Charles Gibbs (November 5, 1798 – April 22, 1831) was an American pirate (real name James D. Jeffers) who was one of the last active in the Caribbean during the early-19th century and was among the last executed for piracy by the United States.

His career, like many others during this time, was marked by violence and brutality. Shortly before his execution, Jeffers admitted to have been involved in the killing of as many as 400 victims. His confessions during his imprisonment and trial detailing his career were recorded and published following his death and remained popular reading throughout the mid 19th century.^[1] However, given the sensationalistic nature of these accounts, historians have questioned the accuracy of Jeffers's confessions.^[2]

Career[link]

Born in Newport, Rhode Island on November 5, 1798, he was the son of a Newport sea captain who had served as an American privateer during the Revolutionary War. Jeffers would later claim to have enlisted in the United States Navy during the War of 1812 and to have served under James Lawrence on the USS Hornet and USS Chesapeake before being captured following a battle with the HMS Shannon in Boston Harbor in 1813. Later investigations into these claims proved this to be untrue. (Before his hanging, he admitted to having first gone to sea aboard a Newport-based brig called the Brutus in 1816, aged 17).

By his own account, he was involved in privateering starting in 1816 aboard a Margarita Island-based schooner called the Maria. During a cruise Jeffers took part in a mutiny after which the crew abandoned their letter of marque from Cartagena, Colombia and began engaging in piracy. Jeffers told his biographers that he was named navigator of the Maria, and claimed to have eventually assumed the captain's role. Stories later circulated as to how, during his time in the Caribbean and the Gulf of Mexico, he became known for his cruel treatment of prisoners. He was said to have once had the arms and legs chopped off of a captured captain and, in another incident, ordered an entire merchantman's crew to be burned alive after setting fire to the ship. (No contemporary accounts mention these episodes, which appear to have been invented by later writers.)

On October 21, 1821, Jeffers encountered the brig USS Enterprise under Lieutenant Commander Lawrence Kearny while his fleet of four ships were attacking three merchantmen off Cape Antonio, Cuba. Despite outnumbering the USS Enterprise, Jeffers's fleet was destroyed after a short battle and he was forced to flee into the jungle with his men.^[3]

Little is known about his life immediately following his escape. He claimed to have resided in the United States by 1825, and to have served Argentina in the Cisplatine War as both a regular naval officer and as commander of a privateer. Following a reputed voyage to North Africa to join the Barbary Corsairs, Jeffers was eventually forced to find work as a sailor again. After signing with the brig Vineyard (using the Charles Gibbs alias), he and Thomas J. Wansley (and several others) led a mutiny, killing the captain and his first mate on the night of November 23, 1830 in an attempt to seize its cargo of silver.

The mutineers headed for Long Island where they scuttled the vessel and came ashore, several mutineers losing their lives in rough waters which also claimed much of their loot. After only a few days ashore Jeffers, Wansley, and two others were captured and taken to prison in New York City (other accounts incorrectly claim he was executed in New Orleans)^[4] where he and Wansley were tried and convicted of mutiny and murder in 1831. Incarcerated at Bridewell Prison and then moved to Bellevue Prison, they were eventually hanged at Ellis Island on April 22, 1831.^[5]

Further reading[link]

• Gibbs, Joseph (2007), "Dead Men Tell No Tales: The Lives and Legends of the Pirate Charles Gibbs." University of South Carolina Press.
• Cordingly, David (1997). Under the Black Flag: The Romance and the Reality of Life Among the Pirates. Harvest Books.
• Ellms, Charles. The Pirates Own Book: Authentic Narratives of the Most Celebrated Sea Robbers. Salem, Massachusetts: Marine Research Society, 1924.
• Gosse, Philip. The History of Piracy. New York: Tudor Publishing, 1934.
• Lindsay, Philip. A Mirror for Ruffians. Ayer Publishing, 1939.
• Foster, Chris "Charles Gibbs" song written about the pirate on the audio CD titled Cayo Hueso

References[link]

External links[link]

• Charles Gibbs Treasure
• Charles Gibbs at Rob Ossian's Pirate Cove!

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

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

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

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

Biography[link]

Early life (1939–1957)[link]

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

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

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

Early career (1958–1962)[link]

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

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

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

Early success (1963–66)[link]

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

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

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

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

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

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

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

	"I Heard It through the Grapevine" noicon "I Heard It through the Grapevine" was recorded by Gaye in April 1967, several months before Gladys Knight and the Pips recorded it. The song features an horror-based Wurlitzer piano solo, percussion and horns. Gaye's recording of it paved the way for what later became "psychedelic soul".
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