Name	Raphael Saadiq
Background	solo_singer
Birth name	Charles Ray Wiggins|Born May 14, 1966
Origin	Oakland, California, United States
Instrument	Vocals, bass guitar, guitar, keyboards
Genre	R&B;, soul, neo soul
Occupation	Singer-songwriter, producer
Years active	1983–present
Label	Pookie Entertainment/Columbia Records, Sony
Associated acts	Tony! Toni! Toné!, Lucy Pearl, Eve 6, Joss Stone, Q-Tip
Website	}}

Raphael Saadiq (born Charles Ray Wiggins in Oakland, California; May 14, 1966) is an American singer, songwriter and record producer. Saadiq has been a standard bearer for "old school" R&B; since his early days as a member of the multiplatinum group Tony! Toni! Toné! He also produced songs of such artists as TLC, Joss Stone, D'Angelo, Mary J. Blige, and John Legend. He and D'Angelo were occasional members of The Ummah, a music production collective, composed of members Q-Tip and Ali Shaheed Muhammad of A Tribe Called Quest, and the late Jay Dee (also known as J Dilla) of the Detroit-based group Slum Village.

Saadiq's critically acclaimed album, ''The Way I See It'', released on September 16, 2008, featuring artists Stevie Wonder, Joss Stone and Jay-Z, received three Grammy Award Nominations and was voted Best Album on iTunes of 2008. His fourth studio album, ''Stone Rollin''', was released on March 25, 2011. For the album, Saadiq worked with steel guitarist Robert Randolph; former Earth, Wind & Fire keyboardist Larry Dunn; Swedish/Japanese indie rock songstress Yukimi Nagano (of Little Dragon fame); plus hip hop newcomer Taura Stinson.

Early life

Saadiq was born in Oakland, California, the second-youngest of 14 siblings and half-siblings. His early life was marked by tragedy; he experienced the deaths of several of his siblings as a young child. When Saadiq was seven years old, his brother was murdered. One of his brothers overdosed on heroin and another committed suicide because he was unable to deal with his addiction to the drug. His sister died as a result of a car crash during a police chase in a residential neighborhood. Saadiq states that he does not want his music to be reflective of the tragedies he experienced, saying that "And through all of that I was makin' records, but it wasn't comin' out in the music. I did it to kinda show people you can have some real tough things happen in your life, but you don't have to wear it on your sleeve."

He has been playing the bass guitar since the age of six, and first began singing at age nine in a local gospel group. At the age of 12, he joined a group called "The Gospel Humminbirds". In 1984, shortly before his 18th birthday, Saadiq heard about tryouts in San Francisco for Sheila E.'s backing band on Prince's Parade Tour. At the audition, he chose the name "Raphael", and had difficulty remembering to respond to the name when he heard that he got the part to play bass in the band. He says of the experience, "Next thing I was in Tokyo, in a stadium, singin' Erotic City. We were in huge venues with the biggest sound systems in the world; all these roadies throwin' me basses, and a bunch of models hangin' round Prince to party. For almost two years. That was my university."

Career

Tony! Toni! Toné!

After returning to Oakland from touring with Prince, Saadiq began his professional career as the lead vocalist and bassist in the rhythm and blues and dance trio Tony! Toni! Toné! He used the name Raphael Wiggins while in Tony! Toni! Toné!, where he was joined by his brother Dwayne Wiggins, and his cousin Timothy Christian. In the mid-1990s, he adopted the last name Saadiq, which means "man of his word" in Arabic. His change of surname led many to speculate that he had converted to Islam at that point; in reality, Saadiq is not a Muslim, but rather just liked the way "Saadiq" sounded and changed his last name simply to distinguish himself from and avoid potential confusion with his brother, Dwayne Wiggins. As he confirmed by telling noted R&B; writer Pete Lewis of the award-winning 'Blues & Soul' in May 2009, "I just wanted to have my own identity!"

Tony! Toni! Toné! would become major R&B; superstars throughout the late-1980s and 1990s. However, after the 1996 album entitled ''House of Music'', which did produce several hits, nonetheless failed to duplicate previous success, Tony! Toni! Toné! went their separate ways.

Lucy Pearl

In 1999, Saadiq's next big project became the R&B; supergroup Lucy Pearl. He recorded the self-titled album with Dawn Robinson (En Vogue) and Ali Shaheed Muhammad (A Tribe Called Quest). The group only lasted for one album.

Solo work

"Ask of You"

In 1995, Saadiq had his biggest solo hit to date, when "Ask of You", featured on the ''Higher Learning'' Soundtrack peaked at #19 on the Billboard Hot 100 and #2 on the R&B; chart. In 1997, Saadiq hooked up with EPMD for the tune "Da Joint". Two years later, he teamed up with Q-Tip for another minor hit, "Get Involved", which was featured on the animated TV series ''The PJs'' and on its soundtrack.

''Instant Vintage''

He released his first solo album ''Instant Vintage'' in 2002 and earned 5 Grammy nominations.

''Ray Ray''

Released the album ''Ray Ray'' in 2004 on his own record label Pookie Entertainment.

''All the Hits at the House of Blues''

Released a 2 disc live album ''All The Hits AT The House of Blues'' in 2003 on his own record label Pookie Entertainment.

''The Way I See It''

Saadiq's third solo album, ''The Way I See It'', released on Columbia Records on September 16, 2008, available in a collector's edition box set of 7" 45 rpm singles as well as on traditional CD, was critically well-received, made several critics' 2008 best albums lists, and garnered three Grammy nominations including Best R&B; Performance By A Duo Or Group With Vocals (for "Never Give You Up", featuring Stevie Wonder & CJ Hilton); Best Traditional R&B; Vocal Performance (for "Love That Girl") and Best R&B; Album for ''The Way I See It''.

''The Way I See It'' was released in September 2008. Touring with a nine piece band, Saadiq hit the 2009 summer music festival circuit with performances at Bonnaroo, Hollywood Bowl, Outside Lands, Pori Jazz Festival, Stockholm Jazz Festival, North Sea Jazz, Essence Music Festival, Summer Spirit Festival, and Nice Jazz Festival, Bumbershoot Music Festival and Austin City Limits. Saadiq has been touring Europe extensively, and held a five-night residency at the House of Blues in Tokyo, Japan in June 2009.

Music from ''The Way I See It'' is featured in the following motion pictures: ''Madea Goes To Jail'', ''Bride Wars'', ''Cadillac Records'', ''Secret Life of Bees'', ''In Fighting (Rogue)'', and ''It's Complicated''.

''Stone Rollin'''

Saadiq's 2011 album ''Stone Rollin' ''was released to great critical acclaim. "He’s always had a boyish enthusiasm for performing, and a flexible, naturally joyous voice that suggests a young Stevie Wonder," wrote Greg Kot of ''The Chicago Tribune'', "but with his latest album, Saadiq finds a new gear. The album and his current tour demonstrate that there’s a big difference between retro and classic, and the artist consistently finds himself on the right side of that divide." Critic Jim Derogatis called it "a stone cold gas of a party disc."

Music producer

In 1995, Saadiq produced and performed on Otis & Shug's debut album, ''We Can Do Whatever''.

His 2000 song collaboration "Untitled (How Does It Feel)" won D'Angelo a Grammy Award for Best Male R&B; Vocal Performance; it was also nominated for Grammy Award for Best R&B; Song. The song was ranked #4 on ''Rolling Stone'''s "End of Year Critics & Readers Poll" of the top singles of 2000. D'Angelo's album ''Voodoo'' won a Grammy Award for Best R&B; Album at the 2001 Grammy Awards.

In 2004, Saadiq produced a remix of the song "Crooked Nigga Too" by the late Tupac Shakur which is featured on the album ''Loyal To The Game''.

In 2007, Saadiq produced ''Introducing Joss Stone'', the third album of British soul singer Joss Stone.

He produced songs for LeToya Luckett's forthcoming second album ''Lady Love'', released August 2009.

In 2009, Saadiq produced "Please Stay" and "Love Never Changes" for Ledisi's August 2009 release "Turn Me Loose". Saadiq also was the executive producer for an emerging group called Tha Boogie. Tha Boogie's first EP was released on iTunes and is titled ''Love Tha Boogie, Vol. 1 (Steal This Sh*t)''.

Other artists he has collaborated with include Whitney Houston, Mary J. Blige, The Isley Brothers, A Tribe Called Quest, Teedra Moses, The Roots, Erykah Badu, Jill Scott, Macy Gray, Angie Stone, Snoop Dogg, Devin the Dude, DJ Quik, Kelis, Q-Tip, Lil' Skeeter, Ludacris, The Bee Gees, Musiq Soulchild, Jaguar Wright, Chanté Moore, Lionel Richie, Marcus Miller, Noel Gourdin, Nappy Roots, Calvin Richardson, T-Boz from TLC, Floetry, Leela James, Amp Fiddler, John Legend, Joss Stone, Young Bellz, Anthony Hamilton, Babyface, Ledisi, Goapele, Ghostface Killah, Ginuwine, Stevie Wonder, Earth, Wind & Fire, Bilal, Chali 2na, Larry Graham, Luniz as well as many others.

Other

In 2002, Saadiq founded his own record label, Pookie Entertainment. Among the artists on the label are Joi and Truth Hurts.

In 2008, Saadiq formed a new label called Velma Records, a place where Raphael promises "people can express themselves like I did with ''The Way I See It''... where they can dream something up and just go with it".

In 2009, Saadiq announced his video game development company called IllFonic. The first video game in development by IllFonic is titled ''Ghetto Golf'', with an expected release late in 2010.

In 2009, Saadiq teamed up Bentley Kyle Evans, Jeff Franklin, Martin Lawrence, and Trenten Gumbs to create a new sitcom called ''Love That Girl!'' starring Tatyana Ali. Raphael is an executive producer and composer for ''Love That Girl!''. The show is currently in development.

In 2010, Saadiq sang as part of the chorus in the 2010 remake of "We Are the World" for Haiti.

Saadiq recorded an unreleased remake of The Spinners' song "Its A Shame".

In 2011, Saadiq was the guitarist/bandleader for the group backing Mick Jagger for Jagger's tribute performance of the Solomon Burke R&B; classic, "Everybody Needs Somebody to Love" at the 53rd Grammy Awards in Los Angeles and on CBS. The band that accompanied the performance was Saadiq's touring band called Stone Rollin.

In 2011 he and his band performed as the ESPY's house band for the night, where he performed his latest compositions.

Awards/Nominations

BET Awards

*2009, BET Centric Award (nominated)

Grammy Awards

*2009, Best R&B; Performance by a Duo or Group "Never Give You Up" (nominated)

*2009, Best R&B; Album ''The Way I See It'' (nominated)

*2009, Best Traditional R&B; Vocal Performance "Love That Girl" (nominated)

*2007, Best Traditional R&B; Vocal Performance "I Found My Everything" (nominated)

*2005, Best R&B; Performance by a Duo or Group "Show Me the Way" (nominated)

*2003, Best Urban/Alternative Performance "Be Here" (nominated)

*2003, Best R&B; Song "Love of My Life (Ode to Hip-Hop)" (winner)

*2003, Best R&B; Song "Be Here" (nominated)

*2003, Best R&B; Album ''Instant Vintage'' (nominated)

*2003, Best Song Written for a Motion Picture of Television Special "Love of My Life (Ode to Hip-Hop)" (nominated)

*2002, Best R&B; Song "Untitled (How Does It Feel)" (nominated)

*1995, Best R&B; Song "Anniversary" (nominated)

Soul Train Awards

*2009, Best R&B;/Soul Male Artist (nominated)

Discography

''Instant Vintage'' (2002)

''All Hits at the House of Blues'' (2003)

''Ray Ray'' (2004)

''The Way I See It'' (2008)

''Stone Rollin''' (2011) (UK chart peak: #84)

Singles

{|class="wikitable" !rowspan="2"|Year !rowspan="2" width="250"|Song !colspan="5"|Chart positions !rowspan="2"|Album |- !width="35"|^{U.S. Hot 100} !width="35"|^{U.S. R&B;} !width="35"|^{U.S. Adult R&B;} !width="35"|^UK !width="35"|^JP |- |rowspan="1"|1995 |align="left"|"Ask of You" |align="center"|19 |align="center"|2 |align="center"|— |align="center"|— |align="center"|— |align="left"|''Higher Learning OST'' |- |rowspan="1"|1999 |align="left"|"Get Involved" (feat. Q-Tip) |align="center"|67 |align="center"|21 |align="center"|— |align="center"|36 |align="center"|— |align="left"|''The P.J.'s OST'' |- |rowspan="2"|2002 |align="left"|"Be Here" (feat. D'Angelo) |align="center"|99 |align="center"|68 |align="center"|— |align="center"|— |align="center"|— |align="left" rowspan="2"|''Instant Vintage'' |- |align="left"|"Still Ray" |align="center"|— |align="center"|79 |align="center"|— |align="center"|— |align="center"|— |- |rowspan="2"|2004 |align="left"|"Rifle Love" (feat. Lucy Pearl & Tony! Toni! Toné!) |align="center"|— |align="center"|— |align="center"|— |align="center"|— |align="center"|— |align="left" rowspan="3"|''Ray Ray'' |- |align="left"|"Chic Like You" (feat. Allie Baba) |align="center"|— |align="center"|— |align="center"|— |align="center"|— |align="center"|— |- |rowspan="1"|2005 |align="left"|"I Want You Back" (feat. Teedra Moses) |align="center"|— |align="center"|— |align="center"|— |align="center"|— |align="center"|— |- |rowspan="2"|2008 |align="left"|"Love That Girl" |align="center"|— |align="center"|45 |align="center"|13 |align="center"|— |align="center"|— |align="left" rowspan="6"|''The Way I See It'' |- |align="left"|"Big Easy" (feat. The Infamous Young Spodie & The Rebirth Brass Band) |align="center"|— |align="center"|— |align="center"|— |align="center"|— |align="center"|— |- |rowspan="4"|2009 |align="left"|"100 Yard Dash" |align="center"|— |align="center"|125 |align="center"|— |align="center"|— |align="center"|— |- |align="left"|"Never Give You Up" (feat. Stevie Wonder & CJ Hilton) |align="center"|— |align="center"|26 |align="center"|4 |align="center"|— |align="center"|— |- |align="left"|"Let's Take a Walk" |align="center"|— |align="center"|— |align="center"|— |align="center"|— |align="center"|— |- |align="left"|"Staying in Love" |align="center"|— |align="center"|74 |align="center"|19 |align="center"|— |align="center"|— |- |rowspan="4"|2011 |align="left"|"Radio" |align="center"|— |align="center"|115 |align="center"|— |align="center"|— |align="center"|— |rowspan="4"| ''Stone Rollin''' |- |align="left"|"Good Man" |align="center"|— |align="center"|52 |align="center"|13 |align="center"|— |align="center"|— |- |align="left"|"Stone Rollin'" |align="center"|— |align="center"|— |align="center"|— |align="center"|— |align="center"|81 |- |align="left"|"Movin' Down the Line" |align="center"|— |align="center"|84 |align="center"|21 |align="center"|— |align="center"|— |- |align="center" colspan="15"| "—" denotes the single failed to chart or wasn't released. |}

References

External links

Official website

Raphael Saadiq on SoulRnB.com (FR)

Interview of Raphael Saadiq on SoulRnB.com (June 2011) (FR)

Category:1966 births Category:African American musicians Category:African American male singers Category:American male singer-songwriters Category:American rhythm and blues singers Category:American soul singers Category:Neo soul singers Category:Columbia Records artists Category:Grammy Award winners Category:Living people Category:People from Oakland, California

da:Raphael Saadiq de:Raphael Saadiq fr:Raphael Saadiq ko:라파엘 세티크 it:Raphael Saadiq nl:Raphael Saadiq ru:Рафаэл Садик sv:Raphael Saadiq

bgcolour	#EEDD82
name	Raphael
birth name	Raffaello Sanzio da Urbino
birth date	March 28, 1483 or April 06, 1483
birth place	Urbino, Marche
death date	April 06, 1520
death place	Rome, Italy
nationality	Italian
field	Painting and architecture
movement	High Renaissance
works	}}

Raffaello Sanzio da Urbino (April 6 or March 28, 1483 – April 6, 1520), better known simply as Raphael, was an Italian painter and architect of the High Renaissance, celebrated for the perfection and grace of his paintings and drawings. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period.

Raphael was enormously productive, running an unusually large workshop, and despite his death at 37, a large body of his work remains. Many of his works are found in the Apostolic Palace of The Vatican, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is ''The School of Athens'' in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was self-designed, but for the most part executed by the workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (from 1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant 12 years in Rome, working for two Popes and their close associates.

Urbino

Raphael was born in the small but artistically significant Central Italian city of Urbino in the Marche region, where his father Giovanni Santi was court painter to the Duke. The reputation of the court had been established by Federico III da Montefeltro, a highly successful condottiere who had been created Duke of Urbino by the Pope—Urbino formed part of the Papal States—and who died the year before Raphael was born. The emphasis of Federico's court was rather more literary than artistic, but Giovanni Santi was a poet of sorts as well as a painter, and had written a rhymed chronicle of the life of Federico, and both wrote the texts and produced the decor for masque-like court entertainments. His poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very small court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters.

Federico was succeeded by his son Guidobaldo da Montefeltro, who married Elisabetta Gonzaga, daughter of the ruler of Mantua, the most brilliant of the smaller Italian courts for both music and the visual arts. Under them, the court continued as a centre for literary culture. Growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Court life in Urbino at just after this period was to become set as the model of the virtues of the Italian humanist court by Baldassare Castiglione's depiction of it in his classic work ''The Book of the Courtier'', published in 1528. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, and they became good friends. He became close to other regular visitors to the court: Pietro Bibbiena and Pietro Bembo, both later Cardinals, were already becoming well known as writers, and would be in Rome during Raphael's period there. Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a full humanistic education however; it is unclear how easily he read Latin.

Early life and work

His mother Màgia died in 1491 when Raphael was eight, followed on August 1, 1494 by his father, who had already remarried. Orphaned at eleven, Raphael's formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not living as an apprentice with a master. He had already shown talent, according to Giorgio Vasari, who tells that Raphael had been "a great help to his father". A brilliant self-portrait drawing from his teenage years shows his precocious talent. His father's workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter (d. 1475), and Luca Signorelli, who until 1498 was based in nearby Città di Castello.

According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice "despite the tears of his mother". The evidence of an apprenticeship comes only from Vasari and another source, and has been disputed — eight was very early for an apprenticeship to begin. An alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495. But most modern historians agree that Raphael at least worked as an assistant to Perugino from around 1500; the influence of Perugino on Raphael's early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master's teaching as Raphael did", according to Wölfflin. Vasari wrote that it was impossible to distinguish their hands at this period, but many modern art historians claim to do better and detect his hand in specific areas of works by Perugino or his workshop. Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, but very thinly on flesh areas. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters. The Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a "master", that is to say fully trained, in 1501.

His first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was also named in the commission. It was commissioned in 1500 and finished in 1501; now only some cut sections and a preparatory drawing remain. In the following years he painted works for other churches there, including the "Mond Crucifixion" (about 1503) and the Brera ''Wedding of the Virgin'' (1504), and for Perugia, such as the Oddi Altarpiece. He very probably also visited Florence in this period. These are large works, some in fresco, where Raphael confidently marshalls his compositions in the somewhat static style of Perugino. He also painted many small and exquisite cabinet paintings in these years, probably mostly for the connoisseurs in the Urbino court, like the Three Graces and St. Michael, and he began to paint Madonnas and portraits. In 1502 he went to Siena at the invitation of another pupil of Perugino, Pinturicchio, "being a friend of Raphael and knowing him to be a draughtsman of the highest quality" to help with the cartoons, and very likely the designs, for a fresco series in the Piccolomini Library in Siena Cathedral. He was evidently already much in demand even at this early stage in his career.

Influence of Florence

Raphael led a "nomadic" life, working in various centres in Northern Italy, but spent a good deal of time in Florence, perhaps from about 1504. However, although there is traditional reference to a "Florentine period" of about 1504-8, he was possibly never a continuous resident there. He may have needed to visit the city to secure materials in any case. There is a letter of recommendation of Raphael, dated October 1504, from the mother of the next Duke of Urbino to the Gonfaloniere of Florence: "The bearer of this will be found to be Raphael, painter of Urbino, who, being greatly gifted in his profession has determined to spend some time in Florence to study. And because his father was most worthy and I was very attached to him, and the son is a sensible and well-mannered young man, on both accounts, I bear him great love...".

As earlier with Perugino and others, Raphael was able to assimilate the influence of Florentine art, whilst keeping his own developing style. Frescos in Perugia of about 1505 show a new monumental quality in the figures which may represent the influence of Fra Bartolomeo, who Vasari says was a friend of Raphael. But the most striking influence in the work of these years is Leonardo da Vinci, who returned to the city from 1500 to 1506. Raphael's figures begin to take more dynamic and complex positions, and though as yet his painted subjects are still mostly tranquil, he made drawn studies of fighting nude men, one of the obsessions of the period in Florence. Another drawing is a portrait of a young woman that uses the three-quarter length pyramidal composition of the just-completed "Mona Lisa", but still looks completely Raphaelesque. Another of Leonardo's compositional inventions, the pyramidal ''Holy Family'', was repeated in a series of works that remain among his most famous easel paintings. There is a drawing by Raphael in the Royal Collection of Leonardo's lost ''Leda and the Swan'', from which he adapted the contrapposto pose of his own ''Saint Catherine of Alexandria''. He also perfects his own version of Leonardo's sfumato modelling, to give subtlety to his painting of flesh, and develops the interplay of glances between his groups, which are much less enigmatic than those of Leonardo. But he keeps the soft clear light of Perugino in his paintings.

Leonardo was more than thirty years older than Raphael, but Michelangelo, who was in Rome for this period, was just eight years his senior. Michelangelo already disliked Leonardo, and in Rome came to dislike Raphael even more, attributing conspiracies against him to the younger man. Raphael would have been aware of his works in Florence, but in his most original work of these years, he strikes out in a different direction. His ''Deposition of Christ'' draws on classical sarcophagi to spread the figures across the front of the picture space in a complex and not wholly successful arrangement. Wöllflin detects the influence of the Madonna in Michelangelo's ''Doni Tondo'' in the kneeling figure on the right, but the rest of the composition is far removed from his style, or that of Leonardo. Though highly regarded at the time, and much later forcibly removed from Perugia by the Borghese, it stands rather alone in Raphael's work. His classicism would later take a less literal direction.

File:Raffael stcatherina.jpg|''Saint Catherine of Alexandria'', 1507, borrows from the pose of Leonardo's ''Leda'' File:Raffael 004.jpg|''Deposition of Christ'', 1507, drawing from Roman sarcophagi.

Roman period

The Vatican "Stanze"

By the end of 1508, he had moved to Rome, where he lived for the rest of his life. He was invited by the new Pope Julius II, perhaps at the suggestion of his architect Donato Bramante, then engaged on St. Peter's, who came from just outside Urbino and was distantly related to Raphael. Unlike Michelangelo, who had been kept hanging around in Rome for several months after his first summons, Raphael was immediately commissioned by Julius to fresco what was intended to become the Pope's private library at the Vatican Palace. This was a much larger and more important commission than any he had received before; he had only painted one altarpiece in Florence itself. Several other artists and their teams of assistants were already at work on different rooms, many painting over recently completed paintings commissioned by Julius's loathed predecessor, Alexander VI, whose contributions, and arms, Julius was determined to efface from the palace. Michelangelo, meanwhile, had been commissioned to paint the Sistine Chapel ceiling. This first of the famous "Stanze" or "Raphael Rooms" to be painted, now always known as the ''Stanza della Segnatura'' after its use in Vasari's time, was to make a stunning impact on Roman art, and remains generally regarded as his greatest masterpiece, containing ''The School of Athens'', ''The Parnassus'' and the ''Disputa''. Raphael was then given further rooms to paint, displacing other artists including Perugino and Signorelli. He completed a sequence of three rooms, each with paintings on each wall and often the ceilings too, increasingly leaving the work of painting from his detailed drawings to the large and skilled workshop team he had acquired, who added a fourth room, probably only including some elements designed by Raphael, after his early death in 1520. The death of Julius in 1513 did not interrupt the work at all, as he was succeeded by Raphael's last Pope, the Medici Pope Leo X, with whom Raphael formed an even closer relationship, and who continued to commission him. Raphael's friend Cardinal Bibbiena was also one of Leo's old tutors, and a close friend and advisor.

Raphael was clearly influenced by Michelangelo's Sistine Chapel ceiling in the course of painting the room. Vasari said Bramante let him in secretly, and the scaffolding was taken down in 1511 from the first completed section. The reaction of other artists to the daunting force of Michelangelo was the dominating question in Italian art for the following few decades, and Raphael, who had already shown his gift for absorbing influences into his own personal style, rose to the challenge perhaps better than any other artist. One of the first and clearest instances was the portrait in ''The School of Athens'' of Michelangelo himself, as Heraclitus, which seems to draw clearly from the Sybils and ''ignudi'' of the Sistine ceiling. Other figures in that and later paintings in the room show the same influences, but as still cohesive with a development of Raphael's own style. Michelangelo accused Raphael of plagiarism and years after Raphael's death, complained in a letter that "everything he knew about art he got from me", although other quotations show more generous reactions.

These very large and complex compositions have been regarded ever since as among the supreme works of the grand manner of the High Renaissance, and the "classic art" of the post-antique West. They give a highly idealised depiction of the forms represented, and the compositions, though very carefully conceived in drawings, achieve "sprezzatura", a term invented by his friend Castiglione, who defined it as "a certain nonchalance which conceals all artistry and makes whatever one says or does seem uncontrived and effortless ...". According to Michael Levey, "Raphael gives his [figures] a superhuman clarity and grace in a universe of Euclidian certainties". The painting is nearly all of the highest quality in the first two rooms, but the later compositions in the Stanze, especially those involving dramatic action, are not entirely as successful either in conception or their execution by the workshop.

Other projects

The Vatican projects took most of his time, although he painted several portraits, including those of his two main patrons, the popes Julius II and his successor Leo X, the former considered one of his finest. Other portraits were of his own friends, like Castiglione, or the immediate Papal circle. Other rulers pressed for work, and King Francis I of France was sent two paintings as diplomatic gifts from the Pope. For Agostino Chigi, the hugely rich banker and Papal Treasurer, he painted the Galatea and designed further decorative frescoes for his Villa Farnesina, and painted two chapels in the churches of Santa Maria della Pace and Santa Maria del Popolo. He also designed some of the decoration for the Villa Madama, the work in both villas being executed by his workshop.

One of his most important papal commissions was the Raphael Cartoons (now Victoria and Albert Museum), a series of 10 cartoons, of which seven survive, for tapestries with scenes of the lives of Saint Paul and Saint Peter, for the Sistine Chapel. The cartoons were sent to Brussels to be woven in the workshop of Pier van Aelst. It is possible that Raphael saw the finished series before his death—they were probably completed in 1520. He also designed and painted the ''Loggia'' at the Vatican, a long thin gallery then open to a courtyard on one side, decorated with Roman-style grottesche. He produced a number of significant altarpieces, including ''The Ecstasy of St. Cecilia'' and the ''Sistine Madonna''. His last work, on which he was working up to his death, was a large ''Transfiguration'', which together with Il Spasimo shows the direction his art was taking in his final years—more proto-Baroque than Mannerist.

Workshop

Vasari says that Raphael eventually had a workshop of fifty pupils and assistants, many of whom later became significant artists in their own right. This was arguably the largest workshop team assembled under any single old master painter, and much higher than the norm. They included established masters from other parts of Italy, probably working with their own teams as sub-contractors, as well as pupils and journeymen. We have very little evidence of the internal working arrangements of the workshop, apart from the works of art themselves, often very difficult to assign to a particular hand.

The most important figures were Giulio Romano, a young pupil from Rome (only about twenty-one at Raphael's death), and Gianfrancesco Penni, already a Florentine master. They were left many of Raphael's drawings and other possessions, and to some extent continued the workshop after Raphael's death. Penni did not achieve a personal reputation equal to Giulio's, as after Raphael's death he became Giulio's less-than-equal collaborator in turn for much of his subsequent career. Perino del Vaga, already a master, and Polidoro da Caravaggio, who was supposedly promoted from a labourer carrying building materials on the site, also became notable painters in their own right. Polidoro's partner, Maturino da Firenze, has, like Penni, been overshadowed in subsequent reputation by his partner. Giovanni da Udine had a more independent status, and was responsible for the decorative stucco work and grotesques surrounding the main frescoes. Most of the artists were later scattered, and some killed, by the violent Sack of Rome in 1527. This did however contribute to the diffusion of versions of Raphael's style around Italy and beyond.

Vasari emphasises that Raphael ran a very harmonious and efficient workshop, and had extraordinary skill in smoothing over troubles and arguments with both patrons and his assistants—a contrast with the stormy pattern of Michelangelo's relationships with both. However though both Penni and Giulio were sufficiently skilled that distinguishing between their hands and that of Raphael himself is still sometimes difficult, there is no doubt that many of Raphael's later wall-paintings, and probably some of his easel paintings, are more notable for their design than their execution. Many of his portraits, if in good condition, show his brilliance in the detailed handling of paint right up to the end of his life.

Other pupils or assistants include Raffaellino del Colle, Andrea Sabbatini, Bartolommeo Ramenghi, Pellegrino Aretusi, Vincenzo Tamagni, Battista Dossi, Tommaso Vincidor, Timoteo Viti (the Urbino painter), and the sculptor and architect Lorenzetto (Giulio's brother-in-law). The printmakers and architects in Raphael's circle are discussed below. It has been claimed the Flemish Bernard van Orley worked for Raphael for a time, and Luca Penni, brother of Gianfrancesco, may have been a member of the team.

Portraits

Architecture

After Bramante's death in 1514, he was named architect of the new St Peter's. Most of his work there was altered or demolished after his death and the acceptance of Michelangelo's design, but a few drawings have survived. It appears his designs would have made the church a good deal gloomier than the final design, with massive piers all the way down the nave, "like an alley" according to a critical posthumous analysis by Antonio da Sangallo the Younger. It would perhaps have resembled the temple in the background of ''The Expulsion of Heliodorus from the Temple''. He designed several other buildings, and for a short time was the most important architect in Rome, working for a small circle around the Papacy. Julius had made changes to the street plan of Rome, creating several new thoroughfares, and he wanted them filled with splendid palaces.

An important building, the Palazzo Aquila for Leo's Papal Chamberlain Giovanni Battista Branconio, was completely destroyed to make way for Bernini's ''piazza'' for St. Peter's, but drawings of the facade and courtyard remain. The facade was an unusually richly decorated one for the period, including both painted panels on the top story (of three), and much sculpture on the middle one.

The main designs for the Villa Farnesina were not by Raphael, but he did design, and paint, the Chigi Chapel for the same patron, Agostino Chigi, the Papal Treasurer. Another building, for Pope Leo's doctor, the ''Palazzo di Jacobo da Brescia'', was moved in the 1930s but survives; this was designed to complement a palace on the same street by Bramante, where Raphael himself lived for a time.

The Villa Madama, a lavish hillside retreat for Cardinal Giulio de' Medici, later Pope Clement VII, was never finished, and his full plans have to be reconstructed speculatively. He produced a design from which the final construction plans were completed by Antonio da Sangallo the Younger. Even incomplete, it was the most sophisticated villa design yet seen in Italy, and greatly influenced the later development of the genre; it appears to be the only modern building in Rome of which Palladio made a measured drawing.

Only some floor-plans remain for a large palace planned for himself on the new via Giulia in the rione of Regola, for which he was accumulating the land in his last years. It was on an irregular island block near the river Tiber. It seems all facades were to have a giant order of pilasters rising at least two storeys to the full height of the piano nobile, "a gandiloquent feature unprecedented in private palace design".

In 1515 he was given powers as "Prefect" over all antiquities unearthed entrusted within the city, or a mile outside. Raphael wrote a letter to Pope Leo suggesting ways of halting the destruction of ancient monuments, and proposed a visual survey of the city to record all antiquities in an organised fashion. The Pope's concerns were not exactly the same; he intended to continue to re-use ancient masonry in the building of St Peter's, but wanted to ensure that all ancient inscriptions were recorded, and sculpture preserved, before allowing the stones to be reused.

Drawings

Raphael was one of the finest draftsmen in the history of Western art, and used drawings extensively to plan his compositions. According to a near-contemporary, when beginning to plan a composition, he would lay out a large number of stock drawings of his on the floor, and begin to draw "rapidly", borrowing figures from here and there. Over forty sketches survive for the ''Disputa'' in the Stanze, and there may well have been many more originally; over four hundred sheets survive altogether. He used different drawings to refine his poses and compositions, apparently to a greater extent than most other painters, to judge by the number of variants that survive: "... This is how Raphael himself, who was so rich in inventiveness, used to work, always coming up with four or six ways to show a narrative, each one different from the rest, and all of them full of grace and well done." wrote another writer after his death. For John Shearman, Raphael's art marks "a shift of resources away from production to research and development".

When a final composition was achieved, scaled-up full-size cartoons were often made, which were then pricked with a pin and "pounced" with a bag of soot to leave dotted lines on the surface as a guide. He also made unusually extensive use, on both paper and plaster, of a "blind stylus", scratching lines which leave only an indentation, but no mark. These can be seen on the wall in ''The School of Athens'', and in the originals of many drawings. The "Raphael Cartoons", as tapestry designs, were fully coloured in a glue distemper medium, as they were sent to Brussels to be followed by the weavers.

In later works painted by the workshop, the drawings are often painfully more attractive than the paintings. Most Raphael drawings are rather precise—even initial sketches with naked outline figures are carefully drawn, and later working drawings often have a high degree of finish, with shading and sometimes highlights in white. They lack the freedom and energy of some of Leonardo's and Michelangelo's sketches, but are nearly always aesthetically very satisfying. He was one of the last artists to use metalpoint (literally a sharp pointed piece of sliver or another metal) extensively, although he also made superb use of the freer medium of red or black chalk. In his final years he was one of the first artists to use female models for preparatory drawings—male pupils ("garzoni") were normally used for studies of both sexes.

Printmaking

Raphael made no prints himself, but entered into a collaboration with Marcantonio Raimondi to produce engravings to Raphael's designs, which created many of the most famous Italian prints of the century, and was important in the rise of the reproductive print. His interest was unusual in such a major artist; from his contemporaries it was only shared by Titian, who had worked much less successfully with Raimondi. A total of about fifty prints were made; some were copies of Raphael's paintings, but other designs were apparently created by Raphael purely to be turned into prints. Raphael made preparatory drawings, many of which survive, for Raimondi to translate into engraving.

The most famous original prints to result from the collaboration were ''Lucretia'', the ''Judgement of Paris'' and ''The Massacre of the Innocents'' (of which two virtually identical versions were engraved). Among prints of the paintings ''The Parnassus'' (with considerable differences) and ''Galatea'' were also especially well-known. Outside Italy, reproductive prints by Raimondi and others were the main way that Raphael's art was experienced until the twentieth century. Baviero Carocci, called "Il Baviera" by Vasari, an assistant who Raphael evidently trusted with his money, ended up in control of most of the copper plates after Raphael's death, and had a successful career in the new occupation of a publisher of prints.

Private life and death

Raphael lived in the Palazzo Caprini in the Borgo, in rather grand style in a palace designed by Bramante. He never married, but in 1514 became engaged to Maria Bibbiena, Cardinal Medici Bibbiena's niece; he seems to have been talked into this by his friend the Cardinal, and his lack of enthusiasm seems to be shown by the marriage not taking place before she died in 1520. He is said to have had many affairs, but a permanent fixture in his life in Rome was "La Fornarina", Margherita Luti, the daughter of a baker (''fornaro'') named Francesco Luti from Siena who lived at Via del Governo Vecchio. He was made a "Groom of the Chamber" of the Pope, which gave him status at court and an additional income, and also a knight of the Papal Order of the Golden Spur. Vasari claims he had toyed with the ambition of becoming a Cardinal, perhaps after some encouragement from Leo, which also may account for his delaying his marriage.

According to Vasari, Raphael's premature death on Good Friday (April 6, 1520), which was possibly his 37th birthday, was caused by a night of excessive sex with Luti, after which he fell into a fever and, not telling his doctors that this was its cause, was given the wrong cure, which killed him. Vasari also says that Raphael had also been born on a Good Friday, which in 1483 fell on March 28.

Whatever the cause, in his acute illness, which lasted fifteen days, Raphael was composed enough to receive the last rites, and to put his affairs in order. He dictated his will, in which he left sufficient funds for his mistress's care, entrusted to his loyal servant Baviera, and left most of his studio contents to Giulio Romano and Penni. At his request, Raphael was buried in the Pantheon.

His funeral was extremely grand, attended by large crowds. The inscription in his marble sarcophagus, an elegiac distich written by Pietro Bembo, reads: "Ille hic est Raffael, timuit quo sospite vinci, rerum magna parens et moriente mori." Meaning: "Here lies that famous Raphael by whom Nature feared to be conquered while he lived, and when he was dying, feared herself to die."

Critical reception

Raphael was highly admired by his contemporaries, although his influence on artistic style in his own century was less than that of Michelangelo. Mannerism, beginning at the time of his death, and later the Baroque, took art "in a direction totally opposed" to Raphael's qualities; "with Raphael's death, classic art - the High Renaissance - subsided", as Walter Friedländer put it. He was soon seen as the ideal model by those disliking the excesses of Mannerism:

the opinion ...was generally held in the middle of the sixteenth century that Raphael was the ideal balanced painter, universal in his talent, satisfying all the absolute standards, and obeying all the rules which were supposed to govern the arts, whereas Michelangelo was the eccentric genius, more brilliant than any other artists in his particular field, the drawing of the male nude, but unbalanced and lacking in certain qualities, such as grace and restraint, essential to the great artist. Those, like Dolce and Aretino, who held this view were usually the survivors of Renaissance Humanism, unable to follow Michelangelo as he moved on into Mannerism.

Vasari himself, despite his hero remaining Michelangelo, came to see his influence as harmful in some ways, and added passages to the second edition of the ''Lives'' expressing similar views.

Raphael's compositions were always admired and studied, and became the cornerstone of the training of the Academies of art. His period of greatest influence was from the late 17th to late 19th centuries, when his perfect decorum and balance were greatly admired. He was seen as the best model for the history painting, regarded as the highest in the hierarchy of genres. Sir Joshua Reynolds in his ''Discourses'' praised his "simple, grave, and majestic dignity" and said he "stands in general foremost of the first [ie best] painters", especially for his frescoes (in which he included the "Raphael Cartoons"), whereas "Michael Angelo claims the next attention. He did not possess so many excellences as Raffaelle, but those he had were of the highest kind..." Echoing the sixteenth-century views above, Reynolds goes on to say of Raphael:

The excellency of this extraordinary man lay in the propriety, beauty, and majesty of his characters, his judicious contrivance of his composition, correctness of drawing, purity of taste, and the skilful accommodation of other men’s conceptions to his own purpose. Nobody excelled him in that judgment, with which he united to his own observations on nature the energy of Michael Angelo, and the beauty and simplicity of the antique. To the question, therefore, which ought to hold the first rank, Raffaelle or Michael Angelo, it must be answered, that if it is to be given to him who possessed a greater combination of the higher qualities of the art than any other man, there is no doubt but Raffaelle is the first. But if, according to Longinus, the sublime, being the highest excellence that human composition can attain to, abundantly compensates the absence of every other beauty, and atones for all other deficiencies, then Michael Angelo demands the preference.

Reynolds was less enthusiastic about Raphael's panel paintings, but the slight sentimentality of these made them enormously popular in the 19th century:"We have been familiar with them from childhood onwards, through a far greater mass of reproductions than any other artist in the world has ever had..." wrote Wölfflin, who was born in 1862, of Raphael's Madonnas.

In 19th century England the Pre-Raphaelite Brotherhood explicitly reacted against his influence (and that of his admirers such as "Sir Sploshua"), seeking to return to styles before what they saw as his baneful influence. According to a critic whose ideas greatly influenced them, John Ruskin:

The doom of the arts of Europe went forth from that chamber [the Stanza della Segnatura], and it was brought about in great part by the very excellencies of the man who had thus marked the commencement of decline. The perfection of execution and the beauty of feature which were attained in his works, and in those of his great contemporaries, rendered finish of execution and beauty of form the chief objects of all artists; and thenceforward execution was looked for rather than thought, and beauty rather than veracity.

And as I told you, these are the two secondary causes of the decline of art; the first being the loss of moral purpose. Pray note them clearly. In mediæval art, thought is the first thing, execution the second; in modern art execution is the first thing, and thought the second. And again, in mediæval art, truth is first, beauty second; in modern art, beauty is first, truth second. The mediæval principles led up to Raphael, and the modern principles lead down from him.

He was still seen by 20th century critics like Bernard Berenson as the "most famous and most loved" master of the High Renaissance, but it would seem he has since been overtaken by Michelangelo and Leonardo in this respect.

See also

List of works by Raphael

Italian Renaissance

Renaissance painting

Notes

Main references

Blunt, Anthony, ''Artistic Theory in Italy, 1450-1660'', 1940 (refs to 1985 edn), OUP, ISBN 0-19-881050-4

Gould, Cecil, ''The Sixteenth Century Italian Schools'', National Gallery Catalogues, London 1975, ISBN 0-947645-22-5

Roger Jones and Nicholas Penny, ''Raphael'', Yale, 1983, ISBN 0-300-03061-4

Landau, David in:David Landau & Peter Parshall, ''The Renaissance Print'', Yale, 1996, ISBN 0-300-06883-2

Pon, Lisa, ''Raphael, Dürer, and Marcantonio Raimondi, Copying and the Italian Renaissance Print'', 2004, Yale UP, ISBN 978-0-300-09680-4

Shearman, John; ''Raphael in Early Modern Sources 1483-1602'', 2003, Yale University Press, ISBN 0-300-09918-5

Vasari, ''Life of Raphael'' from the ''Lives of the Artists'', edition used: ''Artists of the Renaissance'' selected & ed Malcolm Bull, Penguin 1965 (page nos from BCA edn, 1979)

Wölfflin, Heinrich; ''Classic Art; An Introduction to the Renaissance'', 1952 in English (1968 edition), Phaidon, New York.

Further reading

The standard source of biographical information is now: V. Golzio, ''Raffaello nei documenti nelle testimonianze dei contemporanei e nella letturatura del suo secolo'', Vatican City and Westmead, 1971

''The Cambridge Companion to Raphael'', Marcia B. Hall, Cambridge University Press, 2005, ISBN 0-521-80809-X,

New catalogue raisonné in several volumes, still being published, Jürg Meyer zur Capellen, Stefan B. Polter, Arcos, 2001-2008

''Raphael'', Pier Luigi De Vecchi, Abbeville Press, 2003

''Raphael'', Bette Talvacchia, 2007, Phaidon Press

''Raphael''; John Pope-Hennessy, New York University Press, 1970, ISBN 0-8147-0476-X

''Raphael: From Urbino to Rome''; Hugo Chapman, Tom Henry, Carol Plazzotta, Arnold Nesselrath, Nicholas Penny, National Gallery Publications Limited, 2004, ISBN 1-85709-999-0 (exhibition catalogue)

''Raphael Trail: The Secret History of One of the World's Most Precious Works of Art''; Joanna Pitman, 2006

''Raphael - A Critical Catalogue of his Pictures, Wall-Paintings and Tapestries'', catalogue raisonné by Luitpold Dussler published in the United States by Phaidon Publishers, Inc., 1971, ISBN 0-7148-1469-5 (out of print, but there is an online version here)

External links

Raphael Research Resource from the National Gallery, London

V&A; London online feature on the Raphael Cartoons

Ten drawings and three paintings from the Royal Collection

Web Gallery of Art

Most of the Raphael/Raimondi prints from the San Francisco Museums

Raphael Project/Raffael Projekt

Renaissance Revolution - "Raphael: The Madonna of the Meadow" by Matthew Collings 1 of 3-part BBC series

Raphael Raphael Category:Figurative artists Category:Italian painters Raphael Category:Knights of the Golden Spur Raphael Category:Portrait artists Raphael Category:Architects of Roman Catholic churches Category:Roman Catholic Church painters

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name	Stevie Wonder
background	solo_singer
birth name	Stevland Hardaway Judkins
alias	Stevland Hardaway Morris, Little Stevie Wonder, Eivets Rednow
born	May 13, 1950Saginaw, Michigan, United States
origin	Detroit, Michigan, United States
instrument	Vocals, synthesizer, piano, keyboards, harmonica, clavinet, drums, bass guitar, congas, bongos, melodica, keytar, accordion
genre	Soul, pop, R&B;, funk, jazz
occupation	Singer-songwriter, multi-instrumentalist, record producer, activist
years active	1961–present
label	Tamla, Motown
website	}}

Stevland Hardaway Morris (previously Judkins; born May 13, 1950), known by his stage name Stevie Wonder, is an American singer-songwriter, multi-instrumentalist, record producer and activist. Blind since shortly after birth, Wonder signed with Motown Records' Tamla label at the age of eleven, and continues to perform and record for Motown to this day.

Among Wonder's best known works are singles such as "Superstition", "Sir Duke", "I Wish" and "I Just Called to Say I Love You". Well known albums also include ''Talking Book'', ''Innervisions'' and ''Songs in the Key of Life''. He has recorded more than thirty U.S. top ten hits and received twenty-two Grammy Awards, the most ever awarded to a male solo artist. Wonder is also noted for his work as an activist for political causes, including his 1980 campaign to make Martin Luther King, Jr.'s birthday a holiday in the United States. In 2009, Wonder was named a United Nations Messenger of Peace. In 2008, ''Billboard'' magazine released a list of the Hot 100 All-Time Top Artists to celebrate the US singles chart's fiftieth anniversary, with Wonder at number five.

Early life

Stevie Wonder was born in Saginaw, Michigan in 1950, the third of six children to Calvin Judkins and Lula Mae Hardaway. Owing to his being born six weeks premature, the blood vessels at the back of his eyes had not yet reached the front and their aborted growth caused the retinas to detach. The medical term for this condition is retinopathy of prematurity, or ROP, and while it may have been exacerbated by the oxygen pumped into his incubator, this was not the primary cause of his blindness.

When Stevie Wonder was four, his mother left his father and moved herself and her children to Detroit. She changed her name back to Lula Hardaway and later changed her son's surname to Morris, partly because of relatives. Morris has remained Stevie Wonder's legal name ever since. He began playing instruments at an early age, including piano, harmonica, drums and bass. During childhood he was active in his church choir.

Discovery and early Motown recordings

Ronnie White of The Miracles gives credit to his brother Gerald White for persistently nagging him to come to his friend's house in 1961 to check out Stevie Wonder. Afterward, White brought Wonder and his mother to Motown Records. Impressed by the young musician, Motown CEO Berry Gordy signed Wonder to Motown's Tamla label with the name Little Stevie Wonder. Before signing, producer Clarence Paul gave Wonder his trademark name after stating "we can't keep calling him the eighth wonder of the world". He then recorded the regional Detroit single, "I Call It Pretty Music, But the Old People Call It the Blues", which was released on Tamla in late 1961. Wonder released his first two albums, ''The Jazz Soul of Little Stevie'' and ''Tribute to Uncle Ray'', in 1962, to little success.

Music career

Early success: 1963–1971

By age 13, Wonder had a major hit, "Fingertips (Pt. 2)", a 1963 single taken from a live recording of a Motor Town Revue performance, issued on the album ''Recorded Live: The 12 Year Old Genius''. The song, featuring Wonder on vocals, bongos, and harmonica, and a young Marvin Gaye on drums, was a #1 hit on the U.S. pop and R&B; charts and launched him into the public consciousness.

In 1964, Stevie Wonder made his film debut in ''Muscle Beach Party'' as himself, credited as "Little Stevie Wonder". He returned in the sequel released five months later, ''Bikini Beach''. He performed on-screen in both films, singing "Happy Street," and "Happy Feelin' (Dance and Shout)," respectively.

Dropping the "Little" from his name, Wonder went on to have a number of other hits during the mid-1960s, including "Uptight (Everything's Alright)", "With a Child's Heart", and "Blowin' in the Wind", a Bob Dylan cover, co-sung by his mentor, producer Clarence Paul. He also began to work in the Motown songwriting department, composing songs both for himself and his label mates, including "Tears of a Clown", a number one hit performed by Smokey Robinson & the Miracles.

In 1968 he recorded an album of instrumental soul/jazz tracks, mostly harmonica solos, under the pseudonym (and title) ''Eivets Rednow'', which is "Stevie Wonder" spelled backwards. The album failed to get much attention, and its only single, a cover of "Alfie", only reached number 66 on the U.S. Pop charts and number 11 on the U.S. Adult Contemporary charts. Nonetheless, he managed to score several hits between 1968 and 1970 such as "I Was Made to Love Her"; "For Once in My Life" and "Signed, Sealed, Delivered I'm Yours". In September 1970, at the age of 20, Wonder married Syreeta Wright, a songwriter and former Motown secretary. Wright and Wonder co-wrote the songs on the next album, ''Where I'm Coming From'', which did not succeed in the charts. Reaching his twenty-first birthday on May 13, 1971, he allowed his Motown contract to expire.

In 1970, Wonder co-wrote, and played numerous instruments on the hit "It's a Shame" for fellow Motown act The Spinners. His contribution was meant to be a showcase of his talent and thus a weapon in his ongoing negotiations with Gordy about creative autonomy.

Classic period: 1972–1976

Wonder independently recorded two albums, which he used as a bargaining tool while negotiating with Motown. Eventually the label agreed to his demands for full creative control and the rights to his own songs. The 120-page contract was a precedent at Motown and gave Wonder a much higher royalty rate. Wonder returned to Motown in March 1972 with ''Music of My Mind''. Unlike most previous albums on Motown, which usually consisted of a collection of singles, B-sides and covers, ''Music of My Mind'' was a full-length artistic statement with songs flowing together thematically. Wonder's lyrics dealt with social, political, and mystical themes as well as standard romantic ones, while musically Wonder began exploring overdubbing and recording most of the instrumental parts himself. ''Music of My Mind'' marked the beginning of a long collaboration with Tonto's Expanding Head Band (Robert Margouleff and Malcolm Cecil).

Released in late 1972, ''Talking Book'' featured the No. 1 hit "Superstition", which is one of the most distinctive and famous examples of the sound of the Hohner clavinet keyboard. The song features a rocking groove that garnered Wonder an additional audience on rock radio stations. ''Talking Book'' also featured "You Are the Sunshine of My Life", which also peaked at No. 1. During the same time as the album's release, Stevie Wonder began touring with the Rolling Stones to alleviate the negative effects from pigeon-holing as a result of being an R&B; artist in America. Between them, the two songs won three Grammy Awards. On an episode of the children's television show ''Sesame Street'' that aired in April 1973, Wonder and his band performed "Superstition", as well as an original song called "Sesame Street Song", which demonstrated his abilities with the "talk box".

''Innervisions'', released in 1973, featured "Higher Ground" (#4 on the pop charts) as well as the trenchant "Living for the City" (#8). Both songs reached No. 1 on the R&B; charts. Popular ballads such as "Golden Lady" and "All in Love Is Fair" were also present, in a mixture of moods that nevertheless held together as a unified whole. ''Innervisions'' generated three more Grammy Awards, including Album of the Year. The album is ranked #23 on ''Rolling Stone Magazine's'' 500 Greatest Albums of All Time. Wonder had become the most influential and acclaimed black musician of the early 1970s.

On August 6, 1973, Wonder was in a serious automobile accident while on tour in North Carolina, when a car in which he was riding hit the back of a truck. This left him in a coma for four days and resulted in a partial loss of his sense of smell and a temporary loss of sense of taste. Despite the setback, Wonder re-appeared in concert at Madison Square Garden in March 1974 with a performance that highlighted both up-tempo material and long, building improvisations on mid-tempo songs such as "Living for the City". The album ''Fulfillingness' First Finale'' appeared in July 1974 and set two hits high on the pop charts: the #1 "You Haven't Done Nothin'" and the Top Ten "Boogie On Reggae Woman". The Album of the Year was again one of three Grammys won.

The same year Wonder took part in a Los Angeles jam session which would become known by the bootleg album ''A Toot and a Snore in '74''. He also co-wrote and produced the Syreeta Wright album ''Stevie Wonder Presents: Syreeta''.

On October 4, 1975, Wonder performed at the historical "Wonder Dream Concert" in Kingston, Jamaica, a benefit for the Jamaican Institute for the Blind.

By 1975, in his 25th year, Stevie Wonder had won two consecutive Grammy Awards: in 1974 for ''Innervisions'' and in 1975 for ''Fulfillingness' First Finale''. In 1975 he featured on the album ''It's My Pleasure'' by Billy Preston, playing harmonica on two tracks.

The double album-with-extra-EP ''Songs in the Key of Life'', was released in September 1976. Sprawling in style, unlimited in ambition, and sometimes lyrically difficult to fathom, the album was hard for some listeners to assimilate, yet is regarded by many as Wonder's crowning achievement and one of the most recognizable and accomplished albums in pop music history. The album became the first of an American artist to debut straight at #1 in the ''Billboard'' charts, where it remained for 14 non-consecutive weeks. Two tracks, became #1 Pop/R&B; hits "I Wish" and "Sir Duke". The baby-celebratory "Isn't She Lovely?" was written about his newborn daughter Aisha, while songs such as "Love's in Need of Love Today" (which years later Wonder would perform at the post-September 11, 2001 ''America: A Tribute to Heroes'' telethon) and "Village Ghetto Land" reflected a far more pensive mood. ''Songs in the Key of Life'' won Album of the Year and two other Grammys. The album ranks 56th on ''Rolling Stone Magazine'''s 500 Greatest Albums of All Time.

After such a concentrated and sustained level of creativity, Wonder stopped recording for three years, releasing only the 3 LP ''Looking Back'', an anthology of his first Motown period. The albums Wonder released during this period were very influential on the music world: the 1983 ''Rolling Stone Record Guide'' said they "pioneered stylistic approaches that helped to determine the shape of pop music for the next decade"; ''Rolling Stone'' magazine's 2003 list of the 500 Greatest Albums of All Time included four of the five albums, with three in the top 90; and in 2005, Kanye West said of his own work, "I'm not trying to compete with what's out there now. I'm really trying to compete with ''Innervisions'' and ''Songs in the Key of Life''. It sounds musically blasphemous to say something like that, but why not set that as your bar?"

Commercial period: 1979–1990

It was in Wonder's next phase that he began to commercially reap the rewards of his legendary classic period. The '80s saw Wonder scoring his biggest hits and reaching an unprecedented level of fame evidenced by increased album sales, charity participation, high-profile collaborations, political impact, and television appearances.

When Wonder did return, it was with the soundtrack album ''Journey through the Secret Life of Plants'' (1979), featured in the film ''The Secret Life of Plants''. Mostly instrumental, the album was composed using the Computer Music Melodian, an early sampler. Wonder toured briefly in support of the album, and used a Fairlight CMI sampler on stage. In this year Wonder also wrote and produced the dance hit "Let's Get Serious", performed by Jermaine Jackson and (ranked by ''Billboard'' as the #1 R&B; single of 1980).

''Hotter than July'' (1980) became Wonder's first platinum-selling single album, and its single "Happy Birthday" was a successful vehicle for his campaign to establish Dr. Martin Luther King's birthday as a national holiday. The album also included "Master Blaster (Jammin')", "I Ain't Gonna Stand for It", and the sentimental ballad, "Lately", which was later covered by Jodeci and S Club 7.

In 1982, Wonder released a retrospective of his '70s work with ''Stevie Wonder's Original Musiquarium'', which included four new songs: the ten-minute funk classic "Do I Do" (which featured Dizzy Gillespie), "That Girl" (one of the year's biggest singles to chart on the R&B; side), "Front Line", a narrative about a soldier in the Vietnam War that Stevie Wonder wrote and sang in the 1st person, and "Ribbon in the Sky", one of his many classic compositions. Wonder also gained a #1 hit that year in collaboration with Paul McCartney in their paean to racial harmony, "Ebony and Ivory".

In 1983, Wonder performed the song "Stay Gold", the theme to Francis Ford Coppola's film adaptation of S.E. Hinton's novel ''The Outsiders''. Wonder wrote the lyrics.

In 1983, Wonder scheduled an album to be entitled "People Work, Human Play." The album never surfaced and instead 1984 saw the release of Wonder's soundtrack album for ''The Woman in Red''. The lead single, "I Just Called to Say I Love You", was a #1 pop and R&B; hit in both the United States and the United Kingdom, where it was placed 13th in the list of best-selling singles in the UK published in 2002. It went on to win an Academy Award for "Best Song" in 1985. The album also featured a guest appearance by Dionne Warwick, singing the duet "It's You" with Stevie and a few songs of her own. The following year's ''In Square Circle'' featured the #1 pop hit "Part-Time Lover". The album also has a Top 10 Hit with "Go Home." It also featured the ballad "Overjoyed" which was originally written for ''Journey Through the Secret Life of Plants'', but didn't make the album. He performed "Overjoyed" on ''Saturday Night Live'' when he was the host. He was also featured in Chaka Khan's cover of Prince's "I Feel For You", alongside Melle Mel, playing his signature harmonica. In roughly the same period he was also featured on harmonica on Eurythmics' single, "There Must Be an Angel (Playing with My Heart)" and Elton John's "I Guess That's Why They Call It The Blues".

By 1985, Stevie Wonder was an American icon, the subject of good-humored jokes about blindness and affectionately impersonated by Eddie Murphy on ''Saturday Night Live''. Wonder sometimes joined in the jokes himself such as in ''The Motown Revue'' with Smokey Robinson. He was in a featured duet with Bruce Springsteen on the all-star charity single for African Famine Relief, "We Are the World", and he was part of another charity single the following year (1986), the AIDS-inspired "That's What Friends Are For". He also played the harmonica on the album ''Dreamland Express'' by John Denver in the song "If Ever", a song Wonder co-wrote with Stephanie Andrews. He also wrote the track "I Do Love You" for The Beach Boys' 1985 self-titled album. Stevie Wonder also played the harmonica on a track called "Can't Help Lovin' That Man" from "Showboat" on "The Broadway Album" by Barbra Streisand.

In 1986, Stevie Wonder appeared on ''The Cosby Show'', as himself, in the episode "A Touch of Wonder".

In 1987, Wonder appeared on Michael Jackson's ''Bad'' album on the duet "Just Good Friends". Michael Jackson also sang a duet with him titled "Get It" on Wonder's 1987 album ''Characters''. This was a minor hit single, as were "Skeletons" and "You Will Know". In the fall of 1988, Wonder dueted with Julio Iglesias on the hit single "My Love", which appeared on Iglesias' album ''Non Stop''.

Later career: 1991–2001

thumb|Stevie Wonder at the Grammy Awards of 1990 After 1987's ''Characters'' LP, Wonder continued to release new material, but at a slower pace. He recorded a soundtrack album for Spike Lee's film ''Jungle Fever'' in 1991. From this album, singles and videos were released for "Gotta Have You" and "These Three Words". The B-side to the "Gotta Have You" single was "Feeding Off The Love Of The Land", which was played during the end credits of the movie ''Jungle Fever'' but was not included on the soundtrack. A piano and vocal version of "Feeding Off The Love Of The Land" was also released on the ''Nobody's Child: Romanian Angel Appeal'' compilation. It is rumored that "Feeding Off The Love Of The Land" was originally intended for release on ''Fulfillingness' First Finale Volume Two'', a project that has never been confirmed as completed.

''Conversation Peace'' and the live album ''Natural Wonder'' were also released in the 1990s. The former received its European launch at a high-profile March 1995 press conference in Paris, where Stevie mentioned how the tearing down of The Wall between East and West Berlin and the desire for a united Europe had played a significant part in the inspiration behind the album.

In 1994, Wonder made a guest appearance on the KISS cover album ''KISS My Ass: Classic KISS Regrooved'', playing harmonica and supplying background vocals for the song "Deuce", performed by Lenny Kravitz.

In 1996, Stevie Wonder's ''Songs in the Key of Life'' was selected as a documentary subject for the Classic Albums documentary series. This series dedicates 60 minutes to one groundbreaking record per feature. The same year, he performed John Lennon's song "Imagine" in the closing ceremony of the Atlanta Olympic Games. The same year, Wonder performed in a remix of "Seasons of Love" from the Jonathan Larson musical ''Rent''.

In 1997, Wonder collaborated with Babyface for a song about abuse (domestic violence) called "How Come, How Long" which was nominated for an award.

In December 1999, Wonder announced that he was interested in pursuing an intraocular retinal prosthesis to partially restore his sight. That same year, Wonder was featured on harmonica in the Sting song "Brand New Day".

In 2000, Stevie Wonder contributed two new songs to the soundtrack for Spike Lee's ''Bamboozled'' album ("Misrepresented People" and "Some Years Ago").

Current career: 2002–present

In March 2002, Wonder performed at the opening ceremonies of the 2002 Winter Paralympics in Salt Lake City.

On July 2, 2005, Wonder performed in the Live 8 concert in Philadelphia.

Wonder's first new album in ten years, ''A Time to Love'', was released on October 18, 2005, after having been pushed back from first a May, and then a June release. The album was released electronically on September 27, 2005, exclusively on Apple's iTunes Music Store. The first single, "So What the Fuss", was released in April. A second single, "From the Bottom of My Heart" was a hit on adult-contemporary R&B; radio. The album also featured a duet with India.Arie on the title track "A Time to Love".

Wonder performed at the pre-game show for Super Bowl XL in Detroit in early 2006, singing various hit singles (with his four-year-old son on drums) and accompanying Aretha Franklin during "The Star Spangled Banner".

In March 2006, Wonder received new national exposure on the top-rated ''American Idol'' television program. Wonder performed "My Love Is on Fire" (from ''A Time To Love'') live on the show itself. In June 2006, Stevie Wonder made a guest appearance on Busta Rhymes' new album, ''The Big Bang'' on the track "Been through the Storm". He sings the refrain and plays the piano on the Dr. Dre and Sha Money XL produced track. He appeared again on the last track of Snoop Dogg's new album ''Tha Blue Carpet Treatment'', "Conversations". The song is a remake of "Have a Talk with God" from ''Songs in the Key of Life''.

In 2006, Wonder staged a duet with Andrea Bocelli on the latter's album ''Amore'', offering harmonica and additional vocals on "Canzoni Stonate". Stevie Wonder also performed at Washington, D.C.'s 2006 "A Capitol Fourth" celebration.

On August 2, 2007, Stevie Wonder announced the A Wonder Summer's Night 13 concert tour—his first U.S. tour in over ten years. This tour was inspired by the recent passing of his mother, as he stated at the conclusion of the tour on December 9 at the Jobing.com Arena in Glendale, Arizona.

On August 28, 2008, Wonder performed at the Democratic National Convention at Invesco Field at Mile High in Denver, Colorado. Songs included a previously unreleased song, "Fear Can't Put Dreams to Sleep," and "Signed, Sealed, Delivered I'm Yours".

On September 8, 2008, Wonder started the European leg of his Wonder Summer's Night Tour, the first time he had toured Europe in over a decade. His opening show was at the National Indoor Arena in Birmingham. During the tour, Wonder played eight UK gigs; four at The O2 Arena in London, two in Birmingham and two at the M.E.N. Arena in Manchester. Stevie Wonder's other stops in the tour's European leg also found him performing in Holland (Rotterdam), Sweden (Stockholm), Germany (Cologne, Mannheim and Munich), Norway (Hamar), France (Paris), Italy (Milan) and Denmark (Aalborg). Wonder also toured Australia (Perth, Adelaide, Melbourne, Sydney and Brisbane) and New Zealand (Christchurch, Auckland and New Plymouth) in October and November.

By June 2008, Wonder was working on two projects simultaneously: a new album titled ''The Gospel Inspired By Lula'' which will deal with the various spiritual and cultural crises facing the world, and ''Through The Eyes Of Wonder'', an album which Wonder has described as a performance piece that will reflect his experience as a blind man. Wonder was also keeping the door open for a collaboration with Tony Bennett and Quincy Jones concerning a rumored jazz album. If Wonder was to join forces with Bennett, it would not be for the first time; Their rendition of "For Once in My Life" earned them a Grammy for best pop collaboration with vocals in 2006. Wonder's harmonica playing can be heard on the 2009 Grammy-nominated "Never Give You Up" featuring CJ Hilton and Raphael Saadiq.

Wonder performed on January 18, 2009 at the We Are One: The Obama Inaugural Celebration at the Lincoln Memorial. On Inauguration Day, January 20, 2009, Wonder performed the song "Brand New Day" with musician Sting. He performed his new song "All About the Love Again" and, with other musical artists, "Signed, Sealed & Delivered". On February 23, 2009, Wonder became the second recipient of the Library of Congress's Gershwin Prize for pop music, honored by President Barack Obama at the White House.

On July 7, 2009, Wonder performed "Never Dreamed You'd Leave In Summer" and "They Won't Go When I Go" at the Staples Center for Michael Jackson's memorial service. On October 29, 2009, Wonder performed at the 25th anniversary concert for the Rock and Roll Hall of Fame. Among performing songs with B.B. King, Wonder performed Michael Jackson's 'The Way You Make Me Feel', during which he became emotionally distraught and was unable to perform until he regained his composure.

On January 22, 2010, Wonder performed Bridge Over Troubled Water for the Hope for Haiti Now: A Global Benefit for Earthquake Relief event to help victims of the earthquake in Port-au-Prince on January 12, 2010.

On March 6, 2010, Wonder was awarded the Commander of the Arts and Letters by French Culture Minister Frédéric Mitterrand. Wonder had been due to receive this award in 1981, but scheduling problems prevented this from happening. A lifetime achievement award was also given to Wonder on the same day, at France's biggest music awards.

His 2010 tour included a two-hour set at the Bonnaroo Music Festival in Manchester, Tennessee, a stop at London's "Hard Rock Calling" in Hyde Park, and appearances at England's Glastonbury Festival, Rotterdam's North Sea Jazz Festival, and a concert in Bergen, Norway and a concert in Dublin, Ireland at the O2 Arena on June 24.

In February 2011, the Apollo Theater announced that Stevie Wonder will be the next in line for the Apollo Legends Hall of Fame. The theater said that the singer will be inducted into the New York City institution's Hall of Fame in five months.

On June 25, 2011, Wonder performed at the opening ceremony of the 2011 Special Olympics World Summer Games in Athens, Greece.

Legacy

A prominent figure in popular music during the latter half of the 20th century, Wonder has recorded more than thirty U.S. top ten hits and won twenty-two Grammy Awards (the most ever won by a solo artist) as well as a Lifetime Achievement Award. He has also won an Academy Award for Best Song, and been inducted into both the Rock and Roll and Songwriters halls of fame. He has also been awarded the Polar Music Prize. American music magazine Rolling Stone named him the ninth greatest singer of all time. In June 2009 he became the fourth artist to receive the Montreal Jazz Festival Spirit Award.

He has ten U.S. number-one hits on the pop charts as well as 20 R&B; number one hits, and album sales totaling more than 100 million units. Wonder has recorded several critically acclaimed albums and hit singles, and writes and produces songs for many of his label mates and outside artists as well. Wonder plays the piano, synthesizer, harmonica, congas, drums, bass guitar, bongos, organ, melodica, and clavinet. In his childhood, he was best known for his harmonica work, but today he is better known for his keyboard skills and vocal ability. Wonder was the first Motown artist and second African American musician to win an Academy Award for Best Original Song for his 1984 hit single "I Just Called to Say I Love You" from the movie ''The Woman in Red''.

Classic period

Wonder's "classic period" is generally agreed to consist of the concept albums he created in the early- to mid-1970s, peaking in 1976. Some observers see in 1971's ''Where I'm Coming From'' certain indications of the beginning of the classic period, such as its new funky keyboard style which Wonder used throughout the classic period. Some determine Wonder's first "classic" album to be 1972's ''Music of My Mind'', on which he attained personal control of production, and on which he programmed a series of songs integrated with one another to make a concept album. Others skip over early 1972 and determine the beginning of the classic period to be ''Talking Book'' in late 1972, the album in which Wonder "hit his stride".

Impact

Wonder's songs are renowned for being quite difficult to sing. He has a very developed sense of harmony and uses many extended chords utilizing extensions such as ninths, elevenths, thirteenths, diminished fifths, etc. in his compositions. Many of his melodies make abrupt, unpredictable changes. Many of his vocal melodies are also melismatic, meaning that a syllable is sung over several notes. Some of his best known and most frequently covered songs are played in keys which are more often found in jazz than in pop and rock. For example, "Superstition", "Higher Ground" and "I Wish" are in the key of E flat minor, and feature distinctive riffs in the E flat minor pentatonic scale (i.e. largely on the black notes of the keyboard).

Wonder played a large role in bringing synthesizers to the forefront of popular music. He developed many new textures and sounds never heard before. In 1981, Wonder became the first owner of an E-mu Emulator.

Songs sampled by other musicians

Wonder has recorded with Jon Gibson, a Christian Soul musician, on a remake of his own song, "Have a Talk With God" (from the 1989 album ''Body & Soul''), covered by Gibson in which Wonder plays harmonica. The two men met in the early 1980s through a shared music agent (Bill Wolfer).

Red Hot Chili Peppers covered "Higher Ground" in 1989 on their ''Mother's Milk'' album. Stevie Ray Vaughan & Double Trouble covered "Superstition" and Wonder made a cameo appearance in the official music video for the song.

De La Soul sampled "Hey Love" in their song "Talkin' Bout Hey Love" on their 1991 album De La Soul Is Dead.

"Don't You Worry 'bout a Thing" was rendered by English band Incognito in 1992 and John Legend covered this song for the 2005 film, ''Hitch''. George Michael and Mary J. Blige covered "As" in the late 1990s. In 1999, Salome De Bahia made a Brazilian version of "Another Star". Tupac Shakur sampled "That Girl" for his hit song "So Many Tears".

"Pastime Paradise" would become an interpolation for Coolio's "Gangsta's Paradise" while Will Smith would use "I Wish" as the basis for the theme song to his movie, ''Wild Wild West''. The elements of "Love's In Need of Love Today" were used by 50 Cent in the song "Ryder Music", and Warren G sampled "Village Ghetto Land" for his song "Ghetto Village".

Mary Mary, did a cover of his song, "You Will Know" on their 2002 album, ''Incredible''. Australian soul artist Guy Sebastian recorded a cover of "I Wish" on his ''Beautiful Life'' album. In 2003, Raven-Symoné recorded a cover of "Superstition" for the soundtrack to Disney's ''The Haunted Mansion''. In 2005, Canadian singer Dave Moffatt, from the group The Moffatts, sang the song "Overjoyed" from the ''In Square Circle'' album on ''Canadian Idol''. Clay Aiken performed "Isn't She Lovely?" in the episode "My Life in Four Cameras" of ''Scrubs''.

Personal life

Wonder has been married twice: to Motown singer Syreeta Wright from 1970 until their divorce in 1972; and since 2001, to fashion designer Kai Milla Morris. He has seven children from his two marriages and several relationships.

His daughter Aisha Morris (born on February 2, 1975, with Yolanda Simmons as mother) was the inspiration for his hit single "Isn't She Lovely." Aisha Morris is a singer who has toured with her father and accompanied him on recordings, including his 2005 album, ''A Time 2 Love''. Wonder has two sons with Kai Milla Morris; the older is named Kailand and he occasionally performs as a drummer on stage with his father. The younger son, Mandla Kadjay Carl Stevland Morris, was born May 13, 2005, his father's 55th birthday. In May 2006, Wonder's mother died in Los Angeles, at the age of 76. During his September 8, 2008 UK concert in Birmingham, he spoke of his decision to begin touring again following his loss. "I want to take all the pain that I feel and celebrate and turn it around".

Wonder's Taxi Productions owns Los Angeles radio station KJLH.

Charting discography

Top 40 singles

style="width:28px;" rowspan="2"	Year	Title	Chart positions
! style="vertical-align:top; width:30px;"	! style="vertical-align:top; width:30px;"		! style="vertical-align:top; width:30px;"	! style="vertical-align:top; width:30px;"	! style="vertical-align:top; width:30px;"
	1963	"Fingertips	Fingertips – Pt. 2"
	"Uptight (Everything's Alright)"
"Blowin' in the Wind"
	1967	"I Was Made to Love Her (song)	I Was Made to Love Her"
	"For Once in My Life"
"Shoo-Be-Doo-Be-Doo-Da-Day"
"Yester-Me, Yester-You, Yesterday"
	"Never Had a Dream Come True"
"Signed, Sealed, Delivered I'm Yours"
"Heaven Help Us All"
	"We Can Work It Out"
"If You Really Love Me"
	"Superwoman (Where Were You When I Needed You)"
	"You Are the Sunshine of My Life"
"Living for the City"
	"He's Misstra Know It All"
"You Haven't Done Nothin'" (with The Jackson 5)
"Boogie On Reggae Woman"
"Sir Duke"
"Another Star"
	1979	"Send One Your Love"
	"Master Blaster (Jammin')"
"I Ain't Gonna Stand for It"
	"Do I Do"
"Ebony and Ivory" (with Paul McCartney)
"Ribbon in the Sky"
	1984	"I Just Called to Say I Love You"
	"Part-Time Lover"
"That's What Friends Are For" (with Dionne Warwick, Elton John and Gladys Knight)
"Love Light in Flight"
	"Go Home"
"Land of La La"
	1987	"Skeletons (Stevie Wonder song)	Skeletons"
"My Eyes Don't Cry"
"You Will Know"
	1989	"With Each Beat of My Heart"
	1990	"Keep Our Love Alive"
	1992	"These Three Words"
	1995
	"So What the Fuss"
"From the Bottom of My Heart"

U.S. and UK albums

{|class="wikitable" |- ! style="width:28px;" rowspan="2"| Year ! style="width:250px;" rowspan="2"| Album ! colspan="3"| Chart positions |- ! style="vertical-align:top; width:30px;"| US ! style="vertical-align:top; width:30px;"| US R&B; ! style="vertical-align:top; width:30px;"| UK |- |1963 |''Recorded Live: The 12 Year Old Genius'' | style="text-align:center;"| 1 | style="text-align:center;"| – | style="text-align:center;"| – |- |1966 |''Up-Tight'' | style="text-align:center;"| 33 | style="text-align:center;"| 2 | style="text-align:center;"| – |- |1966 |''Down to Earth'' | style="text-align:center;"| 72 | style="text-align:center;"| 8 | style="text-align:center;"| – |- |1967 |''I Was Made to Love Her'' | style="text-align:center;"| 45 | style="text-align:center;"| 7 | style="text-align:center;"| – |- |1968 |''For Once in My Life'' | style="text-align:center;"| 50 | style="text-align:center;"| 4 | style="text-align:center;"| – |- |1969 |''My Cherie Amour'' | style="text-align:center;"| 34 | style="text-align:center;"| 3 | style="text-align:center;"| 17 |- |1970 |''Signed, Sealed, and Delivered'' | style="text-align:center;"| 25 | style="text-align:center;"| 7 | style="text-align:center;"| – |- |1971 |''Where I'm Coming From'' | style="text-align:center;"| – | style="text-align:center;"| 7 | style="text-align:center;"| – |- |1972 |''Music of My Mind'' | style="text-align:center;"| 21 | style="text-align:center;"| 6 | style="text-align:center;"| – |- |1972 |''Talking Book'' | style="text-align:center;"| 3 | style="text-align:center;"| 1 | style="text-align:center;"| 16 |- |1973 |''Innervisions'' | style="text-align:center;"| 4 | style="text-align:center;"| 1 | style="text-align:center;"| 6 |- |1974 |''Fulfillingness' First Finale'' | style="text-align:center;"| 1 | style="text-align:center;"| 1 | style="text-align:center;"| 5 |- |1976 |''Songs in the Key of Life | style="text-align:center;"| 1 | style="text-align:center;"| 1 | style="text-align:center;"| 2 |- |1979 |''Journey through the Secret Life of Plants'' | style="text-align:center;"| 4 | style="text-align:center;"| 4 | style="text-align:center;"| 7 |- |1980 |''Hotter than July'' | style="text-align:center;"| 2 | style="text-align:center;"| 1 | style="text-align:center;"| 2 |- |1982 |''Stevie Wonder's Original Musiquarium | style="text-align:center;"| 4 | style="text-align:center;"| 1 | style="text-align:center;"| 8 |- |1984 |''The Woman in Red'' | style="text-align:center;"| 4 | style="text-align:center;"| 1 | style="text-align:center;"| 2 |- |1985 |''In Square Circle'' | style="text-align:center;"| 5 | style="text-align:center;"| 1 | style="text-align:center;"| 5 |- |1987 |''Characters'' | style="text-align:center;"| 17 | style="text-align:center;"| 1 | style="text-align:center;"| 33 |- |1995 |''Conversation Peace'' | style="text-align:center;"| 17 | style="text-align:center;"| 2 | style="text-align:center;"| 8 |- |1996 |''Natural Wonder'' | style="text-align:center;"| – | style="text-align:center;"| 88 | style="text-align:center;"| – |- |1996 |''Song Review A Greatest Hits Collection'' | style="text-align:center;"| – | style="text-align:center;"| 100 | style="text-align:center;"| 19 |- |2000 |''At the Close of a Century'' | style="text-align:center;"| – | style="text-align:center;"| 100 | style="text-align:center;"| – |- |2002 |''The Definitive Collection'' | style="text-align:center;"| 35 | style="text-align:center;"| 28 | style="text-align:center;"| – |- |2004 |''Best Of Stevie Wonder: 20th Century Masters Christmas Collection'' | style="text-align:center;"| – | style="text-align:center;"| 90 | style="text-align:center;"| – |- |2005 |''A Time to Love'' | style="text-align:center;"| 5 | style="text-align:center;"| 2 | style="text-align:center;"| 24 |- |2007 |''Number 1's'' | style="text-align:center;"| 171 | style="text-align:center;"| 40 | style="text-align:center;"| 23 |}

Awards and recognition

Grammy Awards

Wonder has received 25 Grammy Awards: including a Lifetime Achievement Award

!Year

|	Award	Title
1973	Grammy Award for Best R&B; Song>Best Rhythm & Blues Song
1973	Grammy Award for Best Male R&B; Vocal Performance>Best R&B; Vocal Performance, Male
1973	Grammy Award for Best Male Pop Vocal Performance>Best Pop Vocal Performance, Male
1973	Grammy Award for Album of the Year>Album of the Year
1973	Best Producer*
1974	Best Rhythm & Blues Song
1974	Best Male R&B; Vocal Performance
1974	Best Male Pop Vocal Performance
1974	Grammy Award for Album of the Year>Album of the Year
1974	Best Producer*
1976	Best Male R&B; Vocal Performance
1976	Best Male Pop Vocal Performance
1976	Grammy Award for Producer of the Year, Non-Classical>Best Producer of the Year*
1976	Album of the Year
1985	Best Male R&B; Vocal Performance
1986	Grammy Award for Best Pop Performance by a Duo or Group with Vocal>Best Pop Performance By A Duo Or Group With Vocal ''(awarded to Dionne Warwick, Elton John, Gladys Knight, and Wonder)
1995	Best Rhythm & Blues Song
1995	Best Male R&B; Vocal Performance
1996	Grammy Lifetime Achievement Award
1998	Grammy Award for Best Instrumental Arrangement Accompanying Vocalist(s)>Best Instrumental Arrangement Accompanying Vocal(s) ''(awarded to Herbie Hancock, Robert Sadin, and Wonder)
1998	Best Male R&B; Vocal Performance
2002	Grammy Award for Best R&B; Performance by a Duo or Group with Vocals>Best R&B; Performance By A Duo Or Group With Vocals ''(awarded to Wonder and Take 6)
2005	Best Male Pop Vocal Performance
2005	''(awarded to Beyoncé Knowles>Beyoncé and Wonder)
2006	Best Pop Collaboration With Vocals ''(awarded to Tony Bennett and Wonder)

Between 1965 and 1980, a self-produced artist won an additional Grammy as a producer as well as an artist.

Other awards and recognition

1983: inducted to the Songwriters Hall of Fame. 1984: received an Academy Award for Best Song for "I Just Called to Say I Love You" from the movie ''The Woman in Red''. 1989: inducted to the Rock and Roll Hall of Fame. 1996: received the Grammy Lifetime Achievement Award. 1999: received the Polar Music Prize and Kennedy Center Honors. 2002: received the George and Ira Gershwin Lifetime Achievement Award at UCLA's Spring Sing. The same year, Wonder received the Sammy Cahn Lifetime Achievement Award from the Songwriters Hall of Fame. 2004: received the Billboard Century Award. Also in 2004, Rolling Stone Magazine ranked him #15 on their list of the 100 Greatest Rock and Roll Artists of All Time. 2006: was inducted, as one of the first inductees, into the Michigan Walk of Fame. The same year, Wonder received a Lifetime Achievement Award from the National Civil Rights Museum in Memphis. 2008: Ranked at number five on "The Billboard Hot 100 Top All-Time Artists", making him as the third most successful male artist in the history of ''Billboard'' Hot 100 chart. 2009: Recipient of the second Gershwin Prize For Popular Song. 2009: Recipient of the Montreal Jazz Festival Spirit Award. This special award underlines a popular artist’s extraordinary contribution to the musical world. The Montreal Jazz Festival Spirit Award is in bronze. 2009: Named a Messenger of Peace by the United Nations.

See also

Best selling music artists

List of number-one hits (United States)

List of Billboard Hot 100 chart achievements and milestones

List of artists who reached number one on the Hot 100 (U.S.)

References

External links

Official site

Never That Simple: Stevie Wonder—By Robert Christgau

Category:1950 births Category:African American drummers Category:African American singer-songwriters Category:African American pianists Category:African American record producers Category:African Americans' rights activists Category:American child singers Category:American composers Category:American funk drummers Category:American funk keyboardists Category:American funk singers Category:American harmonica players Category:American male singers Category:American multi-instrumentalists Category:American rhythm and blues keyboardists Category:American rhythm and blues singer-songwriters Category:American soul keyboardists Category:American soul singers Category:Best Song Academy Award winning songwriters Category:Blind musicians Category:Commandeurs of the Ordre des Arts et des Lettres Category:Grammy Award winners Category:Grammy Lifetime Achievement Award winners Category:Kennedy Center honorees Category:Living people Category:Motown artists Category:Musicians from Detroit, Michigan Category:Musicians from Michigan Category:People from Saginaw, Michigan Category:Rhythm and blues pianists Category:Rock and Roll Hall of Fame inductees Category:Songwriters Hall of Fame inductees Category:Soul drummers Category:United Nations Messengers of Peace

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name	Myocardial infarction
disasesdb	8664
icd10	-
icd9
medlineplus	000195
emedicinesubj	med
emedicinetopic	1567
emedicine mult
meshid	D009203 }}

Myocardial infarction (MI) or acute myocardial infarction (AMI), commonly known as a heart attack, is the interruption of blood supply to a part of the heart, causing heart cells to die. This is most commonly due to occlusion (blockage) of a coronary artery following the rupture of a vulnerable atherosclerotic plaque, which is an unstable collection of lipids (fatty acids) and white blood cells (especially macrophages) in the wall of an artery. The resulting ischemia (restriction in blood supply) and oxygen shortage, if left untreated for a sufficient period of time, can cause damage or death (''infarction'') of heart muscle tissue (''myocardium'').

Classical symptoms of acute myocardial infarction include sudden chest pain (typically radiating to the left arm or left side of the neck), shortness of breath, nausea, vomiting, palpitations, sweating, and anxiety (often described as a sense of impending doom). Women may experience fewer typical symptoms than men, most commonly shortness of breath, weakness, a feeling of indigestion, and fatigue. Approximately one quarter of all myocardial infarctions are "silent", without chest pain or other symptoms.

Among the diagnostic tests available to detect heart muscle damage are an electrocardiogram (ECG), echocardiography, and various blood tests. The most often used markers are the creatine kinase-MB (CK-MB) fraction and the troponin levels. Immediate treatment for suspected acute myocardial infarction includes oxygen, aspirin, and sublingual nitroglycerin.

Most cases of STEMI (ST elevation MI) are treated with thrombolysis or percutaneous coronary intervention (PCI). NSTEMI (non-ST elevation MI) should be managed with medication, although PCI is often performed during hospital admission. In people who have multiple blockages and who are relatively stable, or in a few emergency cases, bypass surgery may be an option.

Heart attacks are the leading cause of death for both men and women worldwide. Important risk factors are previous cardiovascular disease, older age, tobacco smoking, high blood levels of certain lipids (triglycerides, low-density lipoprotein) and low levels of high density lipoprotein (HDL), diabetes, high blood pressure, obesity, chronic kidney disease, heart failure, excessive alcohol consumption, the abuse of certain drugs (such as cocaine and methamphetamine), and chronic high stress levels.

Classification

There are two basic types of acute myocardial infarction: Transmural: associated with atherosclerosis involving major coronary artery. It can be subclassified into anterior, posterior, or inferior. Transmural infarcts extend through the whole thickness of the heart muscle and are usually a result of complete occlusion of the area's blood supply. Subendocardial: involving a small area in the subendocardial wall of the left ventricle, ventricular septum, or papillary muscles. Subendocardial infarcts are thought to be a result of locally decreased blood supply, possibly from a narrowing of the coronary arteries. The subendocardial area is farthest from the heart's blood supply and is more susceptible to this type of pathology.

Clinically, a myocardial infarction can be further subclassified into a ST elevation MI (STEMI) versus a non-ST elevation MI (non-STEMI) based on ECG changes.

The phrase "heart attack" is sometimes used incorrectly to describe sudden cardiac death, which may or may not be the result of acute myocardial infarction. A heart attack is different from, but can be the cause of cardiac arrest, which is the stopping of the heartbeat, and cardiac arrhythmia, an abnormal heartbeat. It is also distinct from heart failure, in which the pumping action of the heart is impaired; severe myocardial infarction may lead to heart failure, but not necessarily.

A 2007 consensus document classifies myocardial infarction into five main types:

Type 1 – Spontaneous myocardial infarction related to ischaemia due to a primary coronary event such as plaque erosion and/or rupture, fissuring, or dissection

Type 2 – Myocardial infarction secondary to ischaemia due to either increased oxygen demand or decreased supply, e.g. coronary artery spasm, coronary embolism, anaemia, arrhythmias, hypertension, or hypotension

Type 3 – Sudden unexpected cardiac death, including cardiac arrest, often with symptoms suggestive of myocardial ischaemia, accompanied by presumably new ST elevation, or new LBBB, or evidence of fresh thrombus in a coronary artery by angiography and/or at autopsy, but death occurring before blood samples could be obtained, or at a time before the appearance of cardiac biomarkers in the blood

Type 4 – Associated with coronary angioplasty or stents:

* Type 4a – Myocardial infarction associated with PCI

* Type 4b – Myocardial infarction associated with stent thrombosis as documented by angiography or at autopsy

Type 5 – Myocardial infarction associated with CABG

Signs and symptoms

The onset of symptoms in myocardial infarction (MI) is usually gradual, over several minutes, and rarely instantaneous. Chest pain is the most common symptom of acute myocardial infarction and is often described as a sensation of tightness, pressure, or squeezing. Chest pain due to ischemia (a lack of blood and hence oxygen supply) of the heart muscle is termed angina pectoris. Pain radiates most often to the left arm, but may also radiate to the lower jaw, neck, right arm, back, and epigastrium, where it may mimic heartburn. Levine's sign, in which the patient localizes the chest pain by clenching their fist over the sternum, has classically been thought to be predictive of cardiac chest pain, although a prospective observational study showed that it had a poor positive predictive value.

Shortness of breath (dyspnea) occurs when the damage to the heart limits the output of the left ventricle, causing left ventricular failure and consequent pulmonary edema. Other symptoms include diaphoresis (an excessive form of sweating), weakness, light-headedness, nausea, vomiting, and palpitations. These symptoms are likely induced by a massive surge of catecholamines from the sympathetic nervous system which occurs in response to pain and the hemodynamic abnormalities that result from cardiac dysfunction. Loss of consciousness (due to inadequate cerebral perfusion and cardiogenic shock) and sudden death (frequently due to the development of ventricular fibrillation) can occur in myocardial infarctions.

Women and older patients report atypical symptoms more frequently than their male and younger counterparts. Women also report more numerous symptoms compared with men (2.6 on average vs 1.8 symptoms in men). The most common symptoms of MI in women include dyspnea (shortness of breath), weakness, and fatigue. Fatigue, sleep disturbances, and dyspnea have been reported as frequently occurring symptoms which may manifest as long as one month before the actual clinically manifested ischemic event. In women, chest pain may be less predictive of coronary ischemia than in men.

Approximately one fourth of all myocardial infarctions are silent, without chest pain or other symptoms. These cases can be discovered later on electrocardiograms, using blood enzyme tests or at autopsy without a prior history of related complaints. A silent course is more common in the elderly, in patients with diabetes mellitus and after heart transplantation, probably because the donor heart is not fully innervated by the nervous system of the recipient. In diabetics, differences in pain threshold, autonomic neuropathy, and psychological factors have been cited as possible explanations for the lack of symptoms.

Any group of symptoms compatible with a sudden interruption of the blood flow to the heart are called an acute coronary syndrome.

The differential diagnosis includes other catastrophic causes of chest pain, such as pulmonary embolism, aortic dissection, pericardial effusion causing cardiac tamponade, tension pneumothorax, and esophageal rupture. Other non-catastrophic differentials include gastroesophageal reflux and Tietze's syndrome.

Causes

Heart attack rates are higher in association with intense exertion, be it psychological stress or physical exertion, especially if the exertion is more intense than the individual usually performs. Quantitatively, the period of intense exercise and subsequent recovery is associated with about a 6-fold higher myocardial infarction rate (compared with other more relaxed time frames) for people who are physically very fit. For those in poor physical condition, the rate differential is over 35-fold higher. One observed mechanism for this phenomenon is the increased arterial pulse pressure stretching and relaxation of arteries with each heart beat which, as has been observed with intravascular ultrasound, increases mechanical "shear stress" on atheromas and the likelihood of plaque rupture.

Acute severe infection, such as pneumonia, can trigger myocardial infarction. A more controversial link is that between ''Chlamydophila pneumoniae'' infection and atherosclerosis. While this intracellular organism has been demonstrated in atherosclerotic plaques, evidence is inconclusive as to whether it can be considered a causative factor. Treatment with antibiotics in patients with proven atherosclerosis has not demonstrated a decreased risk of heart attacks or other coronary vascular diseases.

There is an association of an increased incidence of a heart attack in the morning hours, more specifically around 9 a.m. Some investigators have noticed that the ability of platelets to aggregate varies according to a circadian rhythm, although they have not proven causation.

Risk factors

Risk factors for atherosclerosis are generally risk factors for myocardial infarction:

Diabetes (with or without insulin resistance) – the single most important risk factor for ischaemic heart disease (IHD)

Tobacco smoking

Hypercholesterolemia (more accurately hyperlipoproteinemia, especially high low density lipoprotein and low high density lipoprotein)

Low HDL

High Triglycerides

High blood pressure

Family history of ischaemic heart disease (IHD)

Obesity (defined by a body mass index of more than 30 kg/m², or alternatively by waist circumference or waist-hip ratio).

Age — Men acquire an independent risk factor at age 45, Women acquire an independent risk factor at age 55; in addition individuals acquire another independent risk factor if they have a first-degree male relative (brother, father) who suffered a coronary vascular event at or before age 55. Another independent risk factor is acquired if one has a first-degree female relative (mother, sister) who suffered a coronary vascular event at age 65 or younger.

Hyperhomocysteinemia (high homocysteine, a toxic blood amino acid that is elevated when intakes of vitamins B₂, B₆, B₁₂ and folic acid are insufficient)

Stress — Occupations with high stress index are known to have susceptibility for atherosclerosis

Alcohol — Studies show that prolonged exposure to high quantities of alcohol can increase the risk of heart attack

Males are more at risk than females.

Many of these risk factors are modifiable, so many heart attacks can be prevented by maintaining a healthier lifestyle. Physical activity, for example, is associated with a lower risk profile. Non-modifiable risk factors include age, sex, and family history of an early heart attack (before the age of 60), which is thought of as reflecting a genetic predisposition.

Socioeconomic factors such as a shorter education and lower income (particularly in women), and unmarried cohabitation may also contribute to the risk of MI. To understand epidemiological study results, it's important to note that many factors associated with MI mediate their risk via other factors. For example, the effect of education is partially based on its effect on income and marital status.

Women who use combined oral contraceptive pills have a modestly increased risk of myocardial infarction, especially in the presence of other risk factors, such as smoking.

Inflammation is known to be an important step in the process of atherosclerotic plaque formation. C-reactive protein (CRP) is a sensitive but non-specific marker for inflammation. Elevated CRP blood levels, especially measured with high sensitivity assays, can predict the risk of MI, as well as stroke and development of diabetes. Moreover, some drugs for MI might also reduce CRP levels. The use of high sensitivity CRP assays as a means of screening the general population is advised against, but it may be used optionally at the physician's discretion, in patients who already present with other risk factors or known coronary artery disease. Whether CRP plays a direct role in atherosclerosis remains uncertain.

Inflammation in periodontal disease may be linked to coronary heart disease, and since periodontitis is very common, this could have great consequences for public health. Serological studies measuring antibody levels against typical periodontitis-causing bacteria found that such antibodies were more present in subjects with coronary heart disease. Periodontitis tends to increase blood levels of CRP, fibrinogen and cytokines; thus, periodontitis may mediate its effect on MI risk via other risk factors. Preclinical research suggests that periodontal bacteria can promote aggregation of platelets and promote the formation of foam cells. A role for specific periodontal bacteria has been suggested but remains to be established. There is some evidence that influenza may trigger an acute myocardial infarction.

Baldness, hair greying, a diagonal earlobe crease (Frank's sign) and possibly other skin features have been suggested as independent risk factors for MI. Their role remains controversial; a common denominator of these signs and the risk of MI is supposed, possibly genetic.

Calcium deposition is another part of atherosclerotic plaque formation. Calcium deposits in the coronary arteries can be detected with CT scans. Several studies have shown that coronary calcium can provide predictive information beyond that of classical risk factors.

The European Society of Cardiology and the European Association for Cardiovascular Prevention and Rehabilitation have developed an interactive tool for prediction and managing the risk of heart attack and stroke in Europe. HeartScore is aimed at supporting clinicians in optimising individual cardiovascular risk reduction. The Heartscore Programme is available in 12 languages and offers web based or PC version.

Pathophysiology

Acute myocardial infarction refers to two subtypes of acute coronary syndrome, namely non-ST-elevated myocardial infarction and ST-elevated myocardial infarction, which are most frequently (but not always) a manifestation of coronary artery disease. The most common triggering event is the disruption of an atherosclerotic plaque in an epicardial coronary artery, which leads to a clotting cascade, sometimes resulting in total occlusion of the artery. Atherosclerosis is the gradual buildup of cholesterol and fibrous tissue in plaques in the wall of arteries (in this case, the coronary arteries), typically over decades. Blood stream column irregularities visible on angiography reflect artery lumen narrowing as a result of decades of advancing atherosclerosis. Plaques can become unstable, rupture, and additionally promote a thrombus (blood clot) that occludes the artery; this can occur in minutes. When a severe enough plaque rupture occurs in the coronary vasculature, it leads to myocardial infarction (necrosis of downstream myocardium).

If impaired blood flow to the heart lasts long enough, it triggers a process called the ischemic cascade; the heart cells in the territory of the occluded coronary artery die (chiefly through necrosis) and do not grow back. A collagen scar forms in its place. Recent studies indicate that another form of cell death called apoptosis also plays a role in the process of tissue damage subsequent to myocardial infarction. As a result, the patient's heart will be permanently damaged. This myocardial scarring also puts the patient at risk for potentially life threatening arrhythmias, and may result in the formation of a ventricular aneurysm that can rupture with catastrophic consequences.

Injured heart tissue conducts electrical impulses more slowly than normal heart tissue. The difference in conduction velocity between injured and uninjured tissue can trigger re-entry or a feedback loop that is believed to be the cause of many lethal arrhythmias. The most serious of these arrhythmias is ventricular fibrillation (''V-Fib''/VF), an extremely fast and chaotic heart rhythm that is the leading cause of sudden cardiac death. Another life threatening arrhythmia is ventricular tachycardia (''V-Tach''/VT), which may or may not cause sudden cardiac death. However, ventricular tachycardia usually results in rapid heart rates that prevent the heart from pumping blood effectively. Cardiac output and blood pressure may fall to dangerous levels, which can lead to further coronary ischemia and extension of the infarct.

The cardiac defibrillator is a device that was specifically designed to terminate these potentially fatal arrhythmias. The device works by delivering an electrical shock to the patient in order to depolarize a critical mass of the heart muscle, in effect "rebooting" the heart. This therapy is time dependent, and the odds of successful defibrillation decline rapidly after the onset of cardiopulmonary arrest.

Diagnosis

The diagnosis of myocardial infarction can be made after assessing patient's complaints and physical status. ECG changes, coronary angiogram and levels of cardiac markers help to confirm the diagnosis. ECG gives valuable clues to identify the site of myocardial damage while coronary angiogram allows visualization of narrowing or obstructions in the heart vessels. At autopsy, a pathologist can diagnose a myocardial infarction based on anatomopathological findings.

A chest radiograph and routine blood tests may indicate complications or precipitating causes and are often performed upon arrival to an emergency department. New regional wall motion abnormalities on an echocardiogram are also suggestive of a myocardial infarction. Echo may be performed in equivocal cases by the on-call cardiologist. In stable patients whose symptoms have resolved by the time of evaluation, Technetium (99mTc) sestamibi (i.e. a "MIBI scan") or thallium-201 chloride can be used in nuclear medicine to visualize areas of reduced blood flow in conjunction with physiologic or pharmocologic stress. Thallium may also be used to determine viability of tissue, distinguishing whether non-functional myocardium is actually dead or merely in a state of hibernation or of being stunned.

WHO criteria formulated in 1979 have classically been used to diagnose MI; a patient is diagnosed with myocardial infarction if two (probable) or three (definite) of the following criteria are satisfied: # Clinical history of ischaemic type chest pain lasting for more than 20 minutes # Changes in serial ECG tracings # Rise and fall of serum cardiac biomarkers such as creatine kinase-MB fraction and troponin

The WHO criteria were refined in 2000 to give more prominence to cardiac biomarkers. According to the new guidelines, a cardiac troponin rise accompanied by either typical symptoms, pathological Q waves, ST elevation or depression or coronary intervention are diagnostic of MI.

Prevention

The risk of a recurrent myocardial infarction decreases with strict blood pressure management and lifestyle changes, chiefly smoking cessation, regular exercise, a sensible diet for those with heart disease, and limitation of alcohol intake. People are usually commenced on several long-term medications post-MI, with the aim of preventing secondary cardiovascular events such as further myocardial infarctions, congestive heart failure or cerebrovascular accident (CVA). Unless contraindicated, such medications may include:

Antiplatelet drug therapy such as aspirin and/or clopidogrel should be continued to reduce the risk of plaque rupture and recurrent myocardial infarction. Aspirin is first-line, owing to its low cost and comparable efficacy, with clopidogrel reserved for patients intolerant of aspirin. The combination of clopidogrel and aspirin may further reduce risk of cardiovascular events, however the risk of hemorrhage is increased. Beta blocker therapy such as metoprolol or carvedilol should be commenced. These have been particularly beneficial in high-risk patients such as those with left ventricular dysfunction and/or continuing cardiac ischaemia. β-Blockers decrease mortality and morbidity. They also improve symptoms of cardiac ischemia in NSTEMI. ACE inhibitor therapy should be commenced 24–48 hours post-MI in hemodynamically-stable patients, particularly in patients with a history of MI, diabetes mellitus, hypertension, anterior location of infarct (as assessed by ECG), and/or evidence of left ventricular dysfunction. ACE inhibitors reduce mortality, the development of heart failure, and decrease ventricular remodelling post-MI. Statin therapy has been shown to reduce mortality and morbidity post-MI. The effects of statins may be more than their LDL lowering effects. The general consensus is that statins have plaque stabilization and multiple other ("pleiotropic") effects that may prevent myocardial infarction in addition to their effects on blood lipids. The aldosterone antagonist agent eplerenone has been shown to further reduce risk of cardiovascular death post-MI in patients with heart failure and left ventricular dysfunction, when used in conjunction with standard therapies above. Spironolactone is another option that is sometimes preferable to eplerenone due to cost. Evidence supports the consumption of polyunsaturated fats instead of saturated fats as a measure of decreasing coronary heart disease. Omega-3 fatty acids, commonly found in fish, have been shown to reduce mortality post-MI. While the mechanism by which these fatty acids decrease mortality is unknown, it has been postulated that the survival benefit is due to electrical stabilization and the prevention of ventricular fibrillation. However, further studies in a high-risk subset have not shown a clear-cut decrease in potentially fatal arrhythmias due to omega-3 fatty acids.

Blood donation may reduce the risk of heart disease for men, but the link has not been firmly established.

A Cochrane review found that giving heparin to people who have heart conditions like unstable angina and some forms of heart attacks reduces the risk of having another heart attack. However, heparin also increases the chance of suffering from minor bleeding.

Management

An MI is a medical emergency which requires immediate medical attention. Treatment attempts to salvage as much myocardium as possible and to prevent further complications, thus the phrase "time is muscle". Oxygen, aspirin, and nitroglycerin may be administered. Morphine was classically used if nitroglycerin was not effective; however, it may increase mortality in the setting of NSTEMI. A 2009 and 2010 review of high flow oxygen in myocardial infarction found increased mortality and infarct size, calling into question the recommendation about its routine use. Other analgesics such as nitrous oxide are of unknown benefit. Percutaneous coronary intervention (PCI) or fibrinolysis are recommended in those with an STEMI.

Prognosis

The prognosis post myocardial infarction varies greatly, depending on a person's health, the extent of the heart damage and the treatment given. For the period 2005–2008 in the United States the median mortality at 30 days was 16.6% with a range from 10.9% to 24.9% depending on the hospital. Using variables available in the emergency room, people with a higher risk of adverse outcome can be identified. One study found that 0.4% of patients with a low risk profile died after 90 days, whereas in high risk people it was 21.1%.

Some of the more reproduced risk stratifying factors include: age, hemodynamic parameters (such as heart failure, cardiac arrest on admission, systolic blood pressure, or Killip class of two or greater), ST-segment deviation, diabetes, serum creatinine, peripheral vascular disease and elevation of cardiac markers. Assessment of left ventricular ejection fraction may increase the predictive power. The prognostic importance of Q-waves is debated. Prognosis is significantly worsened if a mechanical complication such as papillary muscle or myocardial free wall rupture occur. Morbidity and mortality from myocardial infarction has improved over the years due to better treatment.

Complications

Complications may occur immediately following the heart attack (in the acute phase), or may need time to develop (a chronicproblem). Acute complications may include heart failure if the damaged heart is no longer able to adequately pump blood around the body; aneurysm or rupture of the myocardium; mitral regurgitation, particularly if the infarction causes dysfunction of the papillary muscle; and arrhythmias, such as ventricular fibrillation, ventricular tachycardia, atrial fibrillation and heart block. Longer-term complications include heart failure, atrial fibrillation, and the increased risk of a second myocardial infarction.

Epidemiology

Myocardial infarction is a common presentation of ischemic heart disease. The WHO estimated in 2002, that 12.6 percent of worldwide deaths were from ischemic heart disease with it the leading cause of death in developed countries, and third to AIDS and lower respiratory infections in developing countries. Worldwide more than 3 million people have STEMIs and 4 million have NSTEMIs a year.

Coronary heart disease is responsible for 1 in 5 deaths in the United States. It is becoming more common in the developing world such that in India, cardiovascular disease (CVD) is the leading cause of death. The deaths due to CVD in India were 32% of all deaths in 2007 and are expected to rise from 1.17 million in 1990 and 1.59 million in 2000 to 2.03 million in 2010. Although a relatively new epidemic in India, it has quickly become a major health issue with deaths due to CVD expected to double during 1985–2015. Mortality estimates due to CVD vary widely by state, ranging from 10% in Meghalaya to 49% in Punjab (percentage of all deaths). Punjab (49%), Goa (42%), Tamil Nadu (36%) and Andhra Pradesh (31%) have the highest CVD related mortality estimates. State-wise differences are correlated with prevalence of specific dietary risk factors in the states. Moderate physical exercise is associated with reduced incidence of CVD in India (those who exercise have less than half the risk of those who don't).

Legal implications

At common law, a myocardial infarction is generally a disease, but may sometimes be an injury. This has implications for no-fault insurance schemes such as workers' compensation. A heart attack is generally not covered; however, it may be a work-related injury if it results, for example, from unusual emotional stress or unusual exertion. Additionally, in some jurisdictions, heart attacks suffered by persons in particular occupations such as police officers may be classified as line-of-duty injuries by statute or policy. In some countries or states, a person who has suffered from a myocardial infarction may be prevented from participating in activity that puts other people's lives at risk, for example driving a car or flying an airplane.

Research

Patients who receive stem cell treatment by coronary artery injections of stem cells derived from their own bone marrow after a myocardial infarction (MI) show improvements in left ventricular ejection fraction and end-diastolic volume not seen with placebo. The larger the initial infarct size, the greater the effect of the infusion. Clinical trials of progenitor cell infusion as a treatment approach to ST elevation MI are proceeding.

There are currently 3 biomaterial and tissue engineering approaches for the treatment of MI, but these are in an even earlier stage of medical research, so many questions and issues need to be addressed before they can be applied to patients. The first involves polymeric left ventricular restraints in the prevention of heart failure. The second utilizes ''in vitro'' engineered cardiac tissue, which is subsequently implanted ''in vivo''. The final approach entails injecting cells and/or a scaffold into the myocardium to create ''in situ'' engineered cardiac tissue.

References

External links

American Heart Association's Heart Attack web site – Information and resources for preventing, recognizing and treating heart attack.

Heart Attack – overview of resources from MedlinePlus

Category:Aging-associated diseases Category:Causes of death Category:Ischemic heart diseases Category:Medical emergencies

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Name	Quik
Background	solo_singer
Birth name	David Marvin Blake
Alias	Quik
Birth date	January 18, 1970
Origin	Compton, California, U.S.
Instrument	Vocals, synthesizer, keyboards, turntables, drum machine, sampler
Genre	Hip hop, G-Funk, rock
Occupation	Rapper, DJ, record producer, Actor
Years active	1987–present
Label	Profile (1990-1998)Arista (1999-2001)Ark 21 (2002)Warner Bros. (2003-2004)Mad Science (2005-Present)Fontana (2005-Present)Universal (2001-2003, 2010-Present)
Associated acts	AMG, The Fixxers, 2nd II None, Danny Boy (singer), Suga Free, 2Pac, Eazy-E, Kurupt, QDT, Snoop Dogg, Mausberg Teddy Riley, Nate Dogg, Hi-C, ElDebarge }}

David Marvin Blake (born January 18, 1970), better known by his stage name DJ Quik, is an MC and record producer. According to Quik himself, his stage name reflects his ability to produce records in short time.

Blake has written, produced, and remixed music for many artists. Often compared to Dr. Dre, he is one of the most skilled producers to come from Compton, California. He has conducted many songs for many mainstream artists. Although his credibility goes unrecognized by non-Hip Hop audiences, he is one of America's most complete artists.

Early life

David Marvin Blake was born on January 18, 1970 in Compton, California. He was chiefly inspired by funk and soul artists, such as Roger Troutman (who even taught him the use of the talkbox, which became a trademark for Quik's sound throughout his career) and George Clinton. Out of respect for his beloved friend, Roger Troutman, he retired the talkbox. David's love for music began at 2, as his mom had an extensive record collection. By age 12 he was already playing instruments, and by the age of 21, he was a platinum selling artist.

He began selling homemade mixtapes (notably ''The Red Tape'', 1987) after he received a turntable for his 9th grade graduation. He then began doing shows DJing around Southern California, many of which ended in rival gang related altercations. In the 11th grade, Quik dropped out of high school. For a period of about three years he was homeless after his mom lost her home, due to foreclosure. He would later go on to say that after his success in the rap world many of his family members "popped up".

Music career

Quik Is The Name

Creating a street buzz off his self-made mix tapes,he began to generate interest off many major labels, including Profile Records and Ruthless Records. Later he went on to regret his contract with Profile Records, as Eazy-E offered him a 1 million dollar advance. It left Profile Records with no other choice, they sent cease-and-desist letters to Ruthless Records. He signed to Profile Records in the summer of 1990, reportedly as the label's first six figure signee. Profile Records tactics including having David appear more mysterious,by exaggerating. He brought another act to the label 2nd II None.

His debut album, ''Quik Is the Name'', which was released in 1991, was led by the success of two top 20 R&B; singles, "Tonite" and "Born and Raised in Compton." The album ended up reaching 10th on the album charts, and being certified Platinum by the RIAA. None of his successive albums reached the success of his debut, though they have been well received. He went on to produce 2nd II None. He later released his second album entitled ''Way 2 Fonky'' in 1992. It was certified Gold by October 9. It included the successful singles "Way 2 Fonky" and "Jus Lyke Compton" . The year 1992 Would also see him produce on Paid the Cost the debut album by rap duo Penthouse Players Clique. The year 1993 saw him produce on movie of the same name, I Thought U Knew and Free Us Colored Kids.

The Safe and Sound Era

Before recording Safe + Sound, DJ Quik had previously scrapped a album. Which he had said was so horrible he had to smash the masters.

As DJ Quik began to work on his third album, he started working with Suge Knight again. Their relationship dates back to 1988, before he sought refuge with a major label he was signed to Suge's independent label Funky Enough Records in 1988. Which proved to be short lived. They linked up again in 1993,he was now under the management of Suge, which also proved to be short lived.

His third album ''Safe + Sound'', released in 1995, made number 14 on the Billboard 200. It featured friends 2nd II None, Kam, Playa Hamm and Hi-C. The album features the singles Dollaz & Sense and Safe + Sound. During the process of the album Quik was feuding with rapper MC Eiht from Compton's Most Wanted and long time friend AMG. Today, he is on good terms with MC Eiht and Cheddar from B-Town Blythe. Safe + Sound saw Suge being the executive producer. His relationship with Suge saw him produce many of the tracks on Above The Rim, Murder Was The Case, All Eyez On Me, Until the End of Time, Better Dayz and It's About Time for Death Row Records. He also produced a 2nd II None album for the Death Row Records, that never saw the light of day.

Quik played a big part on the 2Pac album All Eyez On Me, though he is only credited for producing "Heartz of Men" on 2Pac's acclaimed All Eyez on Me (in the credits he used his real name, David Blake, because he was under contract to Profile) he also did additional production and mixed half the album in over two days. He also made another uncredited appearance on a song with 2Pac named "Thug Passion". He also produced on Dogg Food and Tha Doggfather, although he received no credit. DJ Quik later went to say that he had some of the best times of his life when he worked with the label.

Rhythm-al-ism and beyond

The year 1997 saw Quik later went on to produce a track on House of Music, by Tony! Toni! Toné!.The success of the Quik produced single "Let's Get Down" prompted House of music to sell over 1 Million copies. He also worked with Shaquille O'Neal on his You Can't Stop the Reign album. DJ Quik later discovered Suga Free, a pimp turned rapper in 1997. Their relationship saw Quik serving as the producer on his debut album, ''Street Gospel''. It reached number 27 on the Billboard R&B; albums chart. The album fell short of commercial expectations, but was praised by many underground rap fans in California, and is seen as a “street classic” by many of them. The DJ Quik production on this album was considered to be refreshing compared to the stereotypical West Coast G-Funk sound that had dominated most of the early 90’s, as he incorporated elements of jazz, funk, rhythm and blues, and even rock and roll to create instrumentals that caught the ears of many listeners. It was recorded in a record of 28 days.

In 1998 Quik released ''Rhythm-al-ism'' his fourth studio album on Profile Records. This record was certified Gold in 1999, and contained the singles "Hand in Hand (featuring 2nd II None and El Debarge) and You'z A Ganxta. It featured guest appearances by Nate Dogg, Snoop Dogg, AMG and Suga Free. That year he went on to produce for The Luniz, Shaquille O'Neal, Deborah Cox and Jermaine Dupri. He also produced on The Kingdom Come by rapper King Tee which ultimately never came out due to label problems. He also faced personal and professional tragedy when his close friend and protégé Darryl Cortez Reed was murdered in 1998. 1999 saw the release of Classic 220 by 2nd II None, which Quik played a huge part in. Production on Gap Band's Y2K: Funkin' Till 2000 Comz album, Snoop Dogg's No Limit Top Dogg, Suge Knight Represents: Chronic 2000 and Deep Blue Sea (soundtrack). This was compounded by the death of his friend and rapper Mausberg, subsequently murdered in 2000. That year, saw the release of rapper Mausberg's album, and DJ Quik's ''Balance & Options''. Also production with Whitney Houston, Erick Sermon, 8Ball & MJG, Xzibit and AMG.

After the lackluster sales of only 400,000 units of his fifth album, he was dropped by Arista Records which had bought Profile Records. He produced for Kurupt, Big Syke, Janet Jackson, and Won G.. He produced on Made (soundtrack) in 2001. That year also saw Suge Knight try to get Quik as the in-house producer for Death Row Records. In 2002 he released Under tha Influence under Ark 21 Records which also sold only 200,000 units. He also produced Truth Hurts' Top 10 pop hit "Addictive" that year. He used an uncleared Hindi sample on the record, and the copyright holders eventually filed a $500 million dollar lawsuit against Truth Hurts' label, Aftermath Entertainment that was amicably resolved by Jimmy Iovine and Dr. Dre. Quik also produced and appeared on another track on Truth Hurts' debut LP, ''Truthfully Speaking'', entitled ''I'm Not Really Lookin''. He worked with Talib Kweli, Will Smith, and Shade Sheist that year.

Record problems and a plethora of others almost prompted Quik to retire. The Best of DJ Quik: Da Finale was originally going to be his last release. He later stated that ''I just couldn't escape that contract. Basic contracts are supposed to be like 6 or 7 years, or 1 year with like maybe 6 options. The contract I was in was like a 10 or 11 year contract. I wasn't getting paid and I wasn't happy at all. And plus I was going through a bunch of shit."'. He later decided to come back. In 2003 Jay-Z commissioned Quik to produce on The Black Album. Rapper Chingy worked with Quik on his Jackpot which also proved to be a hit. He worked for Roscoe, Butch Cassidy, Nate Dogg, E-40, TQ and Hi-C. 2003 also saw 50 Cent become a bigger star,as the aforementioned Get Rich Or Die Tryin album featured In Da Club which Quik did the drums for.

Ludacris got DJ Quik to produce on The Red Light District in 2004. He was also commissioned for a remix on the 2Pac album Loyal to the Game. He also worked with Knoc-turn'al and Suga Free that year.

Mad Science Recordings: A New Beginning

In September 2005, DJ Quik released his first independent album on his own new label, ''Mad Science Recordings''. The album is titled ''Trauma'' and reflects the turmoil in the producer's 'musical' life over the past few years. It was considered a independent success it has sold 100,000 copies In recent years he has worked with a 74 piece orchestra during a collaboration with Marcus Miller while working on the score to the movie "Head of State".

On June 21, 2006, DJ Quik was convicted of assault of his sister and sentenced to five months in prison. The incident occurred in 2003 when he allegedly "pistol-whipped" her for extorting him, according to police reports. He was released early in October 2006.He went on to say that prison sentence gave him time to reflect on his life and he later began getting rid of extra baggage.

In late 2007, DJ Quik and AMG formed the group: The Fixxers. Along with the formation of the duo, he dropped the "DJ" from his name for the upcoming album and rapped as "Quik". In March 2007 they had signed a single deal with Interscope Records for the release of their album "Midnight Life" and promoted it with "Can You Werk Wit Dat?" However, the album was scrapped due to unauthorized actions by Hudson Melvin Baxter II also known as "Hud", who illegally put it up for sale on the internet in December 2007. The album was then spread across the internet as a bootleg. In February 2008, Quik finished up mixing and producing for Snoop Dogg's new record ''Ego Trippin''. In the process of working with Snoop Dogg, a production group called QDT was formed. It stands for Quik-Dogg-Teddy and consists of DJ Quik, Snoop Dogg and Teddy Riley. A collaboration album with Tha Dogg Pound member, Kurupt, entitled BlaQKout was released June 9, 2009.

Quik released his eighth studio album ''The Book of David'' in early 2011, which included appearances by multiple artists including Suga Free who once again worked with Quik.The album debuted at number fifty five on the US ''Billboard'' 200 chart, with first-week sales of 9,700 copies in the United States. It also entered at number 5 on ''Billboard'''s Top Rap Albums, number 12 on Top R&B;/Hip-Hop Albums and number 4 on Independent Albums. In its second week, it dropped to number ninety nine on the Billboard 200 with sales of 4,200.

Discography

;Studio albums

''Quik Is the Name'' (1991)

''Way 2 Fonky'' (1992)

''Safe + Sound'' (1995)

''Rhythm-al-ism'' (1998)

''Balance & Options'' (2000)

''Under tha Influence'' (2002)

''Trauma'' (2005)

''The Book of David'' (2011)

;Live albums

''Greatest Hits: Live at the House of Blues'' (2006)

;Collaboration albums

''BlaQKout'' (2009) – with Kurupt

''Midnight Life'' (Shelved) - with AMG as The Fixxers

;Singles

''Rise to Glory The NFL on CBS

Filmography

''DJ Quik: Visualism'' (2003), himself

''Entourage'' (2005), himself in the episode "The Bat Mitzvah"

''Keeping Up with the Steins'' (2006), himself

''Everybody Hates Chris'' (2007), Hilton "Hilly Hill" Reed in the episode "Everybody Hates DJ's''

''Malice n Wonderland'' (2010), Piano player

References

External links

DJ Quik & Kurupt Interview with soundhustle.com

Category:1970 births Category:Living people Category:African American rappers Category:African American record producers Category:American hip hop record producers Category:American people convicted of assault Category:Bloods Quik Category:People from Compton, California Category:Rappers from Los Angeles, California

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