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Thomasina Winifred Montgomery, known as Tammi Terrell (April 29, 1945 – March 16, 1970) was an American recording artist and songwriter most notable for her association with Motown Records and her duets with Marvin Gaye. As a teenager she recorded for the Scepter–Wand, Try Me and Checker record labels. She signed with Motown in April 1965 and enjoyed modest success as a solo singer. Once she was paired with Gaye in 1967, her stardom grew, but on October 14 of that year she collapsed on stage into Gaye's arms during a performance. She was soon thereafter diagnosed with a malignant brain tumor which eventually led to her death at age 24.

Early life[link]

This unreferenced section requires citations to ensure verifiability.

Tammi Terrell was born Thomasina Winifred Montgomery in Philadelphia. Members of her family have said her parents figured their eldest child would be a son and had settled on "Thomas". After Terrell's birth, they added in "-ina". Terrell was called "Tommie" by family. Terrell has a younger sister, Ludie (born 1949). Terrell began singing in church at an early age. Terrell developed a rebellious, free-spirited streak and changed her name to "Tammy" after seeing the film Tammy and the Bachelor in the summer of 1957 and hearing its theme song "Tammy". Around this time, Terrell began complaining of migraines and headaches. Terrell's family said that this foreshadowed her later struggle with brain cancer but that at the time they did not regard it as a major issue.

Career[link]

This unreferenced section requires citations to ensure verifiability.

By the age of thirteen, Terrell had begun a professional singing career. In 1960, prior to her fifteenth birthday, she signed with Scepter Records, and recorded the doo-wop single, "If You See Bill", releasing it under the name "Tammy Montgomery". Though the record wasn't a success, it did establish Terrell in some R&B circles and Terrell went on tour with some of Scepter's biggest artists and other popular R&B artists of the Philadelphia area, including Chubby Checker and Patti LaBelle and the Bluebelles. She also opened for R&B star Gene Chandler, with whom she had a friendship. In 1962, Terrell came to the attention of James Brown and the seventeen-year-old found herself in Brown's popular Revue becoming one of Brown's first female headliners. In 1963, Terrell recorded for Brown's Try Me Records, releasing the ballad, "I Cried", which gave her some chart success. Terrell and Brown also had a personal relationship, which was hampered by Brown's physical abuse towards her. After a horrific incident backstage after a show, Terrell asked Chandler (who witnessed the incident first hand) to take her to the bus station so she could go home. He later called her mother to come pick her up. This ended Terrell's two-year relationship with Brown. Ludie Montgomery stated in her memoirs of Terrell that she met Sam Cooke in 1964 after Cooke showed a romantic interest in Terrell. Before a relationship could forge, however, Cooke was murdered in Los Angeles that December.

After recording a single for Checker Records in 1964, produced by the legendary Bert Berns and paired with singer Jimmy Radcliffe on a now-released duet version of the song "If I Would Marry You" wherein she debuted as a co-writer with Berns, Terrell semi-retired from show business and enrolled in the University of Pennsylvania where she stayed for two years majoring in pre-med. In 1965, Jerry "The Ice Man" Butler asked Terrell to sing with him in a series of nightclub shows, which Terrell agreed to with a schedule that would allow her to continue her studies in Pennsylvania. In March 1965, Motown Records CEO Berry Gordy spotted Terrell performing in Detroit and asked Terrell to sign with Motown. Terrell agreed and signed with Motown on April 29, 1965, her 20th birthday.

Terrell's first single with Motown was the Johnny Bristol and Harvey Fuqua composition, "I Can't Believe You Love Me", in November 1965. Prior to the single's release, Gordy gave her a new name, figuring Tammy Montgomery was too long. He wanted a name that screamed "sex appeal" and therefore settled on "Tammi Terrell" with the y in "Tammy" changed to an "i". The song became a modest success, reaching the top thirty of the American R&B charts. Another modest R&B charter was the sultry "Come on and See Me". Terrell also recorded the first version of Stevie Wonder's future classic, "All I Do (Is Think About You)" and also recorded a version of The Isley Brothers' "This Old Heart of Mine (Is Weak for You)", in a slightly uptempo gospel-influenced version.

Terrell's R&B success landed her a spot on the Motortown Revue. Around the same time, Terrell began a romantic relationship with David Ruffin, member of The Temptations. In 1966, Ruffin proposed marriage to Terrell. Terrell was distraught however when she later learned that Ruffin had a wife and three children living in Detroit. Devastated, she and Ruffin began having public fights. It was claimed that Terrell was hit with a hammer and machete by Ruffin; Terrell's family and her Motown colleagues denied those claims, but Ludie Montgomery did confirm that Terrell was hit on the side of her face by Ruffin's motorcycle helmet. The incident put an end to their relationship in 1967.

Success with Marvin Gaye and cancer diagnosis[link]

By early 1967, Marvin Gaye had seen three singers he recorded duets with - Mary Wells, Kim Weston and Oma Page - leave Motown. Figuring Terrell could benefit, Gordy asked Terrell to sing duets with Gaye, which she agreed. Gaye later recalled that he didn't know how musically and vocally gifted Terrell was until they began recording duets together.

At first the duets were recorded separately. For sessions of their first recording, the Ashford & Simpson composition, "Ain't No Mountain High Enough", both Gaye and Terrell recorded separate versions. Motown remixed the vocals and edited out the background vocals, giving just Gaye and Terrell vocal dominance. The song, originally written for Dusty Springfield, became a crossover pop hit in the spring of 1967, reaching number nineteen on the Billboard Hot 100 and number three on the R&B charts, making Terrell a star. Their follow-up hit, "Your Precious Love", became an even bigger hit reaching number five on the pop chart, and number-two on the R&B chart. In late 1967, the duo scored a third top ten single with "If I Could Build My Whole World Around You", which peaked at number ten on the pop chart and number-two on the R&B chart. The song's B-side, the Marvin Gaye composition, "If This World Were Mine", became a modest hit on both charts, reaching number sixty-eight on the pop chart and number twenty-seven on the R&B chart. Gaye would later cite the song as "one of Tammi's favorites".

All four songs were included on Gaye and Terrell's first duet album, United, released in the late summer of 1967. Throughout that year, Gaye and Terrell began performing together and Terrell became a vocal and performance inspiration for the shy and laid-back Gaye, who hated live performing. The duo even performed together on TV shows to their hits. While Terrell was finally being established as a star, the migraines and headaches that she suffered with as a child were becoming more constant. While she complained of pains, she insisted to people close to her that she was well enough to perform. However, on October 14, 1967, while performing with Gaye at Hampden-Sydney College, outside of the college of Farmville, Virginia, Terrell fell and buckled onstage. Gaye helped her not fall completely to the ground and rushed Terrell backstage, where she was immediately taken to Southside Community Hospital and later diagnosed with a malignant brain tumor.

External audio
	You may listen to Tammi Terrell & Marvin Gaye sing "Ain't no Mountain High Enough" here

After a six-week stay at a Philadelphia hospital where she had her first of what would be eight operations, Terrell returned to Detroit to record the Gaye duet, "You're All I Need to Get By". Prior to the tumor diagnosis and her collapse onstage, Terrell and Gaye recorded in front of each other for the first time during the recording of "Ain't Nothing Like the Real Thing". Both songs became number-one R&B hits in 1968, as well as top ten pop hits. The change in recording from United and the duo's second album, You're All I Need was due to Terrell's rapid illness - while two of the songs on United were overdubbed with Gaye's vocals, six of the tracks on You're All I Need were overdubbed with Gaye vocals to create duet tracks.

Gaye later told his biographer David Ritz that Terrell was unable to record and that Valerie Simpson filled in for her vocals on the final Gaye/Terrell duet album, Easy. Simpson and her husband, Nickolas Ashford, have been quoted as denying this in several sources, including a book written by Terrell's sister Ludie Montgomery and the liner notes to The Complete Motown Singles Volume 9: 1969. Simpson's own account is that she did provide guide vocals for Gaye to work with in Terrell's absence (and that it was this which Gaye later remembered), but that Terrell was then brought in to "painstakingly" record her vocals for the Easy album over Simpson's guide track.^[1] Simpson reiterated the story on a recent documentary on Terrell's life story. However, others who worked with Motown^[who?] heard the album and also concluded that Terrell wasn't on the album. They contended that the voice was "too nasal" and that the language pattern, accent, and vocal delivery weren't close to Terrell's.^{[citation needed]}. Simpson had some vocal similarities to Terrell and eventually confirmed Gaye's reports that Terrell wasn't on the album despite her own claims^{[citation needed]}. The liner notes to The Complete Motown Singles Volume 10 confirms that Terrell was present during the sessions, at least as an adviser, and may have supplied some vocals as well.

Despite these reports, Gaye and Terrell continued to have chart success. The Easy album included the modest hit, "What You Gave Me" (later covered by Diana Ross in an ill-fated disco version), and the top ten UK hit, "The Onion Song". In late 1969, while performing at the Apollo Theater, Gaye spotted an ill Terrell in the audience after the singer, now under ninety pounds, stood up and began singing her opening response to Gaye on their hit, "You're All I Need to Get By". Gaye, who was performing with Carla Thomas on the bill, reportedly stepped off the stage into the audience to sing with Terrell, who was given a microphone. The performance ended with a standing ovation. It was to be Terrell's final public appearance.

Death and aftermath[link]

By late 1969, Terrell was on her seventh operation and was unable to promote the Easy album. Also in 1969, Motown issued Terrell's first and only solo album, Irresistible, which included recordings going back to 1965 and through 1968. Terrell was unable to promote the album due to her declining health.

A 1969 Ebony article reported on Terrell's struggles to get well and the singer gave an exclusive interview hopeful of an eventual recovery and a return to recording and live performances. However, it wasn't to be... With every operation, Tammi hoped she would get well, but her condition grew worse. On January 25, 1970, Terrell went into her eighth and final operation on her tumor. Shortly after that she lapsed into a coma. Terrell then died, of complications from brain cancer, on March 16, 1970. She was a month and two weeks short of her 25th birthday. At the time of her death, Tammi was engaged to be married to Dr. Ernest Garrett.

Marvin Gaye reacted to her initial illness, when she collapsed into his arms onstage in 1967, by taking a four-year hiatus from concert performance. His first appearance after this hiatus was at the newly opened Kennedy Center in Washington D.C. on May 1, 1972, where he performed his hit album What's Going On with many of the musicians who played on the original sessions. Gaye recalled that he felt somehow responsible for Terrell's illness and death. Gaye failed to appreciate his own successes including the international hit, "I Heard It Through the Grapevine", thinking the success was not deserved on his part.

At the funeral, Gaye delivered a final eulogy while "You're All I Need to Get By" was playing. According to Terrell's fiancé, Dr. Garrett, who knew Gaye, Terrell's mother allowed just Gaye at the funeral but told him that Terrell's other Motown colleagues would not be allowed in. Terrell's mother criticized Motown for not helping with Terrell's illness accusing the label for covering up the singer's condition releasing albums of Terrell's work without her consent. Gaye had also contended that he felt Motown was taking advantage of Terrell's illness and refused to promote the Easy album despite Motown telling him it would cover Terrell's health finances. Gaye never fully got over Terrell's death, according to several biographers stated Terrell's death led Gaye to depression and drug abuse.

In addition, Gaye's classic album What's Going On, an introspective, low-key work which dealt with mature themes released in 1971, was in part a reaction to Terrell's death.^[2] In July 1970, four months after Terrell's untimely passing, a dramatic gospel-pop rearrangement of "Ain't No Mountain High Enough", was released by Diana Ross, becoming a number-one hit and one of Ross' signature songs.

On October 8, 2010, Hip-O Select released Come On And See Me: The Complete Solo Collection, a collection of all of Terrell's solo work dating back to high school, plus never before released songs and 13 minutes of the only known live stage recordings.

Discography[link]

Albums[link]

• 1967: The Early Show (Wand LP, side A is by Tammi Terrell, side B is by Chuck Jackson)
• 1969: Irresistible (#39 R&B)
• 2001: The Essential Collection (posthumous)
• 2010: Come On and See Me: The Complete Solo Collection (posthumous)

with Marvin Gaye[link]

• 1967: United (#69 US)
• 1968: You're All I Need (#60 US)
• 1969: Easy (#184 US)
• 1970: Marvin Gaye and Tammi Terrell's Greatest Hits (posthumous)
• 2001: The Complete Duets (compilation of United, You're All I Need, and Easy)

Singles[link]

• 1961: "If You See Bill" (as Tammy Montgomery)
• 1962: "Voice of the Experience" (as Tammy Montgomery)
• 1963: "I Cried" (as Tammy Montgomery) (#99 US)
• 1964: "If I Would Marry You" (as Tammy Montgomery)
• 1965: "I Can't Believe You Love Me" (#72 US)
• 1966: "Come On and See Me" (#80 US)
• 1968: "This Old Heart of Mine (Is Weak for You)" (#67 US)

with Marvin Gaye[link]

• 1967: "Ain't No Mountain High Enough" (#19 US)
• 1967: "Your Precious Love" (#5 US)
• 1967: "If I Could Build My Whole World Around You" (#10 US, #41 UK)
• 1968: "If This World Were Mine" (b-side of "If I Could Build My Whole World Around You", #68 US)
• 1968: "Ain't Nothing Like the Real Thing" (#8 US, #34 UK)
• 1968: "You're All I Need to Get By" (#7 US, #19 UK)
• 1968: "Keep On Lovin' Me Honey" (#24 US)
• 1969: "You Ain't Livin' till You're Lovin'" (#21 UK)
• 1969: "Good Lovin' Ain't Easy to Come By" (#30 US, #26 UK)^[3]
• 1969: "What You Gave Me"* (#49 US)^[3]
• 1969: "The Onion Song"* (#50 US, #9 UK)^[3]
• 1970: "California Soul"* (#56 US)^[3]

See also[link]

• List of notable brain tumor patients

References[link]

Further reading[link]

• Montgomery, Ludie. My Sister Tommie: the Real Tammi Terrell (2005, ISBN 1-904408-16-8)
• Ritz, David. Divided Soul: the Life of Marvin Gaye (2003 edition, ISBN 0-306-81191-X)
• Whitall, Susan. For the Record: Women of Motown (1998, ISBN 0-380-79379-2)

External links[link]

• TammiTerrell.com (fan site)
• Tammi Terrell at the Internet Movie Database
• Tammi Terrell at Allmusic
• Tammi Terrell at Find a Grave

Marvin Pentz Gay, Jr. (April 2, 1939 – April 1, 1984), better known by his stage name Marvin Gaye (he added the 'e' as a young man), was an acclaimed American singer-songwriter and musician with a three-octave vocal range,^[2] who achieved major success in the 1960s and 1970s as an artist for the Motown Records label. He was shot dead by his father on April 1, 1984.

Starting his career as a member of the doo-wop group The Moonglows in the late 1950s, he ventured into a solo career after the group disbanded in 1960, signing with Motown Records subsidiary, Tamla. He started off as a session drummer, but later ranked as the label's top-selling solo artist during the 1960s. He was crowned "The Prince of Motown"^[3] and "The Prince of Soul".^[4] because of solo hits such as "How Sweet It Is (To Be Loved by You)", "Ain't That Peculiar", "I Heard It Through the Grapevine," and his duet singles with singers such as Mary Wells and Tammi Terrell.

His work in the early- and mid-1970s included the albums, What's Going On, Let's Get It On, and I Want You, which helped influence the quiet storm, urban adult contemporary, and slow jam genres. After a self-imposed European exile in the early 1980s, Gaye returned on the 1982 Grammy-Award winning hit, "Sexual Healing" and the Midnight Love album before his death.

In 2008, the American music magazine Rolling Stone ranked Gaye at number 6 on its list of the Greatest Singers of All Time,^[5] and ranked at number 18 on 100 Greatest Artists of All Time,^[6] and he ranked number 20 on VH1's list of 100 Greatest Artists of All Time.^[7] Gaye was posthumously inducted into the Rock and Roll Hall of Fame in 1987.^[8]

Biography[link]

Early life (1939–1957)[link]

Marvin Pentz Gay, Jr.^[1] was born on April 2, 1939 at Freedman's Hospital in Washington, D.C.. His father, Marvin Gay, Sr., was a storefront minister at the House of God (the House of God headquarters is located in Marvin's father's hometown of Lexington, Kentucky), a Hebrew Pentecostal sect which advocated strict conduct and taught and believed in both the Old and New Testament. His mother, Alberta Gay (née Cooper), was a domestic and schoolteacher. As a child, Gaye was raised in the Benning Terrace projects in southeast D.C.^[9]

By the time Marvin was four, his father was bringing Gaye with him to sing for church congregations. It would be during these trips that he would meet future friends and contemporaries including Bobby Womack and Aretha Franklin. Gaye's early home life was marked by domestic violence as his father would use any excuse to beat him. As a result of his father's temperament, Gaye and his three siblings were bed-wetters as children.^[10] Gaye described his father a "tyrannical and powerful king" and even told a biographer he would've ended up a "child suicide statistic" had it not been for his mother's love.^[10] By age fourteen, Gaye's parents moved to the Deanwood neighborhood of northeast D.C. The following year, Gaye's father quit the ministry after he was denied a position as the Chief Apostle (head overseer) of the House of God Inc. Unlike his mother, Marvin's father never could keep a job. Overtime, he developed alcoholism which increased the difficulty in Marvin's home. As a child, Marvin was forbidden to listen to secular music and was also forbidden to participate in sports and other secular activities deemed "sinful" by his father.

As a child, Marvin learned how to play piano by ear. He later learned to play drums before reaching his teens. In middle school, Marvin discovered doo-wop and developed an addiction to the musical style that would later influence much of his own career. By the time he entered D.C.'s Cardozo High School, Marvin became a fan of artists such as Little Willie John, Sam Cooke and Ray Charles as well as pop singers Frank Sinatra, Billy Eckstine and Nat "King" Cole. To escape his father's punishment, Marvin and his brother Frankie would leave the house without suspicion and attend dances where some of the performers they admired would show up to perform. Influenced heavily by doo-wop groups such as The Moonglows and The Capris, Gaye began joining several doo-wop groups in the D.C. area including the Dippers with his best friend, Johnny Stewart, brother of R&B singer Billy Stewart. He then joined the D.C. Tones, whose members included Reese Palmer, who was another close friend, and Sondra Lattisaw, mother of R&B singer Stacy Lattisaw.^[10] Gaye's relationship with his father led him to run away from home and join the United States Air Force in the hope of becoming an aviator. However, discovering his growing hatred for authority, he began defying orders and skipped practices. Faking mental illness, he was discharged.^[10] His sergeant stated that Gaye refused to follow orders.^[11] Upon returning to his hometown, he and former D.C. Tones member Reese Palmer formed a singing group they named the Marquees.

Early career (1958–1962)[link]

In 1958, the Marquees were discovered singing at a D.C. club by Bo Diddley, who signed them to Okeh Records, where they recorded "Wyatt Earp," with "Hey Little Schoolgirl" as its B-side. It received moderate success, but not the success Gaye and his band mates had hoped for. Later that year Harvey Fuqua, founder and co-lead singer of the landmark doo-wop group The Moonglows, recruited them, after the breakup of the original members, to be "The New Moonglows" which moved the formerly-named Marquees from Okeh to Chess Records. While there, the "new Moonglows" recorded background vocals for Chess recording stars Chuck Berry and Etta James. After "The Twelve Months of the Year", which featured a spoken monologue by Gaye, became a regional hit, the group issued "Mama Loochie", which was the first time Gaye sang lead on a record. The record was issued in late 1959 and became a hit in Detroit. Following a concert performance there, Gaye and other band members were arrested for small possession of marijuana. Afterwards, Fuqua decided to disband the group, keeping Gaye with him, as he favored him over the other members. In 1960, Harvey Fuqua had met Gwen Gordy and the couple embarked on both a personal and professional relationship. That year, the couple formed two record labels, the self-named Harvey Records, and Tri-Phi Records. Gaye was signed to the former label, whose other members included a young David Ruffin and Junior Walker. He provided drums for The Spinners' first hit, "That's What Girls Are Made For", which was released on Tri-Phi. Stories on how Gaye eventually met Berry Gordy and how he signed to Motown Records vary. One early story stated that Gordy discovered Gaye singing at a local bar in Detroit and that Gordy offered to sign Gaye on the spot. Gaye's recollection, and a story Gordy later reiterated, was that Gaye invited himself to Motown's annual Christmas party inside the label's Hitsville USA studios and played on the piano, singing "Mr. Sandman". Gordy saw Gaye from afar and, noting that Gaye was connected with Fuqua, began to make arrangements to absorb Fuqua's labels and bring all of the label's acts to Motown. Gordy said he immediately wanted to bring Gaye to Motown after seeing him perform, impressed by his vocals and piano playing. While working out negotiations, Fuqua would sell a 50 percent interest in Gaye to Gordy, as Gaye would find out later.^[12] After Gordy absorbed Anna and Harvey in March 1961, Gaye was assigned to Motown's Tamla division.

Gaye and Motown immediately clashed over material. While Motown was yet a musical force, Gaye set on singing standards and jazz rather than the usual rhythm and blues that fellow label mates were recording. Struggling to come to terms with what to do with his career, Gaye worked mainly behind the scenes, becoming a janitor, and also settled for session work playing drums on several recordings, which continued for several years. One of Gaye's first professional gigs for Motown was as a road drummer for The Miracles. Gaye developed a close friendship with the label's lead singer Smokey Robinson and they'd later work together. Though already a seasoned veteran of the road and almost exempt from Gordy's Artist Development, which began operating in 1961, Gaye was still required to attend schooling, which he refused. He eventually took advice from grooming director Maxine Powell to keep his eyes open while performing because "it looks like you're sleeping when you're performing".^[10] Gaye would later regret skipping the school saying he could've benefited more from it.^[10] Before releasing his first single in May 1961, he altered his last name to "Gaye", later stating that he added the "e" because "it sounded more professional" and to emulate what Sam Cooke had done before releasing his first secular record following his split from the Soul Stirrers. A famous story about the name change came from author David Ritz, Gaye's confidant in later years, who said Gaye had said that he wanted to "quiet the gossip" of his last name and to distance himself from his father.^[13]

In May 1961, Tamla released Gaye's first single, "Let Your Conscience Be Your Guide". The single flopped as a national release but was a regional hit in the Midwest, as was a follow-up single, the cover of "Mr. Sandman" (titled as just "Sandman" in Gaye's release in early 1962). In June 1961, Motown issued Gaye's first album, The Soulful Moods of Marvin Gaye compromising Gaye's jazz interests with a couple of R&B songs. The album tanked and no hit single came of it. A third regional hit, "Soldier's Plea", an answer to The Supremes' "Your Heart Belongs to Me", was the next release in the spring of 1962. Gaye had more success behind the scenes than in front. Gaye applied drumming on several Motown records for artists such as the Miracles, Mary Wells, The Contours and The Marvelettes. Gaye was also a drummer for early recordings by The Supremes, Martha and the Vandellas and Little Stevie Wonder. Gaye drummed on the Marvelettes hits, "Please Mr. Postman", "Playboy" and "Beechwood 4-5789" (a song he co-wrote). Later on, Gaye would be noted as the drummer in both the studio and live recordings of Wonder's "Fingertips" and as one of two drummers behind Martha and the Vandellas' landmark hit, "Dancing in the Street", another composition by Gaye, originally intended for Kim Weston. Gaye said he continued to play drums for Motown acts even after gaining fame on his own merit. For Gaye's fourth single, the singer was inspired to write lyrics to a song after an argument with his wife, Anna Gordy Gaye (née Anna Gordy). While working out the song, Gaye mentioned he had his first "major" power struggle with Motown head Berry Gordy over its composition. Gordy insisted on a chord change though Gaye was comfortable with how he wrote it, eventually Gaye changed the chord and the song was issued as "Stubborn Kind of Fellow" in September 1962. The song became a hit on the Hot Rhythm and Blues Sides chart reaching number 8 and eventually peaked at number 46 on the Billboard Hot 100 in early 1963. A parent album, That Stubborn Kinda Fellow, was released in December 1962, the same month that Gaye's fifth single, "Hitch Hike", was released. That song reached number 30 on the Billboard Hot 100, bringing Gaye his first top 40 single. His early success confirmed his arrival as a hit maker, and he landed on his first major tour as a performer on Motown's Motortown Revue.

Early success (1963–66)[link]

Gaye's career following his performances with the Motortown Revue assured him success. Gaye's next single, "Pride & Joy", became a major hit in the spring of 1963, reaching number-ten on the Billboard Hot 100, selling nearly one million copies. Later that year, Gaye repeated the success with the top 30 hit, "Can I Get a Witness", which found some leverage in the United Kingdom upon its release on Motown's UK label Stateside Records. Many of Gaye's early hits would later be heavily covered by acts such as The Rolling Stones, Dusty Springfield and The Who, performers who admired Gaye and American R&B music in general. Gaye's hits also was a big influence on the UK's mod scene with several mod groups including the future Elton John's Bluesology and Rod Stewart's Steampacket covering Gaye's hits there. Gaye's early hits were also a big influence on American producers, including Phil Spector, who nearly had a car accident while pulling over upon hearing "Stubborn Kind of Fellow" for the first time.

Gaye's hits continued throughout 1964. Several top 20 pop hits from this period included "You Are a Wonderful One", "Try It Baby" and "Baby Don't You Do It" kept Gaye's momentum building. Gaye made his first public TV performance on American Bandstand in 1964 and later became a fixture on the show and on other programs such as Shindig! and Hullaballoo. His popularity further increased after Motown released his first duet project, an album with Mary Wells entitled Together. The duo had two hit singles, "Once Upon a Time" and "What's the Matter with You Baby". In late 1964, Gaye also appeared in the concert film The T.A.M.I. Show, where he performed his hits to an enthusiastic audience (with backing vocals by The Blossoms). Gaye reached the top 10 in early 1965 with "How Sweet It Is (To Be Loved By You)", which sold close to a million copies. Gaye eventually scored his first immediate million-sellers in 1965 with the Smokey Robinson compositions, "Ain't That Peculiar" and "I'll Be Doggone". These songs and other singles released during the 1965–66 period would be the result of Gaye's next release, Moods of Marvin Gaye.

Gaye struggled with his success. While deemed a "smooth song-and-dance ladies' man", he still aspired to perform more jazz work in his catalog. Because of his success, Motown allowed him to work on such recordings including When I'm Alone I Cry, Hello Broadway and a Nat King Cole tribute album, A Tribute to the Great Nat "King" Cole. All three albums flopped. Gaye tried performing the songs onstage but soon stopped once he discovered that the crowds weren't too appreciative of the material. One proposed standards project, which took over two years to record, was shelved due to session problems. Gaye's performances at the Copacabana in 1966 also led to conflict between Gaye and Gordy as Motown had recorded the album for purposes of releasing it in early 1967. However due to a struggle, Motown eventually shelved it until it was later released three decades later. In early 1967, Gaye scored his first international hit with the duet, "It Takes Two", with Kim Weston, who coincidentally had already left the label when it became a hit. Only one televised performance of the song showed Gaye singing the song to a puppet. That year, Motown hooked Gaye up with veteran Philadelphia-based singer Tammi Terrell, who had an early stint with James Brown. Gaye would later say of Terrell that she was his "perfect partner" musically.

[edit] Tammi Terrell and I Heard It Through the Grapevine (1967–69)

Terrell and Gaye's first major hit was the Nick Ashford and Valerie Simpson composition, "Ain't No Mountain High Enough". The duo quickly followed up with the top five hit ballad, "Your Precious Love". Despite rumors of a romantic relationship – Gaye was married to Anna Gordy and Terrell was dating Temptations lead vocalist David Ruffin – both singers denied such a relationship with Gaye saying later that they had a brother-and-sister relationship, a statement reiterated by Ashford & Simpson. Other hit singles the duo scored within an eighteen-month period included "If I Could Build My Whole World Around You", "Ain't Nothing Like the Real Thing" and "You're All I Need to Get By". Other hits such as "You Ain't Livin' till You're Lovin'" and "The Onion Song" found success in Europe. The duo's recording of "If This World Were Mine", the b-side of "If I Could Build My Whole World Around You", found modest success on the charts, the first sole Gaye composition to do so. The song later found major R&B success when Luther Vandross covered it with Cheryl Lynn over a decade later.

The duo was also a success together onstage, Terrell's easy-going nature with the audience contrasting from Gaye's laid-back approach. However, that success was short-lived. On October 14, 1967, while performing at Virginia's Hampden-Sydney College, Terrell collapsed in Marvin's arms. She had been complaining of headaches in the weeks leading up to the concert, but had insisted she was all right. However, after she was rushed to Southside Community Hospital, doctors found that Terrell had a malignant brain tumor.^[14]

The diagnosis ended her performing career, though she still occasionally recorded, often with guidance and assistance. Terrell ceased recordings in 1969 and Motown struggled with recording of a planned third Gaye and Terrell album. Gaye initially had refused to go along with it saying that he felt Motown was taking unnecessary advantage of Terrell's illness. Gaye only reluctantly agreed because Motown assured him recordings would go to insure Terrell's health as she continued to have operations to remove the tumor, all of which were unsuccessful. In September 1969, the third Gaye and Terrell duet album, Easy was released, with many of the songs said to have been subbed by Valerie Simpson, while solo songs recorded years earlier by Terrell, had overdubbed vocals by Gaye.

	"I Heard It through the Grapevine" noicon "I Heard It through the Grapevine" was recorded by Gaye in April 1967, several months before Gladys Knight and the Pips recorded it. The song features an horror-based Wurlitzer piano solo, percussion and horns. Gaye's recording of it paved the way for what later became "psychedelic soul".
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Terrell's illness put Gaye in a depression; at one point he attempted suicide but was stopped by Berry Gordy's father.^{[citation needed]} He refused to acknowledge the success of his song "I Heard It Through the Grapevine", released in 1967 by Gladys Knight & The Pips (his version was recorded before, but released after theirs), his first number-one hit and the biggest selling single in Motown history to that point, with four million copies sold.^{[citation needed]} His work with producer Norman Whitfield, who produced "Grapevine", resulted in similar success with the singles "Too Busy Thinking About My Baby" and "That's the Way Love Is". Meanwhile, Gaye's marriage was crumbling and he was bored with his music. Wanting creative control, he sought to produce singles for Motown session band The Originals, whose Gaye-produced hits, "Baby, I'm for Real" and "The Bells", brought success.

[edit] What's Going On (1970–72)

Tammi Terrell died of a brain tumor on March 16, 1970. Gaye was so emotional at her funeral that he talked to her lying in state as if she was going to respond. Gaye insisted, following Terrell's death, that he would no longer record duets with any other female performer, nor was he ever going to perform on stage again since Terrell's collapse and subsequent death had spooked him. He already had apprehensions about performing, suffering bouts of stage fright throughout his performing career. Prior to Terrell's death, he had withdrawn from a scheduled performance citing an illness and was later sued for failure to appear. After Terrell's death he stopped doing any more live gigs and never really recovered completely from her death. He had an inspiration, dating back to 1968, to try out for the Detroit Lions football team.^[15] After he gained friendships with two of the Lions' players, Mel Farr and Lem Barney they encouraged him to get in shape and tryout, although the team ultimately wouldn't let him because they feared injuring one of the city's greatest singers.^[16] After helping to collaborate what became "What's Going On", he returned to Hitsville on June 1, 1970 to record the song, which was inspired by Gaye's brother's accounts of his experience in the Vietnam War and co-writer Renaldo "Obie" Benson of the Four Tops' disgust of police brutality after seeing anti-war protesters attacked in San Francisco.

Despite releases of several anti-war songs by The Temptations and Edwin Starr, Motown CEO Berry Gordy prevented Gaye from releasing the song, fearing a backlash against the singer's image as a sex symbol and openly telling him and others that the song "was the worst record I ever heard". Gaye, however, refused to record anything that was Motown's or Gordy's version of him. He later said that recording the song and its parent album "led to semi-violent disagreements between Berry and myself, politically speaking." Eventually the song was released with little promotion on January 17, 1971. The song soon shot up the charts topping the R&B chart for five weeks.^[17][18] Eventually selling more than two million copies, an album was requested, and Gaye again defied Gordy by producing an album featuring lengthy singles that talked of other issues such as poverty, taxes, drug abuse and pollution. Released on May 21, 1971, the What's Going On album instantly became a million-seller crossing him over to young white rock audiences while also maintaining his strong R&B fan base. Because of its lyrical content and its mixture of funk, jazz, classical and Latin soul arrangements which departed from the then renowned "Motown Sound", it became one of Motown's first autonomous works, without help of Motown's staff producers. Based upon its themes and a segue flow into each of the songs sans the title track, the concept album became the new template for soul music.

Other hit singles that came out of the album included "Mercy Mercy Me (The Ecology)" and "Inner City Blues (Make Me Wanna Holler)", making Gaye the first male solo artist to have three top ten singles off one album on the Billboard Hot 100. All three singles sold over a million copies and were all number-one on the R&B chart. International recognition of the album was slow to come at first though eventually the album would be revered overseas as a "landmark pop record". It has been called "the most important and passionate record to come out of soul music, delivered by one of its finest voices".^[19] The success of the title track influenced Stevie Wonder to release an album with similar themes, Where I'm Coming From, in April that year. Following the release of the album and its subsequent success, Wonder rejected a renewing offer with Motown unless he was allowed creative control on his recordings, which was granted a year later. Gaye's independent success not only related to Motown recording artists, other R&B artists of the era also began to rebel against labels to produce their own conceptual albums. The Jackson 5, one of Motown's final acts to benefit from the label's "glory years" (1959–72), tried unsuccessfully to get creative control for their own recordings and as a result left in 1975 for CBS Records.

Gaye's success was nationally recognized: Billboard magazine awarded him the Trendsetter of the Year award, while he won several NAACP Image Awards including Favorite Male Singer. Rolling Stone named it Album of the Year, and was nominated for a couple of Grammy Awards though inexplicably wasn't nominated for Album of the Year. In 1972, Gaye reluctantly stepped out of his stage retirement to perform selected concerts, including one at his hometown of Washington, D.C. performing at the famed Kennedy Center, a recording of the performance was issued on a deluxe edition re-release of the What's Going On album. Also in 1972, Gaye performed for Jesse Jackson's PUSH organization and also for a Chicago-based benefit concert titled Save the Children aimed at removing the plight of urban violence in Chicago's inner city. The latter performance was issued as part of a concert film released in early 1973, also titled Save the Children. Following its success, Gaye signed a new contract with Motown Records for a then record-setting $1 million, then the most lucrative deal by a black recording artist.^[10] With creative control, Gaye attempted to produce several albums throughout 1972 and early 1973 including an instrumental album, a jazz album, another conceptually-produced album of social affairs (the canceled You're the Man project) and an album with Willie Hutch co-producing. In late 1972, Gaye produced the score for the Trouble Man film and later produced the soundtrack of the same name. The title track was the only full vocal work of the album and was released as a single in the fall of 1972 eventually reaching number seven on the pop chart in the spring of 1973.

[edit] Let's Get It On and continued success in music (1973–77)

	"Let's Get It On" noicon "Let's Get It On" was written by Gaye and producer Ed Townsend, originally as a gospel song, and later as a protest song before eventually turning into a funk-oriented love anthem. It became Gaye's second number-one hit in 1973.
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In late 1972, Gaye left Detroit and moved to Los Angeles but relocated to an area where he was far away from Motown, purchasing a house at the so-called "bohemian hippie" enclave of Topanga Canyon, which was a hotbed for musicians looking to get away from the trappings of the music industry and Hollywood itself. He continued to record music at Los Angeles' Motown studios (Hitsville West) and on March 18, 1973, recorded "Let's Get It On", reputedly inspired by Gaye's new-found independence, after separating from Anna Gordy the previous year. The single was released as a single in June of the year and became Gaye's second number-one single on the Billboard Hot 100. It also was a modest success internationally reaching number 31 in the United Kingdom. With the success of its recording, Gaye decided to switch completely from the social topics that were on What's Going On to songs with sensual appeal.

Released in August 1973, Let's Get It On consisted of material Gaye had initially recorded during the sessions of What's Going On. It was hailed as "a record unparalleled in its sheer sensuality and carnal energy."^[20] Other singles from the album included "Come Get to This", which recalled Gaye's early Motown soul sound of the previous decade, while the then-controversial "You Sure Love to Ball" reached modest success but was kept from being promoted by Motown due to its sexually explicit nature. With the success of What's Going On and Let's Get It On, Motown demanded a tour. Gaye only reluctantly agreed when demand from fans reached a fever pitch. After a delay, Gaye made his official return to touring on January 4, 1974 at the Oakland Coliseum in Oakland, California. The recording of the performance, held by several music executives as "an event", was later issued as the live album, Marvin Gaye Live!. Due to Gaye's growing popularity with his increasing crossover audience and the reaction of the performance of "Distant Lover", which Motown later released as a single in late 1974, the album sold over a million copies. Gaye's subsequent 10-city tour, which took off that August, was sold out and demand for more dates continued into 1975 while Gaye had struggled with subsequent recordings. A renewed contract with Motown in 1975 gave Gaye his own custom-made recording studio.

To keep up with demand and hype, Motown released Gaye's final duet project, Diana & Marvin, an album with Diana Ross, which helped to increase Gaye's audience overseas with the duo's recording of "You Are Everything" reaching number-five in the UK, number-thirteen on the Dutch chart, and number 20 in Ireland, while the album itself sold over a million copies overseas with major success in the UK. The recording of Diana & Marvin had started in late 1971 and overdubbed sessions took place in 1972 but was shelved from a release until late 1973 following the release of Let's Get It On. Gaye toured throughout 1975 without new releases and collaborated in the studio producing songs for the likes of The Miracles (now without Smokey Robinson) and Yvonne Fair, helping to produce her version of Norman Whitfield's "Funky Music Sho Nuff Turns Me On", featured on Fair's The Bitch is Black, while also assisting her in the background with his vocals. Later in 1975, Gaye shaved his head bald in protest to Rubin Carter's prison sentence. Gaye initially insisted he would remain bald until Carter's release though Gaye's hair and beard returned within a few months.

In 1976, Gaye released his first solo album in three years with I Want You. The title track became a number-one R&B hit, also reaching the top 20 of the national pop chart. The first of his albums to embrace the then popular disco sound of the time, Motown released a double-A 12' of "I Want You" alongside another smooth dancer, "After the Dance". The songs found success as a unit on the Billboard Hot Disco chart, reaching number-ten. By itself "After the Dance", which wasn't intended as a second single, eventually reached number fourteen on the R&B chart with minor pop traction, eventually reaching number 74. That year, Gaye faced several lawsuits with former musicians and also faced prison time for falling behind on alimony payments ordered by law following his first wife Anna Gordy filing legal separation after a 15-year marriage. Gaye avoided imprisonment after agreeing to do a tour of Europe, his first tour of such in little over a decade. His first stop was at London's Royal Albert Hall and then at the city's London Palladium, where a recording was later released in early 1977 as Live at the London Palladium. Gaye performed in France, Holland, Switzerland and Italy to packed audiences and then returned for several US tour dates though he often suffered from exhaustion from some of the US dates. Between 1975 and 1976, Gaye was recognized by major corporations including the United Nations for charitable work dedicated to children and to affairs related to black culture.

In the spring of 1977, Gaye released "Got to Give It Up, Pt. 1", which gave him his third number-one US pop hit, the final one Gaye released in his lifetime. The song also topped the R&B and dance singles chart and also found some international success reaching the top ten in England. Released as the only studio track from the Palladium album, its success kept Palladium on the charts for a year eventually selling over two million copies. It was recognized by Billboard as one of the top-ten selling albums of all time that year.

[edit] Here, My Dear and his final days at Motown (1978–81)

In March 1977, his long, drawn-out court battle with former wife Anna Gordy ended. As a compromise to settle matters between the ex-couple over issues of alimony payments for their adopted son, Gaye's attorney until his death, Curtis Shaw, advised Gaye to remit a portion of the revenue that he was to get for his next studio album. Gaye entered the recording studio intending to produce a "lazy" album, but ended up with the sprawling double-album set, Here, My Dear, which was held up from release for over a year. Finally released after Motown's demand for new product in late 1978, the album was initially a flop, tanking after only a couple months on the charts. Its only single, "A Funky Space Reincarnation", peaked at number 23 on the R&B chart, in early 1979, becoming Gaye's first single since "Soldier's Plea" 17 years earlier to not hit the Billboard Hot 100.

Gaye became a figure on talk show circuits for most of 1979, mostly appearing on Dinah Shore's Dinah & Friends. He also toured in 1979, first in the United States, then in England and in Japan, the latter being the first time (and, as it turned out, the only time) he ever toured that country. As the year continued, Gaye found himself in trouble financially, and at home with second wife, Janis Hunter. The couple split up in 1979, nearly eighteen months after marrying, and by that fall, following a performance in Hawaii, Gaye decided to remain in the state, fearing he might be imprisoned for failing to pay the IRS millions in back taxes; in court, his attorney claimed that several items within the singer's luggage, including tax returns, were stolen from him while at an airport. Meanwhile, Gaye, now heavily in the throes of drug addiction, struggled to record. Reports stated that while in Hawaii, Gaye lived inside a bread truck. He initially had planned to release a standards album titled The Ballads but discarded it, fearing fans would be disappointed by no recognizable hits on it. The singer then intended to release an album of love songs aimed for the disco audience titled Love Man, but within a year, however, Gaye thought of expressing his feelings about a possible Armageddon, as well as his battles of the heart. Gaye changed the titles of all the songs, rewrote lyrics, and retitled the album, In Our Lifetime, recording the album tracks while living in London in the middle of his exile.

A 1980 European tour followed, after Gaye made a deal with British promoter Jeffrey Kruger, who had looked after Gaye's 1976–77 European tour and his Japanese engagement in 1979. Almost immediately, controversy arose, after Gaye failed to make the stage for Princess Margaret at the Royal Gala Charity Show. While Kruger recalls that Gaye showed up just as audiences were leaving, Gaye's musicians recalled that Gaye performed to the few that stayed for the performance though Princess Margaret had already left. Though Princess Margaret denied it, the international press printed the news as an "embarrassing snub", claiming that Gaye had deliberately arrived late. This led to a lawsuit between Gaye and Kruger that eventually settled out of court. While still in London, Gaye ran into problems when recordings of In Our Lifetime? were sent to Motown's offices back in Los Angeles, initially as rough mixes, to get Motown's response rather than intending to release it. However, desperate to release Marvin Gaye product, the label rushed the album out on January 15, 1981. Gaye was upset at the news, and accused the label of editing and remixing the album without his consent, putting out an unfinished song ("Far Cry"), altering the album art he requested, and removing the question mark from the title, muting its irony. Gaye vowed to never record another record for Motown. That summer, negotiations began to be made to release Gaye from the label. After several offers landed, Gaye accepted a deal for CBS Records, a deal that was finalized in March 1982.

Comeback and sudden death (1982–84)[link]

	"Sexual Healing" noicon "Sexual Healing" was written by Gaye alongside Odell Brown and David Ritz. Ritz said Gaye advised him to write a poem after telling the singer he needed "sexual healing" while living in Europe. The song became an international hit after its release in 1982.
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On the advice of Belgian concert promoter Freddy Cousaert, Gaye moved to Ostend, Belgium, in February 1981 where for a time he cut down on drugs and began to get back in shape both physically and emotionally. While in Belgium, Gaye began to make plans to renew his declining fortunes in his professional career, starting with a tour he titled "The Heavy Love Affair Tour" in England where he was greeted more warmly by the same London press that had criticized him of the Princess Margaret snub the previous year. The tour ended with two concert dates in Ostend. A documentary leading up to his Belgian concert performances titled Transit Ostend was initially released to just Belgian fans, and was later issued on VHS in bootleg copies following Gaye's death.

After signing with CBS' Columbia Records division in 1982, Gaye worked on what became the Midnight Love album. Gaye reconnected with Harvey Fuqua while recording the album and Fuqua served as a production adviser on the album, which was released in October 1982. The parent single, "Sexual Healing", was released to receptive audiences globally, reaching number-one in Canada, New Zealand and the US R&B singles chart, while becoming a top ten US pop hit and hitting the top ten in three other selected countries including the UK. The single became the fastest-selling and fastest-rising single in five years on the R&B chart staying at number-one for a record-setting ten weeks. Gaye wrote "Sexual Healing" while in Ostend. Curtis Shaw later said that Gaye's Ostend period was "the best thing that ever happened to Marvin." The now-famous video of "Sexual Healing" was shot at the Casino-Kursaal in Ostend.^[21] "Sexual Healing" won Gaye his first two Grammy Awards including Best Male Vocal Performance, in February 1983, and also won Gaye an American Music Award for Favorite Soul Single. It was called by People magazine "America's hottest musical turn-on since Olivia Newton John demanded we get "Physical".

“

I don't make records for pleasure. I did when I was a younger artist, but I don't today. I record so that I can feed people what they need, what they feel. Hopefully, I record so that I can help someone overcome a bad time.

”

NME – December 1982^[22]

The following year, he was nominated for Best Male R&B Vocal Performance again for the Midnight Love album. In February 1983, Gaye performed "The Star-Spangled Banner" at the NBA All-Star Game, held at The Forum in Inglewood, California, accompanied by Gordon Banks who played the studio tape from stands.^[23] In March 1983, he gave his final television performance for Motown 25, reciting the history of black music and performed "What's Going On". He then embarked on a US tour in April to support his album. The tour, ending in August 1983, was plagued by Gaye's re-emerging cocaine addiction, increased cocaine-triggered paranoia and a bout with depression.

When the tour ended, he attempted to isolate himself by moving into his parents' house in Los Angeles. As documented in the PBS "American Masters" 2008 exposé, several witnesses claimed Marvin's mental and physical condition spiraled out of control. Groupies and drug dealers would show up every day, which according to his brother Frankie's wife Irene Gaye, "hounded" him. Some close to Marvin said he threatened to commit suicide several times. After his father returned from D.C. in October 1983, their arguments grew more contentious. On April 1, 1984, Gaye's father fatally shot him when Gaye intervened in an argument between his parents over misplaced business documents. Coincidentally, the gun had been given to his father by Marvin four months previously. Doctors discovered Marvin's father had a brain tumor but he was deemed fit for trial. Charges for first-degree murder dropped when doctors revealed that Marvin's father had suffered bruises from his final fight with his son and was sentenced to five years of probation after accepting a plea bargain pleading guilty to voluntary manslaughter. Marvin died a day before turning 45.^[24] Spending his final years in a retirement home, Marvin's father died of pneumonia in October 1998.

In 1987, Marvin was posthumously inducted into the Rock and Roll Hall of Fame. He was also honored by Hollywood's Rock Walk in 1989 and was given a star on the Hollywood Walk of Fame in 1990. In 2005, the former D.C. native was inducted to the Michigan Rock and Roll Legends Hall of Fame.^[25] In 2007, two of Gaye's most important recordings, "I Heard It Through The Grapevine" and "What's Going On", were voted Legendary Michigan Songs. "Ain't No Mountain High Enough", his hit duet with Tammi Terrell, was also voted a Legendary Michigan Song in 2011.^[26]

Personal life[link]

Gaye married twice. His first marriage was to Berry Gordy Jr.'s sister, Anna Gordy, who was 17 years his senior. Marvin and Anna were married on January 8, 1964 when Gaye was 24 and Gordy was 42. The marriage imploded after Marvin began courting Janis Hunter, the daughter of Slim Gaillard, in 1973. Anna filed for divorce in 1975; the divorce was finalized in March 1977. Gaye's erotic and disco-tinged studio album I Want You was based on his relationship with Hunter. In his book Mercy, Mercy Me: The Art, Loves, and Demons of Marvin Gaye, author and music writer Michael Eric Dyson elaborated on the relationship between I Want You and the relationship Gaye had with Hunter, which influenced his music:

"I Want You" is unmistakably a work of romantic and erotic tribute to the woman he deeply loved and would marry shortly, Janis Hunter (Janis Gaye). Gaye's obsession with the woman in her late teens is nearly palpable in the sensual textures that are the album's aural and lyrical signature. Their relationship was relentlessly passionate and emotionally rough-hewn; they played up each other's strengths, and played off each other's weaknesses.^[27]

In October 1976, he married Janis, who was 17 years old when they met. However, the marriage dissolved within a year. After attempts at reconciliation, Janis filed for divorce in 1979. The divorce was finalized in February 1981. During this time, Marvin began dating a model from the Netherlands named Eugenie Vis.^[28] In 1982 Gaye became involved with Lady Edith Foxwell, former wife of the British movie director Ivan Foxwell, and spent time with her at Sherston, her Wiltshire estate. Foxwell ran the fashionable Embassy Club and was referred to in the media as "the queen of London cafe society." The story of their affair was told by Stan Hey in the April 2004 issue of GQ. The report quoted writer/composer Bernard J. Taylor as saying he was told by Foxwell that she and Gaye had discussed marriage.

Marvin Gaye was killed by his father on April 1, 1984, during an argument.^[29]

Gaye had three children. Marvin Pentz Gaye III (born 1965), by Denise Gordy, the niece of his first wife Anna Gordy. Marvin III was also adopted by his first wife Anna. The singer disclosed this in David Ritz's biography on Gaye, Divided Soul: The Life of Marvin Gaye, saying he was afraid of being criticized for not producing a child. Later, Gaye had two children with Janis Hunter, Nona Marvisa, nicknamed "Pie" by her dad (born September 4, 1974) and Frankie "Bubby" Christian Gaye (born November 16, 1975). Gaye introduced his daughter to a national audience during a show in 1975. Nona would do the same eight years later when her father was given a tribute by Soul Train. Nona has gone on to find success as a singer and actress. Gaye's eldest son was a music producer. Frankie is said to have taken work as an artist. Gaye also has two grandchildren: Marvin Pentz Gaye IV (born 1995), born on the anniversary of his grandfather's death;^[30] and Nolan Pentz Gaye (born 1997).

Musicianship[link]

Marvin Gaye's musical style changed in various ways throughout his 26-year career. Upon his early recordings as member of The Marquees and Harvey & the New Moonglows in the late 1950s, Marvin recorded in a doo-wop vocal style. After signing his first solo recording contract with Motown, Marvin persuaded Motown executives to allow him to record an adult album of standards and jazz covers. His first album, The Soulful Moods of Marvin Gaye, conveyed those genres including several doo-wop and blues songs.

The Motown Sound and psychedelic soul[link]

Starting with his first charted hit, 1962's "Stubborn Kind of Fellow" through 1967's "Your Unchanging Love", Marvin's music featured a blend of black rhythm and blues and white pop music that came to be later identified as the "Motown Sound". Marvin's 1962–64 hits reflected a dance-pop/rock and roll approach while his 1965–69 recordings reflected a pop-soul style. Backed by Motown's in-house band The Funk Brothers, pre-1970 Marvin Gaye recordings were built around songs with simple, direct lyrics supported by an R&B rhythm section with orchestral strings and horns added for pop appeal. Marvin's early hits were conceived by Berry Gordy, Smokey Robinson, Mickey Stevenson and Holland–Dozier–Holland.

Marvin's sound started to change slightly in 1967 after he began working with producers Norman Whitfield, Ashford & Simpson and Frank Wilson. Whereas Marvin's early sound reflected a youthful exterior, later songs during that period including "You", "Chained", "I Heard It Through the Grapevine", "Too Busy Thinking About My Baby" and "That's the Way Love Is" were all recorded under the psychedelic soul sound of the late sixties and early seventies. "Psychedelic soul" mixed guitar-driven rock with soul-based grooves. Marvin's vocal style also changed during that period where he began singing in a gospel texture that had been only hinted at in previous recordings.

Social commentary and conceptual albums[link]

In 1971, Marvin issued his landmark album, What's Going On. The album and its tracks were responsible in the changing landscape of rhythm and blues music as the album presented a full view of social ills in America, including war, police brutality, racism, drug addiction, environmentalism, and urban decay. Beforehand, recordings of social unrest had been recorded by the likes of (Curtis Mayfield &) The Impressions, The Temptations, Sam Cooke, Sly and the Family Stone and James Brown, but this was the first album fully devoted to those issues. The album was produced under what is called a song cycle and because of its theme of "what's going on" was considered one of the first concept albums to be released in soul music. Marvin's 1972 soundtrack Trouble Man, based on the blaxploitation film of the same name, mainly featured instrumentals with a few vocal runs, including songs with social commentary. Marvin's 1972 recordings outside that album – including "Where Are We Going", "Piece of Clay", "You're the Man" and "The World Is Rated X" – also raised social issues and was personal in nature. The songs were to be included in the unreleased 1972 album, You're the Man, which was canceled after the modest reception of the title single. Marvin issued his next "concept album" with 1973's Let's Get It On, based on the spiritual and erotic side of love and sex. Marvin released a similarly themed funk album in 1976, I Want You, before switching to personal issues with the albums Here, My Dear (1978) and In Our Lifetime (1981). The former album focused on Marvin's problems in his first marriage, while the latter focused on his own life struggles. Marvin's albums between 1971 and 1981 reflected a period where, as an Allmusic writer said, his music "not only redefined soul music as a creative force but also expanded its impact as an agent for social change".^[31]

From funk to disco to contemporary R&B[link]

Starting in the early-seventies, Marvin's sound began to reflect the emerging sounds of funk and the later disco movement of the late 1970s. Marvin's double-sided 1976 single, "I Want You/After the Dance" and his 1977 hit, "Got to Give It Up" were his only successful attempts at recording disco-styled dance music whereas the 1978 single "A Funky Space Reincarnation", 1979's "Ego Tripping Out" and the 1981 singles "Praise" and "Heavy Love Affair" aimed at the funk-based urban audience. By itself, "I Want You", mixed funk with disco, soul and lite rock elements. With the release of 1982's triple-platinum Midnight Love and the massive platinum selling smash hit, "Sexual Healing", Marvin mixed the styles of funk and post disco with Caribbean and European-flavored pop music creating a mix that influenced the modern R&B sound. "Sexual Healing" was the biggest R&B hit of the 1980s – No.1 for 10 consecutive weeks. Some of Marvin's posthumous releases have been varied in nature: 1985's Dream of a Lifetime was produced mostly in an electro funk sound mostly in the first half of the album, while his posthumous "featuring" on rapper Erick Sermon's 2001 hit, "Music" brought him to a younger hip-hop audience.

Legacy and influence[link]

According to several historians, Marvin Gaye's career "spanned the entire history of rhythm and blues from fifties doo-wop to eighties contemporary soul."^[32] Critics stated that Gaye's music "signified the development of black music from raw rhythm and blues, through sophisticated soul to the political awareness of the 1970s and increased concentration on personal and sexual politics thereafter."^[33] Marvin's usage of multi-tracked vocalizing, recording songs of social, political and sexual issues, and producing albums of autobiographical nature have influenced a generation of recording artists of various genres. As an artist who broke away from the controlled atmosphere of Motown Records in the 1970s, he influenced the careers of label mates such as Stevie Wonder, The Isley Brothers and, later in Epic Records, Michael Jackson to gain creative control and produce/co-produce their own albums. The careers of later R&B stars such as Rick James, Prince, R. Kelly, D'Angelo, Raheem DeVaughn, Maxwell, Janet Jackson, George Michael, Justin Timberlake, Usher, Bobby V, Trey Songz and J. Holiday also were influenced by the music of Marvin Gaye. Marvin's erotically concept albums such as Let's Get It On and I Want You inspired similar albums released by Smokey Robinson, Barry White and his co-producer on I Want You, Leon Ware. Modern-day artists such as Teena Marie and Mary J. Blige have also referenced Marvin in their own songs. In 2004, Rolling Stone ranked him No.18 on their list of the "100 Greatest Artists of All Time".^[34]

Tributes and covers[link]

In 1983, Spandau Ballet recorded the single "True" as a tribute to Marvin and the Motown sound he helped established. That same year, electro-funk group R. J.'s Latest Arrival mentioned him with their dance hit, "Shackles on My Feet". DeBarge's 1983 hit, "All This Love" was musically influenced by Marvin's sound and was rumored that they had wanted Marvin to record the song himself. However, Marvin had left the label before they could approach him.

On April 2, 1984, the day after Marvin's death, Duran Duran dedicated their live performance of "Save a Prayer" while on their Sing Blue Silver tour and appearing on their Arena album to him. Tribute songs to the singer included Diana Ross' "Missing You" and The Commodores' "Nightshift" became hits with each song reaching number-one on the Billboard Hot R&B Singles chart. Other artists who have either paid tribute to Marvin in a song or referenced him have included close friend and former Motown label-mate Edwin Starr, who released "Marvin" the month after his death, Teena Marie's "My Dear Mr. Gaye", Todd Rundgren's "Lost Horizon", the Violent Femmes' 1988 single "See My Ships", Maze featuring Frankie Beverly's 1989 R&B hit, "Silky Soul", ABC's 1987 single "When Smokey Sings" (Gaye's "What's Going On (song)" is sampled for the Miami Mix) and George Michael's "John and Elvis Are Dead" where Marvin is mentioned in one the final lines from the repeated chorus. Stevie Wonder wrote the song "Lighting Up the Candles" as a tribute to Gaye following his death and performed the song originally at Gaye's funeral service. Wonder later recorded the song for the Jungle Fever soundtrack.

In 1992, Israeli artist Izhar Ashdot dedicated his song "Eesh Hashokolad" to Gaye. Two tribute albums, 1995's Inner City Blues: The Music of Marvin Gaye (which featured Nona's version of "Inner City Blues") and 1999's Marvin Is 60 featured covers of Marvin's most famous material. Since the 1960s, Marvin's songs have been covered by a variety of artists. The Rolling Stones and The Who recorded "Baby Don't You Do It" early in their careers. The Band also recorded "Baby Don't You Do It" numerous times under the title "Don't Do It"; the different versions, both studio and live, appear on several of their albums and box sets (the only one to be released as a single came from Rock of Ages), as well as in their 1976 concert film The Last Waltz. Rod Stewart during his early tenure with Steampacket covered "Can I Get a Witness". His 1965 hit, "How Sweet It Is (To Be Loved By You)" was covered three times by Junior Walker in 1966, again in 1975 by James Taylor, and again in 2002 by gospel singer Helen Baylor. In Baylor's version she substituted the word "baby" for Jesus.

Gaye's 1968 hit "I Heard It Through the Grapevine" has been frequently covered with versions recorded by Creedence Clearwater Revival, Roger Troutman, Edwin Starr and The California Raisins. Donny Hathaway performed a live version of "What's Going On" for his 1972 Live album while Cyndi Lauper recorded a top forty version of "What's Going On" in 1987, the song was re-recorded by a variety of contemporary pop, R&B and rap artists in 2001(again, including Nona) for AIDS benefit and was later dedicated to the events of the September 11, 2001 attacks. A few years after that, rock band A Perfect Circle covered the song in their own hard rock version. The singer's "Mercy Mercy Me (The Ecology)" was covered by rock band The Strokes which featured Eddie Vedder on lead vocals. R&B singer Angela Winbush covered "Inner City Blues" in 1994 and was recorded in a slightly different version by Gil-Scott Heron in the 1970s. Aaliyah covered "Got to Give It Up" on her album One in a Million.

Gospel–soul legends Mavis Staples and Aretha Franklin have each covered "Wholy Holy" from the What's Going On album while "Let's Get It On" was famously sampled by Shaggy on his breakthrough single, 1994's "Boombastic". Versions of "Sexual Healing" have been recorded by Soul Asylum, Ben Harper, Max-A-Million, Kate Bush, Neil Finn, Sarah Connor and Ne-Yo. Michael McDonald, Diana Ross and Amy Winehouse have all covered or redone their own versions of "Ain't No Mountain High Enough", Marvin's 1967 hit with Tammi Terrell while Luther Vandross and Cheryl Lynn reinterpreted the Marvin/Tammi single, "If This World Were Mine" in 1982. Mary J. Blige and Method Man, with permission, sampled an interpolation of "You're All I Need to Get By" for their 1995 hit, "You're All I Need/I'll Be There for You". In June 2008, D'Angelo alongside Erykah Badu recorded Gaye's hit duo with Terrell, "Your Precious Love" for his "The Best So Far"...compilation album.

On April 2, 2006, on what would have been the singer's 67th birthday, a park near the neighborhood where Marvin grew up at in Washington, D.C. was renamed after him after a discussion with the City Council. "Inner City Blues (Make Me Wanna Holler)" was covered by John Mayer in his Album As/Is, released in 2004. The cover also featured DJ Logic. Elton John's song "Club at the End of the Street" also mentions Marvin Gaye. On the 25th anniversary of Marvin Gaye's death, the singer's hometown of Washington, D.C. again honored the singer by renaming a street he grew up on called "Marvin Gaye Way".

Musical achievements and posthumous releases[link]

Gaye scored 41 Top 40 hit singles on Billboard's Pop Singles chart between 1963 and 2001, 60 Top 40 R&B singles chart hits from 1962 to 2001, 18 Top Ten pop singles on the pop chart, 38 Top 10 singles on the R&B chart,^[35] three number-one pop hits and thirteen number-one R&B hits and tied with Michael Jackson in total as well as the fourth biggest artist of all-time to spend the most weeks at the number-one spot on the R&B singles chart (52 weeks). In all, Gaye produced a total of 67 singles on the Billboard charts in total, spanning five decades, including five posthumous releases.

The year a remix of "Let's Get It On" was released to urban adult contemporary radio, "Let's Get It On" was certified gold by the RIAA for sales in excess of 500,000, making it the best-selling single on Motown in the United States. Gaye's "I Heard It Through the Grapevine" is the best-selling international Motown single, explained by a re-release in Europe following a Levi 501 Jeans commercial in 1986.

On June 19, 2007, Hip-O Records reissued Gaye's final Motown album, In Our Lifetime as an expanded two-disc edition titled In Our Lifetime?: The Love Man Sessions, bringing back the original title with the question mark and included a different mix of the album, which was recorded in London and also including the original songs from the Love Man album, which were songs later edited lyrically for the songs that made the In Our Lifetime album. The same label released a deluxe edition of Gaye's Here, My Dear album, which included a re-sequencing of tracks from the album from producers such as Salaam Remi and Bootsy Collins.

His 1983 NBA All-Star performance^[36] of the national anthem was used in a Nike commercial featuring the 2008 US Olympic basketball team. Also, on CBS Sports' final NBA telecast to date (before the contract moved to NBC) at the conclusion of Game 5 of the 1990 Finals, they used Gaye's 1983 All-Star Game performance over the closing credits. When VH1 launched on January 1, 1985, Gaye's 1983 rendition of the national anthem was the very first video to be aired. Most recently, it was used in the intro to Ken Burns' Tenth Inning documentary on the game of baseball.

In 2008, Gaye earned $3.5 million, and took 13th place in 'Top-Earning Dead Celebrities' in Forbes Magazine.^[37]

In a MusicRadar.com poll, "I Heard It Through the Grapevine", one of his most famous songs, was voted No.1 and greatest Motown song and his "What's Going On" made the top five.^[38]

Documentaries and movies[link]

A documentary about Gaye – What's Going On: The Marvin Gaye Story – was a UK/PBS co-production, directed by Jeremy Marre and was first broadcast in 2006; two years later, the special re-aired with a different production and newer interviews after it was re-broadcast as an American Masters special. Gaye is referenced as one of the supernatural acts to appear in the short story and later television version of Stephen King's Nightmares and Dreamscapes in "You Know They Got a Hell of a Band".

A play by Caryl Phillips called A Long Way from Home, focusing on Gaye's relationship with his father and his last years in Ostend, was broadcast by BBC Radio 3 in March 2008. It featured O. T. Fagbenle as Gaye and Kerry Shale as Marvin Gay Sr., with Rhea Bailey, Rachel Atkins, Damian Lynch, Alibe Parsons, Ben Onwukwe and Major Wiley. It was directed by Ned Chaillet and produced by Chris Wallis.

So far, three movies are currently being planned on Marvin Gaye's life. One movie, Sexual Healing, is based on the post-Motown career of his later years, with Jesse L. Martin playing Marvin and James Gandolfini playing Marvin's Belgium-based mentor, concert promoter Freddy Cousaert.^[39] Another film, simply titled, Marvin, is also in plans for production with F. Gary Gray in helm to direct the film.^[40] This film, unlike Sexual Healing, will focus on Marvin's entire life story because unlike Sexual Healing, the second film was allowed rights to Marvin's Motown catalog. Musicians Common and Usher and actor Will Smith have either been rumored to or have aspired to play the singer possibly in the second film. A third film on Gaye is reportedly being produced by Motown with director Cameron Crowe.^[41]

Discography[link]

Filmography[link]

	Book: Marvin Gaye
Wikipedia books are collections of articles that can be downloaded or ordered in print.

Marvin Gaye portal

• 1965: T.A.M.I. Show (documentary)
• 1969: The Ballad of Andy Crocker (television movie)
• 1971: Chrome & Hot Leather (television movie)
• 1972: Trouble Man (cameo; soundtrack)
• 1973: Save the Children (documentary)

Videography[link]

• Marvin Gaye: Live in Montreux 1980 (2003)^[42]
• The Real Thing: In Performance (1964–1981) (2006)

Marvin Gaye in popular culture[link]

In advertising[link]

• During the 2008 Summer Olympics, Nike ran ads focused on the United States' Men's Basketball Team featuring Marvin Gaye's 1983 performance of "The Star-Spangled Banner" during the NBA All-Star Game. The message is: the team found inspiration in the way Marvin Gaye performed the song.

• "A Funky Space Reincarnation," from his 1978 album "Here, My Dear," was used in the Dior J'Adore perfume commercial that features Charlize Theron.

In music[link]

• Singer Diana Ross honors Marvin Gaye in the 1984 song titled "Missing You."
• Singer Teena Marie pays tribute to Marvin Gaye with her song titled "My Dear Mr. Gaye."
• In 1997, R&B singer Aaliyah did a cover to Marvin Gaye's "Got To Give It Up" which featured Slick Rick.
• In the song "Hörst Du mich?" by German Hip Hop band Fettes Brot, the first verse is dedicated to Marvin Gaye.^[43]
• The Commodores paid tribute to Marvin Gaye and Jackie Wilson on their hit "Nightshift" in 1985.
• The Prefab Sprout song "When the angels", from their 1985 album Steve McQueen, is a tribute to Marvin Gaye.^[44]
• "See My Ships", a song from 3 (the 1989 Violent Femmes album), the shooting of Marvin Gaye is used in a double-entendre to express anxiety about a final judgement by God (the 'father'): "Mercy mercy me, Marvin Gaye, he was shot by his father, O my father have mercy on me"^[45]
• The Avett Brothers reference Marvin Gaye in their song "The Day Marvin Gaye Died"
• Rapper Tupac Shakur referenced Gaye in his song "Keep Ya Head Up".
• Rapper Big Sean recorded a song used on his Finally Famous album titled "Marvin & Chardonnay" featuring Kanye West and Roscoe Dash.
• Rapper Drake recorded "Marvin's Room" in reference to producing the song in Marvin Gaye's studio.
• Rapper Charles Hamilton referenced Marvin in his song "Stay On Your Level":
• Rapper Tyler, The Creator referenced Marvin in his song "Yonkers".
• Rapper Immortal Technique referenced Marvin and "What's Going On" in his song "Crossing the Boundary".
• Rapper B. Dolan referenced Marvin in his song "Marvin (Can't Remember)".
• Rapper Cormega referenced Marvin in his song "Journey".
• R&B singer R. Kelly mentions Gaye at the end of "If I Could Make The World Dance" on his 2004 "Happy People/U Saved Me" album. Kelly states "Marvin Gaye inspired me to write that one y'all".
• Jazz composer & multi-instrumentalist Don Byron's String Quartet No. 2; Four Thoughts on Marvin Gaye, I-IV, a tribute to the life of Marvin Gaye, was released by the string quartet ETHEL on the album Heavy (Innova, 2012).

Onscreen[link]

Film

• He played "Jim" in the 1971 biker film Chrome and Hot Leather, which also featured Larry Bishop.

Television

• In The Sopranos season 6, episode 1 ("Members Only"), Uncle Junior shoots Tony Soprano and Vito Spatafore later remarks: "He Marvin Gaye'd his own nephew”.

In poetry[link]

• On multi-genre performer B. Dolan's 2010 album, Fallen House Sunken City (Strange Famous Records), "Marvin" is a poem about the last days of Marvin Gaye.

References[link]

Further reading[link]

• Davis, Sharon (1991). Marvin Gaye: I Heard It Through The Grapevine. Croydon, Surrey: Bookmarque Ltd. ISBN 1-84018-320-9
• Dyson, Michael Eric (2004). Mercy, Mercy Me: The Art, Loves, and Demons of Marvin Gaye. New York/Philadelphia: Basic Civitas. ISBN 0-465-01769-X.
• Gambaccini, Paul (1987). The Top 100 Rock 'n' Roll Albums of All Time. New York: Harmony Books.
• Garofalo, Reebee (1997). Rockin' Out: Popular Music in the USA. Allyn & Bacon. ISBN 0-205-13703-2. 
• Gaye, Frankie with Basten, Fred E. (2003). Marvin Gaye: My Brother. Backbeat Books, ISBN 0-87930-742-0
• Heron, W. Kim (April 8, 1984). Marvin Gaye: A Life Marked by Complexity. Detroit Free Press.
• Posner, Gerald (2002). Motown : Music, Money, Sex, and Power. New York: Random House. ISBN 0-375-50062-6.
• Ritz, David (1986). Divided Soul: The Life of Marvin Gaye. Cambridge, Mass: Da Capo Press. ISBN 0-306-81191-X
• Turner, Steve (1998). Trouble Man: The Life and Death of Marvin Gaye. London: Michael Joseph. ISBN 0-7181-4112-1
• Ward, Ed, Geoffrey Stokes and Ken Tucker (1986). Rock of Ages: The Rolling Stone History of Rock and Roll. Rolling Stone Press. ISBN 0-671-54438-1. 
• White, Adam (1985). The Motown Story. London: Orbis. ISBN 0-85613-626-3

External links[link]

Wikiquote has a collection of quotations related to: Marvin Gaye

R&B and Soul Music portal

• Marvin Gaye at AllRovi
• Marvin Gaye at Allmusic
• Marvin Gaye at the Internet Movie Database
• Marvin Gaye Biography
• Marvin Gaye Life & Legacy
• Additional archives

Johnny Carson
Carson in January 1966
Birth name	John William Carson
Born	(1925-10-23)October 23, 1925 Corning, Iowa
Died	January 23, 2005(2005-01-23) (aged 79) Los Angeles, California
Nationality	American
Years active	1950-1994
Genres	Satire, sketch comedy, improvisational comedy
Subject(s)	current events, American politics, American culture, pop culture
Influences	[list membership disputed] Groucho Marx, Jack Benny, Fred Allen, Bob Hope, Laurel and Hardy, Red Skelton, George Burns, Milton Berle, Steve Allen, Charlie Chaplin, Don Rickles, Michael Gough, Bob Newhart[1]
Influenced	[list membership disputed] Ray Combs, Ellen DeGeneres, Kathy Griffin, Bill Hicks, Jay Leno, David Letterman,[2] George Lopez, Bill Maher, Conan O'Brien, Jerry Seinfeld, Garry Shandling
Spouse	Jody Morrill Wolcott (m. 1949-1963; divorced) Joanne Copeland (m. 1963-1972; divorced) Joanna Holland (m. 1972-1985; divorced) Alexis Maas (m. 1987-2005, his death)
Notable works and roles	Host of The Tonight Show Starring Johnny Carson
Signature
Emmy Awards
Special Classification of Outstanding Program and Individual Achievement 1976 The Tonight Show Starring Johnny Carson 1977 The Tonight Show Starring Johnny Carson 1978 The Tonight Show Starring Johnny Carson 1979 The Tonight Show Starring Johnny Carson Governor's Award 1980 Outstanding Variety, Music or Comedy Program (Series) 1992 The Tonight Show Starring Johnny Carson
Peabody Awards
Personal Award 1985
American Comedy Awards
Funniest Male Performer in a TV Series (Leading Role) Network, Cable or Syndication 1987 The Tonight Show Starring Johnny Carson Lifetime Achievement Award 1992 Lifetime Achievement

John William "Johnny" Carson (October 23, 1925 – January 23, 2005) was an American television host and comedian, known for thirty years as host of The Tonight Show Starring Johnny Carson (1962–1992). Carson received six Emmy Awards, the Governor Award, and a 1985 Peabody Award. He was inducted into the Television Academy Hall of Fame in 1987. Johnny Carson was awarded the Presidential Medal of Freedom in 1992 and received a Kennedy Center Honor in 1993.^[3]

Although his show was already successful by the end of the 1960s, during the 1970s Carson became an American icon and remained so until his retirement in 1992. He adopted a casual, conversational approach with extensive interaction with guests, an approach pioneered by Arthur Godfrey and previous Tonight Show hosts Steve Allen and Jack Paar. Late night hosts David Letterman, Jay Leno, Conan O'Brien, Craig Ferguson, and Jimmy Fallon have all cited ^[4][5] Carson's influence on their late-night talk shows, which resemble his in format and tone.

Early life and career[link]

Carson was born in Corning, Iowa, in the year 1925, to Homer Lloyd "Kit" Carson, a power company manager, and Ruth Hook Carson, who was of Irish descent.^[6] He grew up in the nearby towns of Avoca, Clarinda, and Red Oak in southwest Iowa before moving to Norfolk, Nebraska, at the age of eight. At the age of twelve, Carson found a book on magic at a friend's house and immediately purchased a mail-order magician's kit. He debuted as "The Great Carsoni" at fourteen and was paid $3; many other performances at local picnics and country fairs followed.^[6]

Navy portrait of Carson

Carson joined the U.S. Navy on June 8, 1943, received V-12 officer training at Columbia University^[7] and Millsaps College,^[8] and continued to perform magic. Commissioned an ensign late in the war, Carson was assigned to the USS Pennsylvania in the Pacific. While in the Navy, Carson posted a 10-0 amateur boxing record, with most of his bouts fought on board the USS Pennsylvania.^[9] He was en route to the combat zone aboard a troopship when the bombing of Hiroshima and Nagasaki ended the war. Carson served as a communications officer in charge of decoding encrypted messages and said that the high point of his military career was performing a magic trick for United States Secretary of the Navy James V. Forrestal.

Carson then attended the University of Nebraska in Lincoln, where he joined Phi Gamma Delta fraternity, continued performing magic (now paid $25 per appearance^[6]), wrote a thesis on the structure of Jack Benny's comedy routines,^[10] and graduated with a bachelor of arts degree in radio and speech with a minor in physics in 1949.

He began his broadcasting career in 1950 at WOW radio and television in Omaha, Nebraska.^[11] Carson soon hosted a morning television program called The Squirrel's Nest. One of his routines involved interviewing pigeons on the roof of the local courthouse that would allegedly report on the political corruption they had seen. Carson supplemented his income by serving as master of ceremonies at local church dinners, attended by some of the same politicians and civic leaders that he had lampooned on the radio.

Carson as a guest on Jack Benny's television program, 1955.

Carson in 1957.

In 1951 Carson visited California and unsuccessfully sought work. The wife of one of the political figures he spoofed owned stock in a radio station in Los Angeles and referred Carson to her brother, who was influential in the emerging television market in southern California, and later that year Carson went to work at CBS-owned Los Angeles television station KNXT.^[6] He would later joke that he owed his success to the birds of Omaha. In 1953 comic Red Skelton — a fan of Carson's "cult success" low-budget sketch comedy show, Carson's Cellar (1951 to 1953) on KNXT — asked Carson to join his show as a writer. In 1954 Skelton during rehearsal accidentally knocked himself unconscious an hour before his live show began, and Carson successfully filled in for him.^[6] In 1955, Jack Benny invited Carson to appear on one of his programs during the opening and closing segments. Carson imitated Benny and claimed that Benny had copied his gestures. Benny, however, predicted that Carson would have a successful career as a comedian.^[12]

Carson hosted several shows besides Carson's Cellar, including the game show Earn Your Vacation (1954) and the variety show The Johnny Carson Show (1955–1956).^[6][13] He was a regular panelist on the original To Tell the Truth until 1962. After the prime time The Johnny Carson Show failed, he moved to New York City to host Who Do You Trust? (1957–1962), formerly known as Do You Trust Your Wife?. In 1958 he appeared as a guest star in an episode entitled "Do You Trust Your Wife" on NBC's short-lived variety show, The Polly Bergen Show. It was on Who Do You Trust? that Carson met his future sidekick, Ed McMahon. Although he believed moving to daytime would hurt his career, Who Do You Trust? was a success. It was the first show where he could ad lib and interview guests,^[10] and because of Carson's on-camera wit, the show became "the hottest item on daytime television" during his five years there.^[6]

[edit] The Tonight Show

NBC's Tonight was the late-night counterpart to its early-morning show Today. Originating in 1953 with host Steve Allen, Tonight was somewhat experimental at the time, as the only previous network late-night program was NBC's "Broadway Open House". Tonight was successful, and when Allen moved on to prime-time comedy-variety shows, Jack Paar replaced him as host of Tonight. Paar left the show in 1962.

Johnny Carson's success on Who Do You Trust? led NBC to invite him to take over Tonight a few months before Paar's departure. Carson declined the offer because he feared the difficulty of interviewing celebrities for 1 3/4 hours (105 minutes) daily, but NBC asked him again after Bob Newhart, Jackie Gleason, Groucho Marx, and Joey Bishop all declined. Carson accepted in March 1962 but had six months left on his ABC contract, during which NBC used multiple guest hosts including Merv Griffin.^[10][6]

Although he continued to have doubts about his new job, Carson became host of Tonight (later becoming The Tonight Show Starring Johnny Carson) on October 1, 1962, and, after a difficult first year, overcame his fears.^[10] While Tonight under its previous hosts had been successful, especially under Paar, Carson's version eventually did well in the ratings. Billy Wilder said of Carson:

By the simple law of survival, Carson is the best. He enchants the invalids and the insomniacs as well as the people who have to get up at dawn. He is the Valium and the Nembutal of a nation. No matter what kind of dead-asses are on the show, he has to make them funny and exciting. He has to be their nurse and their surgeon. He has no conceit. He does his work and he comes prepared. If he’s talking to an author, he has read the book. Even his rehearsed routines sound improvised. He’s the cream of middle-class elegance, yet he’s not a mannequin. He has captivated the American bourgeoisie without ever offending the highbrows, and he has never said anything that wasn’t liberal or progressive. Every night, in front of millions of people, he has to do the salto mortale [a circus parlance for an aerial somersault performed on the tightrope]. What’s more, he does it without a net. No rewrites. No retakes. The jokes must work tonight.^[6]

McMahon followed Carson from Who Do You Trust? as his announcer and sidekick. McMahon's opening line, "Heeeere's Johnny" was followed by a brief monologue by Carson. This was often followed by comedy sketches, interviews, and music. Carson's trademark was a phantom golf swing at the end of his monologues, aimed stage left toward the studio orchestra. (Guest hosts sometimes parodied that gesture. Bob Newhart rolled an imaginary bowling ball toward the audience.) Johnny enjoyed what he called the "Carson Kits," or beautiful girls, to adorn his show. Theona Bryant, a favorite, was a model. The other "Carson Cuties" were Phyllis Applegate, Norma Brooks, and Sally Todd.

Paul Anka wrote the theme song, ("Johnny's Theme"), a reworking of his "Toot Sweet"; given lyrics, it was renamed, "It's Really Love," and recorded by Annette Funicello in 1959. Before taking over The Tonight Show, Carson wrote lyrics for the song and thus claimed 50% of the song's performance royalties (even though the lyrics were never used). The theme is heard being played on sound recordings of Carson's first Tonight Show and it was used without interruption through to his very last broadcast in 1992.

The show was originally produced in New York City, with occasional stints in California. It was not live in its early years, although during the 1970s, NBC fed the live taping from Burbank to New York via satellite for editing (see below). The program had been done "live on tape" (uninterrupted unless a problem occurred) since the Jack Paar days. Carson had a talent for quick quips to deal with problems.^[6] If the opening monologue fared poorly, the band would start playing "Tea for Two" and Carson danced, to laughs from the studio audience. Alternatively, Carson might pull the boom mic close to his face and announce "Attention K-Mart shoppers!"

Move to Burbank[link]

In May 1972, the show moved from New York to Burbank, California. Carson often joked about "beautiful downtown Burbank"^[14] and referred to "beautiful downtown Bakersfield," which prompted Mayor Mary K. Shell to chide Carson and invite him to her city to see improvements made during the early 1980s.^{[citation needed]}

After July 1971, Carson stopped doing shows five days a week. Instead, on Monday nights there was a guest host, leaving Carson to do the other four each week. Shows were taped in Burbank at 5:30 pm (8:30 pm Eastern time) to be shown that evening at 11:30 pm Eastern time. On September 8, 1980, at Carson's request, the show cut its 90-minute format to 60 minutes; Tom Snyder's Tomorrow added a half hour to fill the vacant time. Joan Rivers became the "permanent" guest host from September 1983 until 1986. The Tonight Show returned to using rotating guest hosts, including comic George Carlin. Jay Leno then became the exclusive guest host in fall 1987. Leno joked that although other guest hosts had upped their fees, he had kept his low, assuring himself more bookings. Eventually, Monday night was for Leno, Tuesday for The Best of Carson—rebroadcasts usually dating from a year earlier but occasionally from the 1970s.

Although Carson's work schedule became more attenuated, Tonight remained so successful that his compensation from NBC continued to rise; by the mid-1970s he had become the highest-paid personality on television,earning about $4 million a year ($14,253,000 today), not including nightclub appearances and his other businesses. He refused many offers to appear in films, including title roles in The Thomas Crown Affair and Gene Wilder's role in Blazing Saddles.^[6]

In recognition of his 25th anniversary on The Tonight Show, Carson received a personal Peabody Award, the Board saying he had "become an American institution, a household word, [and] the most widely quoted American"; they also said they "felt the time had come to recognize the contributions that Johnny has made to television, to humor, and to America."^[15]

Comic characters[link]

Carson played several continuing characters on sketches during the show, including

• Art Fern, the "Tea Time Movie" announcer, ^[16] whose theme song was "Hooray for Hollywood". Carson once admitted on camera that this was his favorite character, based on late-afternoon TV hosts who would deliver commercials throughout the movie. Each sketch usually featured three long commercials interrupted by silent, four-second clips from antique films. When the camera returned from each clip, Art was always caught off-guard and immediately reminded viewers that they were watching a film favorite. The movies always had unlikely casts and even less likely titles: "Slim Pickens, Patti Page, Duke Wayne, and Charlton Heston in another classic Western: 'Kiss My Saddle Horn'!" Carson originally played the fast-talking huckster in his own voice (as Honest Bernie Schlock or Ralph Willie), and finally settled on a nasal, high-pitched, smarmy drone, reminiscent of Jackie Gleason's "Reginald Van Gleason III" character. The character, now permanently known as Art Fern, wore a lavish toupee, loud jackets, and a pencil mustache. Actress Carol Wayne became famous for her 100-plus appearances (1971–1982) as Art's buxom assistant, the Matinée Lady. While Art gave his spiel, she would enter the stage behind him. Art would react to her attractive body, wincing loudly: "Ho — leeeee!" After Carol Wayne's death in 1985, Carson kept Art Fern off the air for most of the next year, and finally hired Danuta Wesley and then Teresa Ganzel to play the Matinée Lady. Carson also used these sketches to poke fun at the intricate Los Angeles interstate system, using a pointer and map to give confusing directions to shoppers, often including points where he would unfold the cardboard map to point out, via the appropriate picture, when the shopper would arrive at "the fork in the road". Another freeway routine in the same theme centered around the fictional "Slauson Cutoff". Art Fern would advise drivers to take a series of freeways until they reached the Slauson Cutoff, and would then advise them to "Get out of your car, cut off your slauson, get back in your car," often followed by peals of laughter from the audience, led by McMahon.
• Carnac the Magnificent, a turbaned psychic who could answer questions before seeing them. (This same routine had been done by Carson's predecessor, Steve Allen, as "The Answer Man". The Carnac character and routine closely resembled Ernie Kovacs' character "Mr. Question Man".ref name=EW /> Carnac had a trademark entrance in which he always turned the wrong direction when coming onto stage and then "tripped" on the step up to Carson's desk. (In one episode, technicians rigged Carson's desk to fall apart when Carnac fell into it.) These comedic missteps were an indication of Carnac's true prescient abilities. Ed McMahon would hand Carnac a series of envelopes containing questions, said to have been "sitting inside a mayonnaise jar on Funk & Wagnall's porch since noon today". Carnac would place each envelope against his forehead and predict the answer, such as "Gatorade". Then he would read the question: "What does an alligator get on welfare?" Some of the jokes were feeble, and McMahon used pauses after terrible puns and audience groans to make light of Carnac's lack of comic success ("Carnac must be used to quiet surroundings"), prompting Carson to return an equal insult. McMahon would always announce near the end, "I hold in my hand the last envelope," at which the audience would applaud wildly, prompting Carnac to pronounce a comedic "curse" on the audience, such as "May your sister elope with a camel!", or the most famous: "May the bird of paradise fly up your nose!"^{[citation needed]}
• Floyd R. Turbo, American (with no pause between words). A stereotypical redneck wearing a plaid hunting coat and cap, who offered "editorial responses" to left-leaning causes or news events. Railing against women's rights in the workplace, for example, Turbo would shout: "This raises the question: kiss my Dictaphone!"
• Aunt Blabby, a cantankerous and sometimes amorous old lady, invariably being interviewed by straight man Ed McMahon about elder affairs.^[16] McMahon would innocently use a common expression like "check out", only to have Aunt Blabby warn him: "Don't say 'check out' to an old person!" Aunt Blabby was an obvious copy of Jonathan Winters' most famous creation, Maude Frickert, including her black spinster dress and wig.
• El Mouldo, a mentalist, who would attempt to perform mind-reading and mind-over-matter feats, all of which failed. Often his tricks would include an attempt to bilk money from Ed McMahon or would end with him begging the audience for a dollar, or at least bus fare.
• The Maharishi, whose theme song was "Song of India". This frizzy-haired "holy man" spoke in a high-pitched, tranquil tone, greeted announcer McMahon with a flower, and answered philosophical questions.^{[citation needed]}

Carson uncensored on satellite[link]

Even though Carson's program was based in Burbank, NBC's editing and production services for the program were located in New York, resulting in the requirement that Carson's program be transmitted from Burbank to New York. Beginning in 1976, NBC used the Satcom 2 satellite to do this, feeding the live taping (which usually took place in the early evening) directly to New York, where it would be edited prior to the normal broadcast. This live feed lasted usually from two to two-and-a-half hours a night, and was uncensored and commercial-free. During the commercial breaks the audio and picture would be left on, capturing at times risque language and other events that would certainly be edited out later going out over the feed.

At the same time, however, satellite ground stations owned by private individuals began to appear, and some managed to find the live feed. Satellite dish owners began to document their sightings in technical journals, giving viewers knowledge of things they were not meant to see. Carson and his production staff grew concerned about this, and pressured NBC into ceasing the satellite transmissions of the live taping in the early 1980s. The satellite link was replaced by microwave landline transmission until the show's editing facilities were finally moved to Burbank.^[17]

Effect on popular culture[link]

Carson's show launched the careers of many performers, especially comedians.^[6] Getting Carson to laugh and then to be called to the guest chair was the highest honor. Most notable among these were David Letterman, Jerry Seinfeld, Jeff Foxworthy, Bill Maher, Ellen Degeneres, Tim Allen, Drew Carey, and Roseanne Barr. Carson was successor to The Ed Sullivan Show as a showcase for all kinds of talent, as well as continuing a vaudeville-style variety show.

In 1966, Carson popularized Milton Bradley's game Twister when he played it with actress Eva Gabor. Not widely known at the time, the game skyrocketed in popularity after the broadcast.^[18]

Controversies and feuds[link]

Carson often made jokes at the expense of other celebrities. Some years after a high-profile feud between Carson and Wayne Newton, the latter appeared on Larry King Live, declaring that "Johnny Carson is a mean-spirited human being. And there are people that he has hurt that people will never know about. And for some reason at some point, he decided to turn that kind of negative attention toward me. And I refused to have it."^[19] One veteran NBC actor, Raymond Burr, became riled over Carson's continuing fat jokes and refused to appear on "The Tonight Show".^[20]

Carson reportedly loathed what appeared to represent disloyalty among friends. The comedian was displeased when former Tonight Show guest hosts John Davidson and Joan Rivers got their own talk shows. Rivers's show on the Fox Network directly competed with Carson during the 1986-1987 season and then ended. On June 24, 2009, following Ed McMahon's death, Rivers lauded McMahon on Larry King Live but said that after she got her own show Carson never spoke to her again.^[21]

In December 1973, Carson joked on Tonight about an alleged shortage of toilet paper. Panic buying and hoarding ensued across the United States as consumers emptied stores,^[22] causing a real shortage that lasted for weeks. Stores and toilet-paper manufacturers had to ration supplies until the panic ended.^[23][24] Carson apologized in January 1974^[25] for the incident, which became what The New York Times called a "classic study" of how rumors spread.^[26]

Carson successfully sued a manufacturer of portable toilets who wanted to call its product "Here's Johnny".^[27]

Business ventures[link]

Carson was a major investor in the ultimately failed DeLorean Motor Company.

Carson was head of a group of investors who purchased and operated two television stations. The first was KVVU-TV in Henderson, Nevada, an independent station serving Las Vegas, acquired by the Carson group in 1979. Shortly after buying the station, KVVU was rumored to acquiring an NBC affiliation as then long-time affiliate KORK-TV was in the process of being replaced by KVBC, but it never happened.^{[citation needed]} Carson's second station, independent KNAT-TV in Albuquerque, New Mexico was purchased in 1982. Unlike the Las Vegas operation, KNAT faced stiffer competition for top-quality syndicated programming. Carson sold both of his stations between 1985 and 1986, with KVVU going to Meredith Corporation and KNAT being sold to Trinity Broadcasting Network.

Carson's other business ventures included the successful Johnny Carson Apparel, Inc.^[6]—his turtlenecks became a fashion trend—and a failed restaurant franchise.^[28]

Retirement[link]

Johnny Carson in the 1990s

Carson retired from show business on May 22, 1992, at age 66, when he stepped down as host of The Tonight Show. His farewell was a major media event, often emotional for Carson, his colleagues, and the audiences, and stretched over several nights. He said the following on his 4,531st and final Tonight Show:

And so it has come to this... I, uh...am one of the lucky people in the world; I found something I always wanted to do, and I have enjoyed every single minute of it. I want to thank the gentlemen who've shared this stage with me for thirty years, Mr. Ed McMahon... Mr. Doc Severinsen... and you people watching. I can only tell you that it has been an honor and a privilege to come into your homes all these years and entertain you... And I hope when I find something that I want to do, and I think you would like, and come back, that you'll be as gracious in inviting me into your homes as you have been. I bid you a very heartfelt good night.

NBC gave the role of host to the show's then-current permanent guest host, Jay Leno. Leno and David Letterman were soon competing on separate networks.

Post-retirement appearances[link]

Johnny Carson, on a trip to Tanzania in 1994.

At the end of his final Tonight Show appearance, Carson indicated that he might, if so inspired, return with a new project, but instead chose to go into full retirement, rarely giving interviews and declining to participate in NBC's 75th anniversary celebrations. He made the occasional cameo appearance, including voicing himself on the May 13, 1993 episode of The Simpsons ("Krusty Gets Kancelled"), telephoning David Letterman on a November 1993 episode of Late Show with David Letterman, and appearing in the 1993 NBC Special Bob Hope: The First 90 Years. On May 13, 1994, Carson appeared on Late Show with David Letterman. During a week of shows from Los Angeles, Letterman was having Larry "Bud" Melman (Calvert DeForest) deliver his "Top Ten Lists" under the guise that a famous personality would be delivering the list instead. On the last show of the week, Letterman indicated that Carson would be delivering the list. Instead, DeForest delivered the list, insulted the audience (in keeping with the gag), and walked off to polite applause. Letterman then indicated that the card he was given did not have the proper list on it and asked that the "real" list be brought out. On that cue, the real Carson emerged from behind the curtain (as Letterman's band played "Johnny's Theme"), an appearance that prompted a standing ovation from the audience. Carson then requested to sit behind Letterman's desk; Letterman obliged, as the audience continued to cheer and applaud. After some moments, Carson departed from the show without having spoken to the audience. He later cited acute laryngitis as the reason for his silence. This night turned out to be Carson's last television appearance.

Letterman[link]

Just days before Carson's death, The New York Times published a story revealing that he occasionally sent jokes to Letterman.^[29] Letterman would then use these jokes in the monologue of his show, which Carson got "a big kick out of" according to Worldwide Pants, Inc., Senior Vice-President Peter Lassally, who formerly produced both men's programs. He also claimed that Carson had always believed Letterman, not Leno, to be his "rightful successor."^[30] Letterman frequently employs some of Carson's trademark bits on his show, including "Carnac" (with band leader Paul Shaffer as Carnac), "Stump the Band," and the "Week in Review."

Personal life[link]

Despite his on-camera demeanor, Carson was very shy off-camera, avoided most large parties,^[6] and was referred to as "the most private public man who ever lived".^[31] Dick Cavett recalled that "I felt sorry for Johnny in that he was so socially uncomfortable. I've hardly ever met anybody who had as hard a time as he did."^[10] George Axelrod said of Carson: "Socially, he doesn’t exist. The reason is that there are no television cameras in living rooms. If human beings had little-red lights in the middle of their foreheads, Carson would be the greatest conversationalist on earth."^[6]

He normally refused to discuss politics, social controversies, his childhood, or private life with interviewers, and offered the following list of pre-written answers to journalists who wanted to ask him questions:^[6]

Politics[link]

Carson opposed capital punishment, favored racial equality, and was against criminalizing extramarital sex and pornography. He avoided explicitly mentioning his views on Tonight, however, saying "I hate to be pinned down", as that would "hurt me as an entertainer, which is what I am".^[6] As he explained in 1970, "In my living room I would argue for liberalization of abortion laws, divorce laws, and there are times when I would like to express a view on the air. I would love to have taken on Billy Graham. But I'm on TV five nights a week; I have nothing to gain by it and everything to lose."^[32]

Marriages[link]

In 1948, Carson married Jody Wolcott.^[6] The marriage was volatile, with infidelities committed by both parties, and ended in divorce in 1963.^[33] Carson got a "quickie" Mexican divorce from Wolcott that year and married Joanne Copeland on August 17, 1963. After a second protracted divorce proceeding in 1972, Copeland received a settlement of nearly half a million dollars and $75,000 a year in alimony for life.^[6]

At the Carson Tonight Show's 10th anniversary party on September 30, 1972, Carson announced that he and former model Joanna Holland had been secretly married that afternoon,^[6] shocking his friends and associates. Carson kidded that he had married three similarly named women to avoid "having to change the monogram on the towels." On March 8, 1983, Holland filed for divorce. Under California's community property laws, she was entitled to 50% of all the assets accumulated during the marriage, even though Carson earned virtually all of the couple's income. During this period, he joked on The Tonight Show, "my producer, Freddie de Cordova, really gave me something I needed for Christmas. He gave me a gift certificate to the law offices of Jacoby & Meyers." The divorce case finally ended in 1985 with an eighty-page settlement, Holland receiving $20 million in cash and property.

On June 20, 1987, Carson married Alexis Maas. The marriage lasted until his death in 2005.

Children[link]

Carson reading a story to his three sons in 1955. From left: Kit, Cory, and Richard (Ricky).

Carson had three sons, Charles (known as "Kit"), Cory and Richard. All three sons were from his first marriage. Richard Carson died on June 21, 1991, when his car plunged down a steep embankment along a paved service road off Highway 1 near Cayucos, California. Apparently, Richard had been taking photographs when the accident occurred. On the first Tonight Show after Ricky's death, Carson paid tribute to his son's photographic work, and showed portraits of Ricky accompanied by Stevie Ray Vaughan on blues guitar playing Riviera Paradise. In addition, the final image of the show, as well as some "More to Come" bumpers, of Carson's last show on May 22, 1992, featured a photo Richard had taken.

Charity[link]

In 1981, Carson created the John W. Carson Foundation, dedicated to supporting children, education and health services. The Foundation continues to support charitable causes.^[34]

In November 2004, Carson announced a $5.3 million gift to the University of Nebraska Foundation to support the Hixson–Lied College of Fine and Performing Arts Department of Theater Arts, which created the Johnny Carson School of Theater and Film. Another $5 million donation was announced by the estate of Carson to the University of Nebraska following his death.^{[citation needed]}, while a $1 million donation was announced on November 4, 2011, creating the "Johnny Carson Opportunity Scholarship Fund".^[35]

Carson also donated to causes in his hometown of Norfolk, including the Carson Cancer Center at Faith Regional Health Services, the Elkhorn Valley Museum, and the Johnny Carson Theater at Norfolk Senior High School.

In August 2010, the charitable foundation created by Johnny Carson reported receiving $156 million from a personal trust established by the entertainer years prior to his January 2005 death. Carson's foundation was now by far the largest of the Hollywood charities.^[36]

Other notes[link]

Carson, an amateur astronomer, was close friends with astronomer Carl Sagan, who often appeared on The Tonight Show. The unique way Sagan had of saying certain words, like "billions" of galaxies, would lead Carson to ribbing his friend, saying "BILL-ions and BILL-ions". Carson was the first person to contact Sagan's wife Ann Druyan with condolences when the scientist died in 1996. He owned several telescopes, including a Questar, considered at the time a top-of-the line telescope.^[37]

Carson was shown on a 1978 segment of 60 Minutes practicing at home on a drum set given to him by close friend Buddy Rich, who was the jazz musician with the most appearances on The Tonight Show. Writer Gore Vidal, another frequent Tonight Show guest and friend, writes about Carson's personality in his 2006 memoirs.^[38]

In 1982, Carson was found to be driving his DeLorean while under the influence of alcohol. He pled nolo contendere to a misdemeanor charge and given three years of probation. Carson was required to attend an alcohol program for drivers and was permitted to use his car only to drive to work and back.^[39]

Carson was an avid tennis player. He took lessons from Bob Trapenberg for many years. He enjoyed watching tennis at Wimbledon as often as possible. When he sold a Malibu house to John McEnroe, the escrow required McEnroe to give Johnny six tennis lessons.

Death and tributes[link]

Johnny Carson's Star on the Hollywood Walk of Fame

On March 19, 1999, Carson, then 74, suffered a severe heart attack at his home in Malibu, California. Carson was sleeping when he suddenly awoke with severe chest pains. He was rushed to a hospital in nearby Santa Monica where he underwent quadruple-bypass surgery.^[40]

At 6:50 AM PST on January 23, 2005, Carson died at Cedars-Sinai Medical Center in Los Angeles of respiratory failure arising from emphysema.^[41][42] He was 79 years old. Carson had revealed his terminal illness to the public in September 2002. Following his death, Carson's body was cremated and the ashes were given to his wife, Alexis Maas Carson. In accordance with his family's wishes, no public memorial service was held. Numerous tributes were paid to Carson upon his death, recognizing the deep and enduring affection held for him around the world, including a statement by then-President George W. Bush.^[43]

The day after his death, January 24, 2005, The Tonight Show with Jay Leno paid tribute to Carson with guests Ed McMahon, Bob Newhart, Don Rickles, Drew Carey and k.d. lang.^[44] Letterman followed suit on January 31 with former Tonight Show executive producer Peter Lassally and bandleader Doc Severinsen. At the beginning of this show, Letterman said that for thirty years no matter what was going on in the world, whether people had had a good or bad day, they wanted to end the day by being "tucked in by Johnny." Letterman also told his viewers that the monologue he had just spoken (which had been very well received by the studio audience) had consisted entirely of jokes sent to him by Carson in the last few months of his life.^[45] Doc Severinsen ended the Letterman show that night by playing one of Carson's two favorite songs, "Here's That Rainy Day" (the other was "I'll Be Seeing You").

On his final Tonight Show appearance, Carson himself said that while sometimes people who work together for long stretches of time on television don't necessarily like each other, this was not the case with him and McMahon; they were good friends that would have drinks and dinner together, and the camaraderie that they had on the show could not be faked. Carson and McMahon were friends for forty-six years.^[46]

The 2005 film The Aristocrats was dedicated to Carson.^[47]

At the 1st Annual Comedy Awards on Comedy Central, the Johnny Carson Award was given to David Letterman.

At the 2nd Annual Comedy Awards on Comedy Central, the Johnny Carson Award was given to Don Rickles.

A two-hour documentary about his life, Johnny Carson: King of Late Night, aired on PBS on May 14, 2012, as part of their American Masters series. It is narrated by Kevin Spacey and features interviews with many of Carson's family, fellow comedians and proteges. ^[48]

References[link]

Further reading[link]

Accounts on work and life[link]

• Bart, Peter (1992-05-18). We Hardly Knew Ye.. Los Angeles: Variety. 
• Corkery, Paul (August 1987). Carson: The Unauthorized Biography. Randt & Co. ISBN 0-942101-00-6. 
• Cox, Stephen (2002-08-15). Here's Johnny: Thirty Years of Americas Favorite Late Night Entertainer. Cumberland House Publishing. ISBN 1-58182-265-0. 
• De Cordova, Fred (1988-03-15). Johnny Came Lately. Simon & Schuster. ISBN 0-671-55849-8. 
• Hise, James Van (1992). 40 Years at Night: the Story of the Tonight Show. Movie Publisher Services. ISBN 1-55698-308-5. 
• Knutzen, Erik (1992-05-21). Celebs Say Thanks, Johnny.. Herald. 
• Leamer, Laurence (2005-03-29). King of the Night: The Life of Johnny Carson. Avon. ISBN 0-06-084099-4. 
• McMahon, Ed (2005-10-18). Here's Johnny!: My Memories of Johnny Carson, The Tonight Show, and 46 Years of Friendship. Thomas Nelson. ISBN 1-4016-0236-3. 
• Smith, Ronald L. (October 1987). Johnny Carson: An Unauthorized Biography. St. Martin's Press. ISBN 0-312-01051-6. 
• Zoglin, Richard (1992-03-16). And What A Reign It Was: In His 30 Years, Carson Was The Best. Time. 
• Sweeney, Don (2005). Backstage at the Tonight Show, from Johnny Carson to Jay Leno. Taylor Trade Publishing. ISBN 978-1-58979-303-3. 

Humor material collections[link]

• Carson, Johnny (1965). Happiness is a Dry Martini. Doubleday and Company.  ISBN 1-199-39735-0
• Carson, Johnny (1967). Misery is a blind date. Doubleday and Company.  ASIN: B002J1EG3A
• Johnny Carson Collection, Manuscript Division, Library of Congress, Washington, D.C.

External links[link]

United States Navy portal

Wikiquote has a collection of quotations related to: Johnny Carson

Wikimedia Commons has media related to: Johnny Carson

• Johnny Carson at the Internet Movie Database
• Johnny Carson at the Internet Broadway Database
• Johnny Carson at Find a Grave
• Official website for The Tonight Show starring Johnny Carson
• "Article on Johnny Carson". Archived from the original on 2007-10-13. http://web.archive.org/web/20071013161038/http://dir.salon.com/people/bc/2001/02/20/carson/index.html.  at Salon
• "On Carson's contribution to Late Night". Archived from the original on 2007-10-14. http://web.archive.org/web/20071014103641/http://www.tnr.com/doc.mhtml?i=online&s=siegel012405.  at The New Republic
• Tynan, Kenneth. 1978 profile, The New Yorker
• The Johnny Carson Show, USA Today
• Martin, Steve. Posthumous Letter to Carson, The New York Times
• Johnny Carson School of Theatre and Film at the University of Nebraska-Lincoln
• Watch on line either clips from or entire program Johnny Carson King of Late Night - Watch The Full Documentary pbs.org Includes a page on the making of the documentary.

Obituaries[link]

• Obituary at CNN
• Obituary at MSNBC
• Wolcott, James. Obituary, Vanity Fair
• Severo, Richard; Carter, Bill (January 24, 2005). "Johnny Carson, Low-Key King of Late-Night TV, Dies at 79". The New York Times. http://www.nytimes.com/2005/01/24/arts/television/24john.html?ex=1264309200&en=6f658f88eb80aabd&ei=5090. Retrieved May 7, 2010. 
• "A Good Friend Has Left Us". James Randi Educational Foundation. http://www.randi.org/jr/carson.html. Retrieved 2008-05-11.