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Look up blouse in Wiktionary, the free dictionary.

A Highland dancer wearing Aboyne dress. The white areas on her torso and arms are the blouse.

A blouse is a loose-fitting upper garment that was formerly worn by workmen, peasants, artists, women and children.^[1] It is typically gathered at the waist (by a waistband or belt) so that it hangs loosely ("blouses"^[2]) over the wearer's body.^[3] Today, the word most commonly refers to a woman's shirt^[4] but can also refer to a man's shirt if it is a loose-fitting style (e.g. poet shirts and Cossack shirts).^[5] Traditionally, the term has been used to refer to a shirt which blouses out or has an unmistakably feminine appearance.

The term is also used for some men's military uniform jackets.^[6]

Word meaning[link]

Blouse is a loanword to English from French: blouse means "hydraulically carrier coat".^{[clarification needed]} It should be a small present French Crusaders.^{[clarification needed]} They moved on their armor a so-called "p(e)lusisches style", a blue-colored gowns to the dust, which had its name from the Egyptian town of Pelusium.^{[clarification needed]} The derivation may also be from "wool", blouso "short wool" and blos, blouse "deprived, naked" taken off. It's first officially noted in 1828, from French blouse ("a workman's or peasant's smock"), of obscure Occitan route.^{[clarification needed]}

Description and history[link]

A man and woman wearing poet shirts—a unisex blouse inspired by Romanticism

Blouses (pronounced blause or blooze) are historically a cask style, mostly mail-like garment, that were rarely part of the fashionable woman's wardrobe until the 1890s. Before that time, they were occasionally popular for informal wear in styles that echoed peasant or traditional clothing, such as the Garibaldi shirt of the 1860s.

During the later Victorian period, blouses became common for informal, practical wear. A simple blouse with a plain skirt was the standard dress for the newly expanded female (non-domestic) workforce of the 1890s, especially for those employed in office work. In the 1900s and 1910s, elaborate blouses, such as the "lingerie blouse" (so-called because they were heavily decorated with lace and embroidery in a style formerly restricted to underwear) and the "Gibson Girl blouse" with tucks and pleating, became immensely popular for daywear and even some informal evening wear. Since then, blouses have remained a wardrobe staple and since then, so by now blouses have not ceased to be fixed in the "popular cloakroom" style.

Blouses are often made of cotton or silk cloth and may or may not include a collar and sleeves. They are generally more tailored than simple knit tops, and may contain feminine details such as ruffles, a tie or a soft bow at the neck, or embroidered decorations.

Tailoring provides a closer fit to the wearer's shape. This is achieved with sewing of features such as princess seams or darting in the waist and/or bust.

Blouses (and many women's shirts with buttons) usually have buttons reversed from that of men's shirts (except in the case of male military fatigues). That is, the buttons are normally on the wearer's left-hand and the buttonholes are on the right. The reasons for this are unclear, and while several theories exist none have conclusive evidence. Some suggest this custom was introduced by launderers so they could distinguish between women's and men's shirts. One theory purports that the tradition arose in the Middle Ages when one manner of manifesting wealth was by the number of buttons one wore. Another that the original design was based on armour which was designed so that a right-handed opponent would not catch their weapon in the seam and tear through, and also that a person could draw a weapon with their right-hand without catching it in a loose seam of their own clothes. Female servants were in charge of buttoning their mistress's gowns (since the buttons were usually in the back). They tired of attempting to deal with buttons that were, from their point of view, backwards and as such they started reversing the placement when making or repairing them. Another possible reason is so men can easily undo blouses as, from the front, buttons are on the same side as a man's shirt. One other theory is that women were normally dressed by their maids, while men dressed themselves. As such, women's blouses were designed so it could be easily buttoned by the maid but that of men were designed so it could be easily buttoned by the person wearing it.

Although in all the cases proposed the reasons for the distinction no longer exist, it continues out of custom or tradition.

While most women prefer to have the top button open for better comfort, some blouses made for women have looser necklines so the top button can be fastened without compromising comfort, but giving the same stylish appearance.

Some women attach various pins and ornaments to their blouses over a fastened top button for style. Some of these attach directly to the button itself, others to the collars.

Some blouses do not have a top button at all, and collars are styled to be open. They also form part of some nations' traditional folk costume.

The "good blouse" concept is part of the nightlife's clothes and a status symbol of the so-called "elegant woman" who was wearing it at least on Sundays in the Church formerly. Today is the blouse, important other than its use as a formal office wardrobe, and is often used as a colorful garment among many that also is likely to put openly is worn over a T-shirt or a knitted top.

Post–WW2 styles[link]

Various new and different forms of collar emerged in the 1920s. They diminished in sizes by the 1950s, but were huge in the 1930s. At the beginning of the 1970s was the rounded collar, sausage dog collar, then extra wide collar and double cuffs from shirts, that fell on them often from fashions relating to synthetic fabrics like usually polyester. The fashion of standing and federal collar, loops, rounded collars, haemoglobin collars^[vague] and the smallest collar, sometimes with concealed button fly on a "smoking blouse", attached folds and stressed set-in-followed in the 1980s. Again, thin and often shining synthetic fibres were very popular. Towards the end of the 20th Century they were of an extra-long blouses of pants style and worn over trousers or skirt worn, optionally combined with a rather wide belt around the waist in the Germany, the Netherlands, Belgium, Denmark, Poland, the UK, Ireland, South Africa and the USA.

The sleeves had been shortened during the early 1950s to the ½ and ¼ length in Europe. They were reduced again in the mid-1990s and are now regularly at the ⅞, ½, ⅓ and ¼ length around the world. Sleeveless tops were fashionable and a topical item in Western Europe and America during the mid-2000s.

Many fashionable styles of both the 1970s and 1980s were on the go again after the millennium in the blouse fashion: double cuffs, extra wide pointed collar, belt around the waist, synthetic fibre and the like. Often the blouses also embroidery or "crystal stocking", have especially on collar and string. The blouses with the so-called three-quarter arm were a striking phenomenon of the 1990s. Blouses can be combined well and easily with a blazer, tank top, bolero or sweater, with or without some colourful silks or bead chain necklaces.

Eco movement[link]

There was also the women who felt the then growing Eco movement's part, far cut 'also folk blouses' from rough and natural materials such as flax, linen and cotton men also use these "Frisian blouses" on occasion.

The fishing blouse (clothing) is today the term "(purse) blouse" is still in the area of military clothing is worn for a part of the uniform with epaulets—of the trousers, also for working clothes (milker’s blouse, Mariniere, Frisian blouse). It is known but the term in the above classical clothing.

A body blouse (or blouse body) is a blouse, which, as a body, the front step range through associated with the back piece. So, can slip the blouse from the skirt or pants cut figure and is always perfect.

The blouse jacket or blouson[link]

The blouse jacket or blouson is garment drawn tight at the waist with blousing hanging over the waist band. The new style of man's chetten lose blouse coat is made of stronger material or with inner lining, which can be worn alone or as a jacket or over a separate top is related to. It is related to the Eisenhower jacket.

Use in Aboyne dress[link]

In one version, a tartan pattern skirt is worn with an over-the-shoulder plaid, a white blouse and petticoat, and a velvet bodice. The alternative is a white dress over a petticoat, together with a tartan pattern sash. A typical Aboyne dress consists of a dark bodice or elaborate waistcoat, decorative blouse, full tartan skirt and some times a petticoat and apron. Some have a tartan sash (usually draped over the shoulder and coming down towards the hem of the skirt in the back) rather than an apron.

Use with a dirndl[link]

A woman wearing a dirndl. The white part on her body and arms is the blouse.

A woman wearing a dirndl with white blouse is usual in Bracaria in Bavaria and rural Austria. They are usually made of light fabric (textile), such as silk or cotton thin, until the early 1990s still often from soft covered by art faserstoffen (such as polyester and satin). They often have fanciful decorations (such as frills, embroidery, or grinding) and are a classic among the women's blouses—here the fashionable combination possibilities are especially varied. The open Spaten—or lapel collar—is another common type of a classic ladies blouse.

The choli[link]

Young Tamil girl in Choli

A choli (Hindi: चोली), (ravike in South India Telugu: రవికె, Kannada: ರವಿಕೆ) is a midriff-baring blouse shell garment in the Indian sari costume worn in India, Pakistan, Sri Lanka, Bangladesh, and other countries where the sari is worn. The choli is cut to fit tightly to the body and has short sleeves and a low neck. The choli is usually cropped, allowing exposure of the navel; the cropped design is particularly well-suited for wear in the hot South Asian summers. Cut-out backs and front-opening buttons are some of the features of contemporary designs.^[7]

Saris are often woven with an extra length of material meant to be cut off and fashioned into a matching choli. The choli may be sewn so that the elaborately woven borders of the sari material form the bottom edges of the choli sleeves. However, cholis need not match the sari. There is a growing trend towards stretchy, comfortable cholis made from knit materials.^[7]

• 

  Women dancing in choli-lehnga outfits

• 

  Woman in Choli

References[link]

External links[link]

Wikimedia Commons has media related to: Blouses

Ray Charles
Ray Charles in 1990
Background information
Birth name	Ray Charles
Born	(1930-09-23)September 23, 1930 Albany, Georgia, United States
Origin	Greenville, Florida, United States
Died	June 10, 2004(2004-06-10) (aged 73) Beverly Hills, California, United States
Genres	Rhythm and blues, soul, blues, soul blues, rock and roll, jazz, vocal jazz, country, pop, gospel
Occupations	Composer, musician, arranger, bandleader
Instruments	Vocals, piano, keyboards, alto saxophone, trombone
Years active	1947–2004
Labels	Atlantic, ABC, Warner Bros., Swing Time, Concord, Columbia, Flashback
Associated acts	The Raelettes, Quincy Jones, Betty Carter, Marvin Gaye, Billy Joel, James Brown, Little Richard
Website	Official website

Ray Charles Robinson (September 23, 1930 – June 10, 2004), known by his shortened stage name Ray Charles, was an American musician. He was a pioneer in the genre of soul music during the 1950s by fusing rhythm and blues, gospel, and blues styles into his early recordings with Atlantic Records.^[1][2][3] He also helped racially integrate country and pop music during the 1960s with his crossover success on ABC Records, most notably with his Modern Sounds albums.^[4][5][6] While with ABC, Charles became one of the first African-American musicians to be given artistic control by a mainstream record company.^[2] Frank Sinatra called Charles “the only true genius in show business.”

The influences upon his music were mainly jazz, blues, rhythm and blues and country artists of the day such as Art Tatum, Nat King Cole, Louis Jordan, Charles Brown, Louis Armstrong. His playing reflected influences from country blues and barrelhouse, and stride piano styles.

Rolling Stone ranked Charles number ten on their list of "100 Greatest Artists of All Time" in 2004,^[7] and number two on their November 2008 list of "100 Greatest Singers of All Time".^[8] In honoring Charles, Billy Joel noted: "This may sound like sacrilege, but I think Ray Charles was more important than Elvis Presley. I don't know if Ray was the architect of rock & roll, but he was certainly the first guy to do a lot of things . . . Who the hell ever put so many styles together and made it work?"^[9]

Early life: 1930–1945[link]

Ray Charles Robinson was the son of Aretha Robinson, a sharecropper, and Bailey Robinson, a railroad repair man, mechanic and handyman.^[10] Aretha Robinson was a devout Christian and the family attended the New Shiloh Baptist Church.^[11] When Ray was an infant, his family moved from Albany, Georgia, where he was born, to the poor black community on the western side of Greenville, Florida. In his early years, Charles showed a curiosity for mechanical things and he often watched the neighborhood men working on their cars and farm machinery. His musical curiosity was sparked at Mr. Wiley Pit's Red Wing Cafe when Pit played boogie woogie on an old upright piano. Pit would care for George, Ray's brother, so as to take the burden off Williams. However, George drowned in the Williams' bath tub when he was four years old.^{[citation needed]} After witnessing the death of his brother, Ray would feel an overwhelming sense of guilt later on in life.

Charles started to lose his sight at the age of five. He went completely blind by the age of seven, apparently due to glaucoma.^[12][13] He attended school at the Florida School for the Deaf and the Blind in St. Augustine from 1937 to 1945,^[14] where he developed his musical talent.^[12] During this time he performed on WFOY radio in St. Augustine. His father died when he was 10 and his mother died five years after.

In school, Charles was taught only classical music, but he wanted to play the jazz and blues he heard on the family radio.^[14] While at school, he became the school's premier musician. On Fridays, the South Campus Literary Society held assemblies where Charles would play piano and sing popular songs. On Halloween and Washington's birthday, the Colored Department of the school had socials where Charles would play. It was here he established "RC Robinson and the Shop Boys" and sang his own arrangement of "Jingle Bell Boogie."^[15] He spent his first Christmas at the school, but later the staff pitched in so that Charles could return to Greenville, as he did each summer.

Henry and Alice Johnson, who owned a store not unlike Mr. Pit's store in Greenville, moved to the French town section of Tallahassee, just west of Greenville; and they, as well as Freddy and Margaret Bryant, took Charles in. He worked the register in the Bryants' store under the direction of Lucille Bryant, their daughter. It's said he loved Tallahassee and often used the drug store delivery boy's motorbike to run up and down hills using the exhaust sound of a friend's bike to guide him. Charles found Tallahassee musically exciting too and sat in with the Florida A&M University student band. He played with the Adderley brothers, Nat and Cannonball, and began playing gigs with Lawyer Smith and his Band in 1943 at the Red Bird Club and Deluxe Clubs in Frenchtown and roadhouse theaters around Tallahassee, as well as the Governor's Ball.^[16]

Career[link]

Early career: 1946–1952[link]

After his mother died in 1946, Charles was 15 years old and didn't return to school. He lived in Jacksonville with a couple who were friends of his mother. For over a year, he played the piano for bands at the Ritz Theatre in LaVilla, earning $4 a night. Then he moved to Orlando, and later Tampa, where he played with a southern band called The Florida Playboys. This is where he began his habit of always wearing sunglasses, made by designer Billy Stickles.^[17]

Charles had always played for other people, but he wanted his own band. He decided to leave Florida for a large city, but Chicago and New York City were too big. After asking a friend to look in a map and note the city in the United States that was farthest from Florida, he moved to Seattle in 1947^[12] (where he first met and befriended, under the tutelage of Robert Blackwell, a 14-year-old Quincy Jones)^[18][19] and soon started recording, first for the Down Beat label as the Maxin Trio with guitarist G.D. McKee and bassist Milton Garrett, achieving his first hit with "Confession Blues" in 1949. The song soared to No. 2 on the R&B charts. He joined Swing Time Records and under his own name ("Ray Charles" to avoid being confused with boxer Sugar Ray Robinson)^[10] recorded two more R&B hits, "Baby, Let Me Hold Your Hand" (No. 5) in 1951 and "Kissa Me Baby" (No. 8) in 1952. The following year, Swing Time folded and Ahmet Ertegün signed him to Atlantic Records.^[12]

Atlantic Records: 1953–1958[link]

Charles laid low from recording until early 1953 as Atlantic executives cleared out Charles' contract with Swingtime. Charles began recording jump blues and boogie-woogie style recordings as well as slower blues ballads where he continued to show the vocal influences of Nat "King" Cole and Charles Brown. "Mess Around" became Charles' first Atlantic hit in 1953 and he later had hits the following year with "It Should Have Been Me" and "Don't You Know". He also recorded the songs, "Midnight Hour" and "Sinner's Prayer". Some elements of his own vocal style showed up in "Sinner's Prayer", "Mess Around" and "Don't You Know".

Late in 1954, Charles recorded his own composition, "I Got a Woman" and the song became Charles' first number-one R&B hit in 1955 and brought him to national prominence.^[20] The elements of "I Got a Woman" included a mixture of gospel, jazz and blues elements that would later prove to be seminal in the development of rock 'n' roll and soul music. He repeated this pattern throughout 1955 continuing through 1958 with records such as "This Little Girl of Mine", "Drown in My Own Tears", "Lonely Avenue", "A Fool For You" and "The Night Time (Is the Right Time)".

However, Charles didn't stop his ambitions of jazz recording a couple of instrumental jazz albums with vibraphonist Milt Jackson while also promoting his R&B career. By 1958, Charles was not only headlining black venues such as The Apollo Theater and The Uptown Theater but also bigger venues such as The Newport Jazz Festival. It was at the Newport festival where he cut his first live album. In 1956, Charles recruited a young all-female singing group named the Cookies, and reshaped them as The Raelettes. Before then, Charles had used his wife and other musicians to back him up on recordings such as "This Little Girl of Mine" and "Drown In My Own Tears". The Raelettes' first recording session with Charles was on the bluesy-gospel inflected "Leave My Woman Alone".

Crossover success: 1959–1967[link]

Charles in 1971. Photo: Heinrich Klaffs.

Charles reached the pinnacle of his success at Atlantic with the release of "What'd I Say", a complex song that combined gospel, jazz, blues and Latin music and a song that Charles would later say he composed spontaneously as he was performing in clubs and dances with his small band. Despite some radio stations banning the song because of its sexually suggestive lyrics, the song became a crossover top ten pop record, Charles' first record to do so.^[21] Later in 1959, Charles recorded and released his first country song, a cover of Hank Snow's "Movin' On", and had recorded three more albums for the label including a jazz record (later released in 1961 as The Genius After Hours), a blues record (released in 1961 as The Genius Sings the Blues) and a traditional pop/big band record (The Genius of Ray Charles). The Genius of Ray Charles provided his first top 40 album entry where it peaked at #17 and was later held as a landmark record in Charles' career but Charles saw a bigger opportunity following his Atlantic contract expiring in the fall of 1959 when several big labels offered him record deals.

Choosing not to renegotiate his contract with Atlantic, Ray Charles signed with ABC-Paramount Records in November 1959, obtaining a much more liberal contract than other artists had at the time.^[22] Following the success of "What'd I Say" and The Genius of Ray Charles, ABC offered Charles a $ 50,000 annual advance, higher royalties than previously offered and eventual ownership of his masters — a very valuable and lucrative deal at the time.^[23] During his Atlantic years, Charles was heralded for his own inventive compositions, however, by the time of the release of the instrumental jazz LP Genius + Soul = Jazz (1960) for ABC's subsidiary label Impulse!, Charles had virtually given up on writing original material and had begun to follow his eclectic impulses as an interpreter.^[21]

With his first hit single for ABC-Paramount, Charles received national acclaim and a Grammy Award for the Sid Feller-produced "Georgia on My Mind", originally written by composers Stuart Gorrell and Hoagy Carmichael, released as a single by Charles in 1960.^[21][24] The song served as Charles's first work with Feller, who arranged and conducted the recording. Charles also earned another Grammy for the follow-up "Hit the Road Jack", written by R&B singer Percy Mayfield.^[25] By late 1961, Charles had expanded his small road ensemble to a full-scale big band, partly as a response to increasing royalties and touring fees, becoming one of the few black artists to crossover into mainstream pop with such a level of creative control.^[21][26] This success, however, came to a momentary halt in November 1961, as a police search of Charles's hotel room in Indianapolis, Indiana during a concert tour led to the discovery of heroin in his medicine cabinet. The case was eventually dropped, as the search lacked a proper warrant by the police, and Charles soon returned his focus on music and recording.^[26]

The 1962 album, Modern Sounds in Country and Western Music and its sequel Modern Sounds in Country and Western Music, Vol. 2, helped to bring country into the mainstream of music. His version of the Don Gibson song, I Can't Stop Loving You topped the Pop chart for five weeks and stayed at No. 1 R&B for ten weeks in 1962. It also gave him his only number one record in the UK. In 1962, he founded his own record label, Tangerine Records, which ABC-Paramount promoted and distributed.^[27][28] He also had major pop hits in 1963 with "Busted" (US No. 4) and Take These Chains From My Heart (US No. 8). With the rise of younger soul performers such as James Brown, Otis Redding and Motown singers such as Smokey Robinson, Marvin Gaye and its own blind artist, Stevie Wonder, Charles' successes on the pop and R&B charts peaked after 1964 though he remained a huge concert draw.

Later years: 1967-2004[link]

1972 meeting of President Nixon and Ray Charles taken by Oliver F. Atkins

By 1967, Charles' commercial success had begun peaking on both pop and R&B charts though he would remain a concert draw both in the states and overseas. In 1965, Charles' career after being arrested for a third time for heroin halted after he agreed to go to rehab to avoid jail time. Charles kicked his habit at a clinic in Los Angeles. After spending a year on parole, Charles reemerged on the charts in 1966 with a series of hits composed with the fledgling team of Ashford & Simpson including the dance number, "I Don't Need No Doctor" (later covered in a hard rock style by British supergroup Humble Pie), "Let's Go Get Stoned", which became his first #1 R&B hit in several years, and "Crying Time", which reached #6 on the pop chart and later helped Charles win a Grammy Award the following March.

In 1967, he had a top twenty hit with another ballad, "Here We Go Again".^[29] Charles' renewed chart success, however, proved to be short lived and by the late 1960s his music was rarely played on radio stations partly due to the rise of psychedelic rock and harder forms of rock and R&B music and also due to Charles choosing to record pop standards and covers of then-modern day rock and soul hits as he had no desire to write due to him earning masters. Most of his recordings between 1966 and 1973 were either received well or poorly.^[12] Nonetheless, Charles continued to have an active recording career. Charles' 1972 album, Message from the People, included his unique gospel-influenced version of "America the Beautiful". In 1974, he left ABC Records and recorded several albums on his own Crossover Records label. His 1975 recording of Stevie Wonder's hit, "Living for the City" later helped Charles win another Grammy.

In 1977, he reunited with Ahmet Ertegun and Jerry Wexler and re-signed to Atlantic Records where he recorded the album, True to Life. However, the label had now begun focusing on rock acts and some of the label's prominent soul artists such as Aretha Franklin were starting to be neglected. Charles stayed with his old label until 1980. In November 1977 he appeared as the host of NBC's Saturday Night Live.^[30] In April of 1979, Charles' version of "Georgia On My Mind" was proclaimed the state song of Georgia. An emotional Charles performed the song on the floor of the state legislature.^[12] Though he notably supported the civil rights movement and Martin Luther King, Jr. in 1960s, Charles would be criticized for performing at South Africa's Sun City resort in 1981 during an international boycott of its apartheid policy.^[12] In 1983, Charles signed a contract with Columbia Records and recorded a string of country albums. Charles also began having a string of country hits often with duet singers such as George Jones, Chet Atkins, B.J. Thomas, Mickey Gilley, Hank Williams, Jr. and lifelong friend Willie Nelson, for which he recorded the #1 country duet, "Seven Spanish Angels". After 1987, his Columbia contract ended and Charles returned to recording pop music after signing with Warner Bros. Records. Prior to the release of his first Warner release, Would You Believe, Charles made a return on the R&B charts with a cover of The Brothers Johnson's "I'll Be Good to You", a duet with his lifelong buddy Quincy Jones and singer Chaka Khan. The song hit number-one on the R&B charts in 1990 and won Charles and Khan a Grammy for their dual work. Prior to this, Charles returned on the pop charts in another duet, with singer Billy Joel on the song, "Baby Grand" and in 1989, recorded a cover of the Southern All Stars' "Itoshi no Ellie", releasing it as "Ellie My Love" for a Japanese TV ad for Suntory releasing it in Japan where it reached #3 on its Oricon chart.^[31] Charles' 1993 album, My World became his first album in some time to reach the Billboard 200 and his cover of Leon Russell's "A Song for You" gave him a charted hit on the adult contemporary chart as well as his twelfth and final Grammy he would receive in his lifetime.

By the beginning of the 1980s, Charles would reach younger audiences by appearances in various films and TV shows. In 1980, he made a cameo on the film, The Blues Brothers. While he never appeared on the show, Charles' version of "Night Time is the Right Time" was played during the popular "Cosby Show" episode, "Happy Anniversary". In 1985, he appeared among a slew of other popular musicians in the USA for Africa charity recording, "We Are the World". Charles' popularity increased among younger audiences in 1991 after he appeared where he popularized the catchphrase "You Got the Right One, Baby" The catchphrase came from a song that was composed by Kenny Ascher, Joseph C. Caro and Helary Jay Lipsitz.^[32]

Charles with President Ronald Reagan and First Lady Nancy Reagan in 1984.

Charles also appeared at two Presidential inaugurations in his lifetime. In 1985, he performed for Ronald Reagan's second inauguration, and in 1993 for Bill Clinton's first.^[33] In the late 1980s/early 1990s, Charles made appearances on the Super Dave Osbourne TV show, where he performed and appeared in a few vignettes where he was somehow driving a car, often as Super Dave's chauffeur. During the sixth season of Designing Women, Charles sang "Georgia on My Mind", instead of the song being rendered instrumentally by other musicians as in the previous five seasons. He also appeared in 4 episodes of the popular TV comedy The Nanny in Seasons 4 & 5 (1997 & 1998) as 'Sammy', in one episode singing "My Yiddish Mamma" to December romance and later fiancee of character Gramma Yetta, played by veteran actress Ann Guilbert. From 2001-2002, Charles appeared in commercials for the New Jersey Lottery to promote its "For every dream, there's a jackpot" campaign.

In 2003, Ray Charles headlined the White House Correspondents Dinner in Washington, D.C. where the President, First Lady, Colin Powell and Condoleezza Rice attended. He also presented one of his greatest admirers, Van Morrison, with his award upon being inducted in the Songwriters Hall of Fame and the two sang Morrison's song "Crazy Love". This performance appears on Morrison's 2007 album, The Best of Van Morrison Volume 3. In 2003 Charles performed "Georgia On My Mind" and "America the Beautiful" at a televised annual electronic media journalist banquet held in Washington, D.C. His final public appearance came on April 30, 2004, at the dedication of his music studio as a historic landmark in the city of Los Angeles.^[12]

Personal life[link]

Family[link]

Charles was married twice and had 12 children with nine different women.^[34][35] His first marriage to Eileen Williams was brief: July 31, 1951 to 1952. He had three children from his second marriage, to Della Beatrice Howard Robinson from April 5, 1955 to April 26, 1977. His long term girlfriend and partner at the time of his death was Norma Pinella. His first child, Evelyn, was born in 1950 to girlfriend Louise Mitchell. His three children with Della, Ray Charles, Jr., David and Robert, were born in 1955, 1958 and 1960 respectively. Another son, Charles Wayne, was born in 1959 during his six-year long affair with original Raelettes vocalist Margie Hendricks. In 1961, a daughter, Raenee, was born during an affair with Mae Mosely Lyles. Two years later, in 1963, Charles and Sandra Jean Betts welcomed daughter Sheila Raye Charles Robinson.^[36] In 1966, a daughter named Alicia was born by a woman who remains unidentified to this day, followed by another daughter, Alexandra, born to a woman named Chantal Bertrand. Charles' next child, Vincent, came from a relationship with Arlette Kotchounian following his divorce from Della Howard in 1977. A year later, daughter Robyn was born to a woman named Gloria Moffett. Charles' youngest child, son Ryan Corey, was born in 1987 to Mary Anne den Bok.

Charles gave 10 of his 12 children checks for one million USD in December 2002 at a family luncheon, while the other two could not make it.^[37]

Substance abuse and legal issues[link]

On November 14, 1961, Charles was arrested on a narcotics charge in an Indiana hotel room, where he waited to perform. The detectives seized heroin, marijuana, and other items. Charles, then 31, stated that he had been a drug addict since the age of 16. While the case was dismissed because of the manner in which the evidence was obtained,^[38] Charles's situation did not improve until a few years later. Individuals such as Quincy Jones and Reverend Henry Griffin felt that those around Charles were responsible for his drug use.

By 1964 Charles' drug addiction caught up with him and he was arrested for possession of marijuana and heroin. Following a self-imposed stay^[38] at St. Francis Hospital in Lynwood, California, Charles received five years' probation. Charles responded to the saga of his drug use and reform with the songs "I Don't Need No Doctor", "Let's Go Get Stoned", and the release of his first album since having kicked his heroin addiction in 1966, Crying Time.^[39][40]

Other interests[link]

Charles played chess using a special board with holes for the pieces and raised squares.^[41] Charles referred to Willie Nelson as "my chess partner" in a 1991 concert.^[42] In 2002, he played and lost to American Grandmaster and former U.S. Champion Larry Evans.^[43]

Death[link]

Charles died on June 10, 2004 at 11:35 a.m. of liver disease at his home in Beverly Hills, California, surrounded by family and friends.^[44][45] He was 73 years old. His body was interred in the Inglewood Park Cemetery.

Star on Hollywood Walk of Fame at 6777 Hollywood Blvd.

His final album, Genius Loves Company, released two months after his death, consists of duets with various admirers and contemporaries: B.B. King, Van Morrison, Willie Nelson, James Taylor, Gladys Knight, Michael McDonald, Natalie Cole, Elton John, Bonnie Raitt, Diana Krall, Norah Jones, and Johnny Mathis. The album won eight Grammy Awards, including five for Ray Charles for Best Pop Vocal Album, Album of the Year, Record of the Year and Best Pop Collaboration with Vocals for "Here We Go Again" with Norah Jones, and Best Gospel Performance for "Heaven Help Us All" with Gladys Knight; he also received nods for his duets with Elton John and B.B. King. The album included a version of Harold Arlen's "Over the Rainbow", sung as a duet by Charles and Johnny Mathis; this record was played at his memorial service.^[46]

Two more posthumous albums, Genius & Friends (2005) and Ray Sings, Basie Swings (2006), were released. Genius & Friends consisted of duets recorded from 1997 to 2005 with his choice of artists. Ray Sings, Basie Swings consists of archived vocals of Ray Charles from live mid-1970s performances added to new instrumental tracks specially recorded by the contemporary Count Basie Orchestra and other musicians. Charles's vocals recorded from the concert mixing board were added to new accompaniments to create a "fantasy concert" recording.

Legacy[link]

Charles possessed one of the most recognizable voices in American music. In the words of musicologist Henry Pleasants:

Sinatra, and Bing Crosby before him, had been masters of words. Ray Charles is a master of sounds. His records disclose an extraordinary assortment of slurs, glides, turns, shrieks, wails, breaks, shouts, screams and hollers, all wonderfully controlled, disciplined by inspired musicianship, and harnessed to ingenious subtleties of harmony, dynamics and rhythm... It is either the singing of a man whose vocabulary is inadequate to express what is in his heart and mind or of one whose feelings are too intense for satisfactory verbal or conventionally melodic articulation. He can’t tell it to you. He can’t even sing it to you. He has to cry out to you, or shout to you, in tones eloquent of despair — or exaltation. The voice alone, with little assistance from the text or the notated music, conveys the message.

Ray Charles is usually described as a baritone, and his speaking voice would suggest as much, as would the difficulty he experiences in reaching and sustaining the baritone's high E and F in a popular ballad. But the voice undergoes some sort of transfiguration under stress, and in music of gospel or blues character he can and does sing for measures on end in the high tenor range of A, B flat, B, C and ev in full voice, sometimes in an ecstatic head voice, sometimes in falsetto. In falsetto he continues up to E and F above high C. On one extraordinary record, "I’m Going Down to the River’ . . . he hits an incredible B flat . . . giving him an overall range, including the falsetto extension, of at least three octaves.^[47]

In 1979, Charles was one of the first of the Georgia State Music Hall of Fame to be recognized as a musician born in the state.^[48] Ray's version of "Georgia On My Mind" was made the official state song for Georgia.^[49] In 1981, he was given a star on the Hollywood Walk of Fame and was one of the first inductees to the Rock & Roll Hall of Fame at its inaugural ceremony in 1986.^[50] He received the Kennedy Center Honors in 1986.^[51]

In 1987, he was awarded the Grammy Lifetime Achievement Award. In 1991, he was inducted to the Rhythm & Blues Foundation. In 1993, he was awarded the National Medal of Arts.^[52] In 1998 he was awarded the Polar Music Prize together with Ravi Shankar in Stockholm, Sweden. In 2004 he was inducted to the Jazz Hall of Fame, and inducted to the National Black Sports & Entertainment Hall of Fame.^[53] The Grammy Awards of 2005 were dedicated to Charles.

On December 7, 2007, Ray Charles Plaza was opened in Albany, Georgia, with a revolving, lighted bronze sculpture of Charles seated at a piano. Later that month, on December 26, 2007, Ray Charles was inducted into the Hit Parade Hall of Fame. He was also presented with the George and Ira Gershwin Award for Lifetime Musical Achievement, during the 1991 UCLA Spring Sing.^[54]

In 2003, Charles was awarded an honorary degree by Dillard University. Upon his death, he endowed a professorship of African-American culinary history at the school, which is the first such chair in the nation.^[55] A $20 million performing arts center at Morehouse College was named after Charles and was dedicated in September 2010.^[56]

The biopic Ray, released in October 2004, portrays his life and career between 1930 and 1979 and stars Jamie Foxx as Charles. Foxx won the 2005 Academy Award for Best Actor for the role.

Discography[link]

Filmography[link]

• Swingin' Along (1961)
• Ballad in Blue (1964)
• The Big T.N.T. Show (1966) (documentary)
• The Blues Brothers (1980)
• Who's The Boss (himself) 1987
• Limit Up (1989)
• Listen Up: The Lives of Quincy Jones (1990) (documentary)
• Love Affair (1994)
• Spy Hard (1996)
• The Nanny (1999) as Sammy
• The Extreme Adventures of Super Dave (2000)
• Blue's Big Musical Movie (2000)
• Ray (2004)

References[link]

Bibliography[link]

External links[link]

	Book: Ray Charles
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Wikiquote has a collection of quotations related to: Ray Charles

Wikimedia Commons has media related to: Ray Charles

• Official website
• Article from the St. Augustine Record noting Charles' being on WFOY.
• Ray Charles - Daily Telegraph obituary
• Ray Charles discography at MusicBrainz
• Ray Charles at RollingStone
• Ray Charles at Songwriters Hall of Fame
• Ray Charles at The Rock and Roll Hall of Fame
• Ray Charles at the Internet Movie Database
• Ray Charles at Allmusic
• Ray Charles discography at Discogs
• Ray Charles autobiography: The Early Years 1930–1960
• I Can't Stop Loving You: Ray Charles and Country Music - Past Exhibit at the Country Music Hall of Fame and Museum
• Ray Charles's oral history video excerpts at the National Visionary Leadership Project
• Ray Charles interviewed on the Pop Chronicles (1969).