ࡱ> [ bjbj 4ΐΐjj<+L    q+s+s+s+s+s+s+h- 0Ns+(((s+  +***(  q+*(q+*** PE)6*]++0+*X0*X0**X0+\Z*n |#s+s+*+((((X0j s:  Deep River Films and Magnolia Pictures Presents REJOICE AND SHOUT Directed by Don McGlynn and Produced by Joe Lauro Final Production Notes Running time: 115 min. Distributor Contact: Press Contact NY/Natl: Press Contact LA/Natl: Matt Cowal Jackie Bazan/Evelyn Santana Fredell Pogodin/Bradley Jones Arianne Ayers Bazan Entertainment Fredell Pogodin & Associates Danielle McCarthy 4 Rainbow Terrace 7223 Beverly Boulevard #202 Magnolia Pictures West Orange, NJ 07052 Los Angeles, CA 90036 49 W. 27th St., 7th Floor (212) 643-4664 (323) 931-7300 phone New York, NY 10001 HYPERLINK "mailto:jbazan@bazanpr.com"jbazan@bazanpr.com (323) 931-7354 fax (212) 924-6701 phone HYPERLINK "mailto:evelyn_santana@bazanpr.com"evelyn_santana@bazanpr.com HYPERLINK "mailto:pr@fredellpogodin.com"pr@fredellpogodin.com (212) 924-6742 fax HYPERLINK "mailto:publicity@magpictures.com"publicity@magpictures.com  SYNOPSIS No wonder the music is so beautiful. God is on their side. Perhaps the most intense and emotional music one can ever hear is the best of African-American Gospel music. Packed with evocative photos, rare audio recordings, stirring film appearances and TV performances, REJOICE AND SHOUT covers the 200 year musical history of African-American Christianity. Culled from hundreds of hours of music, REJOICE AND SHOUT features the crme de la crme of Gospel music. REJOICE AND SHOUT traces the evolution of Gospel through its many musical styles spirituals and early hymns, four-part harmony-based quartets, the integration of blues and swing into Gospel, the emergence of Soul, and the blending of Rap and Hip Hop elements. Gospel music also walked in step with the story of African-American culture from slavery, hardscrabble rural existence and plantation work, the exodus to major cities, the Depression, World War II, to the civil rights movement and empowerment. REJOICE AND SHOUT connects the history of African-American culture with Gospel as it first impacted popular culture at large and continues to do. Years in the making, REJOICE AND SHOUT captures so much of what is special about this music and African-American Christianity the sermonizing, the heartfelt testimonials, getting slain in the spirit, the hard hollerin, and of course the inspiring music. Dare yourself not to be moved. ABOUT REJOICE AND SHOUT If we really heard the voice of God, we would be reduced to juice. The vibration of His voice would reduce us to liquid. . . So He has to use other people to speak his word. --Pastor Andra Crouch Gospel music. The very words evoke images of powerful voices singing skyward, of tearful shouts of joy and praise. Of African-American men, women and children, exhilarated by the freedom of expression of their faith, shouting aloud in joy or laid low by the humility the music instills in them, releasing the hardness of their lives into the hands of their Lord. Gospel has been around in America since the days of slavery, as slaves sought to lighten their load each day in the fields, turning to the source of their lives in response to their dreary existence. And that music has remained a source of strength and direction in the African-American community ever since. The story of this music is one that producer Joe Lauro has been wanting to tell for some time. An avid fan and collector of music since his childhood, Lauro founded a stock footage library, ARIQ, which later became Historic Films. The archive is home to over 45,000 hours of vintage television, feature film, newsreel and other historic footage from 1896 to 1990, which it licenses out for a wide variety of projects. The collection includes over 30,000 individual musical performances, dating back to as early as 1925 including a great many Gospel performances, of which Lauro has a keen interest. Ive always focused on trying to find some of the great Gospel that I knew had to exist on film, he explains. Ive slowly, for 10 years or so, been acquiring material for representation, looking up the old producers or finding shows that were long-defunct, to try and find prints. The search resulted in over 10,000 hours of amazing material as can be seen in REJOICE AND SHOUT. Though Lauro himself did not grow up hearing Gospel music in his own Sunday church experience, it nonetheless, like for many white Americans, had a tremendous impact. It really is a minority music, truly, in so many ways. White folks really dont understand the importance of it and the power of it. Its the bond in the African-American church community. But its beyond just singing at church. The music is so moving and riveting and visceral. And Id never seen anything that really got into the story of this music. Meanwhile, filmmaker Don McGlynn, since his earliest films in the 1980s, had become known for his ability to tell the stories of a wide variety of genres of American music. Ive been obsessed with both movies and music since I was two, says the Copenhagen, Denmark-based, American-born director. Eventually, the two interests just merged. It was only natural that the two music lovers, McGlynn and Lauro, would eventually find themselves working together. After completing a 10-year project in 1997 on the music of jazz artist Charles Mingus, McGlynn teamed with Lauro for the first time on a film about screen composer Harold Arlen, Somewhere Over the Rainbow: Harold Arlen, a project which Lauro had wanted to make for 13 years. Once completed, the two kept their momentum going, creating documentaries about singer Louis Prima (Louis Prima: The Wildest, 1999) and blues man Howlin Wolf (The Howlin Wolf Story, 2003) and other projects . Don and I are kind of kindred spirits and lovers of great American music, Lauro says. Weve always covered the crazy quilt of great things that make up American music. The Howlin Wolf and Mingus projects also included the involvement of another music resource, REJOICE AND SHOUT associate producer Celia Mingus Zaentz. Shes a big music fan, as well as a good friend, explains McGlynn. Having been married to Mingus, she, of course has jazz leanings, having co-founded one of the first record companies run by jazz musicians, Debut Records. In 2005, McGlynn was in New York City visiting the offices of Magnolia Pictures, looking for his next project. He and Lauro had talked for some time about doing a Gospel film and, coincidentally, the idea had also been on the mind of Magnolias president, Eamonn Bowles. The next thing I knew, I got a call from Don, saying, Youre not going to believe this our Gospel dream project looks like its going to happen. The ball finally got rolling one year later. Lauro began combing through the Historic Films as well as his personal collections, picking out what he considered to be the best of the lot. I chose both the types of music and performances that I felt we should include, as well as the groups that I felt it was important to include, he notes. Lauro forwarded his suggested clips to McGlynn in Denmark who had not quite realized the enormity of researching a film covering 200 years of music. I watched dozens and dozens of hours of material, he notes. The director kept his cinematic eye out for what he knew would grab viewers attention. You watch footage like this, and suddenly, theres something that would really attract your attention, and you go, Thats got to be in this film. People need to see that. McGlynn got the footage selections down to about three hours of material. Then I had to decide which were the things that I really needed in order to tell the story, eventually settling on an hour and 10 minutes worth of material, which became the core of the finished film, throughout the editing process. McGlynn decided fairly early on, for the most part, to play performance clips in their entirety. I think its really important that you see the music numbers play out because theyre music films, he says. I think its kind of strange when you see movies about music where there barely is any, just musicians talking. Indeed, the director soon realized that it was important to provide viewers a context to understand the music and its history. Theres always the challenge of, How do you balance this? How do you set off each of the individual numbers, so they have the maximum impact? You dont do that by just lining them up and playing them. You have to contextualize them. Were telling a musical story, but were also coming at it from an historical, social, cultural and personal level at the same time. In order to provide that context, McGlynn and Lauro assembled an impressive group, made up of a combination of respected historians and respected musicians many of whom had lived through the early periods of Gospel history being told as well as some whose own music had been influenced by it. Providing perspective are three eminent Gospel music historians. Anthony Heilbut is well-known for his definitive book on the genre, The Gospel Sound, written in 1968. His book was really one of the first stabs at documenting the music, says McGlynn. He was a great help he knew all of these people personally and is able to contextualize things in a coherent way. Lauro adds, Tonys life has been devoted to this music. He has single-handedly helped keep the community organized and get records out there. Hes championed some of the older performers. And hes an expert. Two other experts, both from the Washington, DC, area author Bill Carpenter and radio host Jacquie Gales-Webb also provide great context, often offering a perspective on the personal histories of the artists. They know where everybody is in the community, and they understand it well, Lauro notes. They try to help people know more about some of the elder statesmen, by writing about them, interviewing them and keeping it alive. Carpenters book, Uncloudy Days: A Gospel Encyclopedia, is widely regarded as one of the most complete reference books on the topic. One of the last great elder statesmen of Gospel, The Dixie Hummingbirds Ira Tucker who died in 2008, before the release of the film appears, alongside his son, Ira, Jr., and Willa Ward, of The Ward Singers, as does Marie Knight (who has also since passed), another performer from the classic era, offering the kind of perspective only those who lived through this history can provide. When you see Ira early in the film, you just see this wonderful old gentleman in his cap, notes Lauro. But once he begins telling stories, it allows you to somehow beam yourself into his memory and become part of the places and the things that he did. Thats part of what drives me, as a filmmaker and as a historian, to fantasize about being there. McGlynn agrees. These people actually witnessed a lot of the events that were describing in the movie. So when they say something about it, you have the benefit of seeing things from a personal point of view. So we have personal reminiscences of things from the late 20s and early 30s, which is remarkable. The Tuckers and Willa Ward were actually interviewed at the historic Metropolitan Opera House in Philadelphia. Built in 1908, the auditorium has been the site of many a gospel show hosting both the Hummingbirds and the Ward Singers, among many others including a 1946 Hummingbirds anniversary show which drew an audience of 5500. Offering a more contemporary perspective are R & B greats Smokey Robinson and Mavis Staples. Though known to secular audiences in the 1970s for rhythm and blues, Mavis, since her childhood, was, alongside her siblings and father, Pops Staples, part of The Staple Singers, well-known for their Gospel music long before their days in the pop world. Shes delighted when anyone brings attention to her family, and, particularly, her father, who was obviously such a big influence on her, Lauro says. She helps bring us back to her roots. And she talks about the message of the music and gives it some real important validation. Shes a witness. Robinson, of course, is known for his countless Motown hits as part of Smokey Robinson & The Miracles. His involvement in REJOICE AND SHOUT was a fortuitous one. I was making a film about The Four Tops, for which Smokey had agreed to be interviewed, Lauro recalls. I wasnt able to get out to Los Angeles to interview him, so I asked Don to do it asking him questions both about the Tops and for our Gospel film, which worked out great. His appearance in the film is not simply one of a musician offering an appreciation. Look at Smokey and The Miracles in 1964-65, and what hes singing, Lauro says. They all come from the Gospel church. When you see them perform You Really Got a Hold On Me on The Tami Show in 1964, if you look at TV Gospel Time from the same year, with some of the other quartets and quintets, its the same stuff. Just the lyric is a little different. Even more important to McGlynn was Robinsons spiritual perspective. He talks about a lot of things, like about his belief in God and how he spends so much time throughout his day praising God and asking for guidance, McGlynn says. I realized that was something that was essential to a movie like this. REJOICE AND SHOUT, in fact, spends its first 15 minutes exploring this very topic laying the spiritual groundwork for what is to follow. In so many of these types of historical documentaries, they usually say why the things important and why youre watching it in the first two or three minutes, and then they cut to the baby picture, the director explains. In this case, I thought, This is about Gospel music. Whats the most important thing about it? The number one thing you need to know before anything else is you really have to see what these people feel about God and how they express it in the music. Lauro agrees. The underlying message was just to show that its all about the same thing. Its all about the power of the Lord, and how the music gives you salvation and release. And they pretty much all said that very thing. The Music, The Footage and The Message REJOICE AND SHOUT is loaded with rare audio and film clips, from the Historic Films archive and other sources, dating back to the beginning of the last century. Were very proud of the archival material, some of which hasnt seen the light of day since the day it was filmed, says Lauro. Though the films budget did not allow for extensive digital restoration, he adds, I always tried to do the best transfers I could from the elements we had, a lot of which came from 16mm. The results, in most cases, are startlingly crisp. "The film was shot in High Definition. I was always concerned that the new footage would look very polished, and the old clips would suffer by comparison", said McGlynn. "An enormous amount of time was spent cleaning up the audio and visuals of the older material. Along with my editor Frank Axelsen, we literally went through the film, shot by shot, to up resolve the images to High Definition. And even more time was spent cleaning up and equalizing the sound into a 5.1 audio mix. After living with this footage for some years, I was quite startled by the final result. So many details appeared that I never noticed before. The Power of God After an introduction by Pastor Andra Crouch, who, in the 70s, was one of Gospels most popular stars, the film begins with a surprisingly stirring rendition of Amazing Grace by a quite young member of The Selvy Family Singers (see below, both artists). A number of the films participants share about their personal connections to God and how Gospel music plays a part in that relationship. When Im feeling down, I find myself listening to Gospel music, cause it lifts me up, notes Bill Carpenter. How could I stay down, when Im hearing this great music? I believe that if I ask the Lord for something, it is coming, says Mavis Staples. It might not be today, it might be tomorrow. But when it comes, its gonna be right on time. Its hard not to be roused by Jackie Verdell and Brother Joe Mays rendition of Youre Gonna Need Him, taken from a 1964 appearance on the popular 1960s Gospel television series, TV Gospel Time. May was known to fans as The Thunderbolt of the Middle-West, and its not difficult to see why. The Caravans, featuring Shirley Caesar, and Jimmy Outler and The Soul Stirrers contribute two more numbers, also from TV Gospel Time in 1964. Says McGlynn, That clip of The Soul Stirrers, as well as the one of The Caravans, really get very much to the point. They express the religious devotion in a really strong way. Those, plus the Jackie Verdell/Brother Joe May piece, really pull us into the vortex of all that emotion. Ira Tucker, Jr. points out an historic experience which must have been one for the history books a dueling performance between his dads Hummingbirds and one of The Soul Stirrers other lead singers Sam Cooke. There was always this thing about Sam Cooke and my dad going up against each other! It was wonderful so much drama. The film takes a few moments to put the music in the context of the African-American church experience. I wanted people to understand the whole form of the church service, McGlynn explains. I grew up going to Catholic mass, which was completely different from this. You would do your hour, and you would go home. Everybody I interviewed for the film, when I told them that, they said, Hour?? Wed be there all day! So I thought it was important to show what that form of worship was, in order to help the audience understand where the music fits into the African-American spiritual experience. As singer Darrel Petties says in the film, Were used to the hand-clapping and the foot-stomping, and the sweating and the lifting up of our voices. Adds Bill Carpenter, You dont go to just sit and watch. Youre not just a spectator. You go to participate. McGlynn shows us another part of that experience, in a rare clip of preacher King Louis H. Narcisse leading a service at his Mount Zion Spiritual Temple in Oakland, Ca. A busy recording artist in the 1950s, Narcisses congregants are seen not only singing their hearts out to the music but, in some cases, writhing on the floor, having been slain in the spirit (as seen here and in later footage featuring Bishop Charles Daddy Grace and his United House of Prayer for All People). When I was a kid, that was one of the reasons I really didnt like to go to church with my mom, because, at that age, I didnt understand the impact of the Holy Spirit, Smokey Robinson recalls. That frightened me, until I had grown and the Holy Spirit impacted me. Says the director, When we see people faint or lose themselves in the religion, a lot of us believe that its phony. But I think its really powerful, and I felt it was important to show the audience that these people werent kidding. They really meant it. The Roots of Gospel Having set the stage, the film begins to reveal the genesis of Gospel music, back to the days when plantation-bound black slaves were introduced to European Christianity during the 1800s. They were pushed into European religion, but brought their own rhythm with them, explains Jacquie Gales-Webb. The Africans began to take certain elements from their African worshipping experiences and merge that with the English experience that they were receiving, Bill Carpenter notes. Through decades of going to church like this, its going to become your own religion, and thats what happened. Smokey adds, Those people out there in those cotton fields, hummin and singin and praising the Lord thats all they could do to entertain themselves, to withstand what they had to withstand. The very first African-American vocal group to make a phonograph recording is represented in a rare 78 rpm disc from the Dinwiddie Colored Quartet Gabriels Trumpet from 1902. Black artists, such as the Dinwiddie Quartet, traveled around the United States, playing tent shows and in black vaudeville, which was still at its very beginning, explains Joe Lauro. This disc, from Lauros personal collection, was recorded by Monarch Records, a precursor to RCA Victor. This is about as close as you can get to the way it sounded during slavery days. The disc is significant for another reason, McGlynn notes. This record precedes by almost two decades the secular blues and jazz, which started getting recorded around 1921, 1922. I guess because this was Gods music, they thought it was more important to document. Its just sort of an accident that they happen to have been recorded, and they happened to make history. The students of Rust College, a historically black liberal arts college in Holly Springs, Miss., give an example of a more polished, subdued Gospel with their rendition of Couldnt Hear Nobody Pray. The strikingly well-preserved clip, like many of the restored films seen in REJOICE AND SHOUT, comes from a large collection of outtakes from Fox Movietone News housed at the University of South Carolina. Movietone was the early sound-on-film sound system used by Fox Film Corporation, precursor to Twentieth Century-Fox. The camera was a single-system camera, recording both image and sound onto the same 35mm film strip. Beginning in 1927, with the launch of Charles Lindberghs famous flight across the Atlantic, Fox began using the system to document whatever it could find of interest for inclusion in its popular theatrical sound newsreels including Gospel music performances. Anything that sang or talked was liable to be filmed, Joe Lauro explains. And they did a lot of African-American music quartets, kids singing Gospel, and some plantation stuff. The universitys collection was, at one time, represented by Historic Films. We discovered a lot of it, through logging the material which, in a sense, was, for us, like running barefoot through it. While, typically, 30 to 45 seconds worth of a performance might have appeared in a completed newsreel of the day, complete performances sometimes from rare two-camera shoots are seen in REJOICE AND SHOUT, such as the Rust College performance. Theyd either shoot the same thing a number of times, or they would shoot it at the same time with a second camera, stitching it together like any editor would do now with multiple sources, McGlynn explains. So I was actually able to, along with our editor, Frank Axelsen, go in and edit those sequences from scratch. Rarely touched since the day they were filmed, the negatives were in nearly perfect condition, save some occasional nitrate damage. The only challenge was with the audio, because they shot at 26 frames per second, instead of the 24 frames rate which became standard shortly thereafter. But we were able to work with that, bringing true history alive. The Norfolk Jubilee Quartet, apparently taking a break from their oyster shucking day job in Richmond, Virginia, deliver Do You Call That Religion taken from footage from yet another set of Fox Movietone newsreels from 1928, the film, a two-camera shoot, has such a well-preserved soundtrack that one can even hear the sound of the cameras shutter clicking in the background. They were actually a rather prominent recording group, says McGlynn. I first saw this clip, and I thought, Oh, this is great, just working class people, taking a break from shelling oysters. Then I found out it was the Norfolk Jubilee Quartet, who were a pretty big deal! So whats interesting in what this clip shows us is that not only were they important musically, but they still werent making enough money off of their career to do it full time. They were sitting there having to work for a living. A truly rare piece of footage, featuring The Utica Quartet, singing Deep River, provides an example of a yet-earlier sound-on-film recording this one from 1922, using the De Forest Phonofilm process. Everybody thinks of The Jazz Singer in 1927 as the first sound movie, but De Forests films actually pre-dated that film by more than five years, McGlynn says. De Forest was one of the worlds foremost inventors of his day, with countless contributions, such as the vacuum tube and radio to his credit. He was a classic tinkerer, says Lauro. He was not successful, like Edison, but he made some pretty major contributions to the world of entertainment and electronics. To demonstrate his Phonofilm invention, De Forest shot a number of experimental films, using a New York theater stage to film groups like The Utica Quartet. They actually documented quite a lot at the time, says McGlynn, people like Eubie Blake, and some folks that were on Broadway, like Eddie Cantor. Theyre quite remarkable to see. Gospel music was one of the things that helped African-Americans get through the toughest times of the Great Depression, with the music often citing imagery from the Old Testament of crossing the Jordan into the Promised Land. That imagery is ever prevalent in Gospel music, says Bill Carpenter. A lot of Gospel artists from the golden age grew up along the Mississippi River, just like in the slave period. The free states were beyond the Mississippi. Crossing the Mississippi represented freedom from bondage and prosperity. The Elder Solomon Lightfoot Michaux preached keeping faith and strength through the tough times, as seen in a rare 1935 clip, singing Happy I Am, filmed in Washington, D.C., during one of his popular weekly CBS radio shows. The crowd sings about being happy with what God has given them, no matter who little it might be. The Depression of the 30s, those hard periods, just made those stronger men and women, Carpenter notes. Gospel in the Secular World Thomas A. Dorsey, the son of a Georgia Baptist preacher, was among the first Gospel artists to bounce between the church and the nightclub. In the club, hes writing some of the funniest and filthiest double-meaning blues, says Anthony Heilbut in the film. But in church, hes writing some of the deepest songs with melodies that are derived both from blues and Irving Berlin! And by 1935, he had composed 40 songs which I classify as Gospel standards. His blues records are absolutely filthy, laughs McGlynn. He atoned for his sins not long after. Dorsey wasnt the only Gospel artist to begin introducing jazz devices into his music. By the 1930s, quartets such as the Golden Gate Jubilee Quartet began doing the same. Says Anthony Heilbut, They, like The Mills Brothers, are using their voices as instruments. They were basically a very smooth group that really had refined that barber shop quartet type of harmony, notes Bill Carpenter. And their audience wasnt just black the Golden Gates were truly mainstream, with a regular CBS radio broadcast (one of whose broadcasts we hear in the film), which spread the quartet sound across the country. All the way to The White House, in fact, where they performed for Franklin D. Roosevelts 1941 inauguration, the first Gospel group to perform there. Sister Rosetta Tharpe was, quite simply, the hippest Gospel singer in town, as Heilbut calls her. Though she started out evangelizing with her mother as Rosetta Nubin from Cotton Plant, Arkansas, her Chuck Berry-like guitar-playing and stylish, raucous swing singing quickly put her on the map and on the charts, with several million-selling hits. Everybody loves her, McGlynn says. What is a woman doing not only preaching, but playing a guitar like that? Shes selling millions of records, and doing it with religious music! Its absolutely extraordinary. Shes so magnetic. Here she is seen in 1941, performing one of her huge hits, Lonesome Road, with the Lucky Millinder Band, just three years after her introduction to the recording studio. Thats from a Soundie, explains Lauro. The Soundies Corp. had a pioneering video jukebox, which youd find in juke joints, taverns and penny arcades. It was this big box, with a screen, and youd put a nickel in and it would play you a film, with sound. That footage is one of the few places where you can find examples of African-American artists performing on film in the earlier years. Sister Rosetta also closes our film, with a 1963 clip from TV Gospel Time, performing Down By The Riverside on her trademark white Gibson SG guitar. While thus far in REJOICE AND SHOUT, Ira Tucker has simply been a commentator, we finally see him in his prime as part of The Dixie Hummingbirds, a group he joined at age 13 in 1938, and continued performing with for 70 years, until his death in 2008. Some groups are around forever theyre dynasties, notes Joe Lauro. The Hummingbirds were known for their inventive vocal arrangements, due in no small part to Tucker. They were so inventive in even the tiniest, fascinating aspects of their arrangements, says McGlynn. Theres so much detail in there. Adds Carpenter, Those kinds of vocal intricacies did not occur before the Hummingbirds. The clip featured (Reason I Shout) as well as that for The Swan Silvertones that follows later are, again, from outtakes of a never-seen two-camera newsreel shoot from the 1966 Newport Folk Festival, finally assembled for presentation in REJOICE AND SHOUT. I was fortunate to acquire both camera rolls, notes Lauro. It was shot to be edited, but it was never done. Im not usually in love with multiple camera or multiple image editing, adds McGlynn, but I thought in this film, a little bit of it was a good idea, particularly when we had more than one camera roll. The Silvertones clip (Only Believe) features the groups incomparable lead singer, Claude Jeter, known for his masterful use of falsetto singing. Says Carpenter, Nobody had recorded, in gospel music, with that kind of voice before, singing an entire song in falsetto, in that special way, with all its smoothness. Its a dual lead, with Louis Johnson, notes McGlynn. I pretty much never tire of any of the clips in the movie, but that one, Im still riveted by every time I watch it. Its the one I love the most. If there is one name which is synonymous with Gospel music more than anyone, it is, of course, Mahalia Jackson. She was the icon, the symbol of Gospel, no matter what religion or race you were, says the director. Mahalia Jackson was Gospel music. Adds Smokey Robinson, Just as many white people had Mahalia Jackson in their homes, listening to her, as black people did. From her very first recording in 1937, Jackson was a hit, selling millions of records throughout her long career. Her powerful voice and beautiful style had appeal across America, appearing numerous times on The Ed Sullivan Show as seen here in 1952, singing These Are They the first of many such appearances, courtesy of a rare kinescope. She was so popular, and Ed loved her. And this was unusual, that an African-American singer of church music would be on national, white television in 1952, says Lauro. And thats three years before rock and roll made it to television. The intriguing story of Clara Ward and The Ward Singers is told, recounting the mother of all stage mothers, Gertrude Ward. After failing to become a success as a soloist in the 1930s, Gertrude drove her daughters, Willa and Clara and their sisters, in a nonstop career that lasted decades. But whose career was it? She was the ultimate stage mother, living her failed artistic life through her children, suffocating them at the same time, explains McGlynn. Adds Lauro, She basically sequestered Clara she couldnt have a life. It was almost like Clara was enslaved by her. She was her mothers bread and butter. Originally known as The Consecrated Gospel Singers and Gertrude Ward and Daughters, the group quickly found success, singing not only in churches, but in nightclubs and Las Vegas. With their trademark beehive hairdos (complete with a lightning-like stripe of silver), they became famous for their routine involving lots of shouting and dance steps, which, as Heilbut says, horrified church people, because it struck them almost as sacrilegious. Such a performance is seen in REJOICE AND SHOUT, with Clara leading the group in a raucous version of Swing Low, Sweet Chariot, from the TV series, Hootenanny, in 1963 Gertrude, of course, seated in the audience, getting as much of a cheer as her daughters. A fashionable move among promoters even in the Gospel world was to put two popular groups on the same bill, competing in an apparent rivalry. Such was the case with two unsighted favorites from the South, The Five Blind Boys of Mississippi (Im Leaning on the Lord from 1965) and The Blind Boys of Alabama (Something Got Ahold of Me from 1964). Youd see that a lot in the blues world, explains Lauro. They always had this rivalry between, say, Howlin Wolf and Muddy Waters, calling it The Battle of The Blues. But they were good friends there was a little bit of a rivalry, but they played it up. It was the same thing with the Gospel groups. They toured in a very defined Gospel circuit, and promoters would come up with ideas like this, as a way to sell tickets. Theatrics, Lauro says, was always a part of the show. You could get a performer, writhing on the ground and singing in tongues, and then you could see them backstage, drinking a Coke and talking to their friends 15 minutes later. But the people in the audience were the ones being taken to the hospital! McGlynn, having seen The Blind Boys of Alabama many times in person, knows the power of their performance. Theyre absolutely electrifying. Both groups are. Thats one of the great legacies of the 1950s Gospel scene. They just really ripped it up. There was no way to follow either of them on a bill, he notes. One day, I was in L.A., and I saw three acts who were all in town for the Grammy Awards Rambling Jack Elliott, The Blind Boys of Alabama, and Merle Haggard. The Blind Boys tore the place apart, and then the headliner, Merle Haggard, had to come out and perform right after them. I learned a big, big lesson that night the way you follow The Blind Boys of Alabama is you dont go out for a long time. The Civil Rights Period and Beyond While The Staple Singers are most-known to modern audiences for their 1970s hits, like Ill Take You There and Respect Yourself, they had, more than 20 years prior, established themselves as Gospel singers. Led by Rosebuck Pops Staples and his trademark guitar playing, the group, comprised of son Pervis and daughters Cleotha, Yvonne and Mavis, first began recording for labels such as Chicago-based Vee-Jay and others after performing in area churches in the late 40s. Pops introduced a blues guitar style into the otherwise-a cappella act, which he had learned years earlier, alongside blues legends Charlie Patton and Howlin Wolf, growing up on a plantation called Dockery Farms in rural Mississippi. Delta blues style, Joe Lauro corrects. Its absolutely apparent in his guitar playing just wonderfully droney, completely rhythmic. Pops, Pervis and Cleotha can be seen singing behind lead singer Mavis in an early television clip from Folks Songs and More Folks Songs. On a visit to another television stage, the group met a young folk singer named Bob Dylan, who was already a fan of the Staples. The folk era really embraced those Gospel groups, says Lauro. It was about equality, and it was happening during the civil rights movement. And it was the first time that a lot of these people started playing outside of the church. And certainly for white people. Says McGlynn, Mavis thinks that the greatest period of their career is represented in these clips, which is when it was just the four of them, with Pops Staples on guitar. Another great voice of the era was James Cleveland, who got his start with Thomas A. Dorsey and Mahalia Jackson, before landing his own career as a Gospel singer. Ive never seen a more stirring, emotional, roof-raising performance in my life, notes McGlynn, who saw Cleveland perform firsthand. The director decided to focus the clips of the singer on the distinctive qualities of his voice. No movie can ever approximate what I saw that day. Cleveland was also known for his Gospel Music Workshops, helping teach the business of being a Gospel performer to young artists. Most people really had to scrape by to make their money. And there were so many promoters that would get you there to the event, and then just run off with the receipts, and youd never see them again. Marie Knight told me that had happened to her far too many times. James Cleveland helped formulate things, so that happened less often. The Edwin Hawkins Singers were another group that represented the bigger picture in the civil rights and folk movements. Though they did have an enormous hit with Oh, Happy Day, as seen in a rare performance from 1971, they were well-known for their purely Gospel recordings, such as Shine Your Light and Worship the Lord. While Pastor Andra Crouch can most often nowadays be seen preaching to his parishioners at the New Christ Memorial, Church of God in Christ in San Fernando, CA., his career began as a performer and songwriter and as a bona fide sex symbol in the 1970s. This man is a modern day hymn writer, says Bill Carpenter. He has written songs which youd swear were written 200 years ago. But he wrote them just 30 years ago, including The Blood Will Never Lose Its Power, which has been recorded by over 200 artists. He is seen here performing I Just Want to Know You in a television performance from Jubilee Showcase from the 1970s. Though still writing music, Crouchs emphasis remains spiritual, as McGlynn found out when interviewing the preacher. I came in there, going, Well, maybe you can tell us a little about all these people, etc., and he just kept resisting that. What he ended up doing, more and more, as we were talking, was just being a preacher. He said, for instance, You know, I met Mahalia Jackson once, and we were talking about doing a record. But thats not gonna be good for your movie. And then he started preaching some more. And I just thought that was really great. I admired him for that. Gospel music is not a thing of the past it is alive and well, and still delivering new voices to carry its spiritual message of love and faith to those who seek to be uplifted or to share their joy. While Gospel has gone through everything from the digital age to hip-hop, The Selvy Family, introduced at the beginning of the film, and Darrel Petties, represent the current crop of traditional Gospel performers. We wanted to show the next generation of Gospel singers, Lauro explains. And Darrel truly is that hes still in his 20s and is immensely popular. The two groups The Selvys and Petties, with his choir and band were filmed at the Greater Community Temple, Church of God in Christ, in Memphis, whose sign boasts the slogan, This Church is Prayer Conditioned. Using a four-camera HD video shoot, McGlynn operating one of the cameras himself captures, as Petties described earlier, the hand-clapping and the foot-stomping, and the sweating that comes with the greatest of Gospel music. Even so, says Joe Lauro, of the Selvys, What they do onstage just hints at their show. Never mind their amazing voices when they perform, theyve got this doll theyve stuffed, representing the devil, and they throw it and stomp the thing! I tell you, you get more bang for your buck at these Gospel shows, just for the sheer excitement! he laughs. Theyre just truly one of the great groups out there. As production on the film was wrapping in late 2008, McGlynn and Lauro were looking for the perfect way to close the movie and they found it in the form of a young African-American man and his wife from Chicago acknowledging the results of the days Presidential Election. We didnt want to create some sort of artificial conclusions to make the film work, the director recalls. We were all done with the picture, and then. . . Obama won. And Eamonn and Joe and I all said, You know. . . the movie isnt quite done. Adding Obamas acceptance of the election results gave them closure to the story of how far African-Americans had traveled from the days of slavery in America to being the leader of free nations. That really sealed it, says McGlynn. THE ARTISTS IN REJOICE AND SHOUT THE DINWIDDIE COLORED QUARTET In October 1902, these performers from Dinwiddie County, Virginia made the first African-American religious records for the Victor Talking Machine company. This was nearly 20 years before any African-American made jazz or blues records. THE UTICA QUARTET This vocal group was featured in the very first African-American religious film clip with sound. It was produced in 1922 by the visionary scientific genius Lee Deforest. Deforest pioneered a revolutionary sound on film process and made several experimental films with sound, well before The Jazz Singer. (1927). THE GOLDEN GATE QUARTET The Golden Gate Quartet was an a cappella Jubilee group, and due to their innovative, smooth and refreshing sound, became extraordinarily popular. Started in 1934, the group made numerous hit records and, because of their widely-heard weekly CBS radio program, became perhaps the most popular Gospel group of the time. They were the first African-Americans to perform at the White House for President Franklin D. Roosevelts 1941 inauguration. SISTER ROSETTA THARPE An excellent singer, Sister Rosetta Tharpe enjoyed extraordinary success. It was very unusual for a woman to also be a preacher AND a guitarist. She had astounding success in the late 1930s and early 1940s, and had many million sellers, which successfully combined Gospel themes in Big Band and Blues arrangements. THE DIXIE HUMMINGBIRDS A groundbreaking vocal group that started in 1928, The Dixie Hummingbirds innovated the vocal group format by using a double lead rather than just one voice, made intricate, complicated vocal arrangements, and did elaborate choreography. They had a phenomenal continuity; one of the lead singers, Ira Tucker, started with the group in 1937 when he was 13 years old, and remained a member until his death in 2008. MAHALIA JACKSON Probably the greatest popular success in all of Gospel, Mahalia Jackson also had perhaps the greatest voice. Originally attracted to the blues of Bessie Smith, this hairdresser from New Orleans stayed true to Gospel music due to her beliefs, was mentored by composer Thomas A. Dorsey, tore down numerous social barriers, and turned into a widely loved artist who sold millions of records. THE SWAN SILVERTONES Claude Jeters inimitable falsetto lead vocals helped define The Swans as perhaps the most distinctive of all vocal groups. Their adventurous sense of rhythm and time, as well as their daring arrangements, made them not only successful recording artists but also a favorite of the critics. THE CLARA WARD SINGERS Gertrude Ward was the ultimate stage mother and she guided her daughters Clara and Willa to become enormous stars: first with earth-shaking presentations at Gospel conventions, then by hugely successful records like How I Got Over. Uncharacteristic of other Gospel groups, the Ward Singers wore elaborate gowns, many of them hand sewn by Gertrude, and had wild hairstyles. This helped introduced them into the world of nightclubs, television and Las Vegas casinos. THE FIVE BLIND BOYS OF MISSISSIPPI THE BLIND BOYS OF ALABAMA Blind schools traditionally gave their students music lessons, and both of these groups were born out of that milieu. Originally smooth Jubilee singers like the Golden Gate Quartet, these two Blind Boy groups introduced intense, hard hollering into their singing. And their soul-stirring performances became extremely popular. When they did competitive concerts battling each other, they were some of the most electrifying shows in the music world. To this day, the Blind Boys of Alabama still perform and are more successful than ever. THE STAPLE SINGERS Pops Staples learned to play Blues guitar from both Charley Patton and Howlin Wolf when he lived on Dockery Farms in Mississippi. He then moved his family up north to Chicago and worked as a laborer. That was until he realized that his family was uniquely talented, and they started performing Gospel music. In the early days of the Civil Rights movement, they incorporated Freedom songs and soon thereafter played Bob Dylan songs. Frequently trying new musical styles, they always proved to be excellent musicians in any genre while also honoring their Gospel past. REVEREND JAMES CLEVELAND Cleveland worked with and learned from many of the greats before him, like Thomas A. Dorsey and Mahalia Jackson, played piano with The Caravans, and helped train a young Aretha Franklin in Detroit before striking out on his own in Los Angeles. He became world renowned for his skills as a choir leader and would travel from town to town to train the local choirs to reach his required level of excellence. His own highly expressive voice was deep and full of gravel, no doubt after years of hard shouting. THE EDWIN HAWKINS SINGERS The Hawkins Family was full of great talent, and their surprise worldwide hit Oh Happy Day put the Berkeley, California-based Edwin Hawkins Singers on the map. While considered a one hit wonder in the pop music world, the Edwin Hawkins Singers had numerous hits in the Gospel community. Other family members like Tremaine and Walter also had huge hits during the 1970s, 1980s and 1990s. ANDRAE CROUCH The young Andrae Crouch spoke with a lisp, which disappeared when he sang. He went on to be perhaps the strongest voice in all of Gospel music during the late 1970s and 1980s, with his soul-filled and extremely well produced music, which was loaded with inventive use of different musical styles in his dense arrangements. He has won many Grammys, but prefers to concentrate on being a Pastor in his church, fulfilling his role as a shepherd. THE SELVY FAMILY This group proves the truism The family that prays together stays together. With a father who serves as preacher and a mother who sings, this large family is full of musical talent. They can both honor and sing in the great Gospel tradition, but the musical accompaniment can also reflect Hip Hop sounds. DARREL PETTIES This Memphis based preacher/choir leader/singer started his career at age 13. When the performances in REJOICE AND SHOUT were filmed, Petties was already a seasoned veteran at age 23. Like the Selvy Family, Petties has a love and respect for the Gospel tradition, but is not afraid to use modern musical styles. And he can be a soul-stirring choir leader who can seriously inspire his musicians and his audience. ABOUT THE FILMMAKERS DON MCGLYNN Director Don McGlynn was born in Minneapolis, Minnesota and attended Lake Forest College (near Chicago, Illinois) and the University of Southern California's School of Cinematic Arts. While at USC, he hosted many film retrospectives at which he invited Orson Welles, John Cassavetes, Sam Peckinpah, Martin Scorsese, Clint Eastwood, Sam Fuller, Don Siegal, Walter Murch, Roger Corman and many others to present their work. During his time at USC, McGlynn filmed and edited FAT CHANCE, which won over 30 awards including the Cine Eagle, and edited FOR HEAVENS SAKE, based on the Mozart short opera THE IMPRESSARIO, which won the Student Academy Award from the AMPAS. His documentaries have been presented at over 200 international film festivals and have won a number of awards. His directing credits include THE HOWLIN WOLF STORY (2003), THE LEGEND OF TEDDY EDWARDS (2001), LOUIS PRIMA: THE WILDEST! (1999), CHARLES MINGUS: TRIUMPH OF THE UNDERDOG (1998), DEXTER GORDON: MORE THAN YOU KNOW (1996), GLENN MILLER: AMERICAS MUSICAL HERO (1992), THE SPIKE JONES STORY (1988), THE SOUNDIES (1986), THE MILLS BROTHERS STORY (1986), ART PEPPER: NOTES FROM A JAZZ SURVIVOR (1982). JOE LAURO Producer Since graduating from NYU Tisch School of the Arts Film Program in 1983, Joe Lauro worked as a musical director on THE TEN YEAR LUNCH (1988), Academy Award winner for Best Feature Documentary, and as a consultant and associate producer on numerous projects including several for Ken Burns' Florentine Films. He founded Historic Film Archives in 1991 and today it is regarded as holding the most extensive collection of American music on film and video in the world. His clients include everyone from the Rock N Roll Hall Of Fame, Woody Allen and Martin Scorsese to Time Life Music and VH1. Lauro is also an award-winning filmmaker and has produced and directed numerous music documentaries including the following with director Don McGlynn: HAROLD ARLEN: SOMEWHERE OVER THE RAINBOW (producer, 1999), LOUIS PRIMA: THE WILDEST! (producer, 2000), THE HOWLIN WOLF STORY (producer, 2002). Lauro has more recently directed the following projects: THE SUPREMES: REFLECTIONS (2006, Universal), THE ORIGINAL SOUL MEN: SAM AND DAVE (2008, Universal), REACH OUT: THE FOUR TOPS STORY (2008, Universal), I AM RICK JAMES (2009, Universal), THE PANIC IS ON (2009, Shanachie) and MOTOWN 50, (2010, Universal). CELIA MINGUS ZAENTZ Associate Producer Along with her then husband Charles Mingus and Max Roach, Celia Mingus Zaentz was a founder of Debut Records, which was one of the first artist-run record companies. Later, she worked at Fantasy Records, and was married to Saul Zaentz the film producer perhaps best known as the 3-time Best Picture Oscar winner for ONE FLEW OVER THE CUCKOO'S NEST, AMADEUS and THE ENGLISH PATIENT. Mingus Zaentz was the executive producer of LOUIS PRIMA: THE WILDEST and THE HOWLIN WOLF STORY. In addition to these films, Zaentz was also the executive producer on HORACE PARLAN BY HORACE PARLAN (2000), THE LEGEND OF TEDDY EDWARDS (2001), and SPIDER JOHN KOERNER: BEEN HEREDONE THAT (2005) and ED THIGPEN: MASTER OF TIME, RHYTHM AND TASTE (2009) which were all produced and directed by Don McGlynn. CREDITS Magnolia Pictures presents A Deep River Films Production REJOICE AND SHOUT with Smokey Robinson Andrae Crouch Mavis Staples Ira Tucker Marie Knight Willa Ward Ira Tucker Jr. Anthony Heilbut Bill Carpenter Jacquie Gayles Webb The Selvy Family Darrel Petties Directed by Don McGlynn Produced by Joe Lauro Associate Producer Celia Mingus Zaentz Executive Producers Mark Cuban and Todd Wagner Editor Frank Axelson 9KLWc} \ ]     C D Y Z z { ˿䍉䍉䍉䍉thL:hL:5CJ aJ hL:hL:0JhDmjhDmUhL:hL:B*phhL:hL:5>*hL:hL:5CJ$aJ$h[5CJ$aJ$hL:hL:5CJ0aJ0hL:hL:5CJ~aJ~ h*5hL:hL:5 hL:hL:'jh%h%5CJ UmHnHu+6789KL~$&`#$/Ifgd*K$$&`#$/Ifgd* $7$8$H$a$gdL: 7$8$H$gdL:$a$gdL:gdL:  < }}}$&`#$/Ifgd*K$pkdDI$IfK$L$lF V%   t 6`V%6    44 layt*< = K _ | }}}$&`#$/Ifgd*K$pkdI$IfK$L$lF V%   t 6`V%6    44 layt*| } }}}$&`#$/Ifgd*K$pkdTJ$IfK$L$lF V%   t 6`V%6    44 layt* }}}$&`#$/Ifgd*K$pkdJ$IfK$L$lF V%   t 6`V%6    44 layt*  & ; }}}$&`#$/Ifgd*K$pkddK$IfK$L$lF V%   t 6`V%6    44 layt*; < \ {{{$&`#$/Ifgd*K$rkdK$IfK$L$l;F V%   t 6`V%6    44 layt*  \ }}}$&`#$/Ifgd*K$pkdxL$IfK$L$lF V%   t 6`V%6    44 layt*\ ] w x y }}}$&`#$/Ifgd*K$pkdM$IfK$L$lF V%   t 6`V%6    44 layt*y z }}}$&`#$/Ifgd*K$pkdM$IfK$L$lF V%   t 6`V%6    44 layt* }}$&`#$/Ifgd*K$pkdN$IfK$L$lF V%   t 6`V%6    44 layt* 3.gdL:[kdO$$Ifl0%&  t 6`644 layt*$&`#$/Ifgd*_kdN$IfK$L$l0   t 6`V%6 44 layt*   BDGHghij56NO p^p`gdL:$a$gdL:gdL: n YjjqNc)Df~ j""$&*&--I8[8:::::<<????@BBDD𰘿h*OJQJ^JhL:hL:5>*CJ aJ hL: h*6]hIhh*hL:hL:6]hL:hL:56CJ ]aJ hL:hL:5CJ aJ hL:hL:5 hL:hL:h`hL:67OPO;G j"#%&!(*@+-/W13B5679K;<> #`#gdL:gdL:>???? ABDDFGH[J\JK NOPR S!SNTuU:VgX $a$gd0i5 #`#gd* $a$gdL: #`#gdL:DDNEmEGGGH:HHHKHNH|HHHHHHHH I#I1I9IZJ[J\JTPsP S!S%TDTVVYYZZZZ[ [)[1[7[I[__}bbcc?cMcdd&f/f7fLfMfNfĽͳ飧ާhwvhu)hu)hL:]hL:h0i56] hL:h*hL: hIh6 hL:h0i5hL:hL:6]hIh h0i5hL:h* hL:hL:hL:hL:5>*\>gXYZv[S\Y]^a}bcenghilmmmop(qsguw9x}yz $a$gd0i5gdL: #`#gdL:NfOfl;lllllllmmmmpps+suuwwx?xGxKx\xxxzz{{{{+|?|#}4}5}}j6G/5:ﻷ﷬跳 h0i5hwv hL:hu)hwvhu)hL:hL:6] hL:h0i5hL:hL:5>*\h0i55>*\ hu)\hIh h0i5hL: hL:hL:hL:hL:5\@zA|}P~%W7kiAdC֔I#mD}=٤ $a$gd0i5 #`#gdL::;Zuv{ˍ׍Ac05!BCDEFHI#<ߙ z МX`h}Baէ֧קļ h0i55hL:hL:5CJ aJ hwvhL:hL:5\h0i5h0i5\ hIh\h0i5hL:\h0i5hL:hL:6]hL:hL:5>*\h hL:hL:hIhhu) h0i5hL:h0i5hL:]6٤ԧէקSTm*+B~56FͰΰ$a$gd0i5gdL:`gdL: #`#gdL::IMNO#ؿ6%&*?ABY;Ph +[\dfЕЕБЕhIhOJQJ^JhhwvOJQJ^JhL:hL:CJ aJ hL:h0i55 h0i55 hL:5hL:hL:5CJ aJ hu)hL:6hwv hL:h0i5hL:hL:hL:6 hL:hL:hL:hL:5h0i5h0i5565ΰ/IJ]ȺNOP^,`apgdL: !"#$%&'()*gdL:$a$gdL:*@ABY ST[\gdL:$a$gdL: $a$gdL:gdL:56TUVjkpq%&'?$a$gdL: hL:h8hL:hL:5 hL:hxAhxAhL:hwv hL:hL: ?@VWgdL:$a$gdxA$a$gdL: 21h:p:]/ =!"#$% DIDdj  FA?Picture 1bHԧ>Eٵqy­ebHDnZHԧ>Eٵqy­ePNG  IHDRZ$KsRGB pHYs  ~GIDATx^e+ɱ-7ffff133ylcffff33333]>{+WT*GϿXS`MJm׉給k kZk lk Aj[ozrk )5)>ޟ ?!qHw}~pd?y<9>P? ]^n/ g?{+__'?G?=i!WUuԣV׽u`{ŵ=я~t=yOC`;H:!׿|o;~Sr_B}[pSt; o#k*ʯ)'?wюvlj׿X:SKQo~~_(/qKw=OT[x/2qI/}K:ԡ 01UZ/}Kov+=㵯}e.s9,ϖ4#Ao?_N_M|qKHtM7xyq-MD jX}sowq$!gųկ~nt#]mI@81 NpӜ4_=_ f?#hבt(<1X_k l <<.=IO*е4'? as0s=yϻ.7ed}o~m|>o<99j@~|e-HYN}S~_W2ɀ8щNtg,g>-F&b<'dD VQ|=|Xx>7%0?qns?O#ڐ|)sE^+&K^]bSڪ6[R(ӟ}k_S;O|sP-6)iWYv B-sPL׽uz&7l0̲us l)Kk\')Z1?x)/Sêah ŦtUmM``:әt5ax=]J lg>[ %GX(+:j)"y< ŷRB @E.r60N+Vb0V]_aS<2?INrӟ4ߍՓ BqS&_yc>DtWaƥj.yK8e})(SA`> e-׾_Wb򖷈n%} eCBNL$P_6ZL!`dHV(w33JweъvmZmusP®x; C}_Ts @S|D`ӟ+_ۜR %},+ #ȟ|YOv"=!&~tVK Me u 5܏9) (߃H!A36l`_.$ 7\q1n??O|Il[R,*] WJh$59(WUQ~r 6e7%Ą/- km Z}K*<__%nZGq{i2#N@j&"=:qo~a*dYyxk^NKP?,\8lW]xTu.|;g>j^c xd?򑏠<F]/Cr{0#я~4}5b=i:'c$GM#  ~dtO _hcg_G}u3ѦT%{ߞJxVjs@D~[0}wp̓3؉eL$S)2 nyW )Sàj9WdO,n6ohMjR%br~}C)O0q?pߐA0Ct+SDZh첑Ld;q^pB@k/6YXn9([0Y-nq {)o}^2pSgDQcbqS;%bR/$G6ӀW }r%Q".t!l ?eÊ +G75CVxEF)&grC4P,p@/=H8 \

{ø+p0R7,kAJo6Y)2"ΫFGe\? O>Aʎ;<2O^[Pnlg:M}bOENyh쭐́g44gHd `\ 3'0X|)k^ⱕriB?p;IW rRk&6=3%]Qf+ӘY{7%s}Lޝt3.ma=,v f,}R8ތR8-D3"lLAP]aeH!xef-Z fDz[$́b@pp pEΎ,kkXO Q !W-zfvino]׿Unn29ցT;2F==3n,h "~1} e<s;؄,>N}Ky P)]zWkւg\<#0PlqGO)AP‡,:Y^t >G:rFH*:K'HW~]N] I;8 zZ~wb1`B F W_ݺS{L~P& Lx*Q *u&@in FuE<P?&#h;:/| Ë}M(Nl|Av2!}C\Ff0Bla!?dǴ6]T%s)I6z: DBvk,8j1~[)#H:T9) 72w<@uAlAE؆l:E:JxhNkQT?ϟ4%+\*ؔ62\~PC\k4j!N1eH+"g Y8s tR8 $s7gcfI}mZ(8!*(y'ec&;9EV-#!Ic-1,<@5.9焢Z>SP&N DƍuhʗNj Rx#Q4H*IG]L)p{u 'q#Xdq\:S3PAJ3Ʌ-q B֚ zG h7'#nfn R*4l۰LX?^G .k =Z2h:ivJD8brO HaI%%꫖-IZA+څg?ـ_4 KF.4P`Kf!xG9rUdب}At]2<*aDÈ싛I̻T,בG*6'g4W,ݶ 9C8X.2Ln_QG8wR5ooCx:!H D?3Ic&OXyhL'l,q2mW7jH 4PGn(C"YN`u0A.n8,Ud "V5ݳv1ErJ>X5dWč e Ԑ8Ad -(A> A߱5 N9Y"n ؽ3ul}J9wj., }"PdY2 ec bX̕k sjd ɿQzyï݅nn}jȤc%!2h \"YQU3GS X`a`jlwEny[v~hj6̈8r.1G"yulV"z]MxTy҄ićҊB9(3r!)3rN5-\½]>y;(b![#,vlzE>و (1>EC…WWS!I›G=L`H>0Ɨ ,gI ⎡H3bu,ska&sL5W/Z$ꯅs |ICyLļ! -DCF`Wn4lc\}1v"O™G̡1:3 HpHh삒NJ GmwLӦ^Py5M'᷿ A FV׆H{4;qg} <[x Z|R\!}!lZgm<0D{&/t3f KY xhH=Ky/~J=Ρ3f+,zK G`mbӢuB4B6q{<ϴfH)Bh\/a`q>b!9;ɾ8 |e)5C&i H$8|Vڶ-mWĨ p~d@21N$@S*'g:YYvSLTph%T) ^?V2ɮNʦW|<s42. +97 HM!ܡ㋮BgP2N)`yxNx*g%Dw(W\ ΍JΈI~wB6`+&խyp {:Nu&[hZCAӷmJLrf˻np5 Rbch]BUw֙aAi텳Ո zi\L:l GrBlh^y)Sژ ʙev:adZ'FR%#]مA b!pijԸ%瀌&BHT떇gl% StI;Gf2՗L(Twۖb@1ZsR5 }jͦ/J*^U('HBV8@mPЕ=*P4n[aV _YKPmBPJuwrRb,^z pq s&?,ZLZrʑX8aU+Z 18qȋVb6z (d?LeNM#8%$]p=d Yh\bNV-d (:G-2‰Pj9ٺBD%ԘHX!dCnj<7!XX[=0,8JgA0 QeRj>Cj)ːΌ`>@@Ƽ% > zcdMJ DZHS٪XyY|&T EW-ry6T5Q&IYBӘˬ>*5R'ޚs`E[HW;RپXm->k03'Ce_[D^B%D]d5DZ, w)sp):tr@5b|yذsFͮVWĂYmŖ9aN@ Nf+$JrNsϸ_GUyN N? Uݠ3Vƽgp$a卂Ms%/Bg\1ֆu3LL!TmqzCv#:2x*0(pbn) +SDa,:TfL5ǰafd5ur 8_ʳoݥO7؋<x :(cn!iޜduR,ڄk~$cCQ)c3v%mCJj>Y\( pߠ#fcAbrzϖdc@T4ffƑyJ) ?r>RX_,w/C\oز(gzɫ,-8XHy`_Eo$\*g-!yڵQAt/ʏU5Z%9q GzcRl917=99c3T4o`lUKP5ɱR$D.).%kØxJ2ЫӺ<-z Ir!SW !I;] HPid>(SC IؘȎN9:0BXAI<J3Pe>:fRUѽ:Sh"!Y|Rį~tV )ֳ녆V[UpLY@@*3 h%mJ`nd&na)8P83ϛ dkO ڇL/La)He!jm8(yRKaEK#nʻ6v;9SĜwɆ:sCT5Wr햷1xOdYέVL/e e(B=j-3$kCy[Ul }t|mi0D$vc  Ң$-Ig&€| nD O8@z'll+TFZ5nChhrr)9s\L:F˓](HS;̽jՙqbdnBP%M'F1XȕjE8^d_qe`pX х'1eK K"By$b)`ho[_- ХiS*w @1"KUJT[fAu܄q > ;6@\:NxH$rD@It i }`bĿTY ޞ- 㖕K^ids.?mcz _%$ぉ]bX|ӿr2 jQͼ!;[#B"kJZ5H^q): Կ+$2[g@ cS;oU!W.Cc!RO1x3A.sk`hJ=BdP=RIsrh~ʶMũB?\o1M܁lv4fm!\62 OȎkc(+RLH0PM4Ray*47!rUV#KGAȸ Oi,5݁ 8@!6oFcg9@$q30S8kSos5j_?f);yDЖ}{Ang%3;`2}!UCr ´a6[U6==JXp<6X`I*66KK,^z ~A%\|0Z R ,8>4MTVpWHLԯ0?ОnpޜRbza>Y0]Fa_Ԫ8;EUEk@Q#:.`Ն i%-ZYm9yOEI5 +pաՐv\^CҠ}k,H-)M_Q 9E΁nGb&3K6$QWd?:~MGr0%՗Ym\Ŧ@Dʪ#0^: X!|hkjLɾzJGcg繜bG,%Г_aaijIFǎI2+U-u;G,p ؊ڎٲ1K{,R6}}k;7cLز 1){Ǵ)C|1b%'CKpTF7Ob#<[vZjN,Flb 45CXuW$4ʜ12eJ >47 wWt¶撂,6--i?9!䏨բLkG3рq!˻5[~xfΔ6už[-ҚEӆKG8LǂXM`Nv ӧ4C~iFXL"ׁ(*?}܉-[30p*dm*m}eJ|;N?1&O殳APrQaGUuV1lL\"㊉L])0%b(cCh2$%pAsBLԊvVR!!H9F hqJEuQ@A܏)BJ|FtKnfO,H|Ԋ Ly^dl2= -!i APOGLtOB2MI҉2Zkϑ7[4fr ,Je^m b5|jl)aS׾yџM-тڷ:J}ݺ:Ik^nJrX^a3DsctE:Y}dk ,F5yHE5`Q¡i3e]^ti9& #0I9)/Ps[<1)EALĭn<eVU1g|#ZZ(0nCuܣ&#y7*CˇPjAs6)y'p*&^F$ iM&7$#SE K-ɟ.la"<߉ 9-@[$O~es貢|A٘2Zcļ>l(GFb:RQ!5q`{+B3H`[&k ~JDK T~ϤHVU*nE /F-¬:"!%馓L&e_^ wXJ6"S^ ;>=UpQ[m"ޮq)Y & ?B3㡏&0PzF=JO"E13 O1[ +K|RD: [;GDvQW¨b蝭t#!fbi *9$ )V2>LˊRybO Ls8ɩ5%bue X(j(?+Ld9ՈH #VZn׌-oF3(pd-EṒBCyj=p '?V6zJ.5@[MD1xMҷl4ۄJ砆;IjᚧthqwI;0XZx_е̖1-9e\eQ?AaNgQT}C@7-oա4U@ AdjD<0N%q<SQ*VԿmW< [dˈPSӜZ҂]\|dLbd!G8 xvзa+y)eh^;CD4Iydj%P"Ʋ :4d--lIXvJT߶4ƈzsb5a@&[ulHΔ&+&,$dyy43"B6ls]儚g53D׃\4Tbi gb0vNaJƕchqXmamm9$#1{D )wL.-͡mYmku2IڎzEVh㬱otc1J8ݒ=L_z ̛*aC~s(T5ck4#xKńFI Lԭze^=]M- A)uiz|Dp8D8 W7[QB3)RJ{~bqʌn_Vԝylb}P؇'LRtDc&?̶ w3~+Se  ѡtsXtUSv-t ѳJ^Z(+W"m!]L-j\gi1$5x ^Q8l%'YPN^yt",0A: 7jNJux E'> ʿ395YxGDF6:Oǿn a3+j-*c%uj,[oi3"$(FK*1~I 0Ka6˒P(17xJh ԁ}%A)gAO9:a#eq`^?ϴXqՔeZKD `ISQ*6&=#N;,YT9GCI{I,Dj̉ 2lIFIhkDZWKWxK8ڂA2 P^Xƃu5RC3PK m}[ `!B} Uv1"Jn֑ڈf(tKd5'CTG^!n$BK6VG(C kn9Pl~(FIMtVɝw c;/{##@\AodxҾdbKKOb/1:A3%HЀsJ0\ݑWXJRg";˫:+L0eaiqxÊUoZRP 5BM6QW̴lIئS)ͩu |ePJjk.d; ,RE"2^bLެhz^`:1#`dʃB"T իgZJMqHKG߼F%@'zP)̷L$>iW)\6@ΈPǟ}gFz*ЏʇT68!`'[+T8â`&++Aӕ@w^% }̽Rl "O,"0yC˱ЅyPy$)Q9 1F?30,2R`9T78Gl BI1SlN՞u& MÑ8bҙ]dJJdW6a fBԕԔd'W1Y˺@+]"9ڕ|. zׁvֽ^^%+~!qaPTNZP#U%NdaV|*\R@oRqy o4SU Xm%dcFji4rQ];oՊh/%j&FMb}&11AbjĄ.fVZrj IK`߿F4u3[( Wn Ha /ap@U}!ZAtau*?VfYHUt5>~ r.r'opF]fhӐfSΚYaS(&R+A c[ݱ"srU2ljؚd䩜*㧋*E]~ĜaHq(㜻gt鰤hP``Tu_L?LLn"}rKlM&G mn* ժHC֐eD~Jb)kQm)ļvH@<I#R0ׇ+.PhM6O,m!nȒjmmB#grd m))[Hj)o %!lZ}(:%E95H518YbnIgcrD88dW̩,ލ6p_1p" 9kaeN!mQ۩ PNex4ѫHᗽ>DFU6$qLBZ~L;NkL053kvFoZLjWLZpћq82@nJa̵NϒvL}n PQ= ԋknxۦpquA@}WNc<!n6R@Áj΃(}9RIdJ^H¥^?<~J}>Q_zthkɱ$f֕(8.29ԪMIݞp]hIm|ILXA8/?LTՓs&2 -${3 tIJijY[$~報b%9\5DcJf" c̛֑Y@3+c0`QG A@dMycqğ}& 2~@h!鯰/RU?rf :pf27bBQJF`yJ񷷜 " PWZ^9ETj%Ds]>"Qk 2L$`c&Pif^?k4s<Ⱥؿ!IħD@Z'Pe3$3`D!IEf-;H! #zVk@Dl!St" 7H|&2 '4T pIisnyp~{la@9ބVR7uFUDْ$;>J1 2Km4NԠ,NMiTIpN> 4{MκFT3A.*ۘo^3_ŵEw*_#>\ȼ <L㨥*,aIۑXjInZ~(DZb%&!rLj)BNc@ 7 IIgӺM *\dC'0â!OŰI` ċ}acZ;rd:LH ĶG>3wyku]o|f3+lEСC g)jw)I B(TmvtPB{`.%ܺ-@,C'$!PȿIL7%^Rdđ^|7F*33xgl7 t*ڇV {6[A o%sc+՘9:AemX[-%k&x!n`M8 s!1WBHSN}7}b3(z]Dy3H</Yv!/o=RbBWI> O sFSkͅtnF՝#HR2Ocl S5L8zIs0*D* DzDK2t6s %I4BMPS_e;9B(gh$0Bնrr9K$ɺ͞B rɡ+“HS/Sh9mQ9EN#W. ZzD&G%7pB@ɜ?J?yl ^C'+:yc'v_@_S|t:WnY<l&Ҥ8$Dkn(8.!&Lg 9o3f#-:#-N{PY|-O!:3 2ON&4N=qk^DLA@ʀg8p sőPwjZw*ud[zH: r6U%t11* A "?ǘML|WͼXdY嘿;L`,$|VC2h-Κ2 5` #YSf׵-4ͰR7o` ,G7|o; BLtěQòp3 DuJՔ_daw@G!){ᅑR>q%LSoew8:}T `Gי-ѸM'+)|V"/|ofP1fk0ќR3'6}gG:Q UZ%ĮtksGwXthov8Hug {S=Uffnm)ڔ L@=`CY݉=,l*vE5BͤZlպ+zu;sNt=kW3ݽv;w7y&mN 8Ʊ6@vg];ܒٛN[*IZ ~ <sԎg%x','$׫wXXGkKj'5Ajgzuk X{{ΦvWO5H[^;k^ݚ{<uwIENDB`$IfK$L$l!vh5 5 5 #v #v #v :V l t 6`V%65 5 5 yt*$IfK$L$l!vh5 5 5 #v #v #v :V l t 6`V%65 5 5 yt*$IfK$L$l!vh5 5 5 #v #v #v :V l t 6`V%65 5 5 yt*$IfK$L$l!vh5 5 5 #v #v #v :V l t 6`V%65 5 5 yt*$IfK$L$l!vh5 5 5 #v #v #v :V l t 6`V%65 5 5 yt*$IfK$L$l!vh5 5 5 #v #v #v :V l; t 6`V%65 5 5 yt*$IfK$L$l!vh5 5 5 #v #v #v :V l t 6`V%65 5 5 yt*$IfK$L$l!vh5 5 5 #v #v #v :V l t 6`V%65 5 5 yt*$IfK$L$l!vh5 5 5 #v #v #v :V l t 6`V%65 5 5 yt*$IfK$L$l!vh5 5 5 #v #v #v :V l t 6`V%65 5 5 yt*u$IfK$L$l!vh5 5 #v #v :V l t 6`V%6 5 5 yt*m$$If!vh5.&5#v.&#v:V l t 6`65 5 yt*j 666666666vvvvvvvvv666666>666666666666666666666666666666666666666666666666hH6666666666666666666666666666666666666666666666666666666666666666662 0@P`p2( 0@P`p 0@P`p 0@P`p 0@P`p 0@P`p 0@P`p8XV~ OJPJQJ_HmH nH sH tH L`L L:Normal$CJOJPJQJ_HaJmH sH tH DA`D Default Paragraph FontRi@R 0 Table Normal4 l4a (k ( 0No List 6U@6 L: Hyperlink >*B*phHH L:0 Balloon TextCJOJQJ^JaJRR L:0Balloon Text CharCJOJPJQJ^JaJPK![Content_Types].xmlj0Eжr(΢Iw},-j4 wP-t#bΙ{UTU^hd}㨫)*1P' ^W0)T9<l#$yi};~@(Hu* Dנz/0ǰ $ X3aZ,D0j~3߶b~i>3\`?/[G\!-Rk.sԻ..a濭?PK!֧6 _rels/.relsj0 }Q%v/C/}(h"O = C?hv=Ʌ%[xp{۵_Pѣ<1H0ORBdJE4b$q_6LR7`0̞O,En7Lib/SeеPK!kytheme/theme/themeManager.xml M @}w7c(EbˮCAǠҟ7՛K Y, e.|,H,lxɴIsQ}#Ր ֵ+!,^$j=GW)E+& 8PK!Ptheme/theme/theme1.xmlYOo6w toc'vuر-MniP@I}úama[إ4:lЯGRX^6؊>$ !)O^rC$y@/yH*񄴽)޵߻UDb`}"qۋJחX^)I`nEp)liV[]1M<OP6r=zgbIguSebORD۫qu gZo~ٺlAplxpT0+[}`jzAV2Fi@qv֬5\|ʜ̭NleXdsjcs7f W+Ն7`g ȘJj|h(KD- dXiJ؇(x$( :;˹! I_TS 1?E??ZBΪmU/?~xY'y5g&΋/ɋ>GMGeD3Vq%'#q$8K)fw9:ĵ x}rxwr:\TZaG*y8IjbRc|XŻǿI u3KGnD1NIBs RuK>V.EL+M2#'fi ~V vl{u8zH *:(W☕ ~JTe\O*tHGHY}KNP*ݾ˦TѼ9/#A7qZ$*c?qUnwN%Oi4 =3ڗP 1Pm \\9Mؓ2aD];Yt\[x]}Wr|]g- eW )6-rCSj id DЇAΜIqbJ#x꺃 6k#ASh&ʌt(Q%p%m&]caSl=X\P1Mh9MVdDAaVB[݈fJíP|8 քAV^f Hn- "d>znNJ ة>b&2vKyϼD:,AGm\nziÙ.uχYC6OMf3or$5NHT[XF64T,ќM0E)`#5XY`פ;%1U٥m;R>QD DcpU'&LE/pm%]8firS4d 7y\`JnίI R3U~7+׸#m qBiDi*L69mY&iHE=(K&N!V.KeLDĕ{D vEꦚdeNƟe(MN9ߜR6&3(a/DUz<{ˊYȳV)9Z[4^n5!J?Q3eBoCM m<.vpIYfZY_p[=al-Y}Nc͙ŋ4vfavl'SA8|*u{-ߟ0%M07%<ҍPK! ѐ'theme/theme/_rels/themeManager.xml.relsM 0wooӺ&݈Э5 6?$Q ,.aic21h:qm@RN;d`o7gK(M&$R(.1r'JЊT8V"AȻHu}|$b{P8g/]QAsم(#L[PK-![Content_Types].xmlPK-!֧6 +_rels/.relsPK-!kytheme/theme/themeManager.xmlPK-!Ptheme/theme/theme1.xmlPK-! ѐ' theme/theme/_rels/themeManager.xml.relsPK]  DNf:hvy{}< | ; \ y O>gXz٤ΰ*?ijklmnopqrstuwxz|~\CYzXXXXL# AA@0(  B S  ?oRdBST|޽U޽V޽W<߽X|߽Y߽Z߽[<\|]^_<`|abc<d|efTghijTklmnTopqrTstuvTwxyzT{|}~TTTTTTTTTTTTTTTTT<<FJ V,V,00GGGGGG2O2OQQ*R0R9R9RXSXSfSTq_E`aabblcccccckkxx~~@@R >>ޫޫ ''ӮӮnuuq~ʹع8      !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmn  DHOO b,b,11GGGGGG?O?OQQ/R7R>R>RbStStSTw_K`aabb}cccccckkxx ~ ~PZZEE..ޮޮ u|||ԹB    !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmn =O*urn:schemas-microsoft-com:office:smarttags PlaceName=P*urn:schemas-microsoft-com:office:smarttags PlaceTypeB[*urn:schemas-microsoft-com:office:smarttagscountry-region9n*urn:schemas-microsoft-com:office:smarttagsplace>g*urn:schemas-microsoft-com:office:smarttags PostalCode9m*urn:schemas-microsoft-com:office:smarttagsState8o*urn:schemas-microsoft-com:office:smarttagsCity:k*urn:schemas-microsoft-com:office:smarttagsStreet;l*urn:schemas-microsoft-com:office:smarttagsaddress onmlkonmgonmglkonmgn[nonon[nonoPOOPnon[OPOOnmPnOnnnnmn[nmnmnmnmnonononon[onmnonnonononmnmnmnooononoomOPomPOPnOn KP ! @ F X^jpKQ\b=C##$$$P ] . : mq6 677=#>f>k>KAA|MMccopnrruMvxx||͂тׅڅՌĞAIko333333333333333333333333F`$Hu)0i5L:xADmwvIh*%:][h`*38@X@UnknownG* Times New Roman5Symbol3. * Arial3* Times7.{ @Calibri5. *aTahomaA BCambria Math"1h׋Fffjfj!20hh2HP  $PL:2!xx dmccarthy dmccarthyOh+'0t  0 < HT\dl dmccarthy Normal.dotm dmccarthy3Microsoft Office Word@@@E'՜.+,D՜.+,, hp|  jfh  Title 8@ _PID_HLINKSA' !mailto:publicity@magpictures.com;mailto:pr@fredellpogodin.comDN"mailto:evelyn_santana@bazanpr.com[ymailto:jbazan@bazanpr.com  !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~Root Entry F0EData ~O1TableX0WordDocument4SummaryInformation(DocumentSummaryInformation8CompObjy  F'Microsoft Office Word 97-2003 Document MSWordDocWord.Document.89q