Izear Luster "Ike" Turner Jr. (November 5, 1931 – December 12, 2007) was an American musician, bandleader, songwriter, record producer, and talent scout. An early pioneer of 1950s rock and roll, he is best known for his work in the 1960s and 1970s with his then-wife Tina Turner as the leader of the Ike & Tina Turner Revue.

A native of Clarksdale, Mississippi, Turner began playing piano and guitar as a child and then formed the Kings of Rhythm as a teenager. His first recording, "Rocket 88" (credited to Jackie Brenston and his Delta Cats), is considered a contender for the distinction of first rock and roll song. During the 1950s, Turner also worked as a talent scout and producer for Sun Records and Modern Records. He was instrumental in the early careers of various blues musicians such as B.B. King, Howlin' Wolf, and Bobby "Blue" Bland. In 1954, Turner relocated to East St. Louis where his Kings of Rhythm became one of the most renowned acts in Greater St. Louis. He formed the Ike & Tina Turner Revue in 1960, which over the course of the decade became a soul/rock crossover success.

Turner's cocaine addiction and legal troubles, together with accounts by Tina Turner of domestic violence (published in her 1986 autobiography I, Tina and the 1993 film adaptation What's Love Got to Do with It), had an impact on his career. Addicted to cocaine for at least 15 years, Turner was convicted of drug offenses and served 18 months in prison. After his release in 1991, he relapsed in 2004, and died of a drug overdose in 2007. During the last decade of Turner's life, he revived his career as a frontman by returning to his blues roots. He released two award-winning albums, Here and Now (2001) and Risin' with the Blues (2006).

Hailed as a "great innovator" of rock and roll by contemporaries such as Little Richard and Johnny Otis, Turner received critical acclaim as well. Rolling Stone editor David Fricke ranked Turner No. 61 on his list of 100 Greatest Guitarists and noted, "Turner was one of the first guitarists to successfully transplant the intensity of the blues into more commercial music." Turner won five Grammy Awards, including two competitive awards and three Grammy Hall of Fame Awards. He also received the Recording Academy's Heroes Award. Turner was inducted into the Rock and Roll Hall of Fame with Tina Turner in 1991. As a solo artist he is inducted into the St. Louis Walk of Fame, the Clarksdale Walk of Fame, the Mississippi Musicians Hall of Fame, the Blues Hall of Fame, and the Rhythm & Blues Hall of Fame.

Early life

Izear Luster Turner Jr. was born in Clarksdale, Mississippi, on November 5, 1931, to Beatrice Cushenberry, a seamstress, and Izear Luster Turner, a Baptist minister. His parents were Creole. Turner was the younger of their two children; his sister, Lee Ethel Knight, was "some ten years" his senior. When Turner applied for his first passport in the 1960s, he discovered that his name was registered as Ike Wister Turner. By then both of his parents were deceased, so he could not verify the origin of his name.

According to Turner, he witnessed his father beaten and left for dead by a white man. He was later told it was an act of retaliation over a woman with whom his father was having an affair. His father lived for two or three years as an invalid in a tent in the family's yard before succumbing to his injuries when Turner was about five years old.

His mother remarried an artist named Philip Reese, who Turner described as a violent alcoholic. One day after Reese gave him a whipping, Turner knocked him out with a length of lumber and ran away to Memphis for a few days before returning home. Despite their troubled relationship, Turner moved his stepfather into one of his homes in St. Louis after his mother died in 1959 and took care of him until his death in 1961.

Turner recounted how he was sexually assaulted at the age of six by a woman called Miss Boozie. Walking past her house to school, she would invite him to help feed her chickens and then take him to bed. This continued daily for some time. Turner was also sexually assaulted by another middle-aged woman, Miss Reedy, before he was twelve. Reflecting on these experiences, he stated: "That's probably why every relationship I was in was surrounded by sex. Sex was power to me."

Turner attended Booker T. Washington Elementary School, then was promoted to Myrtle Hall in the sixth grade. He quit school in the eighth grade and began working as an elevator operator at the Alcazar Hotel in downtown Clarksdale. During breaks, he would watch DJ John Friskillo play records at the radio station, WROX, located in the hotel. WROX is noted for being the first radio station in Mississippi to employ a black DJ, Early Wright. One day, Friskillo spotted Turner watching and put him to work, teaching him the ins and outs of the control room. Soon, he was left to play records while Friskillo took coffee breaks. This led to Turner being offered a job by the station manager as the DJ on the late-afternoon shift. On his show, "Jive Till Five", he played a diverse range of music such as Roy Milton and Louis Jordan alongside early rockabilly records.

Turner was inspired to learn the piano after he heard blues pianist Pinetop Perkins play at his friend Ernest Lane's house. Turner persuaded his mother to pay for piano lessons, but he did not take to the formal style of playing. Instead, he spent the money in a pool hall and learned boogie-woogie from Perkins. At some point in the 1940s, Turner moved into Clarksdale's Riverside Hotel. The Riverside played host to touring musicians, including Sonny Boy Williamson II and Duke Ellington. Turner associated with many of these musicians, and at 13 years old he backed Sonny Boy Williamson II on piano.

Career

1946–1950: Formation of the Kings of Rhythm

As a teenager, Turner joined a local rhythm ensemble called the Tophatters, who played around Clarksdale, Mississippi. Members of the band were Clarksdale musicians and included Turner's school friends Raymond Hill, Eugene Fox and Clayton Love. The Tophatters played big band arrangements from sheet music. Turner, who was trained by ear and could not sight read, would learn the pieces by listening to a version on record at home, pretending to be reading the music during rehearsals. The Tophatters had over 30 members, but they broke up into two groups after six months to a year. One faction wanted to play jazz music and became the Dukes of Swing. The other band led by Turner became the Kings of Rhythm. Turner said, "we wanted to play blues, boogie-woogie and Roy Brown, Jimmy Liggins, Roy Milton." Turner kept the name throughout his career, although it went through lineup changes over time. Their early stage performances consisted largely of covers of popular jukebox hits. B.B. King helped them to get a steady weekend gig and recommended them to Sam Phillips at Memphis Recording Service. In the 1950s, Turner's group got regular airplay from live sessions on the radio stations WROX in Clarksdale and KFFA in Helena, Arkansas.

Around the time he was starting out with the Kings of Rhythm, Turner and Lane became unofficial roadies for blues musician Robert Nighthawk, who often played live on WROX. The pair played drums and piano on radio sessions. Turner gained experience performing by supporting Nighthawk at gigs around Clarksdale. He played juke joints alongside other local blues artists such as Elmore James, Muddy Waters, and Little Walter. Performances typically lasted about twelve hours, from early evening to dawn the next day. Turner recalled, "there wasn't no intermission. If the drummer had to pee, I would play drums until he returned....There were no breaks. We just switched around."

1951: "Rocket 88"

In March 1951, Turner and his band recorded the song "Rocket 88" at Memphis Recording Service. Turner's vocalist Johnny O'Neal had left to sign a solo contract with King Records, so Jackie Brenston, a saxophonist in the Kings of Rhythm, sang lead vocals while Turner was on piano. "Rocket 88" is notable among other things for Willie Kizart's distorted guitar sound.

Phillips licensed the recording to Chess Records in Chicago. Chess released it under the name "Jackie Brenston and His Delta Cats" instead of "Ike Turner and His Kings of Rhythm Featuring Jackie Brenston". Turner blamed Phillips for this misrepresentation. Soon after its release, the single caused a sensation and Turner performed with his band at the W.C. Handy Theatre in Memphis.

The single reached number-one on the Billboard R&B charts in June 1951 and spent 5 weeks on top of the charts. The record sold approximately half a million copies. Turner and the band were paid $20 each for the record. The exception was Brenston, who sold the rights to Phillips for $910. Phillips used profits from the success of the record to launch Sun Records in February 1952.

The song is often cited as the first rock n' roll record,  but in a later interview, Turner offered this assessment: "I don't think that 'Rocket 88' is rock 'n' roll. I think that 'Rocket 88' is R&B, but I think 'Rocket 88' is the cause of rock and roll existing".

The success of "Rocket 88" generated tension and ego clashes in the band which culminated with Brenston leaving to pursue a solo career, causing the band to fall apart. Turner, without a band and disappointed his hit record had not created more opportunities for him, disbanded the Kings of Rhythm for a few years.

1951–1954: Session musician and talent scout
Soon after the release of "Rocket 88", Turner moved to West Memphis, Arkansas and played with various local bands. He then became a freelance talent scout, session musician, and production assistant for Sam Phillips at Sun Studio, commuting to Memphis, Tennessee. Wishing to exploit his Delta music connections, the Bihari brothers at Modern Records also hired Turner as a talent scout, paying him to find southern musicians who might be worth recording. Turner arranged for B.B. King and the Beale Streeters to record for Modern at the YMCA in Memphis. Turner played piano on King's early records "You Know I Love You" and  "3 O'Clock Blues", which became King's first two number-ones. According to Joe Bihari, Turner had brought King to his attention years prior. He said, "Ike wasn't more than sixteen then. He would send dubs of things he cut to us, and if we'd like them we'd make a seal or sign the artist. That's how we acquired B.B. King." King also maintained that Turner introduced him to the Bihari brothers.

Unaware of songwriter's royalties, Turner also wrote new material which the Biharis copyrighted under their own names. They often purchased or claimed co-writer credit of songs written by artists on their labels using pseudonyms. Turner estimated he wrote seventy-eight hit records for the Biharis. Artists Turner discovered for Modern and Sun include Bobby Bland, Howlin' Wolf, Rosco Gordon, Boyd Gilmore, Houston Boines, Charley Booker, and Little Milton. He played piano in sessions with them and lesser-known artists such as the Prisonaires, Driftin' Slim, Ben Burton, Matt Cockrell, Dennis Binder, Sunny Blair, and Baby Face Turner.

Turner was contracted to the Bihari brothers, but he continued to work for Phillips, where he was effectively the in-house producer. This sometimes created conflicts of interest. In 1951, Turner recorded two Howlin' Wolf tracks for Phillips, playing piano on "How Many More Years" and "Moanin' at Midnight", which Phillips sent to Chess. Turner and Howlin' Wolf then recorded a version of "Moanin' at Midnight" at radio station KWEM in West Memphis without Phillips' or the Chess brothers' knowledge. He sent the results to the Biharis at Modern and they released it on their subsidiary label RPM Records. Turner also attempted to poach Elmore James from Trumpet Records and record him for Modern. Trumpet found out and Modern had to cancel the record. However, James did eventually sign with Modern, and Turner played on his recordings that were released on Modern's subsidiary label Flair Records.

While in Helena, Turner tried to recruit Little Walter to record for Modern in January 1952, but Little Walter was on his way to Mississippi. In 1952, Turner discovered Little Junior Parker in West Memphis, and they formed a band with Matt "Guitar" Murphy. Turner recorded Parker's first single, "You're My Angel" / "Bad Women, Bad Whiskey", credited to Little Junior Parker and the Blue Flames. That summer Turner recorded with the new vocalist and pianist in his band, Marion Louis Lee, resulting in "My Heart Belongs to You" / "Looking for My Baby". The records were released on RPM as Bonnie and Ike Turner and they performed together at the Hippodrome in Memphis. Turner married Lee in September 1952.

Unbeknownst to Turner, during his time in West Memphis, he met Elvis Presley, who was a truck driver. He recalled, "[Presley] was just a white boy that would come over to black clubs. He would come in and stand behind the piano and watch me play. I never knew he was no musician." Turner discovered his identity many years later after Presley approached him when they were both playing at the International Hotel.

To accommodate his then-wife Bonnie, who also played piano, Turner taught himself how to play guitar by ear, and Willie Kizart taught him blues guitar techniques. He began playing guitar in sessions in 1953, and by 1954, with the assistance of Joe Bihari, he built a makeshift recording studio at a defunct Greyhound bus station in Clarksdale. Turner used his Kings of Rhythm as session musicians. They played on many recordings for Bihari's Modern, RPM, and Flair labels. Some of the artists Turner backed on piano and guitar during this period include Elmore James, Johnny Ace and the Flairs. Around this time Turner discovered Billy "The Kid" Emerson in Greenville. He brought Emerson to record at Sun Records and backed him on guitar in 1954.

1954–1959: St. Louis
In 1954, Turner visited his sister Lee Ethel Knight in St. Louis, Missouri. During his stay, he went clubbing at Ned Love's in East St. Louis, Illinois. Love invited Turner and his band to play at his club. Eventually, Turner returned with his reformed version of the Kings of Rhythm. The band consisted of Willie Kizart on guitar, Willie "Bad Boy" Sims on drums, vocalist Johnny O'Neal, Turner's nephew Jesse Knight Jr. on bass, and Turner's wife Annie Mae Wilson on piano and vocals.

Turner maintained strict discipline and the band lived at his home on Virginia Place in East St. Louis which doubled as a studio. A teetotaler at the time, he avoided drugs and insisted all band members also adopt this policy, firing anyone he even suspected of breaking the rules. Turner established his group as one of the most highly rated on the St. Louis club circuit, vying for popularity with their main competition, Sir John's Trio featuring Chuck Berry. The bands would play all-nighters in St. Louis, then cross the river to the clubs of East St. Louis, and continue playing until dawn. Initially, they played for predominately black audiences at clubs in Illinois such as the Club Manhattan in East St. Louis, which Turner and his band built, the Club Riviera in St. Louis, the Harlem Club in Brookline and the Kingsbury in Madison. In St. Louis, Turner was exposed to a white audience who were excited by R&B. He played at the Moonlight Bar, Latin Quarter, and the Club Imperial, which was popular with white teenagers. He also gained a big following at Club DeLisa and locally he was acknowledged as the "King of Rock and Roll." As he popularity grew among both whites and blacks, he demanded that the clubs should be integrated. He performed regularly on Dave Dixon's radio show, which aired live from the Birdcage Lounge, on KSTL. He also had live music broadcasts on the St. Louis radio station KATZ.

In between live dates, Turner took the band to Cincinnati to record for Federal Records in 1956. The single, "I'm Tore Up" / "If I Never Had Known You" featuring Billy Gayles, was released in April 1956. It became a regional hit and Turner's booking fee doubled after its release. Like Brenston years prior, Gayles left Turner's band to pursue a solo career. In 1958, Turner took the band to Chicago to record for Cobra/Artistic, as well as fulfilling his contract as a session musician back at Sun. While in Chicago, Turner backed Otis Rush, playing the signature vibrato guitar parts on "Double Trouble". He also helped Buddy Guy record his second record, resulting in the single "You Sure Can't Do" / "This Is The End", on which Turner played guitar and composed the latter.

Turner befriended St. Louis R&B fan Bill Stevens, who set up the short-lived Stevens Records in 1959. Turner released two singles on the Stevens label, "Jack Rabbit" / "In Your Eyes Baby" and "Ho–Ho" / "Hey–Hey." He used the anagram "Icky Renrut" because he was still under contract with Sun for several more months, and he didn't want to cause friction with Phillips. In addition, Turner recorded numerous sessions for Stevens with various vocalists and musician lineups of the Kings of Rhythm.

1960–1976: The Ike and Tina Turner Revue

In 1956, Ann Bullock accompanied her sister Alline Bullock to watch Turner and the Kings of Rhythm at the Club Manhattan in East St. Louis. Alline was a barmaid at the club and was dating Turner's drummer Eugene Washington. Through her sister and Washington, Bullock asked Turner to sing with his band. Turner said he'd call her onstage, but he never did. One night during an intermission, Bullock got hold of the microphone from Washington and sang "You Know I Love You" by B.B. King. Impressed by her voice, Turner invited her to sing with the band. She made her recording debut on Turner's song "Boxtop", released on Tune Town Records in 1958.

In March 1960, Turner allowed her to record a demo of his self-penned song "A Fool in Love". He intended to use the demo as guide track for Art Lassiter, who did not attend the scheduled recording session at Technisonic Studios. A local DJ suggested he send the record to Sue Records in New York, where label owner Juggy Murray insisted on releasing the track with Bullock's vocal. Murray offered a $20,000 advance for the song and suggested Turner "make her the star" of his show. Turner then renamed her "Tina" because it rhymed with Sheena; however, family and friends still called her Ann. He was inspired by Sheena, Queen of the Jungle and Nyoka the Jungle Girl to create her stage persona. He had the name "Tina Turner" trademarked, so that in case she left, another singer could perform under the same name.

The single "A Fool In Love" was released in July 1960, and it became a national hit, selling a million copies. It peaked at No. 2 on the Billboard R&B chart and No. 27 on the Hot 100. Turner added a backing girl group he renamed the Ikettes, and along with the Kings of Rhythm they began performing as the Ike & Tina Turner Revue. The success of the single was followed by a string of hits including "I Idolize You", "Poor Fool", and "It's Gonna Work Out Fine" which gave them their second million-seller and their first Grammy nomination.

In 1961, Turner played piano on Albert King's first hit record, "Don't Throw Your Love on Me So Strong". The single, released on King Records, peaked at No. 14 on the Billboard R&B chart. He also wrote and produced the Ikettes hit "I'm Blue (The Gong-Gong Song)".

The Revue performed rigorously on the Chitlin' Circuit and built a reputation as "one of the hottest, most durable, and potentially most explosive of all R&B ensembles." To assure he always had a record out while on tour, Turner formed multiple labels such as Sputnik, Teena, Prann, Innis, Sony and Sonja. He produced singles by the Ikettes, Jimmy Thomas, Fontella Bass, George Jackson, and other artists on his labels. The duo switched to Turner's Sonja label in 1963. For the next six years, they recorded on Warner Bros./Loma, Modern/Kent, Cenco, Philles, Tangerine, Pompeii, Blue Thumb, Minit, and A&M. Between 1964 and 1965, they scored fourteen top 40 R&B hits with "You Can't Miss Nothing That You Never Had", "Tell Her I'm Not Home", "Good Bye, So Long", and "Two Is a Couple". Around this time, Jimi Hendrix briefly played backing guitar in the band.

In 1965, Phil Spector saw them perform at a club on the Sunset Strip and invited them to film The Big T.N.T. Show. Impressed by their performance, Spector negotiated a deal with their manager Bob Krasnow, head of Loma Records, offering $20,000 to produce Tina and have them released from their Loma contract. After Tina and Spector recorded "River Deep – Mountain High", the duo signed to Spector's Philles label in 1966. The failure of the single in America triggered Spector's retreat from the music industry. However, it was a hit in Europe, reaching No. 3 on the UK Singles Chart and No. 1 on Los 40 Principales in Spain. Following the song's success in the UK, Mick Jagger invited them to open for the Rolling Stones on their 1966 British Tour. This exposure introduced them to a wider audience outside of R&B. Soon they were booking bigger venues, and by 1969 they were headlining in Las Vegas.

In April 1969, Turner and the Kings of Rhythm released an album, A Black Man's Soul, on Pompeii Records. The album earned Turner his first solo Grammy nomination for Best R&B Instrumental Performance at the 12th Annual Grammy Awards. Later that year, the duo released the blues-oriented albums Outta Season and The Hunter on Blue Thumb Records. Turner and Bob Krasnow, founder of Blue Thumb, co-produced Earl Hooker's 1969 album Sweet Black Angel. In November, the Ike & Tina Turner Revue opened for the Rolling Stones on their 1969 American Tour.

In January 1970, they performed on The Ed Sullivan Show and released their rendition of "Come Together", which reached No. 21 on the R&B chart. Their cover of "I Want to Take You Higher" by Sly and the Family Stone was also successful on the charts in 1970. Turner, who was a friend of Sly Stone, played guitar on Sly and the Family Stone's album There's a Riot Goin' On (1971). The release of "Proud Mary" in 1971 became Ike & Tina Turner's biggest hit, reaching No. 4 on the Billboard Hot 100 and No. 5 on the R&B chart. It sold more than a million copies, and won the duo a Grammy Award for Best R&B Vocal Performance by a Group at the 14th Annual Grammy Awards.

Their mainstream success provided Turner with the finances to open his own recording studio, Bolic Sound in Inglewood, in 1972. Turner had two sixteen track studios built, a large one to rent out and a smaller one for his personal recordings. He fitted them out with state-of-the-art equipment. Artists who recorded there included Paul McCartney, George Harrison, Duane Allman, Little Richard, Gayle McCormick, and Frank Zappa.

Turner released two solo albums for United Artists Records, Blues Roots (1972) and Bad Dreams (1973). In 1973, the duo released "Nutbush City Limits" penned by Tina. The single peaked at No. 22 on the Billboard Hot 100, No. 11 on the R&B chart and it was a bigger hit in Europe. The Turners received the Golden European Record Award, the first ever given, for selling more than one million records of "Nutbush City Limits" in Europe.

During this period, Turner produced singer Judy Cheeks' debut album Judy Cheeks (1973), and the last album by the Ikettes, (G)Old & New (1974). In 1974, Ike and Tina released the album The Gospel According to Ike & Tina Turner. The album was nominated for Best Soul Gospel Performance. Turner also earned a solo nomination for his single "Father Alone". Between 1974 and 1975, the duo released the  singles "Sweet Rhode Island Red", "Sexy Ida", and "Baby, Get It On".The Ike & Tina Turner Revue ended abruptly in 1976. That year, they headlined at the Waldorf Astoria New York and signed a television deal with CBS-TV. Turner had plans to leave United Artists Records for a five-year $150,000 per year deal with Cream Records, which was to be signed on July 6. On July 1, the Turners got into a violent altercation en route to their gig at the Dallas Statler Hilton. Turner later claimed that Tina initiated the conflict by purposely irritating him so that she would have a reason to break up with him before they signed the new contract. Tina fled from the hotel shortly after they arrived, and filed for divorce on July 27, 1976. She would later describe a relationship in which Turner was frequently violent and abusive, sometimes beating her with wooden objects like a shoe-stretcher or hanger. The night she left, his beating left her face bruised, swollen, and bleeding.

United Artists responded to the Turners' separation by releasing albums of compiled recordings from their last sessions together, Delilah's Power (1977) and Airwaves (1978). Two years after their divorce was finalized, Turner released the single "Party Vibes" / "Shame, Shame, Shame" from the album The Edge (1980) which peaked at No. 27 on the Billboard Disco Top 100 chart.

1977–2007: Later career
After his breakup with Tina, singer Holly Maxwell sang with Turner on occasion from 1977 to 1985 and again for eight months in 1992. She reported a positive working relationship with Turner, and later released the memoir Freebase Ain't Free about their close friendship. In 1979, Turner spent time in the studio with Chaka Khan following her separation from her manager-husband. She told Jet: "He's been real inspiration and a catalyst emotionally and in other ways as well. We plan to record together." Turner struggled to find success due to his cocaine addiction and run-ins with the law. In 1988, Turner attempted an ill-fated return to the stage with Marcy Thomas, Bonnie Johnson, and Jeanette Bazzell as his Ikettes.

While Turner was in prison following a drug conviction, Ike & Tina Turner were inducted to the Rock & Roll Hall of Fame in 1991. Tina did not attend because she took the year off from making public appearances, so Phil Spector delivered a speech at the ceremony on their behalf. After his release from prison, Turner told the press that he was nervous about returning to performing live, but had plans to return to the studio. He sold 20 unreleased Ike & Tina Turner masters to the independent label Esquire Records. In 1992, Turner performed as a special guest at Oliver Sain's Soul Reunion concert at Mississippi Nights in St. Louis.

Hip-hop group Salt-N-Pepa sampled Turner's composition "I'm Blue (The Gong Gong Song)", released by the Ikettes in 1961, for their 1993 single "Shoop". The song reached No. 4 in the Billboard Hot 100 and Turner earned around half a million dollars in royalties. He re-recorded "I'm Blue" as a duet with singer Billy Rogers in 1995. Produced by Rogers, the remake received favorable reviews. Turner later appeared on the song "Love Gravy" with Rick James for the soundtrack album Chef Aid: The South Park Album.

Turner reformed the Ikettes in the mid-1990s, which included his then-wife Jeanette Bazzell Turner , Nina Hill, and Michelle Love (Randi Love). Vera Clyburn, who was an Ikette in the 1970s, was the lead singer. They performed to positive reviews as the Ike Turner Revue. In August 1997, Turner returned to his hometown Clarksdale to headline the 10th Annual Sunflower River Blues & Gospel Festival.  Turner credited Joe Louis Walker with encouraging him to return to his roots in blues music. Turner played guitar and assisted in the production on Walker's 1997 album Great Guitars; Walker paid him $5,000 a night for six songs.  Walker invited Turner to perform with him at the San Francisco Blues Festival and to tour in Europe. The positive response to the tour encouraged Turner to reform the Kings of Rhythm. They toured the US in 2001, and headlined a showcase at South by Southwest, where they were hailed as one of the highlights of the conference. Turner's work on the tour led to the recording and release of his Grammy-nominated album Here & Now (2001). In 2002, Turner's performance at the Montreux Jazz Festival was released as a live album and DVD.

In 2002, Turner filmed Martin Scorsese's PBS documentary series The Blues, which aired in September 2003. He is featured in the documentaries The Road to Memphis and Godfathers and Sons, as part of the series. Turner appeared on the Gorillaz's album Demon Days (2005), playing piano on "Every Planet We Reach Is Dead". He performed the song with Gorillaz at the Manchester Opera House in November 2005. His performance is featured in the live concert DVD Demon Days: Live at the Manchester Opera House.

In 2006, Turner released his last album, Risin' With the Blues, on the independent label Zoho Roots. The album received positive critical reception, and was nominated for best Blues Album at the 7th Annual Independent Music Awards. Turner won his first solo Grammy Award for Best Traditional Blues Album at the 49th Annual Grammy Awards in 2007.

Turner began working on a collaboration album with Gorillaz's producer Danger Mouse and the Black Keys in early 2007. The Black Keys sent demos to Turner, but the project was temporarily shelved. After Turner's death, the songs were used for their 2008 album Attack & Release. Although Turner does not appear on the album, Pitchfork noted his influence in the production.

Artistry and legacy

Musical style

In his career, Turner originally worked in the style of 1950s R&B, or post-jump blues. His early influences included Amos Milburn and Louis Jordan, as well as country music artists such as Hank Williams Sr. and Merle Travis. Though primarily known as a guitarist, Turner began his career playing piano and personally considered it his main instrument. In 1951, journalist Mike McGee compared him to jazz pianist Fats Waller and wrote: "Ike Turner is the hottest piano player in many a day."

Turner grew up playing boogie woogie piano, which he learned from blues pianist Pinetop Perkins. He decided he was not meant to be a frontman when at twelve he was coerced into giving an impromptu piano recital in school. He found the experience terrifying and from then on preferred not to be the focus of attention, but rather to be in the background controlling the show. He considered himself an organizer rather than a performer. Musician Donald Fagen noted: "[T]alented as he was, there wasn't anything really supernatural about Ike's skills as a musician... What Ike excelled at was leadership: conceptualization, organization, and execution."

Turner's guitar style is distinguished by heavy use of the whammy bar to achieve a strong reverb-soaked vibrato, string bending, hammer-ons and triplets in his blues phrasing. Turner was an early adopter of the Fender Stratocaster electric guitar, buying one from O.K. Houk's Piano Co. store in Memphis the year of its release in 1954. Unaware that the guitar's tremolo arm could be used to subtle effect, Turner used it to play screaming, swooping and diving solos that predated artists such as Jimi Hendrix and Jeff Beck by a decade. In The Stratocaster Chronicles, Tom Wheeler wrote that Turner's "inventive style is a classic example of an artist discovering the Stratocaster, adapting to its features and fashioning something remarkable." Turner himself said of his tremolo technique: "I thought it was to make the guitar scream—people got so excited when I used that thing." Dave Rubin wrote in Premier Guitar magazine: "All those years of playing piano and arranging taught him a considerable amount about harmony, as he could certainly navigate I-IV-V chord changes. Ike modestly terms what he does on the guitar as 'tricks', but make no mistake, he attacked his axe with the conviction of a man who knew precisely what he wanted to hear come out of it."

Reviewing Turner's 1973 album Bad Dreams, Robert Christgau wrote: "After twenty years of raking it in from the shadows, he's finally figured out a way of applying his basically comic bass/baritone to rock and roll. Studio-psychedelic New Orleans, echoes of the Band and Dr. John, some brilliant minor r&b mixed in with the dumb stuff. My God—at the moment he's more interesting than Tina."

Influence

Turner was praised by his contemporaries for his influence. Johnny Otis said, "Ike Turner is a very important man in American music. The texture and flavor of R&B owe a lot to him. He defined how to put the Fender bass into that music. He was a great innovator." B.B. King was a great admirer of Turner, describing him as "The best bandleader I've ever seen." King also said, "When they talk about rock 'n roll, I see Ike as one of the founding fathers." Turner was a big influence on Little Richard, who wrote the introduction to Turner's autobiography. Little Richard was inspired to play the piano after he heard Turner's piano intro on "Rocket 88", and later used it note for note on "Good Golly, Miss Molly". Prince also said Turner was his first musical influence.

Phil Alexander, editor-in-chief of Mojo magazine, referred to Turner as the "cornerstone of modern day rock 'n' roll" and credited his arrangements of blues standards as being an influence on 1960s British Invasion groups: "He proceeded to influence British rockers from the mid-1960s onwards. Without Ike you wouldn't have had the Stones and Zeppelin. People like that wouldn't have had the source material on which they drew."

Speaking on "Rocket 88" being a contender for the first rock 'n' roll record, broadcaster Paul Gambaccini said:In musical terms [he was] very important. "Rocket 88" is one of the two records that can claim to be the first rock 'n' roll record, the other being "The Fat Man" by Fats Domino from 1949. But "Rocket 88" does have a couple of elements which "The Fat Man" did not. The wailing saxophone and that distorted electric guitar. It was number one in the rhythm and blues chart for five weeks, it is in the Grammy Hall of Fame and it was an indisputable claim to fame for Ike Turner....To critics he will be known as a great founder, unfortunately to the general public he will always be known as a brutal man.Nigel Cawthorne—co-author of Turner's autobiography—said:Although there had been black rock 'n' rollers who had made it big already, they really only played to a white audience. Ike and Tina played to a mixed audience and he deliberately desegregated audiences in the southern states and he wouldn't play to any segregated audiences at all. Because he had such a big band and entourage he desegregated a lot of the hotels because the hotel chains wouldn't want to miss out on the money they would make from him touring the southern states.Turner's songs have been sampled by hip hop artists; most notably, Salt-N-Pepa used "I'm Blue" for their 1994 hit "Shoop". Jurassic 5 used "Getting Nasty" from A Black Man's Soul on the track "Concrete Schoolyard" in 1997. Main Source also sampled "Getting Nasty" on the track "Snake Eyes" as well as Ike & Tina Turner's "Bold Soul Sister" on "Just Hanging Out"; both featured on their 1991 album Breaking Atoms. The track "Funky Mule", also from A Black Man's Soul, has been sampled extensively by jungle DJs, with the drum introduction being a very popular break. It was sampled by producer Goldie for his 1994 hit "Inner City Life", in the same year by Krome & Time on "The License", and by Paradox in 2002 on track "Funky Mule".

In 2009, a Nashville-based band, Mr. Groove Band, recorded a tribute album titled Rocket 88: Tribute to Ike Turner. Vocalists on the album include Turner's last wife Audrey Madison Turner and former Ikette Bonnie Bramlett.

Accolades
Turner won two competitive Grammy Awards. Ike & Tina Turner won Best R&B Vocal Performance by a Group for "Proud Mary" in 1972. In 2007, Turner won Best Traditional Blues Album for Risin' with the Blues. Turner also has three songs inducted into the Grammy Hall of Fame: "Rocket 88", "River Deep – Mountain High", and "Proud Mary".

Ike & Tina Turner were inducted into the Rock & Roll Hall of Fame in 1991. Turner is inducted into the Blues Hall of Fame and the Rhythm and Blues Music Hall of Fame. He is also inducted into the Mississippi Musicians Hall of Fame. He was honored with a star on the St. Louis Walk of Fame in 2001.

Turner won Comeback Album of The Year for Here and Now at the W.C. Handy Blues Awards in 2002. In 2004, he was awarded the Heroes Award from the Memphis branch of the Recording Academy. He was a recipient of the Legend Award at the 2007 Mojo Awards.

In 2003, the album Proud Mary: The Best of Ike & Tina Turner was ranked No. 212 on Rolling Stone magazine's list of the 500 greatest albums of all time (No. 214 on 2012 revised list).

In 2004, Fender Custom Shop manufactured a limited edition Ike Turner Tribute Stratocaster. The model has an alder body in Sonic Blue with an Ike Turner signature in gold ink on the body under the clear-coat, with a maple neck in a 1960s "C" shape with a rosewood fingerboard, with 21 vintage frets. It had three custom single coil 1960s Strat pickups. Only 100 specimens were made, retailing at $3,399.99.

In August 2010, Turner was posthumously celebrated in his hometown of Clarksdale, Mississippi. On August 6, Clarksdale officials and music fans gathered to unveil a marker on the Mississippi Blues Trail and a plaque on the Clarksdale Walk of Fame in downtown Clarksdale honoring Turner and his musical legacy. The unveilings coincided with Clarksdale's 23rd Annual Sunflower River Blues & Gospel Festival, which paid tribute to Turner.

Although Turner considered himself a pianist rather than a guitarist, Rolling Stone magazine editor David Fricke ranked him No. 61 on his list of 100 Greatest Guitarists in 2010.

In 2015, Rolling Stone ranked Ike & Tina Turner No. 2 on their list of the 20 Greatest Duos of All Time.

In 2017, the Mississippi Blues Trail honored "Rocket 88" for being an influential record with a marker in Lyon, Mississippi. In 2018, "Rocket 88" was chosen for the inaugural class of influential songs inducted into the Rock and Roll Hall of Fame Singles.

Portrayal in popular culture
In 1986, Tina Turner released her autobiography, I, Tina, in which she recounted Turner's volatile behavior. He received negative publicity that was exacerbated in 1993 by the release of the film adaptation What's Love Got to Do with It. Turner received $45,000 for the film, but he had unknowingly signed papers waiving the right to sue Disney's Touchstone Pictures for his depiction. He was portrayed by Laurence Fishburne, whose performance earned him an Oscar nomination for Best Actor at the 66th Academy Awards.

After the release of the film, the fictionalized version of Turner from the movie was seized on by comedians, who reused the persona in sketches. On the 1990s sketch comedy show In Living Color, Turner was parodied by David Alan Grier. He was portrayed on Saturday Night Lives Weekend Update by Tim Meadows in a pageboy wig. On the John Boy and Billy radio show, cast member Jeff Pillars regularly performed an impersonation of Turner in a segment called "Ax/Ask Ike". These sketches were collected in a 2008 comedy album Ike at the Mike. In 2006, Vibe magazine ranked the character of Ike Turner from What's Love Got to Do with It at No. 4 in their list of the 20 best movie "bad guys".

Commenting on the historical accuracy of the film, Tina told Larry King in 1997: "I would have liked them to have more truth, but according to Disney [owner of the film's production company], they said it's impossible, the people would not have believed the truth." In 2018, Tina told Oprah Winfrey that she only recently watched the film, but she could not finish it because she "didn't realize they would change the details so much." Phil Spector criticized Tina's book and called the film a "piece of trash" during his eulogy at Turner's funeral.

In 2015, TV One's Unsung offered some redemption with "The Story of Ike Turner", which documented his career along with his trials and tribulations. In the musical Tina: The Tina Turner Musical, Turner was portrayed by British actor Kobna Holdbrook-Smith, who won the Laurence Olivier Award for Best Actor in a Musical for his role in 2019.

Books
In 1999, Turner published his autobiography Takin' Back My Name: The Confessions of Ike Turner. It was written with Nigel Cawthorne and Little Richard wrote the introduction. In 2003, John Collis published Ike Turner: King of Rhythm about the life and musical contributions of Turner.

Personal life

Marriages
Turner was married fourteen times. He often married another woman before divorcing his existing wife. Speaking on his early marriages, he said:  "You gave a preacher two dollars, the (marriage) papers cost three dollars, that was it. In those days, blacks did not bother with divorces."

Early marriages
Turner was first married at 16 years old to Edna Dean Stewart of Ruleville, Mississippi. They were married on April 10, 1948. Records show that Turner added four years to his age. Edna didn't want to stay in Clarksdale, so she left Turner and returned to Ruleville.

Turner's second wife, Velma Davis (née Dishman) is the elder sister of former Ikette Joshie Armstead. Turner met her at the Cotton Club on Camplin Avenue in Yazoo City, Mississippi in 1948. Davis claimed that Turner was the father of her daughter Linda Turner Bullock, born in 1949. However, Turner asserted in his book that he is not the biological father. The couple married on September 19, 1950. Davis and Bullock attended Turner's Mississippi Blues Trail marker unveiling in 2010.

Turner then married Rosa Lee Sane in West Memphis, Arkansas. She had a mental breakdown so her family put her in an insane asylum in Tennessee. Turner tried to get her out, but he never saw her again.

Turner married Marion Louis Lee (Bonnie Turner) in Clarksdale on September 24, 1952. Lee was a member of the Kings of Rhythm as a pianist and vocalist. In 1952, under the alias Mary Sue, she released the single "Everybody's Talking" / "Love Is a Gamble" on Modern Records. She co-wrote both tunes with Turner. The couple also recorded for RPM Records and Sun Records. Turner recalled, "Bonnie played piano. It was a job staying ahead of this chick, man, cos' she was always trying to outdo me." While they were in Sarasota, Florida for a gig, she ran off to New York with another man in 1953. Their divorce was finalized in 1955.

After Lee, Turner married a woman named Alice in Helena, Arkansas. According to Turner, they did not consummate their marriage. Alice was dating his vocalist Johnny O'Neal, but Turner liked her so he married her to avoid "locking heads" with O'Neal. "If I married her, he couldn't do nothing," he said.

After Alice, Turner married Annie Mae Wilson from Greenville, Mississippi. She played piano and was the secretary for his band. Wilson left Turner for a policeman in East St. Louis, Illinois. In 1958, Turner presented a petition to the East St. Louis Board of Police Commissioners, stating that that police officer Curtis Smith had harassed him and burst his eardrum out of spite because of his relationship with Wilson.

In East St. Louis, Turner lived with Lorraine Taylor. Her parents owned the Taylor Sausage Factory in St. Louis. Sources often incorrectly refer to Taylor as one of Turner's wives, but she was his live-in girlfriend. Lorraine already had two children of her own before she had two sons, Ike Jr. and Michael, with Turner.

Tina Turner

In 1956, Turner met Ann Bullock (whom he later renamed Tina Turner) at the Club Manhattan in East St. Louis. They became close friends and she began dating his saxophonist Raymond Hill. When Bullock became pregnant by Hill, they lived with Turner and his live-in girlfriend Lorraine Taylor. Hill injured his ankle and left Bullock before their son Craig was born in August 1958. During Bullock's pregnancy, Taylor became suspicious that Bullock was pregnant by Turner and threatened her with a gun before shooting herself; her injuries were nonfatal. However, Turner and Bullock eventually began having an affair and she became pregnant in January 1960.

Following the birth of their son Ronnie in October 1960, they were married in Tijuana in 1962. Turner stated that the reason they went to Tijuana was to see "sex shows and whores". At the time, he was still legally married to Alice Bell. He used a detective agency to locate Bell in Chicago and they divorced in 1974. On multiple occasions, Turner said that he was never officially married to Tina. He also revealed on The Howard Stern Show in 1993 and on Fresh Air in 1996 that Tina's birth name was Martha Nell (not Anna Mae) Bullock. Tina signed her legal name as Martha Nell Turner on multiple contracts.

Following a violent altercation in July 1976, Tina filed for divorce on the grounds of irreconcilable differences. Although Turner reiterated that they were never officially married, they had a common-law marriage and still had to go through a formal divorce. Their divorce was finalized on March 29, 1978. In the final divorce decree, Tina took responsibility for missed concert dates as well as an IRS lien. Tina retained songwriter royalties from songs she had written, but Turner got the publishing royalties for his compositions and hers. She also kept her two Jaguar cars, furs and jewelry along with her stage name. Tina gave up her share of their Bolic Sound recording studio, publishing companies, and real estate.

In her 1986 autobiography, Tina revealed that Turner had been abusive during their marriage. She said: "It was my relationship with Ike that made me most unhappy. At first, I had really been in love with him. Look what he'd done for me. But he was totally unpredictable." Turner admitted he took Tina for granted and called her "the best woman I ever knew". In his autobiography, he said: "Sure, I've slapped Tina. We had fights and there have been times when I punched her to the ground without thinking. But I never beat her." In a 1999 interview, Roseanne Barr urged him to publicly apologize to Tina on The Roseanne Barr Show. In 2007, Turner told Jet that he had written Tina an apology letter, but had never sent it. In 2018, Tina told The Sunday Times that "as an old person, I have forgiven him, but I would not work with him. He asked for one more tour with me, and I said, 'No, absolutely not.' Ike wasn't someone you could forgive and allow him back in."

Later marriages
Turner married Margaret Ann Thomas in Las Vegas on April 11, 1981; they divorced in 1990. They had met in the mid-1960s at a concert in Bakersfield, California. According to Turner, Tina suggested Ann fill in as an Ikette because although she could not sing, she was attractive. Eventually, she moved into their View Park home. Turner stated, "I loved Tina, but I was in love with Ann Thomas." Their daughter Mia was born in January 1969. They rekindled their friendship years after their divorce, and she found Turner unconscious at his home the day he died.

Turner was introduced to St. Louis native singer Jeanette Bazzell by his son Ike Turner Jr. in 1988. She became his lead vocalist and they married in a private ceremony at Circus Circus Hotel & Resort in Las Vegas on July 4, 1995. They divorced in 2000, but later rekindled their friendship. According to Jeanette, Turner called her his "backbone". In 2019, she told Palm Spring Life that the film What's Love Got to Do with It "assassinated Ike's career. But more than that, it broke his heart". She added, "Ike doesn't get any recognition because of all the negative things [shown] in that movie and in his relationship with Tina... I went through things with Ike, too, but there's a time to forgive and to let go. To strip him from having the opportunity to get recognition in an area where he was entitled to deserve it, it's so wrong to me."

Turner met San Francisco native singer Audrey Madison through a mutual friend in 1993. She started as an Ikette before becoming his lead singer. They married at A Special Memory Wedding Chapel in Las Vegas on October 8, 2006. Turner filed for divorce two months later on December 22, but after the divorce was granted, they reconciled in 2007. In 2011, Audrey appeared as a contestant on The X Factor. In 2016, she released her memoir Love Had Everything to Do with It, which details her volatile relationship with Turner due to his bipolar disorder and schizophrenia. She told The Afro: "I decided to write it because it was like a cleansing and it released all of the trauma. Also, I wanted the general public to have a better outlook and perspective on where Ike was mentally and emotionally, because so often, as a nation, we turn on people who have mental health issues and define them by their behaviors rather than their condition."

Children
Turner had six children. He had two sons, Ike Turner Jr. (b. 1958) and Michael Turner (b. 1960), with Lorraine Taylor. He had a son Ronald "Ronnie" Turner (1960–2022) with Tina Turner. Tina's son Craig Turner (1958–2018) with Raymond Hill was adopted by Turner and therefore carried his surname. Craig died in an apparent suicide.

Turner had a daughter, Mia Turner (b. 1969), with Ann Thomas, and he later discovered he had another daughter, Twanna Melby Turner (b. 1959), with Pat Richard.

Turner's second wife Velma Davis (née Dishman) claimed that Turner was the father of her daughter, Linda Turner Bullock (b. 1949), but Turner denied that assertion in his autobiography (in which Velma is mistakenly referred to as Thelma): "I met Thelma Dishman, who, at that time, I thought was a pretty girl. Thelma was pregnant, not by me, but I liked her."

In 1988, Turner discovered he had a daughter named Twanna Melby. He was paroled into her custody in 1991. Her mother, Pat Richard, attended Sumner High School with Tina in St. Louis.

Ike Turner Jr. released an album, Hard Labor, in 1987. He won a Grammy Award for his involvement with Turner's 2006 album Risin' with the Blues. He toured with former Ikette Randi Love as Sweet Randi Love and The Love Thang Band.

Ronnie Turner was in a band called Manufactured Funk with songwriter and musician Patrick Moten. He played bass guitar in his mother's band after his parents divorced and he later played in his father's band. He married French singer Afida Turner in 2007. After his father's death, he told Jet magazine: "I loved my father very much... You can talk 5 or 10 minutes about the bad he's done. You can talk all night about the achievements he's had. He was successful with my mom and after my mom. He won a Grammy before he died. That's a lifetime achievement." Ronnie died from complications of colon cancer in 2022.

Legal problems and drug addiction
In 1960, Turner and two others were charged for "interstate transportation of forged checks and conspiracy." Turner plead not guilty and was forced to stand trial in St. Louis. The jury failed to reach a verdict at the first trial, but he was found not guilty at the retrial in 1961.

In 1974, Turner and three others were arrested for using illegal blue boxes at Bolic Sound studio to make long-distance phone calls. He was cleared of the charges.

Before the age of thirty, Turner did not use drugs or drink alcohol. He would fire anyone in his band who used any substances. Turner was first introduced to cocaine by "two very famous people" he had been working with at the International Hotel in Las Vegas. Producer D'Angela Proctor alleged in Turner's Unsung documentary that the two famous people were Elvis Presley and Redd Foxx. He took the cocaine home and tried it one night while writing songs at the piano. Turner said he liked the reduced need for sleep the drug gave him, which allowed him to write more music. By the early 1970s, he was heavily addicted to the drug, buying it in large quantities and sharing it with friends. Turner later estimated that he had spent $11 million on cocaine. His addiction caused a hole through his nasal septum, the pain of which he relieved by using more cocaine. He eventually began freebasing crack cocaine.

By the 1980s, Turner's finances were in disarray and he owed the state of California $12,802 in back taxes. He later settled his account. He had tried to sell his studio Bolic Sound to raise funds to avoid foreclosure, but the studio burned down on the day a potential buyer was scheduled to view it in January 1981.

During the 1980s, Turner was arrested multiple times for drug and firearm offenses, which resulted in two convictions.

 In 1980, a SWAT team raided his Bolic Sound studio, finding a live hand grenade and seven grams of cocaine. Turner received his first conviction for cocaine possession. He was sentenced to thirty days in the L.A. county jail with three years probation.
 In April 1981, Turner was arrested for shooting a 49-year-old newspaper delivery man. He accused the man of assaulting his wife Ann Thomas and of kicking his dog. Turner said he only fired a shot to scare him off and that the man had injured himself when he climbed over the fence to get away. A jury acquitted Turner of assault in 1982.
 In June 1985, Turner was arrested and charged with conspiracy to sell $16,000 worth of cocaine, possession and maintaining a residence for selling or using a controlled substance. The police took $1,000 worth of rock cocaine from his North Hollywood apartment. Record producer Eddie Coleman Jr. and music company writer Richard Lee Griffin were also arrested and charged. Turner was released on a $5,000 bond.
 In 1986, Turner was arrested for cocaine possession, concealed carry of a handgun and traffic violations; he was released on bail.
 In January 1987, Turner was arrested for trying to sell 10 ounces of cocaine to an undercover police officer; he pleaded not guilty.
 In May 1989, Turner was arrested on drug charges in West Hollywood. He was convicted of cocaine intoxication and driving under the influence of cocaine in January 1990. The next month he was sentenced to four years in prison. He was released on parole in September 1991 after completing 18 months of his sentence at California Men's Colony in San Luis Obispo. Larry Kamien, associate warden of the California Men's Colony, said Turner was a model inmate. In prison he became a trustee working in the library and saved $13,000 by selling cigarettes, candy bars, and coffee to other inmates.

Turner managed to break his dependency on cocaine while in prison and remained clean for more than ten years. He visited high schools during Black History Month to speak against drug use. While trying to help an acquaintance from crack addiction at a crack house he relapsed in 2004.

Health problems
In 2005, Turner revealed he had been diagnosed with emphysema, which required him to use an oxygen tank. His daughter Mia Turner said, "He was too weak from the emphysema to do anything. He'd go in the studio for a couple of minutes and play a couple of bars and say he had to go lay down." Despite his ill health, he collaborated with Gorillaz on their album Demon Days and performed the track with them at the Manchester Opera House in November 2005.

After his death in 2007, Turner's autopsy and toxicology report showed he was taking Seroquel at the time of his death. The medicine is most commonly used as treatment for bipolar disorder, Alzheimer's disease and schizophrenia. His ex-wife Audrey Madison claimed Turner was bipolar and that she was helping him with his illness, a claim supported by Turner's personal assistant and caretaker, Falina Rasool. Rasool said she talked to Turner about his bipolar disorder and witnessed its effects. "I would come in the room and see him change like a lightbulb, switch on and switch off. I did ask him about it. He said he made a song about it and we started laughing," said Rasool, referring to "Bi Polar" from the Grammy-winning album Risin' with the Blues. "I know I'm bipolar....And I've been bipolar, but a lot of people is bipolar," he told her. However, Turner's daughter, Mia Turner, disagreed with this diagnosis and felt he was being overmedicated.

Religious affiliation
Turner was raised a Baptist and reportedly converted to Judaism in 1994, but never spoke about it.

Death
In the weeks leading up to his death, Turner became reclusive. On December 10, 2007, he told his assistant, Falina Rasool, that he believed he was dying and would not live until Christmas. He died two days later, on December 12, at the age of 76, at his home in San Marcos, California. He was found dead by his former wife, Ann Thomas. Rasool was also in the house and administered CPR. Turner was pronounced dead at 11:38 a.m.

His funeral was held on December 21, 2007, at the City of Refuge Church in Gardena, California. Among those who spoke at the funeral were Little Richard, Solomon Burke and Phil Spector. The Kings of Rhythm played "Rocket 88" and "Proud Mary". Turner was cremated after the funeral service.

On January 16, 2008, the San Diego County Medical Examiner's Office reported that Turner had died from a cocaine overdose. "The cause of death for Ike Turner is cocaine toxicity with other significant conditions, such as hypertensive cardiovascular disease and pulmonary emphysema", Supervising Medical Examiner Investigator Paul Parker told CNN. His daughter Mia was said to be surprised at the coroner's assessment, believing his advanced stage emphysema was a larger factor.

Turner died without a valid will. Less than a week after his death, his former wife Audrey Madison Turner filed a petition stating that he had penned a handwritten will naming her as a beneficiary. In 2009, a judge ruled that the handwritten will was invalid and that Turner's children were legally the direct heirs of his estate.

Awards and nominations
Turner has received various awards in recognition for his significant role as a pioneer of rock and roll.

2001: Inducted into the St. Louis Walk of Fame
2002: Inducted into the Mississippi Musicians Hall of Fame
 2004: Memphis Heroes Award
 2005: Inducted into Guitar Center's RockWalk
2007: Mojo Legend Award
2010: Inducted into the Clarksdale Walk of Fame
 2015: Inducted into the Rhythm and Blues Music Hall of Fame
2015: Inducted into St. Louis Classic Rock Hall of Fame (with Tina Turner)

Blues Foundation Awards
Blues Music Awards
|-
| 1981
| Ike Turner's Kings Of Rhythm
| Reissue album
|
|-
| 2002
| Here and Now
| Comeback Album of The Year
|
|-
| 2002
| Here and Now
| Soul Blues Album
|
|-
| 2002
| Ike Turner
| Soul Blues Male Artist
|
|-
| 2002
| Ike Turner
| Blues Entertainer of the Year
|

Blues Hall of Fame
|-
| 1991
| "Rocket 88"
| Classic of Blues Recording – Single or Album Track
|
|-
| 2005
| Ike Turner
| Performer
|

Grammy Awards

|-
| 1962
| "It's Gonna Work Out Fine"
| Best Rock & Roll Recording
|
|-
| 1970
| A Black Man's Soul
| Best R&B Instrumental Performance
|
|-
| 1972
| "Proud Mary"
| Best R&B Vocal Performance by a Group
|
|-
| 1975
| "Father Alone"
| Best Soul Gospel Performance
|
|-
| 1975
| The Gospel According to Ike & Tina
| Best Soul Gospel Performance
|
|-
| 2002
| | Here and Now
| Best Traditional Blues Album
|
|-
| 2007
| Risin' with the Blues
| Best Traditional Blues Album
|

Grammy Hall of Fame
|-
| 1998
| "Rocket 88" (as Jackie Brenston and his Delta Cats)
| Hall of Fame (Single)
|
|-
| 1999
| "River Deep – Mountain High"
| Hall of Fame (Single)
|
|-
| 2003
| "Proud Mary"
| Hall of Fame (Single)
|

Independent Music Awards

|-
| 2007
| Ike Turner — Risin' with the Blues
| Blues Album
|

Rock and Roll Hall of Fame

|-
| 1991
| Ike & Tina Turner
| Hall of Fame – Performers
|
|-
| 2018
| "Rocket 88" (as Jackie Brenston and his Delta Cats)
| Hall of Fame – Singles
|

Selected discography

Studio albums
 1962: Ike & Tina Turner's Kings of Rhythm Dance, Sue 2003
 1963: Rocks The Blues, Crown CLP-5367/CST-367
 1969: A Black Man's Soul, Pompeii SD-6003
 1972: Blues Roots, United Artists UAS-5576
 1973: Bad Dreams, United Artists UA-LA087-F
 1980: The Edge (featuring Tina Turner and Home Grown Funk), Fantasy F-9597
 2001: Here and Now, Ikon IKOCD-8850
 2006: Risin' with the Blues, Zoho Roots ZM-200611

Live albums
 2002: The Resurrection: Live Montreux Jazz Festival, Isabel IS 640202
 2006: Ike Turner & The Kings Of Rhythm: Live In Concert, Charly Films CHF-F1014LF [DVD/2CD]

Compilations
 1976: Sun: The Roots Of Rock: Volume 3: Delta Rhythm Kings, Charly CR 30103
 1976: I'm Tore Up, Red Lightnin' RL0016
 1984: Hey Hey, Red Lightin' RL-0047 [2LP]
 1994: I Like Ike! The Best of Ike Turner, Rhino R2-71819
 2001: The Sun Sessions, Varèse Sarabande 302 066 232 2
 2004: His Woman, Her Man: The Ike Turner Diaries— Unreleased Funk/Rock 1970–1973
 2004: The Bad Man: Rare & Unreissued Ike Turner Produced Recordings 1962–1965, Night Train International NTICD-7139
 2004: King Cobra: The Chicago Sessions, Fuel 2000 302 061 390 2
 2006: The Chronological: Ike Turner 1951–1954, Classics Blues & Rhythm Series 5176
 2008: Classic Early Sides 1952–1957, JSP 4203 [2CD]
 2011: Rocket 88: The Original 1951–1960 R&B and Rock & Roll Sides, Soul Jam 600803
 2011: That Kat Sure Could Play! (The Singles 1951 To 1957), Secret SECBX-025 [4CD]
 2011: Jack Rabbit Blues: The Singles of 1958–1960, Secret SECSP-041
 2012: Ike Turner Studio Productions: New Orleans and Los Angeles 1963–1965, Ace CDCHD-1329
 2017: She Made My Blood Run Cold, Southern Routes SR-CD-3502

Recordings as a sideman
Howlin' Wolf
 1962: Wolf Sings the Blues
Albert King
 1962: The Big Blues
Earl Hooker
1969: Sweet Black Angel
Gorillaz
 2005: Demon Days

Ike and Tina Turner

Notes

References

Bibliography

External links

 Obituary by Donald Fagen in Slate
 Ike Turner Interview at NAMM Oral History Collection (2005)

1931 births
2007 deaths
Grammy Award winners
African-American guitarists
African-American Jews
African-American pianists
African-American record producers
African-American rock singers
American bandleaders
American bass-baritones
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American rhythm and blues singer-songwriters
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Converts to Judaism from Baptist denominations
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Record producers from California
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Ike Turner


La Mujer en el Espejo (The Woman in the Mirror) is a Colombian soap opera by RTI Television for Telemundo in 2004. It is a re-adaptation of the homonymous Colombian soap opera " Woman in the Mirror " produced by RTI Productions in 1997.

Starring Paola Rey and Juan Alfonso Baptista, and with the antagonistic participation of Gabriela Vergara. It also features stellar performances by Natasha Klauss, Kristina Lilley and Javier Gómez.

Plot
(MAIN STORY - Juliana and Marcos)
Juliana Soler is a simple, tender, and extremely intelligent young woman. Her mother, Regina Soler, was a renowned model who is obsessed with physical beauty and has always led her daughter to believe that she is ugly, so Juliana does not give importance to her physical appearance. Despite her teasing, Juliana loves her mother above all else.

Mercedes, Juliana's aunt, has always loved and supported her as she is and has comforted her before the insults and criticism of her mother. Juliana has learned to prepare with her a variety of concoctions and potions with herbs. Mercedes keeps a great secret: a magic mirror prepared by herself especially for Juliana's future. After the death of her aunt, Juliana decides (without knowing that the mirror had hidden magic) to keep and take care of her aunt's mirror, always keeping it covered, since her aunt always said to her: nobody could be seen in it.

Thanks to the magic mirror, Juliana becomes the beautiful Maritza Ferrer, a chemical engineer capable of achieving everything she sets out to do with a smile. However, that dream will only last during the day, because at nightfall Juliana will be the same as ever.

As Maritza, Juliana meets Marcos Mutti, Gabriel Mutti's adoptive son, owner of the largest cosmetic brand in the country. The young man becomes the great love of Maritza and Juliana's confidant without knowing that it is the same woman.

Her best friend and a dancer at the dance academy, Luzmila is the first to discover her secret and helps cover up her identity in order to support and uplift her friend's confidence.

Juliana, like Maritza, becomes pregnant with Marcos' child and they decide to get married, but Bárbara (Gabriel's wife) together with Alberto and Romero (their accomplices) devises a plan to blame Maritza for all the frauds they have committed in the company and send her to jail. On the day after Maritza and Marcos' marriage, police officers appeared looking for Maritza with an arrest warrant. The dance teacher, Paco Tapia, (Juliana's godfather and connoisseur of the secret of the mirror), advises her to flee; but the police start a chase. On the way, they meet a thief who, after having robbed a gas station, takes them hostage to escape without realizing that the police were already chasing them. She shoots Master Tapia and leaves her on the road, leaving only Maritza.

Maritza manages to save herself by falling outside while he was rolling. A herbalist finds her and tries to steal some boots that she wore when she believed she was dead, but discovers that she is still alive and decides to heal her so that Maritza's family would reward her for saving her (not knowing that she was actually a fugitive from the law).

Maritza (Juliana) loses the child in her womb due to the accident. When it gets dark, she turns into Juliana and the herbalist is scared and abandons her, believing she was the devil.

Juan Tobías Fonseca finds Juliana and takes her to a clinic in a nearby town where he finds out that she was pregnant and that she has lost the child she was expecting. (He also learns the secret, because he sees how Juliana becomes Maritza at daylight).

On the other hand, Juliana does not know that she is the only biological daughter of Gabriel Mutti, because years ago, Gabriel and Regina had a beautiful adventure of which Juliana was the fruit. However, Regina, at first out of pride and then, also ashamed of the appearance of her daughter, never told Gabriel, because she does not want the great love of her life to discover that they have such an ugly daughter.

Throughout the beautiful love story between Marcos and Maritza, great trials, fears, insecurities, rivals, greed, and silence will be interposed.
Desperate Barbara realizes that Juan Tobías had told Maritza what happened between them and for fear and revenge she sends Pedro Barajas(Luzmila's ex and father to her sons) to kill Maritza.

Barbara eventuallu goes to the academy to kill Maritza herself and she enters Aunt Mercedes' laboratory, she hides in the closet. After crying, Maritza who was with Luzmila becomes Juliana, thus leading Barbara to discover the secret/

After what happened, Barbara goes crazy and goes into Regina's house and with threats asks her to explain what she saw. As Regina did not know the secret, Barbara mistreated and beat her. Paco goes to Regina's house with Don Néstor (Juan Tobías' father) they open the door and discover Barbara who finally manages to escape and after arriving at Alberto's house she meets Gabriel; who had just come from talking to Lieutenant Andrade, who was already aware of Barbara's past and because of this they have a strong discussion.

The next day Maritza has to go to read Juan Tobías's will when he arrives at the office of Mr. Casillas (who had been assassinated by Bárbara). Barbara appears with a can of gasoline and after having tied Maritza burns the office. The murderer with the black gloves (Cristina) locks the door and Barbara, unable to leave, becomes nervous, slips and burns completely. After a time in the hospital, Bárbara escapes with the help of Romero to the old cellar of the Empresas Mutti, where she sees herself in a mirror: her face was totally disfigured and her hair had been burned. She had physically become what she was inside: a monster. Seeing her completely disfigured face, Barbara breaks the mirror and takes a glass to cut the veins on her wrists and commit suicide, because she prefers to die than to live like this, but she remembers the mirror and decides to steal it and becomes Maritza Ferrer to recover the Mutti companies and obtain Juan Tobías' inheritance.

Juliana decides, after many things have happened, to tell Marcos the secret of the mirror.

Later, Marcos and company find out who Maritza truly was, and that he truly fell in love with Juliana. He then asks her to marry him.

6 months later, Juliana and Marcos are preparing for their wedding and Barbara decides to return after undergoing 4 surgeries abroad to stop being Maritza Ferrer. Before returning, he calls Romero and sends him to kill Juliana, but he fails and shoots Marcos. After the shot, Marcos is sterile and cannot have children, so he decides to break up with Juliana so that she can have what she wants most. Juan Tobías returns and decides to speak to Juliana, who believes that it was he who made Marcos change his mind. Barbara goes to the hospital and with Vanessa's identity, she cheats Luzmila and Juliana and they take her to the neighborhood without knowing who she really is.

At Marcos and Juliana's wedding, Barbara threatens to shoot them both but is killed by Romero via poison, (who later commits suicide)

The show ends 3 years later wherein they are the parents of a boy and a girl (Juliana was pregnant before the shooting and did not know it) and they live happily.

Cast
Paola Rey as Juliana Soler / Maritza Ferrer / Baritza de Mutti ; Marcos' wife, the only daughter of Gabriel Mutti and Regina Soler
Juan Alfonso Baptista as Marcos Mutti; Gabriel's adopted son and Juliana's husband
Gabriela Vergara as Barbara Montesinos de Mutti ; Gabriel's ex-wife and primary antagonist
Natasha Klauss as Luzmila Arrebatos ; Juliana's best friend and Charlie's eventual love interest and later fiancée and stepmother to his son
Paulo César Quevedo as Alberto Gutiérrez ; Barbara's lover, secondary antagonist
Rossana Fernández Maldonado as Xiomara Fuentes ; Marcos' ex-girlfriend, secondary antagonist
Andrés Felipe Martínez as Paco Tapia ; Dance teacher and Juliana's godfather
Kristina Lilley as Regina Soler ; Juliana's mother
Gloria Gómez as Mercedes Soler ; Juliana's aunt
Javier Gómez as Gabriel Mutti ; Juliana's father
Raul Gutierrez as Romero ; Barbara's right-hand, secondary antagonist
Sebastian Boscán as Pedro Baraja ; Luzmila's ex-boyfriend and father to her children
Pedro Moreno as Nino Arrebatos ; A fellow dancer at the academy
Alfredo Ahnert as Charlie; Marcos' best friend and Luzmila's eventual love interest and later fiancé and stepfather to her sons
Natalia Bedoya as Ginger ; Luzmila's dance rival and Nino's dance partner
Xilena Aycardi as  Vanessa/Barbara Montesinos (after surgery)

References

External links

1997 telenovelas
2004 telenovelas
2005 telenovelas
1997 Colombian television series debuts
1997 Colombian television series endings
2004 Colombian television series debuts
2005 Colombian television series endings
RTI Producciones telenovelas
Telemundo telenovelas
Caracol Televisión telenovelas
Spanish-language telenovelas
Television shows set in Bogotá

La mujer en el espejo


Clunes is a town in Victoria, Australia, about 36 kilometres north of Ballarat, in the Shire of Hepburn. In 2006 there were 1605 people living in the town. Clunes was the site of the first gold rush in Victoria.

History
The town was home to Victoria's first gold discovery made by James Esmond. His discovery, printed in the Geelong Advertiser on 7 July 1851, started the first gold rush in Victoria. The town began a few years later. With the opening of a big gold mine, by the Port Phillip and Colonial Mining Company, the town's population grew to over 6,000 people in the late 1880s.

Clunes post office opened on 1 October 1857 and in 1874 Clunes was joined to the Victorian railway network. Clunes station, shown in the movie Mad Max, was opened in the same year.

In 1873 mine owners tried to bring in Saturday afternoon and Sunday work. The miners refused to work the new hours and went on strike. Some days into the strike the miners started the Clunes Miners' Association. The Association used force to stop the mine owners from bringing in Chinese miners to work in the mines. They stopped the coaches and sent the Chinese back to Ballarat. This action was called the "Clunes Riots". The Clunes Miners' Association is one of the earliest beginnings of the Construction, Forestry, Mining and Energy Union.

From the 1850s through to 1893, Clunes was an important gold field in Victoria. During this time more than  of gold was dug up at Clunes. Surrounded by grassland, fields and pastures, the town has kept many of its fine historic buildings until today and is one of the architecturally most intact gold towns in Victoria.

Present

Booktown
The idea of a booktown was thought up by Councillor Tim Hayes, Linda Newitt, Graeme Johnston and Tess Brady. Clunes held its first booktown on 20 May 2007. Over 50 book sellers from around Australia set up shop for the day in the town's historic buildings. The town, which had worked together to make the day, won the Hepburn Shire's Community Event of the Year.

Now called 'Back to Booktown', Clunes holds the event every year on the first weekend in May. With more than 60 book sellers, millions of books, and 15,000 visitors, it has become the largest collection of books in any regional centre of Australia and the biggest Victorian regional book event.

Wesley College campus
In recent years Clunes has a lot of changes and rebuilding after Wesley College, Australia's biggest co-educational private school, to set up a school for its Year 9 students in the town. Opened in 2000, about 80 students live in the Wesley Clunes Residential Learning Village in the centre of town and become part of the local community for an eight-week period each term.

Film
Because of its historic buildings, many of the outside scenes in the 2003 movie Ned Kelly, starring Heath Ledger and Orlando Bloom, were shot in Clunes. One side of the street was decorated to look like Euroa, Victoria, and the other to look like Jeriderie, New South Wales.

Clunes also appears in the movies Mad Max starring Mel Gibson and the remake of the 1950s classic On the Beach. It also appears in the Australian Broadcasting Corporation television series' Queen Kat, Carmel & St Jude and Something in the Air. Clunes was once closed off to the public for the TV show The Mole in 2001. The mission in that episode was to direct one of the players to pick up another player in a blacked-out car. Julius Avery's 13-minute movie Jerrycan was made in Clunes. Jerrycan won the 2008 Jury Prize at the 61st Cannes Film Festival in France for short films, showing restless teenagers in rural Victoria.

Sport
The town has an Australian Rules Football team playing in the Central Highlands Football League.

Golfers play at the Clunes Golf Club on Golf Course Road.

People
 Peter Lalor, the leader of the miners at the Eureka Stockade, later lived in Clunes and was the chairman of the Clunes Water Commission.
 Artist John Langstaff was in Clunes in 1862. He won the Archibald Prize five and was the first Australian artist to receive a knighthood (1928).

References

Other websites

 Class and racism in the 1873 Clunes Riot
 Clunes tourism information
 Clunes community website
 Wesley College - Clunes campus webpages
 Clunes Book Town website

Clunes, Victoria


William Francis Mitchell (born 7 March 1952) is a professor of economics at the University of Newcastle, New South Wales, Australia and Docent Professor of Global Political Economy at the University of Helsinki, Finland. He is one of the founding developers of modern monetary theory.

Early life
Mitchell was born to working class parents in Glen Huntly, a suburb of Melbourne, Australia, in March 1952. The family moved to Ashwood, a new Housing Commission suburb soon after. He attended Ashwood Primary School (1957–1963) and Ashwood High School (1964–1969).

Education
Mitchell holds the following degrees: PhD in Economics, University of Newcastle, 1998; Bachelor of Commerce, Deakin University, 1977; and Master of Economics Monash University, 1982. He completed a Master's Preliminary at the University of Melbourne in 1978 (with first-class honours).

Career

Academic
Since 1990, Mitchell is a professor at University of Newcastle, New South Wales. He also holds the position of Docent Professor in Global Political Economy, Faculty of Social Sciences, University of Helsinki, Finland.

Activist
Mitchell works to promote active government economic policies and the use of fiscal deficits as a tool to enhance well-being and environmental sustainability. He is Director of the Centre of Full Employment and Equity (CofFEE), a non-profit, research organisation at the University of Newcastle. Its mission statement is to advance research and policies that can restore full employment and achieve a society that "delivers equitable outcomes for all".

Mitchell participates in public and community activities on the issues of politics, economics, fiscal sustainability, and the environment.

Mitchell opposes neo-liberal economic theories and practices; he disputes the "revisionism" of History ostensibly perpetrated by mainstream or conservative economists, especially in relation to the policies of the New Deal. He has often been called to appear as an expert witness in industrial matters in state and federal tribunals in Australia, as well as in various government enquiries. His work in childcare industrial cases in Victoria and New South Wales influenced the realignments in the relevant State and Federal Awards in that sector.

Author
Mitchell coined the term Modern Monetary Theory, also known as MMT. He coined the term in reference to John Maynard Keynes' claim that for at least 4,000 years money has been  "a creature of the state". He is a prominent promoter of MMT in macroeconomics.

He has written extensively in the fields of macroeconomics, econometrics and public policy. He has published widely in refereed academic journals and books and regularly gives conference presentations abroad.

Macroeconomics
His book Macroeconomics (Macmillan, March 2019), co-written with L. Randall Wray and Martin Watts, is a textbook that "encourages students to take a more critical approach to the prevalent assumptions around the subject of macroeconomics, by comparing and contrasting heterodox and orthodox approaches to theory and policy ... based on the principles of Modern Monetary Theory (MMT)".

Reclaiming the State: A Progressive Vision of Sovereignty for a Post-Neoliberal World
His 2017 book Reclaiming the State: A Progressive Vision of Sovereignty for a Post-Neoliberal World (September, 2017), co-written with Italian journalist Thomas Fazi, "reconceptualises the nation state as a vehicle for progressive change. They show how despite the ravages of neoliberalism, the state still contains resources for democratic control of a nation's economy and finances. The populist turn provides an opening to develop an ambitious but feasible left political strategy. It offers an urgent, provocative and prescient political analysis of our current predicament, and lays out a comprehensive strategy for revitalising progressive economics in the 21st century."

Eurozone Dystopia: Groupthink and Denial on a Grand Scale

His book Eurozone Dystopia: Groupthink and Denial on a Grand Scale (May 2015), provides "a critical history and analysis from the perspective of Modern Monetary Theory of the European economic crisis that started in 2009."

Full Employment Abandoned
Full Employment Abandoned: Shifting Sands and Policy Failures (2008), co-written with Joan Muysken of Maastricht University, traces the theoretical analysis of the nature and causes of unemployment over the last 150 years and argue that the shift from involuntary to so-called "natural rate" concepts of unemployment are behind an "ideological backlash" against state intervention as notably advocated, within the frame of the free economy, by Keynes in the 1930s. The authors further contend that unemployment is a reflection of systemic policy failures, rather than an "individual problem". They present a theoretical and empirical critique of the neo-liberal approach and suggest that the reinstatement of full employment, along with price stability, is a viable policy goal, achievable through an activist fiscal policy.

The notion of job guarantee is introduced, whereby the government would guarantee a job to every willing and able adult individual, paying a wage that would become society's minimum wage, and would be expression of the aspiration of the society of the lowest acceptable standard of living.

Musician
Mitchell has played guitar professionally in bands over the years. Mitchell currently plays with Pressure Drop, a Melbourne-based reggae-dub band, originally popular in the 1970s and early 1980s. The band reformed in 2010.

Mitchell often refers to the economics discipline, and especially the academia, in disparaging terms, stating, only half-jokingly, that his work as a musician does less damage to people. "I think my economics profession is very dangerous," he says.

Personal life
Mitchell is a "passionate" cyclist. He was an "active bike racer" when, in 1995, he founded the website Cyclingnews.com, which was sold in 1999 to the Australian media company Knapp Communications. It was subsequently bought in 2007 by Future plc.

See also

 Modern Monetary Theory
 Fiat money vs. commodity money
 Government accounting
 Balanced budget
 Legal Tender Cases
 Job Guarantee
 NAIBER

References

Additional sources
 Mitchell, William, Joan Muysken, Tom Van Veen: Growth and cohesion in the European Union: The Impact of Macroeconomic Policy (2006), Edward Elgar Publishing,
 Mitchell, William & Joan Muysken: Full Employment Abandoned: Shifting Sands and Policy Failures (2008), Edward Elgar Publishing 320 pp, Hardback,

External links
 Bill Mitchell's personal website
 Bill Mitchell's blog, with "commentary on economic events"
 CofFEE website
 CyclingNews.com

1952 births
Living people
20th-century Australian economists
Modern monetary theory scholars
Post-Keynesian economists
Academic staff of the University of Newcastle (Australia)
Academics from Melbourne
People from the City of Monash
Monash University alumni
Deakin University alumni
University of Newcastle (Australia) alumni
21st-century Australian economists

Bill Mitchell (economist)


A slurry pit, also known as a farm slurry pit, slurry tank, slurry lagoon or slurry store, is a hole, dam, or circular concrete structure where farmers gather all their animal waste together with other unusable organic matter, such as hay and water run off from washing down dairies, stables, and barns, in order to convert it over a lengthy period of time into fertilizer that can eventually be reused on their lands to fertilize crops. The decomposition of this waste material produces deadly gases, making slurry pits potentially lethal without precautions such as the use of a breathing apparatus with air supply.

Nutrient value
The liquid manure blend, or slurry, can be a rich source of nitrogen, phosphorus, and potassium.

Risks
Slurry pits present risks of drowning, as well as of suffocation. Decomposition generates gases such as ammonia, methane, carbon dioxide, and hydrogen sulphide. The latter two are heavier than air and will not disperse quickly from low places. Carbon dioxide is odorless, and hydrogen sulfide quickly becomes undetectable by odor by destroying victims' sense of smell. If inhaled, they can cause rapid unconsciousness by poisoning or displacement of oxygen leading to hypoxia. Death may follow then from poisoning or hypoxia directly, or by drowning caused by unconsciousness. The UK Health and Safety Executive also warns against the creation of naked flames near slurry pits, as gases such as methane are inherently flammable. The Health and Safety Executive of Northern Ireland specifies activity in a slurry pit as specialist work, requiring the worker to have a separate air supply and a harness lifeline managed by two additional people outside the tank. According to the Health and Safety Authority of Ireland, between 2000 and 2010, 30% of all child fatalities on farms occurred from drowning in slurry or water.

See also
Manure management

References

Agricultural buildings
Feces
Organic fertilizers

Slurry pit


Cyril Walter Hodges (18 March 1909 – 26 November 2004) was an English artist and writer best known for illustrating children's books and for helping to recreate Elizabethan theatre. He won the annual Greenaway Medal for British children's book illustration in 1964.

Career
Cyril Walter Hodges was born in Beckenham, Kent, the son of Cyril Hodges, "a leading figure in advertising and copyrighting". He was educated at Dulwich College, which he recalled as "a wretched imprisonment", and at Goldsmiths' College of Art. Hodges fell in love with Greta Becker, a hopeful ballet dancer, and they married in 1936. She provided "complete domestic support" until she died in 1999.

Hodges spent most of his career as a freelance illustrator. For many years he did line drawings for the Radio Times. He also produced its 1938 Christmas edition. Among the writers for children with whom he collaborated as an illustrator were Ian Serraillier, Rosemary Sutcliff (The Eagle of the Ninth), Rhoda Power (Redcap Runs Away), Elizabeth Goudge (The Little White Horse) and William Mayne.

During a year spent in New York he wrote and illustrated Columbus Sails (1939), a work of historical fiction for children. It proved popular on both sides of the Atlantic. Its success eventually led to several others including The Namesake: A Story Of King Alfred and its sequel The Marsh King; Magna Carta; The Norman Conquest; and The Spanish Armada (1964 to 1967). The Namesake was a commended runner up for the annual Carnegie Medal, which recognises the author of the year's best British children's book.

Theatre

Hodges designed costumes and scenery for the Everyman Theatre, Liverpool (1928–30) and for the Mermaid Theatre and St. George's Hall, London in the 1950s. His love of theatre led to him becoming an authority on the construction of the Globe and other theatres of Shakespeare's time.

From 1935 to 1999 he both wrote and illustrated five books about theatre in that time. He had thirty years experience in theatre practice and scholarship before doing Shakespeare's Theatre for children, published by Oxford University Press in 1964. For that he won the annual Kate Greenaway Medal from the Library Association, recognising the year's best children's book illustration by a British subject. Only one other Greenaway Medal in almost sixty years has been awarded for the illustration of nonfiction. According to one library catalogue summary, Shakespeare's Theatre "[e]xamines how the pagan festivals and religious dramas performed throughout England evolved into the professional theaters, such as the Globe, in London." It also illustrates and describes "Shakespeare's famous and now rebuilt Globe Theatre".

Hodges argued in one of his books that "the theatre as an institution is the pre-eminent arrangement whereby human beings work out the models of their own conduct, their morality and aspiration, their ideas of good and evil, and in general those fantasies about themselves and their fellows which, if persisted in, tend to eventually become facts in real life. If this is so, and it would be hard to deny, then the theatre must be seen as a most powerful instrument in the social history of mankind, and its own history must therefore be allowed a corresponding importance."

Hodges's Shakespearean expertise led Wayne State University theatre department chair Leonard Leone to invite him to Detroit in the late 1970s and early 1980s to work on Leone's proposed reconstruction of the Globe Theatre on the Detroit River. The city suffered financially after the collapse of the U.S. auto industry and the project fell apart in 1982.

In 1986, Hodges sold his theatrical and Elizabethan drawings (almost 900 items) plus their copyright to the Folger Shakespeare Library. Because the Folger makes its digital image collection available under a Creative Commons Attribution-ShareAlike 4.0 International license, the drawings are now free cultural works.

Selected works

Books by Walter Hodges
The Globe Restored: A Study of the Elizabethan Theatre (1935)
Columbus Sails (1939)
Shakespeare and the Players (1948)
Shakespeare's Theatre (1964)
The Namesake: A Story of King Alfred (1964)
Magna Carta (1966)
The Norman Conquest (1966)
The Marsh King: A Story of King Alfred (1967, sequel to The Namesake)
The Spanish Armada (1967)
The Overland Launch (1969, about the 1899 episode from Lynmouth Lifeboat Station)
Shakespeare's Second Globe: The Missing Monument (1973)
The Battlement Garden: Britain from the Wars of the Roses to the Age of Shakespeare (1979)
Enter the Whole Army: A Pictorial Study of Shakespearean Staging, 1576–1616 (1999)

Books by others illustrated by Hodges
Margaret J. Baker, The Shoe Shop Bears (1964), Hannibal and the Bears (1965)
Robert Browning, The Pied Piper of Hamelin (1971)
Elizabeth Goudge, The Little White Horse (1946), Smokey House (1939), Sister of the Angels (1939), The Dean's Watch (1960), Make-Believe (1949)
Alfred Duggan, Growing Up in Thirteenth-Century England (1962)
Ruth Manning-Sanders, 'Red Indian Folk and Fairy Tales (1960)
Rosemary Sutcliff, The Chronicles of Robin Hood (1950); The Queen Elizabeth Story (1950); The Armourer's House (1951); Brother Dusty-Feet (1952); The Eagle of the Ninth (1954); The Shield Ring (1957)
Mark Twain, Huckleberry Finn (1955)

See also

Notes

References

Citations
Eve, Matthew (2004). "C. Walter Hodges: a life illustrating history", Children's Literature in Education 35 pp. 171–198.

External links
Cover of the 23 December 1938 (Christmas) edition of the Radio Times, by Hodges

British children's book illustrators
English illustrators
English non-fiction writers
Kate Greenaway Medal winners
Shakespearean scholars
Theatrologists
People from Beckenham
People educated at Dulwich College
Alumni of Goldsmiths, University of London
1909 births
2004 deaths
English male dramatists and playwrights
English male poets

C. Walter Hodges


Jean-Marie du Lau d'Allemans (30 October 1738, Biras – 2 September 1792, Paris) was the last Archbishop of Arles, and was one of the Catholic Martyrs of September 1792, killed in the course of the September Massacres which occurred during the French Revolution. He was beatified on 17 October 1926 by Pope Pius XI.

Early life

Lau was born on 30 October 1738 at the Château de la Côte at Biras, then in the Province of Perigord, of an aristocratic family which had provided many members to the higher ranks of the clergy. His father was Armand du Lau, Lord of La Coste, and his mother Françoise de Salleton.

Churchman
After studies at the Collège de Navarre, Lau gained a Licentiate of Theology at the Sorbonne and then embarked on his ecclesiastical career, aided by his uncle, the Abbé Jean du Lau, parish priest of the Church of Saint-Sulpice in Paris since 1750. As was the system, he passed from one diocese to another in a rising curve of authority and prestige: canon and treasurer at Pamiers, Vicar General of the Diocese of Bordeaux, Prior of Gabillon and in 1770 attained the notable rank of Agent General of the Clergy of France. On 1 October 1775, he was promoted by King Louis XVI to the office of Archbishop of Arles, the youngest of the king's episcopal appointments.

Archbishop of Arles
Starting in 1777, Lau embarked on a pastoral visitation of the diocese and, in 1779, he had a report on the state of the diocese drawn up by the Abbé Laurent Bonnemant with a view to introducing reforms. Like that of many reforming bishops, the archbishop's interest extended to the preparation of midwives and catechism of children. He also undertook building works, such as the imposing facade of the archbishop's palace, which he had rebuilt in 1786.

With the convocation of the Estates-General of 1789, Lau was chosen as one of the representatives of the clergy. As the revolutionary situation developed, the archbishop began a bitter conflict with the newly elected mayor of Arles, Pierre-Antoine Antonelle, an aristocrat who had sided with radical wing of the Revolution.

The conflict was short-lived for, on 12 July 1790, the National Assembly voted for measures that included the abolition of the Archdiocese of Arles. Jean-Marie du Lau d'Allemans was in fact the last Archbishop of Arles.

Martyrdom

Lau died a violent death on 2 September 1792 in an improvised prison inside the closed priory of the Carmelite Friars in central Paris, where he was being held with two priests of his archdiocese, Armand de Foucauld de Pontbriand and Pierre François Pazery de Thorame, and a large number of other clergy and religious. Those killed included two other bishops, Francois-Joseph de la Rochefoucauld and Pierre-Louis de la Rochefoucauld, priests, clerics and Brothers of the Christian Schools, for a total of 94 men, who were beatified as a group by Pope Pius XI.

Lau's remains, along with those of his fellow victims, are entombed in the cemetery of the former Carmelite priory, 70 rue de Vaugirard, Paris.

See also
 September Massacres
 Salomone Leclercq

References

Reading

 Gérard Cholvy (ed.), Jean Marie du Lau, archevêque d'Arles, et ses compagnons martyrs, 1792–1992. Colloque du IIe centenaire tenu à Arles les 2–4 octobre 1992, Université Paul Valéry, Montpellier, 1995.

1738 births
1792 deaths
People from Dordogne
College of Navarre alumni
College of Sorbonne alumni
18th-century Roman Catholic archbishops in France
Archbishops of Arles
People murdered in Paris
French clergy killed in the French Revolution
Beatifications by Pope Pius XI
Martyred Roman Catholic bishops
French beatified people
18th-century venerated Christians

Jean Marie du Lau


Anglo-Hollandia was a British-Dutch film production company which operated between 1919 and 1923 during the silent film era. It had its roots in the existing Dutch company Hollandia Films and attempted to produce films with appeal to both Britain and the Netherlands.

Background
Hollandia was based in the city of Haarlem and was the only Dutch producer of significant scale during the era. It had operated since 1912 but following the First World War it felt constrained by the limits of the relatively small Dutch market and saw the move as a means to break into the much larger British market. The scheme was driven by the company's managing director Maurits Binger.

Production and decline
The company produced films featuring Anglo-Dutch casts with the Haarlem studios or the Dutch countryside standing in for British settings. Occasionally Walthamstow Studios in London were also used. Many of the film's stories were based on plays or popular novels. The company's productions were distributed by Granger Films.

Like many other production outfits the company struggled to survive the downturn in British filmmaking that culminated in the Slump of 1924. The company ceased to exist when Binger died in 1923, although there were several attempts to revive it.

Selected filmography
 The Little Hour of Peter Wells (1920)
 John Heriot's Wife (1920)
 As God Made Her (1920)
 The Skin Game (1921)
 Blood Money (1921)
 Laughter and Tears (1921)
 Circus Jim (1922)

References

Bibliography
 Low, Rachael. The History of the British Film, 1918-1929. George Allen & Unwin, 1971.

British film studios
Film production companies of the Netherlands
Film production companies of the United Kingdom
Cinema of the Netherlands
Mass media companies established in 1919
Mass media companies disestablished in 1923
1923 disestablishments in the Netherlands
Dutch companies established in 1919
Dutch film studios

Anglo-Hollandia


The Crommesteven or cromsteven, often as crompster, cromster or crumster (from crom = bent, concave; steven = stem) was a type of small warship used by the Dutch Republic and later by the British fleets during the sixteenth and seventeenth centuries. It was designed for work inshore on the shoal Netherlands coast and was a ketch, spritsail rigged on the main, and lateen on the small mizzen. As a class of vessel, it was represented in England by the hoy. When queen Elizabeth I died in 1603, her navy was reported to consist of 31 great ships, including galleons and crompsters, though crommestevens were considerably smaller than galleons.

For its size, it was heavily armed and capable of influencing events ashore, in which respect it played a part in the Spanish Armada campaign of 1588.

Sources

Naval sailing ship types
Ship designs of the Dutch Republic
Tall ships

Crommesteven