Brad Delp singing Amanda in 2003

Hi Peace of Mind

More than a feeling

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Brad Delp , lead singer for Boston, chose suicide because he felt there was no other way like so many others today.  (Details of his suicide below later in this post.) It is sad that this is such a pressing problem. I think of songs that point this out: Adam’s Song, The Last Resort, etc.

Guitar World noted:

Whatever insights the letters may have provided, Delp provided sufficient clues to his circumstances in one of the notes found at his house: “I take complete and sole responsibility for my present situation. I have lost my desire to live,” he wrote, adding instructions to the police on how to contact his fiancée. “Unfortunately she is totally unaware of what I have done.”

_________________

There are two usual approaches to this problem that young people take.

First, you have the worm approach. They crawl into the ground because they don’t want to be close to anyone.

Second, the puppy approach. They do anything they can to get people to like them.

The better approach is to act like the child of God that you are. Feeling loved and accepted starts with your relationship with Christ who is the only one able to meet the deepest needs of your life. (Fast forward to the end of this post if you need a relationship with Christ.) Talking to Jesus and reading his Word- The Bible – are steps to strengthening your friendship with him. He laid down his life for you, so it is obvious that he regards you as a friend worth dying for (John 15:13) That is powerful comfort when you wonder if anyone cares.

Portions of the above post were taken from the excellent devotional book by Josh McDowell, and Ed Stewart “Youth Devotions 2,” published in 2003 by Tyndale. Back then my kids were 17, 14, 9 and 7 and we went through several of these devotions together. Just recently I got the book out of the garage and three of my kids have been meeting with me at 5:30 am every morning and we are going through some of these same devotions again. I thank God for kids who came to me and asked to start meeting with me every morning to spend 30 minutes studying Bible applications and praying together. To God be the glory.

Papa Roach – Last Resort (Censored Version)

This series of posts concerns the song “The Last Resort.”

Amy Winehouse died a few months ago and it was a tragic loss. That really troubled me that she did not seek spiritual help instead of turning to drugs and alcohol. This post today will give hope to those who feel like it is all hopeless.

The band’s place in the pop music landscape was established with the release of their breakout single, “Last Resort,” which was quickly picked up by MTV and nominated for a “Best New Artist Video” award at the 2000 Video Music Awards. The song is a gut-wrenching first-person chronicle of hopelessness that’s gone so deep the singer is seriously contemplating suicide.   But the band is adamant about the fact that the song is about fighting to survive by overcoming depression, rather than allowing it to lead to suicide. “It’s not saying I can’t go on living. It’s saying I can’t go on living this way,” says Dick (Spin, 10/00).

I know there are some curse words in the following song. I have eliminated both times the curse word is used. I really think that there needs to be a response to the young people who are saying things like the words in this song Here are some of the words:

Do you even care if I die pleading, Would it be wrong, would it be right, If I took my life tonight, Chances are that I might, and I’m contimplating suicide, ‘Cause I’m losing my sight, losing my mind, Wish somebody would tell me I’m fine, Nothing’s alright, nothing is fine, I’m running and I’m crying, I never realized I was spread too thin, Till it was too late andI was empty within, Hungry, feeding on my chaos and living in sin, Downward spiral, where do i begin, It all started when i lost my mother, No love for myself and no love for another,Searching to find a love upon a higher level, finding nothing but QUESTIONS AND DEVILS, I can’t go on living this way, Cut my life into pieces, This is my last resort.

My response to these words:”Do you even care if I die pleading, Would it be wrong, would it be right, If I took my life tonight, Chances are that I might, and I’m contimplating suicide” is that you should plead to someone who can do something about your situation and that is Christ!!!!

Below David Powlison asserts:

How do you get the living hope that God offers you in Jesus? By asking. Jesus said, “Ask and it will be given to you; seek and you will find; knock and the door will be opened to you. For everyone who asks receives; he who seeks finds; and to him who knocks, the door will be opened” (Matthew 7:7-8).

Suicide operates in a world of death, despair, and aloneness. Jesus Christ creates a world of life, hope, and community. Ask God for help, and keep on asking. Don’t stop asking. You need Him to fill you every day with the hope of the resurrection.

Below is a portion of the article “Papa Roach—Infesting and reflecting youth culture by Walt Mueller. 

Papa Roach’s Music

In a day and age where the walls are crumbling between what had been a variety of distinctive popular music genres, Papa Roach is like many other chart-topping bands whose music combines sounds that were once distinct. Coby Dick’s raspy and throat-wrenching vocals join with music that incorporates sounds of rap, rock, thrash, funk and metal. Listeners familiar with popular music will hear the influence of Faith No More, the band Dick cites as one of his early favorites. Similar contemporary bands include Korn, Limp Bizkit, The Deftones and P.O.D.

Reviewer Tim Kennedy of Spin describes the resulting sound as “an amalgam of below-the-belt guitar riffage, punk-rock urgency, and half-sung, half-rapped vocals (10/00). Rolling Stone’s Anthony Bozza says listening to Papa Roach is “like standing on a precipice—sustained tension and the threat of a tumble” (8/31/00).

The sound combines with Dick’s lyrics in a powerful and emotional blend that addresses the reality of life for kids who have been burned over and over again. Tobin Esperance says, “We write about things that have happened to our singer, specifically, and friends around us. It’s real life stuff. We’re not writing about s___ that we don’t know about, like girls and cars and money … we only know real life bulls___ that happens” (nyrock.com). Coby Dick says of his autobiographical music, “I’m venting my emotions. It’s blunt” (Rolling Stone, 8/31/00). He says “Papa Roach, lyrically, is my counseling” (Billboard,6/10/00). 

Infest (2000)

Papa Roach released the album they now consider their first in April of 2000. The album quickly began to sell as a result of radio and MTV exposure, went gold after two months thanks to scoring with MTV’s Total Request Live audience, and had gone double platinum by September 2000.

Papa Roach offers an introduction to their music, mission, message and intentions on the album’s title cut. After introducing himself to his listeners, Coby Dick informs them his “God-given talent is to rock all the nations.” In this, the band’s “first manifesto,” the group lays out their plan to “infest” the world and young minds (“wrap you in my thoughts”) with an angry musical message of anarchy and rebellion against a messed-up world that’s let them down: “We’re going to infest/We’re getting in your head/What is wrong with the world today/The government, media or your family.” Institutions and people are not to be trusted. In fact, “First they shackle your feet/Then they stand you in a line/Then they beat you like meat/Then they grab you by your mind … people are the problem today.” Dick admits the struggle so many young people feel: “the game of life is crazy.” Alone in this sea of brokenness and hopelessness, Dick asks, “Would you cry if I died today/I think it be better if you did not say.”

The band’s place in the pop music landscape was established with the release of their breakout single, “Last Resort,” which was quickly picked up by MTV and nominated for a “Best New Artist Video” award at the 2000 Video Music Awards. The song is a gut-wrenching first-person chronicle of hopelessness that’s gone so deep the singer is seriously contemplating suicide. (See lyrics on page 7.) The fact that “Last Resort” is part of the mainstream pop music landscape indicates it is connecting with more and more kids who see it as an expression of their own inner struggles. For casual listeners, the song is very confusing. Listening to the song reveals the criticisms claiming the song promotes suicide could certainly be warranted. Kids who are riding the fence because of numerous other problems in their lives could interpret the song in a way that would give them permission to go over the edge, especially if they don’t know the story behind the song. But the band is adamant about the fact that the song is about fighting to survive by overcoming depression, rather than allowing it to lead to suicide. “It’s not saying I can’t go on living. It’s saying I can’t go on living this way,” says Dick (Spin, 10/00). He also says, “Last Resort” has “a positive edge to it, as far as like, ‘Don’t succumb to it. Keep yourself afloat.’ With these problems in your life, find a friend you can confide in” (Sonicnet.com). Based on the band’s resolve to survive like a roach, one would have to take them at their word. The song chronicles the suicide attempt of one of Coby Dick’s former roommates. After his “unsuccessful” attempt, the young man “turned to God” … Dick claims the attempt was what killed the rotting part of his roommate’s soul. The song has definitely connected. “We’ve gotten so many e-mails from people who tell us ‘Last Resort’ saved their lives,” says Dick. “It makes some people feel less alone” (Rolling Stone,8/31/00).

The album’s third cut is equally powerful. Released as a single and put in heavy rotation on MTV, “Broken Home” (See lyrics) is an overt lyrical, sonic and visual cry from the heart of one whose young life has been shattered by family breakdown. Written by Dick about his feelings after his parents’ divorce, the song offers listeners an emotional window into the reality of kids beaten up by our current culture of divorce. Every parent considering divorce should sit and watch this video. It is powerful.

“Dead Cell” has been called “a darkly sarcastic paean to Columbine kids the world over” (Alternative Press, 10/00). If that’s the case, the sarcasm is not easily heard. The dead cells are described as “born with no soul/lack of control/cut from the mold of the anti-social … sick in the head/living but dead.” Loud, angry and fast, the song could be interpreted by some who are young and angry as a call to arms: “I’m telling ya the kids are getting singled out/Let me hear the dead cells shout.”

“Between Angels and Insects” is an insightful rant against American greed and materialism. Dick says he wrote the song to remind himself that the things the band’s success will bring are not the things that make one happy. The lyrics are powerful and excerpts could serve to spark discussion with teens about the false promises of materialism: “Diamond rings get you nothing/But a life-long lesson/And your pocketbook stressin’/You’re a slave to the system/Working jobs that you hate/For s___ that you don’t need/It’s too bad the world is based on greed/Step back and stop thinking ‘bout yourself … ‘cause everything is nothing/And emptiness is in everything … Possessions they are never gonna fill the void … the things you own, own you.” When discussing the message of the song Buckner says, “all the worldly things that people equate with happiness—do they necessarily make you happy? You can have Rolexes and diamond rings and cars and houses … but really the things that make you happy are peace of mind and passion in your life” (Alternative Press, 10/00).

Relational selfishness and greed are the subject of “Blood Brothers,” a song offering powerful evidence of the depth of sin’s hold on humanity: “It’s our nature to destroy ourselves/It’s our nature to kill ourselves/It’s our nature to kill each other/It’s in our nature to kill, kill, kill.” The song speaks about allegiance in a world where you can’t trust anybody and you’ve got to watch your back. The lyrics leave one thinking the song could serve as an anthem for a street gang or other fringe subculture: “Blood brothers keep it real to the end.”

Themes of severe relational breakdown and the resulting pain continue in “Revenge,” a song about a girl who was “abused with forks, knives and razorblades” and who finally left the man who abused her in fits of rage. Listeners who have been abused will identify with the song’s mention of the ever-present and visible emotional scars they so often feel: “Chaos is what she saw in the mirror/Scared of herself/And the power that was in her/It took over and weighed heavily on her shoulders/Militant insanity is now what controlled her.” The song indicates that she exacts revenge on him, although the method and outcome is unclear.

Backstabbers are the subject of “Snakes,” an angry and threatening rant at those who betray friends. The song reflects the distrust so many kids feel because of the parade of letdowns they’ve experienced. The chorus asks, “Do you like how it feels to be bit in the neck by the snake that kills?/Do you know how it feels to be stabbed in the back then watch the blood spill?/I don’t like how it feels.”

Coby Dick chronicles his wrestling match with alcohol on “Binge,” a song that serves as a personal confession. “All I need is a bottle/And I don’t need no friends/Now wallow in my pain/I swallow as I pretend/To act like I’m happy when I drink till no end/I’m losing all my friends, I’m losing in the end … When I’m sober, life bores me/So I get drunk again.” The song is a heart cry about what drives the binge drinker, how he really feels inside and his desire to see it end. In the song’s final lines, Dick sings, “I wish things would change/Wish they’d rearrange.”

“Never Enough” is another cry for help from a confused and tortured young soul that is deeply longing for redemption. “Life’s been sucked out of me/And this routine’s killing me … somebody put me out of my misery,” Dick sings. The song will resonate with kids who are lost, purposeless and without peace. The song’s conclusion is a loud cry for help: “I feel as if I’m running/Life will knock me down.”

“Thrown Away” offers a view of life through the eyes of a kid struggling with ADD, something Coby Dick knows well as he watched his brother’s personal struggle with the disorder. “My heart is bleeding and the pain will not pass … I want to be thrown away … I am a mess, I’ve made a huge mess/I can’t control myself/I’m losing it, I’ve lost it/I’ve spilt all my marbles … sometimes I want to be thrown away.”

The album concludes with an unlisted hidden cut called “Tightrope.” The track is stylistically unlike any other cuts on the album as it is done in reggae style. The lyrics are a confusing mix of thoughts where Dick calls his words “weapons in which I murder you.” The song offers a confession regarding the ethical dilemmas faced by kids in these confusing times: “there is a thin line between what’s good and what is evil/I will tiptoe down that line/But I feel unstable/My life is a circus and I’m tripping down the tightrope/There’s nothing left to save me now so I will not look down.”

Help for the Suicidal

God offers you true, living hope–not a false hope based on your death.
By David Powlison

WHAT YOU NEED TO DO

It’s easy to see the risk factors for suicide—depression, suffering, disillusioning experiences, failure—but there are also ways to get your life back on track by building protective factors into your life.

Ask for help

How do you get the living hope that God offers you in Jesus? By asking. Jesus said, “Ask and it will be given to you; seek and you will find; knock and the door will be opened to you. For everyone who asks receives; he who seeks finds; and to him who knocks, the door will be opened” (Matthew 7:7-8).

Suicide operates in a world of death, despair, and aloneness. Jesus Christ creates a world of life, hope, and community. Ask God for help, and keep on asking. Don’t stop asking. You need Him to fill you every day with the hope of the resurrection.

At the same time you are asking God for help, tell other people about your struggle with hopelessness. God uses His people to bring life, light, and hope. Suicide, by definition, happens when someone is all alone. Getting in relationship with wise, caring people will protect you from despair and acting out of despair.

But what if you are bereaved and alone? If you know Jesus, you still have a family—His family is your family. Become part of a community of other Christians. Look for a church where Jesus is at the center of teaching and worship. Get in relationship with people who can help you, but don’t stop with getting help. Find people to love, serve, and give to. Even if your life has been stripped barren by lost relationships, God can and will fill your life with helpful and healing relationships.

Grow in godly life skills

Another protective factor is to grow in godly living. Many of the reasons for despair come from not living a godly, fruitful life. You need to learn the skills that make godly living possible. What are some of those skills?

• • Conflict resolution. Learn to problem-solve by entering into human difficulties and growing through them. (See Ask the Christian Counselor article, “Fighting the Right Way.”)
  • Seek and grant forgiveness. Hopeless thinking is often the result of guilt and bitterness.
  • Learn to give to others. Suicide is a selfish act. It’s a lie that others will be better off without you. Work to replace your faulty thinking with reaching out to others who are also struggling. Take what you have learned in this article and pass it on to at least one other person. Whatever hope God gives you, give to someone who is struggling with despair.

Live for God

When you live for God, you have genuine meaning in your life. This purpose is far bigger than your suffering, your failures, the death of your dreams, and the disillusionment of your hopes. Living by faith in God for His purposes will protect you from suicidal and despairing thoughts. God wants to use your personality, your skills, your life situation, and even your struggle with despair to bring hope to others.

He has already prepared good works for you to do. Paul says, “For we are his workmanship, created in Christ Jesus for good works, which God prepared beforehand, that we should walk in them” (Ephesians 2:10). As you step into the good works God has prepared for you—you will find that meaning, purpose, and joy.

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Brad Delp: Details Emerge About His Tragic Suicide

Brad Delp: June 12, 1951 – March 9, 2007

The parked car was unattended, but to the police who arrived at Brad Delp’s home on March 9, it was immediately clear that something was amiss.

A dryer vent hose connected to the car’s exhaust pipe lay on the ground alongside the vehicle. Inside the garage, a note taped to the house door made the owner’s intentions explicit:

“To whoever finds this I have hopefully committed suicide. Plan B was to asphyxiate myself in my car.”

The police had been called to the Boston lead singer’s home in Atkinson, New Hampshire, by his fiancée, Pamela Sullivan, after she’d discovered Delp’s car with the dryer hose attached. Delp “had been depressed for some time,” Sullivan told the police, “feeling emotional [and] bad about himself.”

Inside the house, on a door at the top of the stairs, the police found a second note directing them to the master bedroom. Cautiously they made their way inside and into the master bedroom. There, like a portent, a third note warned them of the possible presence of deadly carbon monoxide.

Outside the bathroom of the master bedroom, a faint smell of burnt charcoal hovered in the air. The police knocked on the bathroom door. “Mr. Delp?” they called. “Sir, are you inside? Are you okay, sir?”

After a lengthy silence, they turned their shoulders to the door and began battering it with their full force. As it gave, the odor of charcoal intensified and hot plumes of blue-grey smoke poured from the excavated room. Broken tape along the door indicated it had been sealed. The police waited for the smoke to abate, then entered the room, covering their mouths and waving away the haze.

As the smoke cleared, the scene within the bathroom slowly came into view. Two charcoal grills perched among the bathroom fixtures, their metal tops emitting heat waves. On the floor beside them lay the body of a man, his head resting on a pillow. A note paper-clipped to the neck of his shirt told them what they needed to know: “Mr. Brad Delp. Jai une ame salitaire. I am a lonely soul.”

Brad Delp was dead, a suicide by carbon monoxide poisoning, according to the New Hampshire medical examiner. He was 55.

Though his fragile emotional state had been known to his fiancée, Delp’s fans were none the wiser. To millions of music fans, he was forever the singer whose buoyant voice carried Boston to the top of the charts in the Seventies and Eighties with hits like “More Than a Feeling, “Peace of Mind,” “Long Time” and “Amanda.” At the time of his death, Delp was preparing for a summer tour with his Boston band mates, guitarists Tom Scholz and Barry Goudreau. He had also planned to marry Sullivan during a break in the tour.

Police found four sealed letters in the home that were addressed to Sullivan; Delp’s children; their mother, Micki Delp; and another unidentified couple. Police lieutenant William Baldwin said the police had given the letters to the family members without reading them.

Whatever insights the letters may have provided, Delp provided sufficient clues to his circumstances in one of the notes found at his house: “I take complete and sole responsibility for my present situation. I have lost my desire to live,” he wrote, adding instructions to the police on how to contact his fiancée. “Unfortunately she is totally unaware of what I have done.”

Brad Delp was cremated on Wednesday, March 14, 2007.

BOSTON BRAD DELP LAST CONCERT 11/06 PT 1

Uploaded on Apr 12, 2007

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Published on Aug 15, 2013

IF YOU’RE READY / THE STAPLE SINGERS

Uploaded on Feb 2, 2010

If You’re Ready (Come Go With Me ) – The Staple Singers
from album “BE WHAT YOU ARE” in 1973

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Biography of Mavis Staples:

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Quick Facts

• NAME: Mavis Staples
• OCCUPATION: Civil Rights Activist, Singer
• BIRTH DATE: July 10, 1939 (Age: 74)
• PLACE OF BIRTH: Chicago, Illinois
• ZODIAC SIGN: Cancer

Best Known For

Mavis Staples is best known for her extensive gospel career with the Staples Singers.

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Mavis Staples

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Synopsis

Mavis Staples was born July 10, 1939 in Chicago, Illinois. She began singing with her family, The Staples Singers, at local Chicago churches before signing with the gospel label Vee-Jay Records in 1953. The family put on a concert in Montgomery, Alabama which Martin Luther King, Jr. was attending.

Contents

• Synopsis
• Early Life
• The Staples Singers
• Singing for Civil Rights
• Romantic Relationships
• Commercial Success
• Solo Career
• Impact on Music

Quotes

“I was a skinny little knock-kneed girl with a big voice that comes from my mother’s side.”

– Mavis Staples

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Early Life

Singer and civil rights activist Mavis Staples was born on July 10, 1939, in Chicago, Illinois. Staples is the youngest of four children born to Oceala and Roebuck “Pops” Staples. Her mother died when Mavis was still very young, so she and her three older siblings (Cleotha, Pervis and Yvonne) were raised primarily by their father. In earlier days, Pops Staples worked at the infamous Dockery’s Farm cotton plantation in Drew, Mississippi.

After a day of hard labor in the fields—for 10 cents a day—Pops took solace in the Delta blues, learning guitar from the great blues pioneer Charley Patton. In 1936, three years before Mavis was born, Pops moved to Chicago and landed a job in a meatpacking factory. He played in a gospel quartet called the Trumpet Jubilees throughout the late 1930s and early 1940s, but eventually grew frustrated with his bandmates’ lack of commitment to their music.

Mavis Staples recalled that when she was 8 years old, her father finally gave up on the Trumpet Jubilees and turned to his children to become his new bandmates. “Pops finally came home one night, got the guitar out of the closet and called us in the living room, sat us on the floor in a circle and started giving us our parts,” Staples recalled.

Two years later, when Mavis was 10 years old, the family band made its debut singing at a local Chicago church. After they received an enormous ovation, Staples recalled her father saying, “Shucks, these people like us. We’re going home to learn some more songs!” Although she was the band’s youngest member, Mavis soon became its lead singer with a logic-defying voice that more properly belonged to a woman several decades older and many times larger.

She recalled her father telling her, “Mavis, listen, your voice is a God-given gift. You know, you don’t know music. You don’t even know what key you sing in.” Staples added, with a laugh, “And I still don’t know what key I sing in.”

The Staples Singers

In 1953, the Staple Singers signed with the small gospel label Vee-Jay Records and released their first song, “Sit Down, Servant.” Three years later, they scored their first major hit with “Uncloudy Day,” introducing Staples’ shockingly mature vocals to national audiences for the first time. “I was a skinny little knock-kneed girl with a big voice that comes from my mother’s side,” she remembered. “Deejays would announce, ‘This is little 15-year-old Mavis singing’ and people would say it’s gotta either be a man or a big lady. People were betting that I was not a little girl.”

The Staple Singers toured the country and developed an impressive grassroots following, but they limited their concerts to weekends until Staples graduated from high school in 1957. They recorded two more national hits in the late 1950s: “Will the Circle Be Unbroken” and “This May Be the Last Time,” a song later adapted by The Rolling Stones.

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Coldplay Live 2003 Backstage

Chris Martin revealed in his interview with Howard Stern that he was rasied an evangelical Christian but he has left the church. I believe that many words that he puts in his songs today are generated from the deep seated Christian beliefs from his childhood that find their way out in his life. His belief in being generous with charities, and the fact Coldplay’s songs  deal so much with death and the search for meaning and purpose of life (similar to Solomon’s search in Ecclesiastes), that our actions are being watched, and Chris describes different ways God tries to reveal himself to us, and many songs deal with trying to find a way to an afterlife and heaven, and he stills uses Christian terms like being “blessed” and “grateful.”

Up to this point many people may be saying that this is all based on some pretty flimsy evidence. However, one of the most revealing things came out when Chris wrote the song “Viva La Vida.” He had previously said he left Christianity because of the biblical view of eternal damnation but what does Chris do with the evil king in the song “Viva La Vida?”  Q Magazine asked Chris Martin about the lyric in this song “I know Saint Peter won’t call my name.” Martin said,  “It’s about…You’re not on the list… Its always fascinated me that idea of finishing your life and then being analyzed on it…That is the most frightening thing you could possibly say to somebody. Eternal damnation.  I know it. It’s mildly terrifying to me. And this is serious.”

Maybe we have heard the last of this journey from Chris?

Coldplay – Viva La Vida

Chris Martin and Gwyneth Paltrow uprooting from London to set up home in Los Angeles

Going Stateside … Chris Martin and Gwyneth Paltrow

By BECI WOOD

Published: 28th August 2012

7

CHRIS Martin and Gwyneth Paltrow are quitting London to move to America.

The couple currently live in the British capital but have splashed out on a luxury £6.6million mansion in Los Angeles because the Hollywood actress wants to be near her elderly mum Blythe Danner.

The move to Brentwood’s Mandeville Canyon will save Gwyneth doing so many long-haul flights and coincides with Coldplay taking a year-long break.

Close … Gwyneth Paltrow, right, and Blythe Danner

A source told RadarOnline: “Chris and Gwyneth have wanted to move to Los Angeles for a while.

“Gwyneth spends a lot of time between the UK and the US and she’s exhausted.

“The purpose of buying the lavish home in Brentwood was to make that a semi-permanent base.

“Gwyneth spends a lot of time away from her mum, Blythe, and wants to be closer to her as she gets older.

“Chris was very understanding and is willing to give living in Los Angeles a chance because he’s always loved the city.

On stage … Chris Martin’s Coldplay

“Chris’s band won’t be working on a new album for at least another year so he has some breathing space to kick back.”

The couple are also reportedly investigating local schools for their kids Apple, eight, and six-year-old Moses.

The source added: “They’re looking at placing Apple and Moses at a local private school — they both want to make sure the kids are settled and can get a good education.”

Oscar-winning role … Gwyneth Paltrow in Shakespeare In Love

Read more: http://www.thesun.co.uk/sol/homepage/showbiz/4508392/Chris-Martin-and-Gwyneth-Paltrow-leave-London-to-move-to-LA.html#ixzz2NLbPw1Rw

Elusive

Chris Martin

ee

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Published on Apr 1, 2013

The Staple Singers

The Staple Singers
The Staple Singers with Soul Train host Don Cornelius in 1974.
Background information
Origin	Chicago, Illinois, United States
Genres	Soul, Gospel, Blues, R&B, Funk, Pop
Years active	1948–1994
Labels	United Records, Vee-Jay Records, Checker Records, Riverside Records, Epic Records, Stax Records, Columbia, Curtom, United Artists, Warner Bros.
Associated acts	Curtis Mayfield, Steve Cropper, Booker T & the MG’s The Ross Singers
Past members	Roebuck “Pops” Staples Cleotha Staples Pervis Staples Yvonne Staples Mavis Staples

The Staple Singers were an American gospel, soul, and R&B singing group. Roebuck “Pops” Staples (1914–2000), the patriarch of the family, formed the group with his children Cleotha (1934–2013), Pervis (b. 1935), Yvonne (b. 1936), and Mavis (b. 1939). They are best known for their 1970s hits “Respect Yourself“, “I’ll Take You There“, “If You’re Ready (Come Go with Me)“, and “Let’s Do It Again“.

History

The family began appearing in Chicago-area churches in 1948, and signed their first professional contract in 1952.^[1] During their early career they recorded in an acoustic gospel-folk style with various labels: United Records, Vee-Jay Records (their “Uncloudy Day” and “Will The Circle Be Unbroken” were best sellers), Checker Records, Riverside Records, and then Epic Records in 1965. While the family surname is “Staples”, the group used the singular form for its name, resulting in the group’s name being “The Staple Singers”.

It was on Epic that the Staple Singers began moving into mainstream pop markets, with “Why (Am I Treated So Bad)” and “For What It’s Worth” (Stephen Stills) in 1967. In 1968, the Staple Singers signed to Stax Records and released two albums with Steve Cropper and Booker T & the MG’s — Soul Folk in Action and We’ll Get Over. By 1970, Al Bell had become producer, and with Engineer Terry Manning, the family began recording at the famed Muscle Shoals Sound Studio, and Memphis’ Ardent Studios, moving in a more funk and soul direction.

The first Stax hit was “Heavy Makes You Happy (Sha-Na-Boom Boom)”. Their 1971 recording of “Respect Yourself“, written by Luther Ingram and Mack Rice, peaked at #2 on the R&B charts and was a #12 pop hit as well. The song’s theme of self-empowerment had universal appeal, released in the period immediately following the intense American civil rights movement of the 1960s. In 1972, the group had a huge #1 hit in the United States with “I’ll Take You There“. It topped both pop and R&B charts. “If You’re Ready (Come Go With Me)” would become another big hit, reaching #9 pop and #1 on the R&B chart in 1973.

Then, after Stax’s bankruptcy in 1975, they signed to Curtis Mayfield‘s label, Curtom Records, and released “Let’s Do It Again“, produced by Mayfield; the song became their second #1 pop hit in the US and the album also. In 1976, they collaborated with The Band for their film The Last Waltz, performing on the song “The Weight” (which The Staple Singers had previously covered on their first Stax album). However, they were not able to regain their momentum, releasing only occasional minor hits. Their 1984 album Turning Point featured their final Top 40 hit, a cover of Talking Heads‘ “Slippery People” (which also reached the Top 5 on the Dance chart). In 1994, they again performed the song “The Weight” with Country music artist Marty Stuart for MCA Nashville‘s Rhythm, Country and Blues compilation, somewhat re-establishing an audience. The song “Respect Yourself” was used by Spike Lee in the soundtrack to his movie Crooklyn, made in 1994.

In 1999, the group was inducted into the Rock and Roll Hall of Fame. Pops Staples died of complications from a concussion suffered in December 2000. In 2005, the group was awarded the Grammy Lifetime Achievement Award. Mavis Staples has continued to carry on the family tradition and continues to add her vocal talents to both the projects of other artists and her own solo ventures. Cleotha Staples died in Chicago on February 21, 2013, after suffering from Alzheimer’s disease for over a decade.^[2]

Use In Other Media

“I’ll Take You There” was used as the opening song (the shower scene) in the first episode of the Netflix series Orange Is The New Black.

UK Artist Star Slinger sampled their song, “Let’s Do It Again” in the remix, “Mornin'” in 2010.

Discography

Charted albums

Charted singles

References

External links

• The Staple Singers at VH1
• The Staple Singers at AllMusic

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Gene Chizik does a great job at Little Rock Touchdown Club Part 5

Gene Chizik did a great job at the Little Rock Touchdown Club on Sept 30, 2013. He told a story that was very emotional about his father’s involvement in the Battle of Sugar Loaf Hill.

Auburn Tigers coach Gene Chizik achieves thanks to the gifts of his father

The son stands vigil as the father lies silently in a Clearwater hospital room. Time is running out, and nothing in this world can change that. So the room is mostly quiet except for an elderly gentleman who has come to whisper his final goodbyes. “Look at it this way,” he says to his dear old friend, “you lived 40 or 50 years longer than you thought you were going to.” When the gentleman gets up to leave, the son follows him into the corridor. “What did you mean … “

•••

People will tell you Gene Chizik has his father’s eyes. His forehead. The curve of his jaw.

But, in the end, that’s just genetics. The greater gifts passed on by a father are the ones that shape a son’s life. His sense of purpose. Of loyalty. Of compassion and commitment. In that sense, we are just now beginning to see the man Gene C. Chizik Sr. was.

Because, at long last, his son has hit the big time.

For a certain generation of Pinellas County residents, that will be Mr. Chizik’s boy leading the Auburn Tigers out of the tunnel and into the BCS national championship game against Oregon this evening. The same boy who played football at Clearwater High, and began his coaching career at Seminole High. The boy who taught third grade at Bauder Elementary, and married the daughter of his Clearwater High coach.

The boy who asked his father to be the best man at his wedding, and who has spent a lifetime following the best man’s ideals.

This is their story, a father’s and a son’s. It begins in anonymity and, over the decades, winds its way toward a grand stage, but the central theme never wavers.

“They had a special relationship. Gene was born later in the marriage, and he grew up idolizing his dad,” said Chizik’s father-in-law, John Nicely. “He’s a lot like him today. Very mild mannered but very determined. Mr. Chizik was a special man and a special father, and Gene is the same kind of father today.”

They were men in public positions but with quiet tastes. There was faith. There was family. And there was football.

Chizik Sr. played a little college ball at Rollins before enlisting in the Marines at the start of World War II. When the war ended, he followed his best friend to Pinellas County and began a career as an educator. He coached football for a couple of seasons before spending more than 30 years as a principal in Tarpon Springs and at Largo High School.

As for young Gene, he was a linebacker at Clearwater when the Tornadoes won the county conference title in 1978, and he was a Pinellas All-Academic team selection in ’79. He walked on at the University of Florida, but his playing career ended with a back injury.

Back in town after graduating from UF, Chizik ran into Sam Roper at a friend’s wedding. Roper, his former position coach at Clearwater, was now the head coach at Seminole and offered him an assistant’s job.

The only problem was finding a teaching position. There wasn’t anything at Seminole, but Bauder Elementary had a job open for a third-grade teacher.

“He was fantastic with the kids. You could not have asked for a nicer man in that job,” said Rangel Dockery, who was part of a two-teacher team with Chizik at Bauder.

“In some ways it was funny seeing this very big, very buff man sitting in these little chairs teaching math and science to third-graders, but he really related with the kids. He would get down to them on their level.”

The career may have begun modestly, but the intensity has always been there. Early in his first season at Seminole, the Warhawks were getting soundly beaten when Chizik ordered his linebackers into the empty showers at halftime.

“He ripped us pretty good. I think he put us in the shower because he knew his voice would bounce around the locker room,” said Dom Green, who has gone on to become an NFL scout. “But I’ll never forget one thing. He said, ‘Go as hard as you can for as long as you can and don’t ever look back.’

“That has stuck with me forever. It’s like a microcosm of who he is. And it’s the way his teams play today.”

By the end of his second season at Seminole, Chizik was convinced he wanted to make a career of coaching. Roper was friends with then-Clemson coach Danny Ford and arranged for them to have dinner when the Tigers were in Orlando for the Citrus Bowl.

It was the start of a college career that took Chizik from Clemson to Middle Tennessee State to Stephen F. Austin to Central Florida. His big break was as the defensive coordinator at Auburn, which led to defensive coordinator at Texas and his first job as head coach at Iowa State.

“I’ve seen him grow and become a great coach, a great father and a great role model,” Roper said. “He’s very appreciative of everything that’s happened to him. Very humbled. Not arrogant at all. If you want to compare him to somebody, he’s like a more polished Bobby Bowden.

“If Gene Chizik comes to your house and talks to your son about playing football, you’re going to fall in love with the guy.”

On Sunday, Chizik sat in front of dozens of cameras in a Scottsdale, Ariz., hotel ballroom in the final news conference before the BCS game. For 30 minutes he answered questions politely and blandly. Someone asked about his rule that Auburn players are not to celebrate touchdowns, but instead are supposed to hand the ball to the referee.

Chizik, 49, explained this is a team game. It’s not about what an individual has done, but what has been accomplished toward a greater goal. It sounded a lot like any other coach except, maybe, for those who knew Gene Chizik Sr.

On that afternoon in May 2002, when his father lay dying in a hospital bed, Chizik listened as Bill Justice, his father’s lifelong friend, made the cryptic remark about living longer than he expected. Justice, a former Clearwater City Commissioner, had been friends with Chizik Sr. since they were teenagers and enlisted in the Marines with him at the start of World War II.

When Justice left the room, Chizik followed him out and asked what he meant.

He never told you?

That was the first time Chizik heard the story of his father’s military service. Of a small group of Marines who took a mound of dirt on Okinawa known as Sugar Loaf Hill in one of the bloodiest and most pivotal battles in the Pacific. Hundreds of men went up the hill, and few came back down. This was the reason for the Bronze Star for heroism tucked away at home that his father never talked about.

“His father was a great man. A loyal man. Chizik would be proud of his son today, but he would never let you know because he wasn’t the type to talk about it,” Justice said. “I’m just glad the son is getting his recognition today.”

In a way, so is the father.

John Romano, who is covering the BCS title game in Arizona, can be reached at romano@sptimes.com

_____________________________________________

ON OKINAWA TODAY, Flag Day will be observed with an extraordinary ceremony: two groups of elderly men, one Japanese, the other American, will gather for a solemn rite. They could scarcely have less in common.

Their motives are mirror images; each group honors the memory of men who tried to slay the men honored by those opposite them. But theirs is a common grief. After 42 years the ache is still there. They are really united by death, the one great victor in modern war.

They have come to Okinawa to dedicate a lovely monument in remembrance of the Americans, Japanese and Okinawans killed there in the last and bloodiest battle of the Pacific war. More than 200,000 perished in the 82-day struggle – twice the number of Japanese lost at Hiroshima and more American blood than had been shed at Gettysburg. My own regiment – I was a sergeant in the 29th Marines – lost more than 80 percent of the men who landed on April 1, 1945. Before the battle was over, both the Japanese and American commanding generals lay in shallow graves.

Okinawa lies 330 miles southwest of the southernmost Japanese island of Kyushu; before the war, it was Japanese soil. Had there been no atom bombs – and at that time the most powerful Americans, in Washington and at the Pentagon, doubted that the device would work – the invasion of the Nipponese homeland would have been staged from Okinawa, beginning with a landing on Kyushu to take place Nov. 1. The six Marine divisions, storming ashore abreast, would lead the way. President Truman asked Gen. Douglas MacArthur, whose estimates of casualties on the eve of battles had proved uncannily accurate, about Kyushu. The general predicted a million Americans would die in that first phase.

Given the assumption that nuclear weapons would contribute nothing to victory, the battle of Okinawa had to be fought. No one doubted the need to bring Japan to its knees. But some Americans came to hate the things we had to do, even when convinced that doing them was absolutely necessary; they had never understood the bestial, monstrous and vile means required to reach the objective – an unconditional Japanese surrender. As for me, I could not reconcile the romanticized view of war that runs like a red streak through our literature – and the glowing aura of selfless patriotism that had led us to put our lives at forfeit – with the wet, green hell from which I had barely escaped. Today, I understand. I was there, and was twice wounded. This is the story of what I knew and when I knew it.

TO OUR ASTONISHMENT, THE Marine landing on April 1 was uncontested. The enemy had set a trap. Japanese strategy called first for kamikazes to destroy our fleet, cutting us off from supply ships; then Japanese troops would methodically annihilate the men stranded ashore using the trench-warfare tactics of World War I – cutting the Americans down as they charged heavily fortified positions. One hundred and ten thousand Japanese troops were waiting on the southern tip of the island. Intricate entrenchments, connected by tunnels, formed the enemy’s defense line, which ran across the waist of Okinawa from the Pacific Ocean to the East China Sea.

By May 8, after more than five weeks of fighting, it became clear that the anchor of this line was a knoll of coral and volcanic ash, which the Marines christened Sugar Loaf Hill. My role in mastering it – the crest changed hands more than 11 times -was the central experience of my youth, and of all the military bric-a-brac that I put away after the war, I cherish most the Commendation from Gen. Lemuel C. Shepherd Jr., U.S.M.C., our splendid division commander, citing me for ”gallantry in action and extraordinary achievement,” adding, ”Your courage was a constant source of inspiration . . . and your conduct throughout was in keeping with the highest tradition of the United States Naval Service.”

The struggle for Sugar Loaf lasted 10 days; we fought under the worst possible conditions – a driving rain that never seemed to slacken, day or night. (I remember wondering, in an idiotic moment – no man in combat is really sane – whether the battle could be called off, or at least postponed, because of bad weather.) Newsweek called Sugar Loaf ”the most critical local battle of the war.” Time described a company of Marines – 270 men – assaulting the hill. They failed; fewer than 30 returned. Fletcher Pratt, the military historian, wrote that the battle was unmatched in the Pacific war for ”closeness and desperation.” Casualties were almost unbelievable. In the 22d and 29th Marine regiments, two out of every three men fell. The struggle for the dominance of Sugar Loaf was probably the costliest engagement in the history of the Marine Corps. But by early evening on May 18, as night thickened over the embattled armies, the 29th Marines had taken Sugar Loaf, this time for keeps.

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Gus Malzahn does a great job at Little Rock Touchdown Club (Part 2)

By Everette Hatcher III | Posted in Current Events | Edit | Comments (0)