Exterior of a juke joint in Belle Glade, Florida, photographed by Marion Post Wolcott in 1944

Juke joint (or jook joint) is the vernacular term for an informal establishment featuring music, dancing, gambling, and drinking, primarily operated by African American people in the southeastern United States. The term "juke" is believed to derive from the Gullah word joog, meaning rowdy or disorderly.^[1] A juke joint may also be called a "barrelhouse".

Classic juke joints found, for example, at rural crossroads, catered to the rural work force that began to emerge after the emancipation.^[1] Plantations workers and sharecroppers needed a place to relax and socialize following a hard week, particularly since they were barred from most white establishments by Jim Crow laws. Set up on the outskirts of town, often in ramshackle buildings or private houses, juke joints offered food, drink, dancing and gambling for weary workers.^[2] Owners made extra money selling groceries or moonshine to patrons, or providing cheap room and board.

History[link]

Dancing at a juke joint outside of Clarksdale, Mississippi, in 1939

The origins of juke joints may be the community rooms that were occasionally built on plantations to provide a place for blacks to socialize during slavery. This practice spread to the work camps such as sawmills, turpentine camps and lumber companies in the early twentieth century, which built barrel-houses and chock-houses to be used for drinking and gambling. Although uncommon in populated areas, such places were often seen as necessary to attract workers to sparsely populated areas lacking bars and other social-outlets. As well, much like "on-base" Officer's Clubs, such "Company"-owned joints allowed managers to keep an eye on their underlings; it also ensured that the employees pay was coming back to the Company. Constructed simply like a field hand's "shotgun"-style dwelling, these may have been the first juke joints. During the prohibition in the United States it became common to see squalid independent juke joints at highway crossings and railroad stops. These were almost never called "juke joint"; but rather were named such as the "Lone Star" or "Colored Cafe". They were often open only on weekends.^[3] Juke joints may represent the first "private space" for blacks.^[4] Paul Oliver writes that juke joints were "the last retreat, the final bastion for black people who want to get away from whites, and the pressures of the day."^[3]

Jooks occurred on plantations, and classic juke joints found, for example, at rural crossroads began to emerge after the Emancipation Proclamation.^[5] Dancing was done to so-called jigs and reels (terms routinely used for any dance that struck respectable people as wild or unrestrained, whether Irish or African), to music now thought of as "old-timey" or "hillbilly". Through the first years of the twentieth century, the fiddle was by far the most popular instrument among both white and black Southern musicians. The banjo was popular before guitars became widely available in the 1890s.^[6]

Juke joint music began with the black folk rags ("ragtime stuff" and "folk rags" are a catch-all term for older African American music^[7]) and then the boogie woogie dance music of the late 1880s or 1890s and became the blues, barrel house, and the slow drag dance music of the rural south (moving to Chicago's black rent-party circuit in the Great Migration) often "raucous and raunchy"^[8] good time secular music. Dance forms evolved from ring dances to solo and couples dancing. Some blacks, those seeking white approval, opposed the amorality of the raucous "jook crowd".^[8]

Until the advent of the Victrola, and juke boxes, at least one musician was required to provide music for dancing, but as many as three musicians would play in jooks.^[9] In larger cities like New Orleans, string trios or quartets were hired.^[10]

Label of 78-rpm gramophone record of "Livery Stable Blues - Fox Trot" (1917)

"So far as what was called blues, that didn't come till 'round 1917...What we had in my coming up days was music for dancing, and it was of all different sorts" - Mance Lipscomb, Texas guitarist and singer. Musicians of that time had a degree of versatility that is now extremely rare, and styles were not yet codified and there was a good deal of shading and overlap.^[6]

Paul Oliver, who tells of a visit to a juke joint outside of Clarksdale some forty years ago and was the only white man there, describes juke joints of the time as, "unappealing, decrepit, crumbling shacks" that were often so small that only a few couples could Hully Gully. The outside yard was filled with trash. Inside they are "dusty" and "squalid" with the walls "stained to shoulder height".^[3] In 1934, anthropologist Zora Neale Hurston made the first formal attempt to describe the juke joint and its cultural role, writing that "the Negro jooks...are primitive rural counterparts of resort night clubs, where turpentine workers take their evening relaxation deep in the pine forests." Jukes figure prominently in her studies of African American folklore.^[11]

Early figures of blues, including Robert Johnson, Son House, Charley Patton, and countless others, traveled the juke joint circuit, scraping out a living on tips and free meals. While musicians played, patrons enjoyed dances with long heritages in some parts of the African American community, such as the Slow Drag.

Many of the early and historic juke joints have closed over the past decades for a number of socio-economic reasons. Po' Monkey's is one of the last remaining rural jukes in the Mississippi Delta. It began as a renovated sharecropper's shack which was probably originally built in the 1920s or so.^[12] Po' Monkey's features live blues music and "Family Night" on Thursday nights.^[12] Still run by Po' Monkey, the popular juke joint has been featured in national and international articles about the Delta. The Blue Front Cafe is a historic old juke joint made of cinder blocks in Bentonia, Mississippi which played an important role in the development of the blues in Mississippi. It was still in operation as of 2006.^[13] Smitty's Red Top Lounge in Clarksdale, Mississippi, is also still operating as of last notice.^[14]

Urban juke joint[link]

Peter Guralnick describes many Chicago juke joints as corner bars that go by an address and have no name. The musicians and singers perform unannounced and without microphones, ending with little if any applause. Guralnick tells of a visit to a specific juke joint, Florence's, in 1977. In stark contrast to the streets outside, Florence's is dim, and smoke-filled with the music more of an accompaniment to the "various business" being conducted than the focus of the patrons' attention. The "sheer funk of all those closely-packed-together bodies, the shouts and laughter" draws his attention. He describes the security measures and buzzer at the door, there having been a shooting there a few years ago. On this particular day Magic Slim was performing with his band, the Teardrops, on a bandstand barely big enough to hold the band.^[15]

Katrina Hazzard-Gordon writes that "[t]he honky-tonk was the first urban manifestation of the jook, and the name itself later became synonymous with a style of music. Related to the classic blues in tonal structure, honky-tonk has a tempo that is slightly stepped up. It is rhythmically suited for many African-American dances…", but cites no reference.^[16]

Legacy[link]

The low-down allure of juke joints has inspired many large-scale commercial establishments, including the House of Blues chain, the 308 Blues Club and Cafe in Indianola, Mississippi^[17] and the Ground Zero in Clarksdale, Mississippi. Traditional juke joints, however, are under pressure from other forms of entertainment, including casinos.^[2] Many get more business from tourists in search of an authentic blues experience than local patrons. The annual Juke Joint Festival in Clarksdale was founded in 2004 to foster appreciation for local jukes and promote their preservation.

Jukes have been celebrated in photos and film. Marion Post Wolcott's images of the dilapidated buildings and the pulsing life they contained are among the most famous documentary images of the era.

See also[link]

African American portal

• Blues
• Delta Blues
• Junior Kimbrough

References[link]

Further reading[link]

• Cobb, Charles E., Jr., "Traveling the Blues Highway", National Geographic Magazine, April 1999, v.195, n.4
• Hamilton, Marybeth: In Search of the Blues.
• William Ferris; - Give My Poor Heart Ease: Voices of the Mississippi Blues - The University of North Carolina Press; (2009) ISBN 0-8078-3325-8 ISBN 978-0807833254 (with CD and DVD)
• William Ferris; Glenn Hinson The New Encyclopedia of Southern Culture: Volume 14: Folklife The University of North Carolina Press (2009) ISBN 0-8078-3346-0 ISBN 978-0-8078-3346-9 (Cover :phfoto of James Son Thomas)
• William Ferris; Blues From The Delta Da Capo Press; Revised edition (1988) ISBN 0-306-80327-5 ISBN 978-0306803277
• Ted Gioia; Delta Blues: The Life and Times of the Mississippi Masters Who Revolutionized American Music - W. W. Norton & Company (2009) ISBN 0-393-33750-2 ISBN 978-0393337501
• Sheldon Harris; Blues Who's Who Da Capo Press 1979
• Robert Nicholson; Mississippi Blues Today ! Da Capo Press (1999) ISBN 0-306-80883-8 ISBN 978-0-306-80883-8
• Robert Palmer; Deep Blues: A Musical and Cultural History of the Mississippi Delta - Penguin Reprint edition (1982) ISBN 0-14-006223-8; ISBN 978-0-14-006223-6
• Frederic Ramsey Jr.; Been Here And Gone - 1st edition (1960) Rutgers University Press - London Cassell (UK) andNew Brunswick, NJ
• idem - 2nd printing (1969) Rutgers University Press New Brunswick, NJ
• idem - (2000) University Of Georgia Press
• Charles Reagan Wilson - William Ferris - Ann J. Adadie; Encyclopedia of Southern Culture (1656 pagine) The University of North Carolina Press; 2nd Edition (1989) - ISBN 0-8078-1823-2 - ISBN 978-0-8078-1823-7

External links[link]

• A collection of Juke Joint Blues musicians and playlists
• Random House Word of the Day . Accessed 2006-02-02.
• Junior's Juke Joint. Accessed 2006-02-01.
• Juke Joint Festival. Accessed 2006-02-02.
• "Backroads of American Music". www.backroadsofamericanmusic.com. http://www.backroadsofamericanmusic.com/. Retrieved 2008-06-08. 
• Jukin' It Out: Contested Visions of Florida in New Deal Narratives
• Juke Joint video
• Juke Joint at Queens

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2010)

Johnnie Taylor
Chicago, 1973
Background information
Birth name	Johnnie Harrison Taylor
Born	(1934-05-05)May 5, 1934 Crawfordsville, Arkansas, United States
Died	May 31, 2000(2000-05-31) (aged 66) Dallas, Texas, United States
Genres	R&B, soul, gospel, blues, pop, doo-wop, disco
Occupations	Singer
Years active	1953–2000
Labels	Chance Records SAR Records Stax Records Columbia Records Beverly Glen Records Malaco Records

Johnnie Harrison Taylor (May 5, 1934 – May 31, 2000)^[1] was an American vocalist in a wide variety of genres, from rhythm and blues, soul, blues and gospel to pop, doo-wop and disco.

Biography[link]

Early years[link]

Johnnie Taylor was born in Crawfordsville, Arkansas. As a child, he grew up in West Memphis, Arkansas and performed in gospel groups as a youngster. As an adult, he had one release, "Somewhere to Lay My Head", on Chicago's Chance Records label in the 1950s, as part of the gospel group Highway QCs, which had been founded by a young Sam Cooke. His singing was strikingly close to that of Sam Cooke, and he was hired to take Cooke's place in the latter's gospel group, the Soul Stirrers, in 1957.

A few years later, after Cooke had established his independent SAR Records, Taylor signed on as one of the label's first acts and recorded "Rome Wasn't Built In A Day" in 1962. However, SAR Records quickly became defunct after Cooke's death in 1964.

In 1966, Taylor moved to Stax Records in Memphis, Tennessee, where he was dubbed "The Philosopher of Soul". Whilst there he recorded with the label's house band, Booker T. & the MGs. His hits included "I Had a Dream", "I've Got to Love Somebody's Baby" (both written by the team of Isaac Hayes and David Porter) and most notably "Who's Making Love", which reached No. 5 on the Billboard Hot 100 chart and No. 1 on the R&B chart in 1968. "Who's Making Love" sold over one million copies, and was awarded a gold disc.^[2]

During his tenure at Stax, he became an R&B star, with over a dozen chart successes, such as "Jody's Got Your Girl and Gone", which reached No. 23 on the Hot 100 chart, "Cheaper to Keep Her" (Mack Rice) and record producer Don Davis's penned "I Believe in You (You Believe in Me)", which reached No. 11 on the Hot 100 chart. "I Believe in You (You Believe in Me)" also sold in excess of one million units, and was awarded gold disc status by the R.I.A.A. in October 1973.^[2] Taylor, along with Isaac Hayes and The Staple Singers was one of the label's flagship artists. He appeared in the documentary film, Wattstax, which was released in 1973.^[3]

Columbia Records[link]

After Stax folded in the mid 1970s, Taylor switched to Columbia Records, where he made his best known hit, "Disco Lady", in 1976. It spent four weeks at number one on the Billboard Hot 100 and six weeks on the Billboard R&B chart in the U.S. It peaked at #25 in the UK Singles Chart in May 1976.^[4] "Disco Lady" was the first certified platinum single (two million copies sold) by the RIAA.

Malaco Records[link]

After a brief stint at Beverly Glen Records, Taylor signed with Malaco Records after the label's founder Tommy Couch and producing partner Wolf Stephenson heard him sing at blues singer Z. Z. Hill's funeral in the spring of 1984.

Backed by members of The Muscle Shoals Rhythm Section as well as in-house veterans like former Stax keyboardist Carson Whitsett and guitarist/bandleader Bernard Jenkins, Malaco gave Taylor the type of recording freedom that Stax had given him in the late 1960s and early 1970s, enabling him to record ten albums for the label in his sixteen year stint.

In 1996, Taylor's eighth album for Malaco, Good Love!, made it to Number One on Billboard's Blues chart (#15 R&B), and was the biggest record in Malaco's history. With this success, Malaco recorded a live video of Taylor at the Longhorn Ballroom in Dallas, Texas in the summer of 1997. The club portion of the "Good Love" video was recorded at 1001 Nightclub in Jackson, Mississippi.

Taylor's final song was "Soul Heaven", in which he dreamed of being at a concert featuring deceased soul music icons Otis Redding, Jackie Wilson, Marvin Gaye, Sam Cooke, and MGs drummer Al Jackson, Jr., among others. In one verse, Taylor sang, "I didn't want to wake up/I was havin' such a good time".

Radio[link]

In the 1980s Johnnie Taylor was a DJ on KKDA-FM, a Dallas/Fort Worth radio station. The station's format is mostly R&B and Soul oldies and their on-the-air personalities are often local R&B, Soul, blues, and jazz musicians. Mr. Taylor was billed as "The Wailer, Johnnie Taylor".

Death[link]

Taylor died of a heart attack at Charlton Methodist Hospital in Dallas, Texas, on May 31, 2000, aged 66.^[5] Stax billed Johnnie Taylor as "The Philosopher of Soul". He was also known as "the Blues Wailer". He was buried beside his mother, Ida Mae Taylor, in Arkansas.

Awards[link]

Taylor was given a Pioneer Award by the Rhythm and Blues Foundation in 1999.

Musical influence[link]

In 2004, the UK's Shapeshifters sampled Taylor's 1982 "What About My Love?", for their #1 hit single, "Lola's Theme".

Personal life[link]

Taylor has four children who have been recording artists. Johnnie Taylor Jr., Floyd Taylor, Latasha "Tasha" Taylor and T.J. Hooker-Taylor. The best known is Floyd Taylor, who has recorded three albums for Malaco Records. Other children include Fonda Bryant, Schiffon Taylor-Brown, Sabrina Taylor, Jonathan Taylor, and Anthony Arnold.

Chart singles[link]

References[link]

External links[link]

• Complete Discography
• Allmusic.com bio
• Find A Grave bio

Big Joe Turner
Background information
Birth name	Joseph Vernon Turner Jr
Also known as	The Boss of the Blues
Born	(1911-05-18)May 18, 1911 Kansas City, Missouri, United States
Died	November 24, 1985(1985-11-24) (aged 74) Inglewood, California, United States
Genres	Jump blues, rock and roll, swing music
Instruments	Vocals
Years active	1920s – 1980s
Labels	Atlantic, National, Vocalion, Decca, Pablo
Associated acts	Pete Johnson, Count Basie Orchestra

Big Joe Turner (born Joseph Vernon Turner Jr., May 18, 1911 – November 24, 1985^[1]) was an American blues shouter from Kansas City, Missouri.^[2] According to the songwriter Doc Pomus, "Rock and roll would have never happened without him."^[2] Although he came to his greatest fame in the 1950s with his pioneering rock and roll recordings, particularly "Shake, Rattle and Roll", Turner's career as a performer stretched from the 1920s into the 1980s.^[2] Turner was inducted into the Rock and Roll Hall of Fame in 1987.

Career[link]

Early days[link]

Known variously as The Boss of the Blues, and Big Joe Turner (due to his 6'2", 300+ lbs stature), Turner was born in Kansas City and first discovered his love of music through involvement in the church. Turner's father was killed in a train accident when Joe was only four years old.^[3] He began singing on street corners for money, leaving school at age fourteen to begin working in Kansas City's nightclub scene, first as a cook, and later as a singing bartender. He eventually became known as The Singing Barman, and worked in such venues as The Kingfish Club and The Sunset, where he and his piano playing partner Pete Johnson became resident performers.^[2] The Sunset was managed by Piney Brown. It featured "separate but equal" facilities for white patrons. Turner wrote "Piney Brown Blues" in his honor and sang it throughout his entire career.

At that time Kansas City was a wide-open town run by "Boss" Tom Pendergast. Despite this, the clubs were subject to frequent raids by the police, but as Turner recounts, "The Boss man would have his bondsmen down at the police station before we got there. We'd walk in, sign our names and walk right out. Then we would cabaret until morning".

His partnership with boogie-woogie pianist Pete Johnson proved fruitful.^[2] Together they headed to New York City in 1936, where they appeared on a bill with Benny Goodman, but as Turner recounts, "After our show with Goodman, we auditioned at several places, but New York wasn't ready for us yet, so we headed back to K.C.". Eventually they were spotted by the talent scout, John H. Hammond in 1938, who invited them back to New York to appear in one of his "From Spirituals to Swing" concerts at Carnegie Hall, which were instrumental in introducing jazz and blues to a wider American audience.^[2]

Due in part to their appearance at Carnegie Hall, Turner and Johnson scored a major hit with "Roll 'Em Pete".^[2] The track, basically a collection of traditional blues lyrics featured one of the earliest recorded examples of a back beat. It was a song which Turner recorded many times, with various combinations of musicians, over the ensuing years.

1939 to 1950[link]

In 1939, along with boogie players Albert Ammons and Meade Lux Lewis, they began a residency at Café Society, a club in New York City, where they appeared on the same bill as Billie Holiday and Frank Newton's band.^[2] Besides "Roll 'Em, Pete", Turner's best-known recordings from this period are probably "Cherry Red", "I Want A Little Girl" and "Wee Baby Blues". "Cherry Red" was recorded in 1939 for the Vocalion label, with Hot Lips Page on trumpet and a full band in attendance.^[4] The following year Turner moved to Decca and recorded, "Piney Brown Blues", with Johnson on piano accompianment. But not all of Turner's Decca recordings teamed him with Johnson; Willie "The Lion" Smith accompanied him on "Careless Love", whilst Freddie Slack's Trio provided the backing for "Rocks in My Bed" (1941).^[4]

In 1941, he headed to Los Angeles where he performed in Duke Ellington's revue Jump for Joy in Hollywood. He appeared as a singing policeman in a comedy sketch called "He's on the Beat." Los Angeles became his home base for a time, and in 1944 he worked in Meade Lux Lewis's Soundies musical films. Although he sang on the soundtrack recordings, he was not present for the filming, and his vocals were mouthed by comedian Dudley Dickerson for the camera. In 1945 Turner and Pete Johnson opened their own bar in Los Angeles, The Blue Moon Club.

The same year he signed with National Records, and recorded under Herb Abramson's supervision. His first national R&B hit came in 1945 with a version of Saunders King's "S.K. Blues".^[5] He recorded "My Gal's a Jockey" and the risqué "Around the Clock" the same year, and Aladdin released his duet with Wynonie Harris, on the ribald two-parter, "Battle of the Blues." Turner remained with National up to 1947, but none of his records were big sellers.^[4] In 1950, he released "Still in the Dark" on the Freedom label.^[5]

Turner made many records, not only with Johnson but with the pianists Art Tatum and Sammy Price and with various small jazz ensembles.^[6] He recorded on several record labels and also appeared with the Count Basie Orchestra.^[2] In his career, Turner successively led the transition from big bands to jump blues to rhythm and blues, and finally to rock and roll. Turner was a master of traditional blues verses and at the legendary Kansas City jam sessions he could swap choruses with instrumental soloists for hours.

Success in the 1950s[link]

In 1951, while performing with the Count Basie Orchestra at Harlem's Apollo Theater as a replacement for Jimmy Rushing, he was spotted by Ahmet and Nesuhi Ertegün, who signed him to their new recording company, Atlantic Records.^[2] Turner recorded a number of hits for them, including the blues standards, "Chains of Love" and "Sweet Sixteen".^[4] Many of his vocals are punctuated with shouts to the band members, as in "Boogie Woogie Country Girl" ("That's a good rockin' band!", "Go ahead, man! Ow! That's just what I need!" ) and "Honey Hush" (he repeatedly sings "Hi-yo, Silver!", probably in reference to The Treniers singing the phrase in their Lone Ranger parody "Ride, Red, Ride"). Turner's records shot to the top of the rhythm-and-blues charts; although they were sometimes so earthy that some radio stations would not play them, the songs received heavy play on jukeboxes and records.

Turner hit it big in 1954 with "Shake, Rattle and Roll", which not only enhanced his career, turning him into a teenage favorite, but also helped to transform popular music.^[2] The song is fairly raw, as Turner yells at his woman to "get outa that bed, wash yo' face an' hands" and comments that she's "wearin' those dresses, the sun comes shinin' through!, I can't believe my eyes, all that mess belongs to you."^[7] He sang the number on film in the 1955 theatrical feature Rhythm and Blues Revue.

Although the cover version of the song by Bill Haley and His Comets, with the risqué lyrics incompletely cleaned up, was a bigger hit, many listeners sought out Turner's version and were introduced thereby to the whole world of rhythm and blues. Elvis Presley showed he needed no such introduction. Presley's version of "Shake, Rattle and Roll" combined Turner's lyrics with Haley's arrangement, but was not successful as a single.

Suddenly, at the age of 43, Turner was a rock star. His follow-ups "Well All Right," "Flip Flop and Fly," "Hide and Seek," "Morning, Noon and Night," and "The Chicken and the Hawk" all continued the good-time feel of "Shake, Rattle and Roll".^[4] He appeared on the television program Showtime at the Apollo during the mid 1950s, and in the film, Shake Rattle & Rock! (1956).^[4]

"Corrine, Corrina" provided Turner with another massive seller in 1956.^[4] In addition to the rock songs he found time to cut the classic Boss of the Blues album in 1956.^[6] On May 26, 1958, "(I’m Gonna) Jump for Joy," the twentieth and last of Turner's run of hits, entered the US R&B record chart.^[2]

Returning to the blues[link]

After a number of hits in this vein, Turner left popular music behind and returned to his roots as a singer with small jazz combos, recording numerous album in that style in the 1960s and 1970s.^[2] In 1966, Bill Haley helped revive Turner's career by lending him the Comets for a series of popular recordings in Mexico^[4] (apparently no one thought of getting the two to record a duet of "Shake, Rattle and Roll", as no such recording has yet surfaced). In 1977 he recorded a cover version of Guitar Slim's song, "The Things That I Used to Do".

In the 1960s and 1970s he was reclaimed by jazz and blues, appearing at many music festivals and recording for the impresario Norman Granz's Pablo label, once with his friendly rival, Jimmy Witherspoon.^[4][6] He also worked with the German boogie-woogie pianist Axel Zwingenberger.^[6] Turner also took part in good natured 'Battles of the Blues' with Wynonie Harris and T-Bone Walker.^[8]

It is a mark of his dominance as a singer that he won the Esquire magazine award for male vocalist in 1945, the Melody Maker award for best 'new' vocalist in 1956, and the British Jazz Journal award as top male singer in 1965. In 1977, Turner recorded "I'm Gonna Sit Right Down and Write Myself a Letter" for Spivey Records, featuring Lloyd Glenn on piano. Turner's career stretched from the bar rooms of Kansas City in the 1920s (at the age of twelve when he performed with a pencilled moustache and his father's hat), on to the European jazz music festivals of the 1980s.

In 1983, only two years before his death, Turner was inducted into the Blues Hall of Fame.^[9] The same year saw the release on Mute Records of Blues Train, an album which paired Turner with Roomful of Blues.^[2] Turner also receives top billing with Count Basie in the Kansas City jazz reunion film The Last of the Blue Devils (1979) which also features Jay McShann, Jimmy Forrest, and other players from the city.

Death[link]

He died in Inglewood, California in November 1985, at the age of 74 of a heart attack, having suffered the earlier effects of arthritis, a stroke and diabetes. Big Joe Turner was posthumously inducted into the Rock and Roll Hall of Fame in 1987.^[10]

Tributes[link]

The late The New York Times music critic Robert Palmer, said: "...his voice, pushing like a Count Basie solo, rich and grainy as a section of saxophones, which dominated the room with the sheer sumptuousness of its sound."^[11]

In announcing Turner's death in their December 1985 edition, the British music magazine, NME, described Turner as "the grandfather of rock and roll."^[12]

Songwriter Dave Alvin wrote a song about an evening that he spent with Turner titled "Boss Of The Blues". It was on his 2009 release, Dave Alvin & The Guilty Women. Alvin discussed the song in Issue 59 of The Blasters Newsletter.

Most famous recordings[link]

• "Roll 'Em Pete" (1938) (available in many versions over the years. Used for the million-dollar first scene in Spike Lee's film, Malcolm X)^[13]
• "Chains Of Love" (1951) † (this was Turner's first million seller. The song was written by 'Nugetre' (words) and Van "Piano Man" Walls (music), and the disc reached the million sales mark by 1954)^[14]
• "Honey Hush" (1953) † (Turner's second million-seller through the years, written by Turner it was credited to Lou Willie Turner)^[14]
• "Shake, Rattle and Roll" (1954)
• "Flip Flop and Fly" (1955) † (has sold a million through the years. The song was written by Charles Calhoun and Turner, although credited to the latter's wife, Lou Willie Turner)^[14]
• "Cherry Red" (1956)
• "Corrine, Corrina" (1956) † (his fourth million seller; with adaption by J. Mayo Williams, Mitchell Parish and Bo Chatmon in 1932. This disc reached #41, and spent 10 weeks in the Billboard record chart)^[14]
• "Wee Baby Blues" (1956) (a song Turner had been singing since his Kingfish Club days)
• "Love Roller Coaster" (1956), with new lyrics to the Kansas City classic, "Morning Glory".
• "Midnight Special" (1957)

Tracks marked as † were million selling discs.^[14]

Discography[link]

Chart singles[link]

Studio albums[link]

• The Boss of the Blues (1956)
• Joe Turner (1957)
• Rockin' The Blues (1958)
• Big Joe is Here (1959)
• Big Joe Rides Again (1960)
• Singing The Blues (1967)
• Texas Style (1971)
• Life Ain't Easy (1974)
• The Trumpet Kings Meet Joe Turner (Pablo, 1974) with Dizzy Gillespie, Roy Eldridge, Harry "Sweets" Edison and Clark Terry
• Everyday I Have the Blues (1975)
• The Midnight Special (1976)
• Things That I Used to Do (1977)
• In the Evening (1977)
• Have No Fear, Joe Turner is Here (1978)
• Nobody in Mind (1982)
• Blues Train (1983)
• Kansas City Here I Come (1984)

Collaborations[link]

• The Bosses (1973, with Count Basie)
• Kansas City Shout (1980, with Count Basie)

References[link]

Bibliography

• The Encyclopedia of Jazz and Blues - ISBN 1-86155-385-4
• Jumpin' the Blues - Joe Turner with Pete Johnson's Orchestra - Arhoolie Records - Liner notes
• Rocks in my Bed - Big Joe Turner - International Music Co. - Liner notes
• The Chronological Joe Turner - 1949-1950 - Big Joe Turner - Classics Records - Liner notes
• Rock and Roll - Big Joe Turner - Atlantic Records - Liner notes
• Shout, Rattle and Roll - Big Joe Turner - Proper Records (Four CD boxed set - 2005) - Liner notes
• I'm Gonna Sit Right Down And Write Myself A Letter - Big Joe Turner - Spivey Records - 1977) - Liner notes

External links[link]

• Big Joe Turner at Allmusic

David Letterman
Letterman performing on his show in June 2011.
Pseudonym	Earl Hofert
Born	(1947-04-12) April 12, 1947 (age 65) Indianapolis, Indiana, United States[1]
Medium	Stand-up, talk show
Nationality	American
Years active	1974–present
Genres	Observational comedy, surreal humor, deadpan
Subject(s)	Self-deprecation, everyday life
Influences	Steve Allen,[citation needed] Johnny Carson,[2] Jack Paar,[citation needed] Paul Dixon[3]
Influenced	Jimmy Kimmel, Jim Gaffigan, Jon Stewart, Conan O'Brien, Jimmy Fallon
Spouse	Michelle Cook (1969–1977) Regina Lasko (2009–present)
Domestic partner(s)	Regina Lasko (1986–2009)
Notable works and roles	Host of The David Letterman Show (NBC) Host of Late Night with David Letterman (NBC) Host of Late Show with David Letterman (CBS)
Signature
Website	CBS.com/latenight/lateshow
Emmy Awards
Outstanding Host or Hostess in a Variety Series 1981 The David Letterman Show Outstanding Individual Achievement — Writers 1981 The David Letterman Show Outstanding Writing in a Variety or Music Program 1984 Late Night with David Letterman 1985 Late Night with David Letterman 1986 Late Night with David Letterman 1987 Late Night with David Letterman Outstanding Variety, Music or Comedy Series 1994 Late Show with David Letterman
American Comedy Awards
Funniest Male Performer in a TV Special (Leading or Supporting) Network, Cable or Syndication 1989 Late Night with David Letterman 1995 Late Show with David Letterman: Video Special Funniest Male Performer in a TV Series (Leading Role) Network, Cable or Syndication 1994 Late Show with David Letterman 2001 Late Show with David Letterman

David Michael Letterman (born April 12, 1947) is an American television host and comedian.^[1] He hosts the late night television talk show, Late Show with David Letterman, broadcast on CBS. Letterman has been a fixture on late night television since the 1982 debut of Late Night with David Letterman on NBC. Letterman recently surpassed friend and mentor Johnny Carson for having the longest late-night hosting career in the United States of America.^[4]

Letterman is also a television and film producer. His company Worldwide Pants produces his show as well as its network follow-up The Late Late Show with Craig Ferguson. Worldwide Pants has also produced several prime-time comedies, the most successful of which was Everybody Loves Raymond, currently in syndication.

In 1996, David Letterman was ranked #45 on TV Guide's 50 Greatest TV Stars of All Time.^[5]

Early life and career[link]

Letterman was born in Indianapolis, Indiana. His father, Harry Joseph Letterman (April 1915 – February 1973),^[6] was a florist of British descent; his mother Dorothy Letterman (née Hofert, now Dorothy Mengering), a Presbyterian church secretary of German descent, is an occasional figure on the show, usually at holidays and birthdays.

Letterman lived on the north side of Indianapolis (Broad Ripple area), not far from Speedway, IN, and the Indianapolis Motor Speedway, and he enjoyed collecting model cars, including racers.^[7] In 2000, he told an interviewer for Esquire that, while growing up, he admired his father's ability to tell jokes and be the life of the party. Harry Joseph Letterman survived a heart attack at age 36, when David was a young boy. The fear of losing his father was constantly with Letterman as he grew up.^[8] The elder Letterman died of a second heart attack^[9] at age 57.

Letterman attended his hometown's Broad Ripple High School at the same time as Marilyn Tucker (future wife of Dan Quayle) and worked as a stock boy at the local Atlas supermarket.^[10] According to the Ball State Daily News, he originally had wanted to attend Indiana University, but his grades weren't good enough, so he decided to attend Ball State University, in Muncie, Indiana.^[11] He is a member of the Sigma Chi Fraternity, and he graduated from what was then the Department of Radio and Television, in 1969. A self-described average student, Letterman endowed a scholarship for what he called "C students" at Ball State.^[12]

Though he registered for the draft and passed his physical after graduating from college, he was not drafted for service in Vietnam due to receiving a draft lottery number of 352 (out of 365).^[13]

Letterman began his broadcasting career as an announcer and newscaster at the college's student-run radio station—WBST—a 10-watt campus station which now is part of Indiana Public Radio.^[14] He was fired for treating classical music with irreverence.^[14]

Letterman then became involved with the founding of another campus station—WAGO-AM 570 (now WWHI, 91.3).^[15]

Letterman credits Paul Dixon—host of the Paul Dixon Show, a Cincinnati-based talk show also shown in Indianapolis while Letterman was growing up—for inspiring his choice of career:^[3]

"I was just out of college [in 1969], and I really didn't know what I wanted to do. And then all of a sudden I saw him doing it [on TV]. And I thought: That's really what I want to do!"

Weatherman[link]

Letterman began his career as a radio talk show host on WNTS (AM), and on Indianapolis television station WLWI (now called WTHR) as an anchor, and weatherman. He received some attention for his unpredictable on-air behavior, which included congratulating a tropical storm for being upgraded to a hurricane and predicting hail stones "the size of canned hams."^[16] He would also occasionally report the weather and the day's very high and low temps for fictitious cities ("Eight inches of snow in Bingree and surrounding areas.") while on another occasion saying that a state border had been erased.^[17] ("From space you can see the border between Indiana and Ohio has been erased. I'm not in favor of this.") He also starred in a local kiddie show, made wisecracks as host of a late night TV show called "Freeze-Dried Movies" (he once acted out a scene from "Godzilla" using plastic dinosaurs),^[18] and hosted a talk show that aired early on Saturday mornings called "Clover Power,"^[19] in which he interviewed 4-H members about their projects.^[20]

In 1971, Letterman appeared as a pit road reporter for ABC Sports' tape-delayed coverage of the Indianapolis 500.^[21] David initially is introduced as Chris Economaki in his job as a corner reporter. Letterman interviews Mario Andretti who has just crashed out of the race and asks him a question about traffic on the course.

Move to Los Angeles[link]

In 1975, encouraged by his then-wife Michelle and several of his Sigma Chi fraternity brothers, Letterman moved to Los Angeles, California, with hope of becoming a comedy writer.^[22] He started off by writing material for comedian Jimmie Walker.^[23] He also began performing stand-up comedy at The Comedy Store, a proving ground for unknown comics.

In the summer of 1977, Letterman was a writer and regular on the six-week summer series The Starland Vocal Band Show, broadcast on CBS.^[24] He hosted a 1977 pilot for a game show entitled The Riddlers^[25][26] that was never picked up and co-starred in the Barry Levinson-produced comedy special Peeping Times that aired in January 1978. Later that year, Letterman was a cast member on Mary Tyler Moore's variety show, Mary.^[27] Letterman made a guest appearance on Mork & Mindy (as a parody of EST leader Werner Erhard^[28]) and appearances on game shows such as The $20,000 Pyramid,^[29] The Gong Show, Password Plus^[30] and Liar's Club, as well as talk shows such as The Mike Douglas Show.^[31] He was also screen tested for the lead role in the 1980 film Airplane!, a role that eventually went to Robert Hays.^[32]

His dry, sarcastic humor caught the attention of scouts for The Tonight Show Starring Johnny Carson, and Letterman was soon a regular guest on the show. Letterman became a favorite of Carson's and was a regular guest host for the show beginning in 1978. Letterman credits Carson as the person who influenced his career the most.^[2]

NBC[link]

Letterman at the 38th Primetime Emmy Awards in 1986

Morning show[link]

On June 23, 1980, Letterman was given his own morning comedy show on NBC, The David Letterman Show. It was originally 90 minutes long, but was shortened to 60 minutes in August 1980.^[33] The show was a critical success, winning two Emmy Awards, but was a ratings disappointment and was canceled in October 1980.

[edit] Late Night with David Letterman

NBC kept Letterman under contract to try him in a different time slot. Late Night with David Letterman debuted February 1, 1982; the first guest on the first show was Bill Murray.^[34] Murray also guested on January 31, 2012 – 30 years later. The show ran Monday through Thursday at 12:30 a.m. Eastern Time, immediately following The Tonight Show Starring Johnny Carson (a Friday night broadcast was added in June 1987). It was seen as being edgy and unpredictable, and soon developed a cult following (particularly among college students). Letterman's reputation as an acerbic interviewer was borne out in verbal sparring matches with Cher^[35] (who even called him an asshole on the show), Shirley MacLaine,^[36] Charles Grodin, and Madonna. The show also featured comedy segments and running characters, in a style heavily influenced by the 1950s and 1960s programs of Steve Allen.^[37] Although Ernie Kovacs is often cited as an influence on the show,^[38] Letterman has denied this.^[2]

The show often featured quirky, genre-mocking regular features, including "Stupid Pet Tricks^[39] ", dropping various objects off the roof of a five-story building,^[40] demonstrations of unorthodox clothing (such as suits made of Alka-Seltzer,^[41] Velcro^[42] and suet), a recurring Top 10 list, the Monkey-Cam^[43] (and the Audience Cam), and a facetious letter-answering segment.^[44] The Top 10 list, several "Film[s] by My Dog Bob" in which a camera was mounted on Letterman's own dog^[45] (often with comic results), Stupid Human Tricks,^[46] Small Town News,^[47] and Stupid Pet Tricks^[48] (which had its origins on Letterman's morning show) all eventually moved with Letterman to CBS.

Other memorable moments included Letterman using a bullhorn to interrupt a live interview on The Today Show, announcing that he was the NBC president while not wearing any pants; interrupting Al Roker on WNBC-TV's broadcast of Live at Five by walking into their studio (which occupied the same floor of 30 Rockefeller Plaza as Letterman's studio); and staging "elevator races", complete with commentary by NBC Sports' Bob Costas. In one infamous appearance, in 1982, Andy Kaufman (who was already wearing a neck brace) appeared to be slapped and knocked to the ground by professional wrestler Jerry Lawler (though Lawler and Kaufman's friend Bob Zmuda later revealed that the event was staged.)^[49] In another memorable exchange, sex expert Dr. Ruth Westheimer included cucumbers in a list of handy sex objects that women could find at home. The following night, guest Ted Koppel asked Letterman "May I insert something here?" and Dave responded "OK, as long as it's not a cucumber."^{[citation needed]}

[edit] Late Show with David Letterman

The Ed Sullivan Theater, where Late Show with David Letterman is recorded

In 1992, Johnny Carson retired, and many fans believed that Letterman would become host of The Tonight Show. When NBC instead gave the job to Jay Leno, Letterman departed NBC to host his own late-night show on CBS, opposite The Tonight Show at 11:30 p.m., called the Late Show with David Letterman. The new show debuted on August 30, 1993 and was taped at the historic Ed Sullivan Theater, where Ed Sullivan taped his eponymous variety series from 1948 to 1971. For Letterman's arrival, CBS spent $8 million in renovations.^[50] In addition to that cost, CBS also signed Letterman to a lucrative three-year, $14 million/year contract,^[51] doubling his Late Night salary. The total cost for everything (renovations, negotiation right paid to NBC, signing Letterman, announcer Bill Wendell, Shaffer, the writers and the band) was over $140 million.

But while the expectation was that Letterman would retain his unique style and sense of humor with the move, Late Show was not an exact replica of his old NBC program. Recognizing the more formal mood (and wider audience) of his new time slot and studio, Letterman eschewed his trademark blazer with khaki pants and white sneakers wardrobe combination in favor of expensive shoes, tailored suits and light-colored socks. The monologue was lengthened and Paul Shaffer and the "World's Most Dangerous Band" followed Letterman to CBS, but they added a brass section and were rebranded the "CBS Orchestra" as a short monologue and a small band were mandated by Carson while Letterman occupied the 12:30 slot. Additionally, because of intellectual property disagreements, Letterman was unable to import many of his Late Night segments verbatim,^[52] but he sidestepped this problem by simply renaming them (the "Top Ten List" became the "Late Show Top Ten", "Viewer Mail" became the "CBS Mailbag", etc.)

Popularity[link]

The main competitor of The Late Show is NBC's The Tonight Show, which was hosted by Jay Leno for nearly 16 years, but from June 1, 2009, to January 22, 2010, was hosted by Conan O'Brien. In 1993 and 1994, The Late Show consistently gained higher ratings than The Tonight Show. But in 1995, ratings dipped and Leno's show consistently beat Letterman's in the ratings from the time that Hugh Grant came on Leno's show after Grant's arrest for soliciting a prostitute.;^[53] Leno typically attracted about 5 million nightly viewers between 1999 and 2009. The Late Show lost nearly half its audience during its competition with Leno, attracting 7.1 million viewers nightly in its 1993–94 season and about 3.8 million per night as of Leno's departure in 2009.^[54] In the final months of his first stint as host of The Tonight Show, Leno beat Letterman in the ratings by a 1.3 million viewer margin (5.2 million to 3.9 million), and Nightline and The Late Show were virtually tied.^[55] Once O'Brien took over Tonight, however, Letterman closed the gap in the ratings.^[56][57][58] O'Brien initially drove the median age of Tonight Show viewers from 55 to 45, with most older viewers opting to watch The Late Show instead.^[59]

Following Leno's return to The Tonight Show, however, Leno has regained his lead.^[60]

Letterman's shows have garnered both critical and industry praise, receiving 67 Emmy Award nominations, winning 12 times in his first 20 years in late night television. From 1993–2009, Letterman ranked higher than Leno in the annual Harris Poll of Nation's Favorite TV Personality 12 times.^[61] For example, in 2003 and 2004 Letterman ranked second in that poll, behind only Oprah Winfrey, a year that Leno was ranked fifth.^[62] Leno was higher than Letterman on that poll three times during the same period, in 1998, 2007, and 2008.^[61]

Hosting the Academy Awards[link]

On March 27, 1995, Letterman acted as the host for the 67th Academy Awards ceremony. Critics blasted^[63] Letterman for what they deemed a poor hosting of the Oscars, noting that his irreverent style undermined the traditional importance and glamor of the event.^{[citation needed]} In a joke about their unusual names (inspired by a similar joke by Woody Allen), he started off by introducing Uma Thurman to Oprah Winfrey, and then both of them to Keanu Reeves: "Oprah...Uma. Uma...Oprah," "Have you kids met Keanu?"^[64] This and many of his other jokes fell flat.^{[citation needed]} Although Letterman attracted the highest ratings to the annual telecast since 1983, many felt that the bad publicity garnered by Letterman's hosting caused a decline in the Late Show's ratings.^[65]

Letterman recycled the apparent debacle into a long-running gag. On his first show after the Oscars, he joked, "Looking back, I had no idea that thing was being televised." He lampooned his stint two years later, during Billy Crystal's opening Oscar skit, which also parodied the plane-crashing scenes from that year's chief nominated film, The English Patient.

For years afterward, Letterman recounted his hosting the Oscars, although the Academy of Motion Picture Arts and Sciences continued to hold Letterman in high regard and they had invited him to host the Oscars again.^[66][67] On September 7, 2010, he made an appearance on the premiere of the 14th season of The View, and confirmed that he had been considered for hosting again.

Heart surgery hiatus[link]

On January 14, 2000, a routine check-up revealed that an artery in Letterman's heart was severely obstructed. He was rushed to emergency surgery for a quintuple bypass.^[68]

During the initial weeks of his recovery, reruns of the Late Show were shown and introduced by friends of Letterman including Drew Barrymore,^[58] Ray Romano, Robin Williams, Bonnie Hunt, Megan Mullally, Bill Murray, Regis Philbin, Charles Grodin, Nathan Lane, Julia Roberts,^[58] Bruce Willis, Jerry Seinfeld, Martin Short, Steven Seagal, Hillary Rodham Clinton, Danny DeVito, Steve Martin, and Sarah Jessica Parker.

Subsequently, while still recovering from surgery, Letterman revived the late night tradition that had virtually disappeared on network television during the 1990s of 'guest hosts' by allowing Bill Cosby, Kathie Lee Gifford (recommended by Regis Philbin, who was asked first but had no time in his schedule), Dana Carvey, Janeane Garofalo, and others to host new episodes of The Late Show. Cosby—the show's first guest host—refused to sit at Letterman's desk out of respect, using the couch instead; Garofalo followed suit, utilizing a set of grade-school desks instead.

Upon his return to the show on February 21, 2000, Letterman brought all of the doctors and nurses on stage who had participated in his surgery and recovery (with extra teasing of a nurse who had given him bed baths—"This woman has seen me naked!"),^[69] including Dr. O. Wayne Isom and physician Louis Aronne, who frequently appears on the show. In a show of emotion, Letterman was nearly in tears as he thanked the health care team with the words "These are the people who saved my life!" The episode earned an Emmy nomination. For a number of episodes, Letterman continued to crack jokes about his bypass, including saying, "Bypass surgery: it's when doctors surgically create new blood flow to your heart. A bypass is what happened to me when I didn't get The Tonight Show! It's a whole different thing." In a later running gag he lobbied his home state of Indiana to rename the freeway circling Indianapolis (I-465) "The David Letterman Bypass." He also featured a montage of faux news coverage of his bypass surgery, which included a clip of Dave's heart for sale on the Home Shopping Network. Letterman became friends with his doctors and nurses. In 2008, a Rolling Stone interview stated "he hosted a doctor and nurse who'd helped perform the emergency quintuple-bypass heart surgery that saved his life in 2000. 'These are people who were complete strangers when they opened my chest,' he says. 'And now, eight years later, they're among my best friends.' "^[4]

Additionally, Letterman invited the band Foo Fighters to play "Everlong",^[70] introducing them as "my favorite band, playing my favorite song."^[71] During a later Foo Fighters appearance, Letterman said that Foo Fighters had been in the middle of a South American tour which they canceled to come play on his comeback episode.

Letterman again handed over the reins of the show to several guest hosts (including Bill Cosby, Brad Garrett, Elvis Costello, John McEnroe, Vince Vaughn, Will Ferrell, Bonnie Hunt, Luke Wilson and bandleader Paul Shaffer) in February 2003, when he was diagnosed with a severe case of shingles. Later that year, Letterman made regular use of guest hosts—including Tom Arnold and Kelsey Grammer—for new shows broadcast on Fridays. In March 2007, Adam Sandler—who had been scheduled to be the lead guest—served as a guest host while Letterman was ill with a stomach virus.^[72]

Re-signing with CBS[link]

Letterman hosting President Barack Obama at Late Show with David Letterman, September 2009

In March 2002, as Letterman's contract with CBS neared expiration, ABC offered him the time slot for long-running news program Nightline with Ted Koppel. Letterman was interested as he believed he could never match Leno's ratings at CBS due to Letterman's complaint of weaker lead-ins from the network's late local news programs, but was reluctant to replace Koppel.^[73] Letterman addressed his decision to re-sign on the air, stating that he was content at CBS and that he had great respect for Koppel.

On December 4, 2006, CBS revealed that Letterman signed a new contract to host The Late Show with David Letterman through the fall of 2010. "I'm thrilled to be continuing on at CBS," said Letterman. "At my age you really don't want to have to learn a new commute."^[74] Letterman further joked about the subject by pulling up his right pants leg, revealing a tattoo, presumably temporary, of the ABC logo.

"Thirteen years ago, David Letterman put CBS late night on the map and in the process became one of the defining icons of our network," said Leslie Moonves, president and CEO of CBS Corporation. "His presence on our air is an ongoing source of pride, and the creativity and imagination that the Late Show puts forth every night is an ongoing display of the highest quality entertainment. We are truly honored that one of the most revered and talented entertainers of our time will continue to call CBS 'home.'"^[75]

According to a 2007 article in Forbes magazine, Letterman earned $40 million a year.^[76] A 2009 article in The New York Times, however, said his salary was estimated at $32 million per year.^[77] In June 2009, Letterman's Worldwide Pants and CBS reached agreement to continue the Late Show until at least August 2012. The previous contract had been set to expire in 2010, and the two-year extension is shorter than the typical three-year contract period negotiated in the past.^[77] Worldwide Pants agreed to lower its fee for the show, though it had remained a "solid moneymaker for CBS" under the previous contract.^[77]

On the February 3, 2011, edition of the Late Show, during an interview with Howard Stern, Letterman said he would continue to do his talk show for "maybe two years, I think."^[78]

2007–2008 writers' strike[link]

The Late Show went off air for eight weeks during the months of November and December because of the Writers Guild of America strike. Letterman's production company—Worldwide Pants—was the first company to make an individual agreement with the WGA,^[79] thus allowing his show to come back on air on January 2, 2008. On his first episode since being off air, he surprised the viewing audience with his newly grown beard, which signified solidarity with the strike.^[80] His beard was shaved off during the show on January 7, 2008.

Controversy over jokes about daughter of Sarah Palin[link]

On June 8 and June 9, 2009, Letterman told a sexually-themed joke on his show each night about a daughter of Sarah Palin.^[81] Palin was in New York City at the time with her fourteen year-old daughter, Willow, and the jokes were said to be aimed at the daughter, never named, who was visiting New York City with her mother.^[81] Palin criticized the jokes, saying in a statement posted on the internet that "I doubt he'd ever dare make such comments about anyone else's daughter," and "laughter incited by sexually-perverted comments made by a 62-year-old male celebrity aimed at a 14-year-old girl" is "disgusting."^[82] On June 10, Letterman responded to the controversy on his show by stating that the jokes were meant to be about Palin's eighteen year-old daughter, Bristol, whose pregnancy as an unmarried teenager had caused controversy during the 2008 Presidential election, and that "(t)hese are not jokes made about (Palin's) 14-year-old daughter. I would never, never make jokes about raping or having sex of any description with a 14-year-old girl."^[82] His remarks didn't put an end to the public criticism, however, with the National Organization for Women, who supported Palin in a statement, noting he had given only "something of an apology."^[81] With the controversy not subsiding, Letterman addressed the issue again on his June 15 show, faulting himself for the error and apologizing "especially to the two daughters involved, Bristol and Willow, and also to the governor and her family and everybody else who was outraged by the joke."^[83]

Letterman and Carson[link]

In spite of Johnny Carson's clear intention to pass his title to Letterman, NBC selected Jay Leno to host The Tonight Show after Carson's departure.^[84] Letterman maintained a close relationship with Carson through his break with NBC. Three years after he left for CBS, HBO produced a made-for-television movie called The Late Shift, based on a book by New York Times reporter Bill Carter, chronicling the battle between Letterman and Leno for the coveted Tonight Show hosting spot. Letterman would mock the film for months afterward, specifically on how the actor playing him, John Michael Higgins, did not resemble him in the least.^{[citation needed]}

Carson later made a few cameo appearances as a guest on Letterman's show. Carson's final television appearance came May 13, 1994, on a Late Show episode taped in Los Angeles, when he made a surprise appearance during a 'Top 10 list' segment. The audience went wild as Letterman stood up and proudly invited Carson to sit at his desk. The applause was so protracted that Carson was unable to say anything, and he finally returned backstage as the applause continued (it was later explained that Carson had laryngitis, though Carson can be heard talking to Letterman during his appearance).

In early 2005, it was revealed that Carson still kept up with current events and late-night TV right up to his death that year, and that he occasionally sent jokes to Letterman, who used these jokes in his monologue; according to CBS senior vice president Peter Lassally (a onetime producer for both men), Carson got "a big kick out of it."^[85] Letterman would do a characteristic Johnny Carson golf swing after delivering one of Carson's jokes. In a tribute to Carson, all of the opening monologue jokes during the first show following Carson's death were written by Carson.

Lassally also claimed that Carson had always believed Letterman, not Leno, to be his "rightful successor."^[86] Letterman also frequently employs some of Carson's trademark bits on his show, including "Carnac the Magnificent" (with Paul Shaffer as Carnac), "Stump the Band" and the "Week in Review."

Letterman and Oprah Winfrey[link]

Letterman and Oprah had a 16 year feud which according to Letterman started when he and his girlfriend decided to skip out on a bill, tricking the waiter into thinking Oprah agreed to pay it.^[87]

On September 10, 2007, Letterman made his first appearance on The Oprah Winfrey Show at Madison Square Garden in New York City. He shared pictures of his son and live-in girlfriend. The so-called feud between Letterman and Winfrey apparently ended in 2005 when Winfrey appeared on CBS's Late Show with David Letterman on December 2, in an event Letterman jokingly referred to as "the Super Bowl of Love".^[88] Winfrey had previously appeared on Letterman's show when he was hosting NBC's Late Night on May 2, 1989.

Winfrey and Letterman also appeared together in a Late Show promo that aired during CBS's coverage of Super Bowl XLI in February 2007, with the two sitting next to each other on the couch watching the game. Since the game was played between the Indianapolis Colts and Chicago Bears, the Indianapolis-born Letterman wears a Peyton Manning jersey, while Winfrey—who tapes her show in Chicago—is in a Brian Urlacher jersey.^[89] Three years later, during CBS's coverage of Super Bowl XLIV, the two appeared again, this time with Winfrey sitting on a couch between Letterman and Jay Leno. The appearance was Letterman's idea: Leno flew to New York City in an NBC corporate jet, sneaking into the Ed Sullivan Theater during the Late Show's February 4 taping wearing a disguise, meeting Winfrey and Letterman at a living room set created in the theater's balcony where they taped their promo.^[90]

Response to Internet death threat[link]

On August 17, 2011, it was reported that a Muslim militant had posted a death threat against Letterman on a website frequented by Al-Qaeda supporters, calling on American Muslims to kill Letterman for making a joke about the death of an Al-Qaeda leader killed in a drone strike in Pakistan in June 2011.^[91] In his show on August 22, Letterman joked about the threat, saying "State Department authorities are looking into this. They're not taking this lightly. They're looking into it. They're questioning, they're interrogating, there's an electronic trail—but everybody knows it's Leno."^[92]

Appearances in other media[link]

Letterman appeared in issue 239 of the Marvel comic book The Avengers, in which the title characters are guests on Late Night.^[93] A parody of Letterman, named "David Endochrine," is gassed to death along with his bandleader named "Paul" and their audience in Frank Miller's The Dark Knight Returns.^[94]

Letterman appeared in the pilot episode of the short-lived 1986 series "Coach Toast", and he appears with a bag over his head as a guest on Bonnie Hunt's ca. 1993 sitcom The Building. He also appears in The Simpsons, as himself in a couch gag when The Simpsons find themselves (and the couch) in "Late Night with David Letterman." He had a cameo in the feature film Cabin Boy, with Chris Elliott, who worked as a writer on Letterman's show. In this and other appearances, Letterman is listed in the credits as "Earl Hofert", the name of Letterman's maternal grandfather. He also appeared as himself in the Howard Stern biopic Private Parts as well as the 1999 Andy Kaufman biopic Man on the Moon, in a few episodes of Garry Shandling's 1990s TV series The Larry Sanders Show and in "The Abstinence", a 1996 episode of the sitcom Seinfeld. Letterman also made an uncredited appearance in the first episode of the third season of the sitcom The Nanny.

Letterman provided vocals for the Warren Zevon song "Hit Somebody" from My Ride's Here,^[95] and provided the voice for Butt-head's father in the 1996 animated film Beavis and Butt-head Do America.

In 2010, a documentary Dying to Do Letterman was released directed by Joke Fincioen and Biagio Messina featuring Steve Mazan, a stand up comic, who has cancer and wants to appear on the Letterman Show. The film won Best Documentary and Jury Awards at the Cinequest Film Festival.^[96] Steve Mazan published a same-titled book (full title, Dying to Do Letterman: Turning Someday into Today) about his own saga.^[97]

Known for rarely giving television interviews, Letterman appeared as an exclusive guest on CNN's Piers Morgan Tonight on May 29, 2012. He was interviewed for one full hour by a long-time friend and fellow television host Regis Philbin, who guest hosted the show during Piers Morgan's leave during that week.

Other projects[link]

Worldwide Pants[link]

Letterman started his own production company—Worldwide Pants Incorporated—which produced his show and several others, including Everybody Loves Raymond, The Late Late Show, and several critically acclaimed, but short-lived television series for Bonnie Hunt. Worldwide Pants also produced the dramedy program Ed, which aired on NBC from 2000–2004. It was Letterman's first association with NBC since he left the network in 1993. During Ed's run, the star, Tom Cavanagh, appeared as a guest on The Late Show several times.