a room filled with C expensive musical equipment. The camera shot switches to a close-up of an amp as the celebrity gloats over its custom volume knob, featuring settings, he emphasizes, that range from one to—not ten, but eleven. The producer is struggling to understand his enthusiasm. “Does that mean it’s…louder? Is it any louder?” he asks. “Well it’s one louder, innit?” declares Tufnel, his British accent dripping with dumb satisfaction. Still not convinced, DiBergi poses the obvious question: “Why don’t you just make ten louder and make ten be the top number?” Tufnel’s smirk evaporates. He pauses, then looks up at the producer: “These go to eleven.” One of the most well-known scenes from the faux-documentary This Is Spinal Tap, this dialogue appeals to us as a classic example of a pop icon so blinded by fame that he is oblivious to his own idiocy. Consumers of pop-culture find it easy to scoff at Tufnel’s enthusiasm and dismiss him as a fame-addled dimwit. But while viewers are busy laughing, what they don’t realize is that they are essentially buying into the same fallacy Tufnel falls victim to through his custom-made amp. Since the decade of the film’s release, the recording industry has been increasingly cranking up its own volume knob on the music it releases.
    [Show full text]
  • These Go to Eleven
    These Go to Eleven I have used this quote before but I’m going to recycle it as it is truly one of the all time great movie quotes. The movie, This is Spinal Tap, is a 1984 “rockumentary” (more like a mockumentary) about the world’s loudest band, Spinal Tap. It mocks the intelligence and logic of the stereotypical rock band member. In the scene referenced above, the lead guitar player of the band Spinal Tap, Nigel, shows the interviewer his power amplifier. After showing him the volume goes to eleven, as opposed to the normal maximum ten he says, “if we need that extra push over the cliff, you know what we do?” The answer is obviously “put it up to eleven.” But then the interviewer asks why not just recalibrate ten to make it louder? After a long delay as he thought about the question Nigel answers “These go to eleven.” Clearly, he was totally unable to comprehend the question. This quote is always useful to throw out when somebody says something that makes no sense. While my previous piece, Willful Blindness, focused on narratives that the market gives us that, to be nice, may not be quite right, we will focus here on more broad-based public narratives that are similarly “not quite right,” i.e., they go to eleven. While we at Kopernik always frame discussions around the fact that we are bottom-up stock pickers, I like to look at the big picture (macro) scenario to frame the risk profile. It is from this point of view that I consider the macro picture.
    [Show full text]
  • This Is Spinal Tap Die Jungs Von Spinal Tap Usa 1984
    Kieler Beiträge zur Filmmusikforschung, 5.1, 2010 // 95 THIS IS SPINAL TAP DIE JUNGS VON SPINAL TAP USA 1984 R: Rob Reiner. P: Karen Murphy. K: Peter Smokler. S: Kent Beyda, Kim Secrist. T: John Brasher, Beth Bergeron, Douglas B. Arnold, Robert Eber. D: Christopher Guest (Nigel Tufnel), Michael McKean (David St. Hubbins), Harry Shearer (Derek Smalls), David Kaff (Viv Savage), Rob Reiner (Marty DiBergi), Fran Drescher (Bobbi Flekman), Tony Hendra (Ian Faith), June Chadwick (Jeanine Pettibone). DVD-/Video-Vertrieb: MGM Home Entertainment. UA: 2.3.1984 (USA). DVD-Auslieferung: 8.7.1998 (USA), 15.3.1999 (Westeuropa, Japan, Südafrika). 83 min, 1,70:1, Farbe, Dolby. „I wanted to capture the sights, the sounds, the smells, of a hard-working rock band on the road. And I got that. But I got more, a lot more.” Mit diesen Worten leitet Regisseur Rob Reiner, der später für Filme wie HARRY UND SALLY und die oscarprämierte [1] Stephen-King-Verfilmung MISERY verantwortlich war, in seiner Rolle als Dokumentarfilmer Marty DiBergi THIS IS SPINAL TAP ein. Der Film ist eine so genannte Mockumentary, eine komödiantisch-parodistische Pseudo-Dokumentation, über die fiktive Metalband Spinal Tap. Der Plot ist simpel: Eine eher erfolglose britische Band begibt sich auf US-Tour, zerbricht während dieser an diversen selbst- und fremdverschuldeten Problemen und feiert am Ende ihre durch kommerziellen Erfolg in Japan gekrönte Wiedervereinigung. Vor diesem Hintergrund werden die allgegenwärtigen Unannehmlichkeiten im Leben einer Rockband gezeigt: Die Plattenfirma findet das Coverdesign des neuen Albums zu anstößig und veröffentlicht es deshalb mit komplett schwarzem Cover (womit reale Bands wie Metallica und AC/DC durchaus Erfolg hatten), Konzerte werden abgesagt und es kommt zu peinlichem Pannen auf der Bühne.
    [Show full text]
  • Why Real Change Is So Difficult in Law Schools
    Scholarly Commons @ UNLV Boyd Law Scholarly Works Faculty Scholarship 2006 Eating Our Cake and Having It, Too: Why Real Change Is So Difficult in Law Schools Nancy B. Rapoport University of Nevada, Las Vegas -- William S. Boyd School of Law Follow this and additional works at: https://scholars.law.unlv.edu/facpub Part of the Legal Education Commons Recommended Citation Rapoport, Nancy B., "Eating Our Cake and Having It, Too: Why Real Change Is So Difficult in Law Schools" (2006). Scholarly Works. 5. https://scholars.law.unlv.edu/facpub/5 This Article is brought to you by the Scholarly Commons @ UNLV Boyd Law, an institutional repository administered by the Wiener-Rogers Law Library at the William S. Boyd School of Law. For more information, please contact [email protected]. Eating Our Cake and Having It, Too: Why Real Change Is So Difficult in Law Schools NANCY B. RAPOPORT* "We want to be one of the schools that are in the 'top 50.'How can we be among the elite ifwe don't look like-and act like-the other elite schools? " "Let's reward the high-achievers without demoralizing the bedrock group. If we set post-tenure review standardslow enough, no one loses. We get the administrationoff our back without anyone telling us what we have to do. After all, tenure means never having to say 'yes, sir' again." "We want to be recognizedfor how good we are. We just don't want to have to sell ourselves publicly in order to do it. "' With underlying beliefs like these, how do law schools ever change? For the past eighteen months, the University of Houston Law Center has been working its way through what has variously been called a "strategic plan," a "benchmarking process," and a "futile attempt at a new and unreachable vision." The timing for the planning process was deliberate: we started two years before our self- study was due and just as our university was beginning discussions about its next comprehensive campaign.
    [Show full text]
  • Rockmusik Und Rockmusiker Im Fiktionalen Film: Eine Übersichtsfilmographie
    Repositorium für die Medienwissenschaft Hans Jürgen Wulff Rockmusik und Rockmusiker im fiktionalen Film: Eine Übersichtsfilmographie. 1 2012 https://doi.org/10.25969/mediarep/12777 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Wulff, Hans Jürgen: Rockmusik und Rockmusiker im fiktionalen Film: Eine Übersichtsfilmographie. 1. Hamburg: Universität Hamburg, Institut für Germanistik 2012 (Medienwissenschaft: Berichte und Papiere 144). DOI: https://doi.org/10.25969/mediarep/12777. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0144_12.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Medienwissenschaft / Hamburg: Berichte und Papiere 144, 2012: Rockmusik im Film. Redaktion und Copyright dieser Ausgabe: Hans J. Wulff. ISSN 1613-7477.URL: http://www.rrz.uni-hamburg.de/Medien/berichte/arbeiten/0144_12.pdf Letzte Änderung: 26.9.2012. Rockmusik und Rockmusiker im fiktionalen Film: Eine Übersichtsfilmographie. 1. Hrsg. v. Hans J. Wulff Die folgende filmographische Übersicht ist der erste Rocksploitation: Rockmusiker im Trash-, Horror- und Teil einer
    [Show full text]
  • A Study of Guitar Hero and Rockband: Why People Play Them and How Marketers Can Use This Information
    Brigham Young University BYU ScholarsArchive Theses and Dissertations 2010-04-21 Turn It Up to Eleven: A Study of Guitar Hero and RockBand: Why People Play Them and How Marketers Can Use This Information Timothy J. Hemingway Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Communication Commons BYU ScholarsArchive Citation Hemingway, Timothy J., "Turn It Up to Eleven: A Study of Guitar Hero and RockBand: Why People Play Them and How Marketers Can Use This Information" (2010). Theses and Dissertations. 2112. https://scholarsarchive.byu.edu/etd/2112 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. “Turn It Up to Eleven” A study of Guitar Hero and Rock Band: Why people play, and how marketers can use this information Timothy J. Hemingway A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts John Davies - Committee Chair Mark Callister - Committee Member Quint Randle - Committee Member Department of Communications Brigham Young University August 2010 Copyright © 2010 Timothy J. Hemingway All Rights Reserved ABSTRACT “Turn It Up to Eleven” A study of Guitar Hero and Rock Band: Why people play, and how marketers can use this information Timothy J. Hemingway Department of Communications Master of Arts This thesis seeks to first understand why individuals play Guitar Hero and Rock Band.
    [Show full text]
  • Laughing Mad Haggins FM Pgs-I-Xii.Qxd 10/24/2006 9:58 AM Page Ii Haggins FM Pgs-I-Xii.Qxd 10/24/2006 9:58 AM Page Iii
    Haggins_FM_Pgs-i-xii.qxd 10/24/2006 9:58 AM Page i Laughing Mad Haggins_FM_Pgs-i-xii.qxd 10/24/2006 9:58 AM Page ii Haggins_FM_Pgs-i-xii.qxd 10/24/2006 9:58 AM Page iii Laughing Mad The Black Comic Persona in Post-Soul America Bambi Haggins Rutgers University Press New Brunswick, New Jersey, and London Haggins_FM_Pgs-i-xii.qxd 10/24/2006 9:58 AM Page iv Material used Chapter 1 and 2 was originally published, in a much abbreviated form, as “Laughing Mad: The Black Comedian’s Place in Post–Civil Rights Era American Comedy,” in Hollywood Comedians: The Film Reader, ed. Frank Krutnik (London, New York: Routledge, 2003). Excerpt from “It’s Bigger Than Hip Hop,” written by Lavonne Alford and Clayton Gavin, published by War of Art Music (BMI)/Walk Like a Warrior Music (BMI), per- formed by Dead Prez. Reprinted by permission of The Royalty Network Inc. Excerpt from “Harlem Literati” from The Big Sea by Langston Hughes. Copyright © 1940 by Langston Hughes. Copyright renewed 1968 by Arna Bontemps and George Houston Bass. Reprinted by permission of Hill and Wang, a division of Farrar, Strauss and Giroux, LLC and (for publication in United Kingdom and British Commonwealth) Harold Ober Associated Inc. Library of Congress Cataloging-in-Publication Data Haggins, Bambi, 1961– Laughing mad : the Black comic persona in post-soul America / Bambi Haggins. p. cm. Includes bibliographical references and index. ISBN-13: 978–0–8135–3984–3 (hardcover : alk. paper) ISBN-13: 978–0–8135–3985–0 (pbk. : alk. paper) 1. African American comedians—Biography I.
    [Show full text]