The Staple Singers Part 2

The Staple singers and the band – The weight

Uncloudy Day – The Staple Singers (1956)

The Staple Singers Perform “Respect Yourself” and “I’ll Take You There” at the 1999 Inductions

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

Related posts:

The Staple Singers Part 1

Mavis Staples to give concert at Christ Church in Little Rock

Posted by Lindsey Millar on Fri, Sep 6, 2013 at 2:48 PM

click to enlarge

Whoa. One of the greatest soul divas OF ALL TIME is coming to Little Rock next month. Christ Church Little Rock is hosting Mavis Staples in concert at 7:30 p.m. Oct. 11. Tickets, which range from $20 to $35, go on sale Sunday, Sept. 22 Monday, Sept. 23.

The Staples Singer great has hardly slipped into the nostalgia circuit in her golden years. In June, she put out “One True Vine,” her second collaboration with Wilco’s Jeff Tweedy (the first won a Grammy). Both find her mostly interpreting other people’s songs. Check out her cover of Funkadelic’s “Can You Get to That” and footage from The Staple Singers at Wattstax doing “Respect Yourself” on the jump.

Mavis Staples

Mavis Staples
Staples performing in Brooklyn, New York in 2007
Background information
Birth name	Mavis Staples
Born	July 10, 1939 (age 74)
Origin	Chicago, Illinois, U.S.
Genres	Rhythm and blues, soul, gospel
Occupations	Singer
Years active	1950–present
Labels	Epic, Stax/Volt, Curtom, Paisley Park, Alligator, Anti-, Warner Bros., Verve
Associated acts	The Staple Singers
Website	www.mavisstaples.com

Mavis Staples (born July 10, 1939 in Chicago, Illinois) is an American rhythm and blues and gospel singer, actress and civil rights activist who recorded with The Staple Singers, her family’s band.

Biography

Mavis Staples began her career with her family group in 1950. Initially singing locally at churches and appearing on a weekly radio show, the Staples scored a hit in 1956 with “Uncloudy Day” for the Vee-Jay label. When Mavis graduated from what is now Paul Robeson High School in 1957, The Staple Singers took their music on the road. Led by family patriarch Roebuck “Pops” Staples on guitar and including the voices of Mavis and her siblings Cleotha, Yvonne, and Purvis, the Staples were called “God’s Greatest Hitmakers.”

With Mavis’ voice and Pops’ songs, singing, and guitar playing, the Staples evolved from enormously popular gospel singers (with recordings on United and Riverside as well as Vee-Jay) to become the most spectacular and influential spirituality-based group in America. By the mid-1960s The Staple Singers, inspired by Pops’ close friendship with Martin Luther King, Jr., became the spiritual and musical voices of the civil rights movement. They covered contemporary pop hits with positive messages, including Bob Dylan‘s “A Hard Rain’s a-Gonna Fall” and a version of Stephen Stills’ “For What It’s Worth.”

During a December 20, 2008 appearance on National Public Radio’s news show “Wait Wait…Don’t Tell Me,” when Staples was asked about her past personal relationship with Dylan, she admitted they “were good friends, yes indeed” and that he had asked her father for her hand in marriage.^[1]

The Staples sang “message” songs like “Long Walk to D.C.” and “When Will We Be Paid?,” bringing their moving and articulate music to a huge number of young people. The group signed to Stax Records in 1968, joining their gospel harmonies and deep faith with musical accompaniment from members of Booker T. and the MGs. The Staple Singers hit the Top 40 eight times between 1971 and 1975, including two No. 1 singles, “I’ll Take You There” and “Let’s Do It Again,” and a No. 2 single “Who Took the Merry Out of Christmas?”

Staples made her first solo foray while at Epic Records with The Staple Singers releasing a lone single “Crying in the Chapel” to little fanfare in the late 1960s.^[2] The single was finally re-released on the 1994 Sony Music collection Lost Soul. Her first solo album would not come until a 1969 self-titled release for the Stax label. After another Stax release, Only for the Lonely, in 1970, she released a soundtrack album, A Piece of the Action, on Curtis Mayfield‘s Curtom label. A 1984 album (also self-titled) preceded two albums under the direction of rock star Prince; 1989’s Time Waits for No One, followed by 1993’s The Voice, which People magazine named one of the Top Ten Albums of 1993. Her recent 1996 release, Spirituals & Gospels: A Tribute to Mahalia Jackson was recorded with keyboardist Lucky Peterson. The recording honours Mahalia Jackson, a close family friend and a significant influence on Mavis Staples’ life.

Staples singing during the 2006 NEA National Heritage Fellows concert.

Staples made a major national return with the release of the album Have a Little Faith on Chicago’s Alligator Records, produced by Jim Tullio, in 2004. The album featured spiritual music, some of it semi-acoustic.

In 2004, Staples contributed to a Verve release by legendary jazz/rock guitarist, John Scofield. The album entitled, That’s What I Say, was a tribute to the great Ray Charles, and led to a live tour featuring Mavis, John Scofield, pianist Gary Versace, drummer Steve Hass, and bassist Rueben Rodriguez. A new album for Anti- Records entitled We’ll Never Turn Back was released on April 24, 2007. The Ry Cooder-produced concept album focuses on Gospel songs of the civil rights movement and also included two new original songs by Cooder.^[3]

Her voice has been sampled by some of the biggest selling hip-hop artists, including Salt ‘N’ Pepa, Ice Cube and Ludacris. Mavis Staples has recorded with a wide variety of musicians, from her friend Bob Dylan (with whom she was nominated for a 2003 Grammy Award in the “Best Pop Collaboration With Vocals” category for their duet on “Gotta Change My Way of Thinking” from the album Gotta Serve Somebody: The Gospel Songs of Bob Dylan) to The Band, Ray Charles, Nona Hendryx, George Jones, Natalie Merchant, Ann Peebles, and Delbert McClinton. She has provided vocals on current albums by Los Lobos and Dr. John, and she appears on tribute albums to such artists as Johnny Paycheck, Stephen Foster and Bob Dylan.

In 2003, Staples performed in Memphis at the Orpheum Theater alongside a cadre of her fellow former Stax Records stars during “Soul Comes Home,” a concert held in conjunction with the grand opening of the Stax Museum of American Soul Music at the original site of Stax Records, and appears on the CD and DVD that were recorded and filmed during the event. In 2004, she returned as guest artist for the Stax Music Academy’s SNAP! Summer Music Camp and performed, again at the Orpheum and to rave reviews,^[who?] with 225 of the academy’s students. In June 2007, she again returned to the venue to perform at the Stax 50th Anniversary Concert to Benefit the Stax Museum of American Soul Music, produced by Concord Records, who now owns and has revived the Stax Records label.

Staples was a judge for the 3rd and 7th annual Independent Music Awards to support independent artists.^[4]

Staples singing at the 2008 Kitchener Blues Festival

In 2009, Mavis Staples, along with Patty Griffin and The Tri-City Singers released a version of the song “Waiting For My Child To Come Home” on the compilation album Oh Happy Day: An All-Star Music Celebration.^[5]

On October 30, 2010, Staples performed at the Rally to Restore Sanity and/or Fear alongside singer Jeff Tweedy.

Staples also performed at the 33rd Kennedy Center Honors, singing in a tribute to Paul McCartney, an honoree.

On February 13, 2011, Mavis Staples won her first Grammy award in the category for Best Americana Album for You Are Not Alone. In her acceptance speech, a shocked and crying Staples said “This has been a long time coming.”^[6]

On May 7, 2011, Mavis was awarded an honorary doctorate from Berklee College of Music in Boston, Massachusetts.

On May 6, 2012, Mavis was awarded an honorary doctorate, and performed “I’ll Take You There” with current and graduating students at Columbia College Chicago‘s 2012 Commencement Exercise in Chicago, Illinois at the historic Chicago Theatre.

Mavis headlined on June 10th, 2012 at Chicago’s Annual Blues Festival in Grant Park.

Film and television

During her career Staples has appeared in many films and television shows, including The Last Waltz, Graffiti Bridge, Wattstax, New York Undercover, Soul Train, Soul to Soul, The Psychiatrist, and The Cosby Show.

Discography

Albums

• Mavis Staples (Volt, 1969)
• Only for the Lonely (Stax, 1970)
• A Piece of the Action (Curtom, 1977)
• Oh What a Feeling (Warner, 1979)^[7]
• Mavis Staples (HDH, 1984)
• Don’t Change Me Now (Volt/Ace, 1988)^[8]
• Time Waits for No One (Paisley Park, 1989)
• The Voice (Paisley Park, 1993)
• Spirituals & Gospel: Dedicated to Mahalia Jackson with Lucky Peterson (Verve, 1996)
• Have a Little Faith (Alligator, 2004)
• We’ll Never Turn Back (Anti-, 2007) produced by Ry Cooder
• Live: Hope at the Hideout (Anti-, 2008)
• You Are Not Alone (Anti-, 2010) produced by Jeff Tweedy
• One True Vine (Anti-, 2013) produced by Jeff Tweedy

Singles

• “Crying in the Chapel” b/w “Nothing Lasts Forever” (Epic)
• “I Have Learned to Do Without You” b/w “Since I Fell For You”
• “Endlessly” b/w “Don’t Change Me Now” (Volt)
• “A House Is Not a Home” (Volt)
• “A Piece of the Action” b/w “Til Blossoms Bloom” (Curtom)
• The Weight on the The Last Waltz (1976)
• “Oh What a Feeling” (Warner Bros., 1979)
• “Tonight I Feel Like Dancing” (Warner Bros., 1979)
• “Love Gone Bad” (1984)
• “Show Me How It Works” (from Wildcats) (Warner Bros., 1986)
• “20th Century Express” b/w “All The Discomforts Of Home” (Paisley Park, 1989)
• “Time Waits for No One” (Paisley Park, 1989)
• “Jaguar” (Paisley Park, 1989)
• “Christmas Vacation” (Paisley Park, 1989, Promo single)
• “Melody Cool” (Paisley Park, 1991)
• “The Voice” (Paisley Park, 1993)
• “Blood Is Thicker Than Time” (Paisley Park, 1993)

Other

• “Christmas Vacation” (Theme song from National Lampoon’s Christmas Vacation) (1989)
• Johnny’s Blues: A Tribute To Johnny Cash (Northern Blues, 2003)^[9]
• “Waiting For My Child To Come Home” with Patty Griffin and The Tri-City Singers, on Oh Happy Day: An All-Star Music Celebration (2009)

Footnotes

References

• Official website
• Mavis Staples Singles Chart History

External links

• Mavis Staples at NPR Music
• Mavis Staples at AllMusic
• River Front Times: Mavis Staples
• Mavis Staples Interview
• Mavis Staples on NPR’s “Wait, Wait… Don’t Tell Me!”‘s “Not My Job” segment
• An Evening with Mavis Staples hosted by the Chicago Freedom School

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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)

GRACE UNPLUGGED Add To My Top 10

Prodigal Daughter

Content:

Summary:

Review:

By Ben Kayser, Managing Editor of MOVIEGUIDE®

1. It’s an enjoyable, heartfelt and entertaining movie. The quality storytelling and moving performances meet and even exceed industry standards. GRACE UNPLUGGED is loads of fun for the whole family.

2. It proclaims the name of Jesus. It’s not everyday we get to see movies in theaters that magnify the name of Jesus. By seeing GRACE UNPLUGGED, you are making a statement about the importance of your faith.

3. It has an important message for everyone. Whether you’re a father, mother, daughter or even a son, GRACE UNPLUGGED has important messages about the importance of family, and following God’s calling rather than one’s own.

4. It’s a great evangelism tool. Bring a friend who needs Jesus or just an encouraging word. GRACE UNPLUGGED is a great conversation starter about the important things of life.

5.  Did we mention how fun this movie is?

“Grace Unplugged is tremendous … one of the best, most entertaining Christian movies ever made.” – Dr. Ted Baehr, Movieguide

*            Grace Unplugged is the #1 viewer rated film on Fandango

*         90% viewer rating on Rotten Tomatoes (same as Gravity)

*         Cinemascore (exit survey) of A- (same as Gravity)

*         $1 million box office opening weekend

Read our review here.
Watch our interview with the cast here:

Exclusive Grace Unplugged Interviews

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