#04-29

Calvin Peete (July 18, 1943 – April 29, 2015) was an American professional golfer. He was the most successful African-American to have played on the PGA Tour, with 12 wins, prior to the emergence of Tiger Woods.

Biography

Peete was born in Detroit, Michigan. He played on the 1983 and 1985 U.S. Ryder Cup teams. He won the Vardon Trophy for lowest scoring average in 1984. He was in the top 10 of the Official World Golf Ranking for several weeks when they debuted in 1986.

Peete did not begin playing golf until he was in his 20s, but immediately excelled at a game most pros learn as young children. He learned the game while peddling goods to migrant workers in Rochester, New York, playing on the public course at Genesee Valley Park. Growing up poor, Peete suffered a badly broken arm that was never properly set. He was the leader in driving accuracy on the PGA Tour for 10 straight years, 1981–90. Peete was inducted into the African American Ethnic Sports Hall of Fame in 2002.

Peete died after a long battle with lung cancer, in Atlanta, Georgia on April 29, 2015. He was 71.

Family

Peete and his first wife, Christine, who divorced in 1987, are the parents of Charlotte, Calvin, Rickie, Dennise and Nicole and Kalvanetta Peete. He was married to Pepper Peete and had two daughters, Aisha and Aleya. He was a cousin of former American football quarterback Rodney Peete.

Előfordul, hogy az ember beleragad egy pillanatba, egy érzésbe vagy egy vágyba, rácsodálkozásba. Egy szerelembe. És bénultan ott ragad hosszú-hosszú időre. Mennyi ideig állnál egy előszobában? Mennyi ideig várnál valakire? 10-15 perc? Hónap? Vagy több? Ennyi év alatt, már az előszoba minden sarkát és kiszögellését megismeri az ember. A fal mellett a kis kovácsoltvas lábú asztalkát, rajta a Várkert bazár és egy utazási iroda prospektusával, a két ósdi műbőr fotelt, amin ismeretlen nők ülnek, a plakátokat és a fal összes repedését. A kiszűrődő hangok alapján lesz egy elképzelésed, hogy mi történhet a szobákban. A nyíló ajtók résein keresztül rövid időre bepillanthatsz, így alakulnak újabb fantáziáid arról, hogy mi történne, ha végre fogadnának. Úgy képzeled, hogy minden részletet kibeszéltek majd, az apró betűset is, és az ötleteidnek örülnek, a terveidet támogatják, a kétséges részekre okos magyarázatokat kapsz, és akkora lesz az öröm, hogy elfelejted majd, hogy mennyit vártál, lehetőleg rémálmaidban sem jön majd elő a gondolat, hogy talán ez nem volt jó így. Azt gondolod, hogy kitartó vagy, nem adhatod fel, hiszen neked fontos ez az Ügy. Reméled, hogy tudják, hogy nem pénzt kérnél, megoldasz te mindent egyedül, csak az Ügyet szeretnéd elfogadtatni. Alá se kell írni, nem kell pecsét se, csak szeretnél már belépni és túl lenni a várakozáson. Aztán az Ügy meg majd alakul, ahogy alakul. Néha kiszól valaki, hogy legyél szíves kicsit türelmesnek lenni, vagy azt, hogy „kire tetszik várni? majd a válaszra bólintanak. Hát, legalább tudja valaki, hogy kire vársz. Mintha ez számítana bármit is. Toporogsz az előszobában, amit ez idő alatt már többször átfestettek, lecserélték az ajtókat, végig nézted ahogy kihordják a szobákból a bútorokat és modernebb berendezéseket hoznak, csak a két fotel marad a két szundikáló nővel, de te éberen vársz, kezedben az Ügyeddel. Időnként dühös leszel, arra gondolsz, hogy be kéne kopogni, mert hátha elfelejtették, hogy ott vagy. Esetleg felháborodottan berontani, hogy mi ez a méltatlanság, ennyi ideig váratni valakit? De nem kopogsz és nem rontasz be, mert udvariasnak neveltek és kicsit félsz is, hogy akkor az Ügyedet elutasítanák. A lábad is fáj, hiszen már nagyon rég nem pihentél, fáradt is vagy, éhes, és pisilni se mersz elmenni, mert hátha éppen akkor szólítanak, és lekésed a pillanatot. A pillanat, amikor majd szólítani fognak végre, fontosabbá válik, mint azok, akikkel várakozás közben beszéltél vagy azok, akiket otthon hagytál az ÜGY előtt. Nézed a plakátokat a falon. Bár kívülről tudod már mindet, de újra és újra elolvasod. Reklámanyagok színes feliratai arról, hogy nincs várakozási idő és minden ÜGY fontos. Megenyhülsz ettől, hogy az Ügy fontos és türelmesen vársz tovább.

Nem tudom min múlik, hogy mikor látod meg magad, ahogy ott állsz az előszobában, a legszebb ruhádban, magassarkú cipőben, és kényszeredett mosollyal az arcodon, ugrásra készen, minden pillanatban tökéletesen. Talán éppen este lesz, valahonnan friss festék és pezsgő illatát hozza a szél és egy gondolatot, hogy feleslegesen várakozol, a szobáknak van egy másik ajtaja és ahol te állsz, onnan valójában nem fogadnak senkit.

– otthagyják az összes szarukat és nem szállítják el a munka befejeztével pl 50x 1-másfél méter ilyen-olyan kábel, vízzel felöntött festékesvödörbe belebaszott mindenféle szemét, palackok amibe belehugyoztak amikor nem volt WC – minden cuccot otthagynak amiből (jelentősen) túl sokat vásároltak és most majd én csináljak vele valamit... – koszos bakanccsal összetapossák és összekaristolják a zuhanytálcát (azért van mert olcsó szar) – mérhetetlenül összekoszolják a fehér fugát (egykis súrolóval lejön) – belül leverik a vadiúj mosdótálat (ez is szar, egy jobb mosdó nem pattan le) – megsértik a csempét (az előtte is úgy volt, nem ők csinálták) – a kapcsoló fölé szorosan elhelyezik a kaputelefont, hogy rálóg a zsinór a kapcsolóra (mondta is hogy hát ez jó hülye helyen van!) – az összeragadt ablakokra amikról lejött a festék azt mondják azért van, mert ferde az ablak és szorul. – normális, hogy a kültéri egység összes kábele ordenáré módon kilátszik, ahogy kijön egy lyukon keresztül (én biztos vagyok benne, hogy ezt meg lehet csinálni kulturáltan is. szerintük ez mindenhol így van, ha lejjebb rakták volna nem látszik ki. Hát, IGEN!) – szerintük a padló azért recseg és hullámzik több helyen is mert nem egyenletesek a párnafák amikre az osb lapokat rárakták amire a padlót rakták. (és, és??? akkor így jó?) – mindent, de tényleg mindent leszórnak a földre munka közben, azokat is amik korábban az asztalon voltak és semmit sem markolnak fel, hogy belebasszák a szemétbe. A talpukra ragadt csavarokkal és üvegtörmelékkel karistolják a padlót meg a járólapot. Jó, hogy van rajtuk bakancs mert így nem fáj. – Használhatatlanra basszák malterrel meg festékkel azokat a bútorokat, amiket le kellett volna takarni takarófóliával, de ők munka közben asztalnak használják. – folyton háborognak, hogy milyen kurva nehéz megcsinálni ezt meg azt és a faszukat bele az egészbe...

Jó kis mell ez még, állapítom meg, bár sosem volt olyan klasszikusan szép formájú mint a görög szobroké, de nekem több panaszom volt rá mint a férfiaknak, akik szerettek engem, mert nekik teljesen megfelelt, beleérve a kölykömet is, aki mindenki másnál jobban imádta (:D). Másfél hónappal ezelőtt egyszercsak megint jött a fless, és abbahagytam a kenyérevést. Fogalmam sincs mik ezek a dolgok, jönnek és akkor valami történik. Ha nem eszem kenyeret, akkor csorognak le rólam a kilók, tennem se kell érte semmit. ja, ezt nem lehet tiltásból, önmegtartóztatásból csinálni (vagyis én nem tudom) ez gyszerűen jön. és akkor szinte undorral fordulok el a boltban a kenyeres meg péksüteményes pulttól. Viszont, van ennek a fogyáson kívül egy másik hozadéka, pattanások, és nehezen gyógyuló sebek. Nem tudom mi az összefüggés vagy van-e összefüggés köztük. A kapszulában beszedett élesztőtől viszont a beleim éledni meg pöfögni kezdenek. Nem szeretem. Amikor fogyok, szó szerint folyik le rólam a háj. A bordáim már kilátszanak, a csípőm viszont optikailag szélesebbnek tűnik. Nagyon nem érdekel, megszoktam a saját látványom, az érzésre van szükségem, hogy jobban vagyok. Ha kevesebb kiló vagyok, mindig jobban vagyok. Kevesebb kiló akkor tudok lenni amikor belül éppen az a program fut ami most. Nem tudom befolyásolni. Illetve minden olyan próbálkozás, hogy „le kéne fgyni, mert XY-nak akkor biztos jobban tetszem” (ha eltekintünk ennek a dolognak az eredendő hülyesége felett), akkor is kudarc, felesleges gyötrődés, legrosszabb esetben bulémia. Régebben azt gondoltam, hogy azok, akiket vékonynak látok, azoknak nincs ilyen problémája. Aztán kiderült, hogy a barátnőm (vasággyal sincs 50 kiló mert még pici is) zokogni kezd, ha hízott harminc dekát és rémülten nézegeti a kamaszfiús csípőjét. Azt sem szerettem, amikor azt mondták, hogy dehát a pasid ilyennek szeret... mármint teltnek, kövérnek... én értem, hogy vannak akik a hurkákhoz vonzódnak, de az én belső egészségem nem annak a függvénye, hogy egy faszi gerjed-e rám. Persze vannak extrém esetek. Szerintem pokolian szexi és izgató, ha érzem a tenyerem alatt a másik testét, kiálló csontokat, inakat. Ezért is tudok a férfiak nyakára-vállára, vagy a kezére rázsongani. De van, aki az undorig elborzad, hogy ha valakinek kiáll a kulccsontja vagy a csípőcsontja. Egy ilyen ember párja, ha keszegre diétázza magát, azzal tényleg megölheti a kapcsolatot. Múltkor valakit kicikiztek, aki úgy kezdte a társkeresős szövegét, hogy tényleg csak sportos alkatú nőt szeretne. Bocsássák meg neki, de ő azt szereti, az izgatja. Tudja, hogy mit szeret, miért baj ez? Egyik barátnőm egy extrémen kövér fasziba szeretett bele. Komolyan utánanézett a neten, hogy hogyan is lehet szeretkezni ilyen túlsúllyal, van-e ennek valami technikája. Látta, hogy a faszi kövér, de nem érdekelte mert beleszeretett. Én azt gondoltam múló románc lesz, csak ki van éhezve a figyelemre meg a szeretetre, aztán majd rászakad a felismerés, hogy a faszija nem vonzó, nem is fogja érteni, hogy hogyan is lehetett... Nem ez történt. A mai napig sír a faszi után, aki szakított vele, és akibe beleszeretett. Nem érdekli, hogy kövér. Nem érdekli, hogy a faszi behízta a farkát, nem érdekli, hogy furán néztek rájuk. Szereti. A faszi meg, ki tudja milyen okokból, de a történéseket ismerve valószínűleg önértékelési zavarból indított önsorsrontásból szakított vele. Egyikük se boldog most. Na, ennyit a kilókról meg a testünkról, bár a többi porcikámat is kibeszélhetném, csak ők szóltak, hogy ne tegyem, talán még azt említeném meg, hogy kurva anyját annak, aki a mostani klotyópapírokat kitalálta. amik apró fehér bizbaszként ragadnak az ember bőréhez, hogy később halálra rémitsék amikor a csészébe hullanak. Éljen a bidé, különben lőttek a spontán szexnek, ami amúgy nem fenyeget, de azért beszélni lehet róla.

Tammi Terrell (born Thomasina Winifred Montgomery; April 29, 1945 – March 16, 1970) was an American recording artist, best known as a star singer for Motown Records during the 1960s, most notably for a series of duets with singer Marvin Gaye. Terrell's career began as a teenager, first recording for Scepter/Wand Records, before spending nearly two years as a member of James Brown's Revue, recording for Brown's Try Me label. After a period attending college, Terrell recorded briefly for Checker Records, before signing with Motown in 1965. With Gaye, Terrell scored seven Top 40 singles on the Billboard Hot 100, including "Ain't No Mountain High Enough", "Ain't Nothing Like the Real Thing" and "You're All I Need to Get By". Terrell's career was interrupted when she collapsed into Gaye's arms as the two performed at a concert at Hampden–Sydney College on October 14, 1967, with Terrell later being diagnosed with a brain tumor. She had eight unsuccessful surgeries before succumbing to the illness on March 16, 1970 at the age of 24.

Childhood

Terrell was born as Thomasina Winifred Montgomery in Philadelphia, to Jennie (née Graham) and Thomas Montgomery. Jennie was an actress and Thomas was a barbershop owner and local politician. Tammi was the elder of two siblings. According to the Unsung documentary, her younger sister Ludie said that they had thought Terrell would be a boy and therefore she would be named after her father. However, when she was born, the parents settled on the name Thomasina, nicknaming her "Tommie". She later changed it to "Tammy" after seeing the film, Tammy and the Bachelor, and hearing its theme song, "Tammy", at the age of 12. Starting around this time, Terrell started to have migraine headaches. While it was not thought to be of significance at the time, family members would later state that these headaches might have been related to her later diagnosis of brain cancer. According to her sister, Terrell's mother suffered from mental illness.

Career

Early recordings

In 1960, Terrell signed under the Wand subsidiary of Scepter Records after being discovered by Luther Dixon, recording the ballad, "If You See Bill", under the name Tammy Montgomery and doing demos for The Shirelles. After another single, Terrell left the label and, after being introduced to James Brown, signed a contract with him and began singing backup for his Revue concert tours. In 1963, she recorded the song "I Cried". Released on Brown's Try Me Records, it became her first charting single, reaching No. 99 on the Billboard Hot 100.

After this tenure ended, Terrell signed with Checker Records and released the Bert Berns produced duet, "If I Would Marry You" with Jimmy Radcliffe, which Terrell co-composed. Following this relative failure, Terrell announced a semi-retirement from the music business and enrolled in the University of Pennsylvania where she majored in pre-med, staying at the school for two years. In the middle of this, Terrell was asked by Jerry Butler to sing with him in a series of shows in nightclubs. After an arrangement was made by Butler to assure Terrell that she could continue her schooling, she began touring with Butler. In April 1965, during a performance at the Twenty Grand Club in Detroit, she was spotted by Motown CEO Berry Gordy, who promised to sign her to Motown. Terrell agreed and signed with the label on April 29, her 20th birthday. Before releasing her first single with Motown's Tamla subsidiary, "I Can't Believe You Love Me", Gordy suggested a name change. Figuring "Tammy Montgomery" was too long of a name to put on a single, Gordy changed it to "Tammi Terrell". He felt this name screamed "sex appeal". "I Can't Believe You Love Me" became Terrell's first R&B top forty single, followed almost immediately by "Come On and See Me". In 1966, Terrell recorded two future classics, Stevie Wonder's "All I Do (Is Think About You)" and The Isley Brothers' "This Old Heart of Mine (Is Weak for You)". Terrell joined the Motortown Revue after the release of her first single. During a tour in which she opened for The Temptations, Terrell met the band's lead singer David Ruffin and embarked on a torrid romance.

Success with Marvin Gaye

In early 1967, Motown hired Terrell to sing duets with Marvin Gaye, who had achieved duet success with Mary Wells and Kim Weston as well as having recorded duets with Oma Heard. During recording sessions, Gaye would recall later that he did not know how gifted Terrell was until they began singing together. At first the duets were recorded separately. For sessions of their first recording, the Ashford & Simpson composition, "Ain't No Mountain High Enough", both Gaye and Terrell recorded separate versions. Motown remixed the vocals and edited out the background vocals, giving just Gaye and Terrell vocal dominance. The song became a crossover pop hit in the spring of 1967, reaching No. 19 on the Billboard Hot 100 and No. 3 on the R&B charts and making Terrell a star. Their follow-up, "Your Precious Love", became an even bigger hit, reaching No. 5 on the pop chart and No. 2 on the R&B chart. At the end of the year, the duo scored another top ten single with "If I Could Build My Whole World Around You", which peaked at No. 10 on the pop chart and No. 2 on the R&B chart. The song's B-side, the Marvin Gaye composition "If This World Were Mine", became a modest hit on both charts (No. 68 pop, No. 27 R&B). Gaye would later cite the song as "one of Tammi's favorites". All four songs were included on Gaye and Terrell's first duet album, United, released in the late summer of 1967. Throughout that year, Gaye and Terrell began performing together and Terrell became a vocal and performance inspiration for the shy and laid-back Gaye, who hated live performing. The duo also performed together on television shows to their hits.

Cancer diagnosis

While Terrell was finally being established as a star, the migraines and headaches she had suffered from childhood were becoming more constant. While she complained of pains, she insisted to people close to her that she was well enough to perform. However, on October 14, 1967, while performing with Gaye at Hampden–Sydney College, just outside the town of Farmville, Virginia, Terrell fell onstage; Gaye quickly responded by grabbing her by the arms and helping her offstage. Shortly after returning from Virginia, doctors diagnosed a malignant tumor on the right side of her brain.

After recovering from her first surgery, Terrell returned to Hitsville studios in Detroit and recorded "You're All I Need to Get By". Both that song and "Ain't Nothing Like the Real Thing", reached No. 1 on the R&B charts. Despite Terrell's optimism, her tumor worsened requiring more surgeries. By 1969, Terrell had retired from live performances as she had been ordered by doctors not to perform due to her tumors. Motown issued Terrell's first and only solo album, Irresistible, in early 1969. Terrell was too ill to promote the recordings. There was no new repertoire on the album: all tracks had been recorded earlier and had subsequently been shelved for some time.

Both Marvin Gaye and Valerie Simpson gave different stories on how the production of Terrell's and Gaye's third album together, Easy, went about. According to reports, Terrell had gotten so ill from her operations that she could not record, and Motown opted to have Valerie Simpson sub in for Terrell, a report that was repeated in the book Marvin Gaye: What's Going On and the Last Days of the Motown Sound. Gaye would later say the move was "another moneymaking scheme on BG's part". Valerie Simpson, on the other hand, stated that the ailing Terrell was brought into the studio when she was strong enough to record over Simpson's guide vocals, insisting Terrell had sung on the album. Easy produced the singles "Good Lovin' Ain't Easy to Come By", "What You Gave Me", "California Soul" and the UK top ten hit, "The Onion Song". Late in 1969, Terrell made her final public appearance at the Apollo Theater where Marvin Gaye was performing. As soon as Terrell was spotted by Gaye, he rushed to her side and the duo began singing "You're All I Need to Get By" together. They were given an ovation by the public.

Personal life

In her memories about her famous sister, Ludie Montgomery writes that Terrell was the victim of sexual molestation by three boys after leaving a neighborhood party at the age of eleven. The boys were arrested and convicted on a rape charge. The incident led to a change in Terrell's behavior. During her early career, Terrell dated many men both in the music business and out. Though they never dated, Terrell had been romantically interested in singer Sam Cooke and she had a budding friendship with Gene Chandler. In 1962 at age 17, she signed with James Brown and the two engaged in a sexual relationship. However, this relationship turned out to be abusive. After a horrific incident with Brown backstage after a show Terrell asked Chandler, who had witnessed the incident first hand, to take her to the bus station so she could go home. He later called Terrell's mother to pick her up. This ended Terrell's two-year affair with Brown.

In 1965, Terrell began a romance with then-Temptations singer David Ruffin. The following year, Ruffin surprised Terrell with a marriage proposal. However, Terrell was devastated once she learned that Ruffin had a wife and three children and another girlfriend, also living in Detroit. This led to the couple having public fights. Though it was later claimed that Ruffin had hit Terrell with a hammer and a machete, these claims were denied by Terrell's family and her Motown label mates, though Ludie Montgomery confirmed a story that Terrell was hit on the side of her face by Ruffin's motorcycle helmet, leading to the end of their relationship in 1967. After signing with Motown, she began friendships with some of the label's artists. One of her closest friends was her duet partner, Marvin Gaye, with whom she had a close platonic relationship. Though it's often alleged their relationship grew into a brief romance, those close to the singers denied this claim. Ashford & Simpson, and Gaye in later years, stated the relationship was almost sibling-like. Nevertheless, they were reported as having opposite personalities: Gaye being shy and introverted, Terrell being streetwise and extroverted. What they shared was their charisma as a performing couple and their sense of humour. Gaye would later call Terrell "sweet" and "misunderstood" and stated that Terrell was his "perfect [musical] partner". At the time of her death, she was engaged to be married to Ernest Garrett, a doctor at Terrell's hospital but not her personal doctor.

Death

By early 1970, Terrell was confined to a wheelchair, suffered from blindness and hair loss, and weighed a scant 93 pounds (42 kg). Following her eighth and final operation on January 25, 1970, Terrell went into a coma. She died on March 16 due to complications from brain cancer, a month shy of her 25th birthday. Terrell's funeral was held at the Janes Methodist Church in Philadelphia. At the funeral, Gaye delivered a final eulogy while "You're All I Need to Get By" was playing. According to Terrell's fiancé Dr. Garrett, who knew Gaye, her mother angrily barred everyone at Motown from her funeral except for Gaye, who she felt was Terrell's closest friend.

Aftermath

Already depressed from the first diagnosis of her illness back in October 1967 and from her onstage collapse, Marvin Gaye further withdrew from performing following Terrell's death, re-emerging two years later performing during a benefit concert at the then newly opened Kennedy Center in Washington, D.C., in May 1972. Terrell's mother criticized Motown for not helping with Terrell's illness and accused the label of covering up the singer's condition and releasing albums of Terrell's work without her approval. Gaye had also contended that he felt Motown was taking advantage of Terrell's illness and refused to promote the Easy album despite Motown telling him it would cover Terrell's health expenses.

Gaye never fully got over Terrell's death, according to several biographers who have stated that Terrell's death led Gaye to depression and drug abuse. In addition, Gaye's classic album What's Going On, an introspective, low-key work which dealt with mature themes released in 1971, was in part a reaction to Terrell's death. In July 1970, four months after Terrell's death, a dramatic rearrangement of "Ain't No Mountain High Enough", was released by Diana Ross, becoming a number-one hit and one of Ross' signature songs. On October 8, 2010, Hip-O Select released Come On and See Me: The Complete Solo Collection, a collection of all of Terrell's solo work dating back to high school, plus never before released songs and 13 minutes of the only known live stage recordings.

Tammi Terrell (born Thomasina Winifred Montgomery; April 29, 1945 – March 16, 1970) was an American recording artist, best known as a star singer for Motown Records during the 1960s, most notably for a series of duets with singer Marvin Gaye. Terrell's career began as a teenager, first recording for Scepter/Wand Records, before spending nearly two years as a member of James Brown's Revue, recording for Brown's Try Me label. After a period attending college, Terrell recorded briefly for Checker Records, before signing with Motown in 1965. With Gaye, Terrell scored seven Top 40 singles on the Billboard Hot 100, including "Ain't No Mountain High Enough", "Ain't Nothing Like the Real Thing" and "You're All I Need to Get By". Terrell's career was interrupted when she collapsed into Gaye's arms as the two performed at a concert at Hampden–Sydney College on October 14, 1967, with Terrell later being diagnosed with a brain tumor. She had eight unsuccessful surgeries before succumbing to the illness on March 16, 1970 at the age of 24.

Childhood

Terrell was born as Thomasina Winifred Montgomery in Philadelphia, to Jennie (née Graham) and Thomas Montgomery. Jennie was an actress and Thomas was a barbershop owner and local politician. Tammi was the elder of two siblings. According to the Unsung documentary, her younger sister Ludie said that they had thought Terrell would be a boy and therefore she would be named after her father. However, when she was born, the parents settled on the name Thomasina, nicknaming her "Tommie". She later changed it to "Tammy" after seeing the film, Tammy and the Bachelor, and hearing its theme song, "Tammy", at the age of 12. Starting around this time, Terrell started to have migraine headaches. While it was not thought to be of significance at the time, family members would later state that these headaches might have been related to her later diagnosis of brain cancer. According to her sister, Terrell's mother suffered from mental illness.

Career

Early recordings

In 1960, Terrell signed under the Wand subsidiary of Scepter Records after being discovered by Luther Dixon, recording the ballad, "If You See Bill", under the name Tammy Montgomery and doing demos for The Shirelles. After another single, Terrell left the label and, after being introduced to James Brown, signed a contract with him and began singing backup for his Revue concert tours. In 1963, she recorded the song "I Cried". Released on Brown's Try Me Records, it became her first charting single, reaching No. 99 on the Billboard Hot 100.

After this tenure ended, Terrell signed with Checker Records and released the Bert Berns produced duet, "If I Would Marry You" with Jimmy Radcliffe, which Terrell co-composed. Following this relative failure, Terrell announced a semi-retirement from the music business and enrolled in the University of Pennsylvania where she majored in pre-med, staying at the school for two years. In the middle of this, Terrell was asked by Jerry Butler to sing with him in a series of shows in nightclubs. After an arrangement was made by Butler to assure Terrell that she could continue her schooling, she began touring with Butler. In April 1965, during a performance at the Twenty Grand Club in Detroit, she was spotted by Motown CEO Berry Gordy, who promised to sign her to Motown. Terrell agreed and signed with the label on April 29, her 20th birthday. Before releasing her first single with Motown's Tamla subsidiary, "I Can't Believe You Love Me", Gordy suggested a name change. Figuring "Tammy Montgomery" was too long of a name to put on a single, Gordy changed it to "Tammi Terrell". He felt this name screamed "sex appeal". "I Can't Believe You Love Me" became Terrell's first R&B top forty single, followed almost immediately by "Come On and See Me". In 1966, Terrell recorded two future classics, Stevie Wonder's "All I Do (Is Think About You)" and The Isley Brothers' "This Old Heart of Mine (Is Weak for You)". Terrell joined the Motortown Revue after the release of her first single. During a tour in which she opened for The Temptations, Terrell met the band's lead singer David Ruffin and embarked on a torrid romance.

Success with Marvin Gaye

In early 1967, Motown hired Terrell to sing duets with Marvin Gaye, who had achieved duet success with Mary Wells and Kim Weston as well as having recorded duets with Oma Heard. During recording sessions, Gaye would recall later that he did not know how gifted Terrell was until they began singing together. At first the duets were recorded separately. For sessions of their first recording, the Ashford & Simpson composition, "Ain't No Mountain High Enough", both Gaye and Terrell recorded separate versions. Motown remixed the vocals and edited out the background vocals, giving just Gaye and Terrell vocal dominance. The song became a crossover pop hit in the spring of 1967, reaching No. 19 on the Billboard Hot 100 and No. 3 on the R&B charts and making Terrell a star. Their follow-up, "Your Precious Love", became an even bigger hit, reaching No. 5 on the pop chart and No. 2 on the R&B chart. At the end of the year, the duo scored another top ten single with "If I Could Build My Whole World Around You", which peaked at No. 10 on the pop chart and No. 2 on the R&B chart. The song's B-side, the Marvin Gaye composition "If This World Were Mine", became a modest hit on both charts (No. 68 pop, No. 27 R&B). Gaye would later cite the song as "one of Tammi's favorites". All four songs were included on Gaye and Terrell's first duet album, United, released in the late summer of 1967. Throughout that year, Gaye and Terrell began performing together and Terrell became a vocal and performance inspiration for the shy and laid-back Gaye, who hated live performing. The duo also performed together on television shows to their hits.

Cancer diagnosis

While Terrell was finally being established as a star, the migraines and headaches she had suffered from childhood were becoming more constant. While she complained of pains, she insisted to people close to her that she was well enough to perform. However, on October 14, 1967, while performing with Gaye at Hampden–Sydney College, just outside the town of Farmville, Virginia, Terrell fell onstage; Gaye quickly responded by grabbing her by the arms and helping her offstage. Shortly after returning from Virginia, doctors diagnosed a malignant tumor on the right side of her brain.

After recovering from her first surgery, Terrell returned to Hitsville studios in Detroit and recorded "You're All I Need to Get By". Both that song and "Ain't Nothing Like the Real Thing", reached No. 1 on the R&B charts. Despite Terrell's optimism, her tumor worsened requiring more surgeries. By 1969, Terrell had retired from live performances as she had been ordered by doctors not to perform due to her tumors. Motown issued Terrell's first and only solo album, Irresistible, in early 1969. Terrell was too ill to promote the recordings. There was no new repertoire on the album: all tracks had been recorded earlier and had subsequently been shelved for some time.

Both Marvin Gaye and Valerie Simpson gave different stories on how the production of Terrell's and Gaye's third album together, Easy, went about. According to reports, Terrell had gotten so ill from her operations that she could not record, and Motown opted to have Valerie Simpson sub in for Terrell, a report that was repeated in the book Marvin Gaye: What's Going On and the Last Days of the Motown Sound. Gaye would later say the move was "another moneymaking scheme on BG's part". Valerie Simpson, on the other hand, stated that the ailing Terrell was brought into the studio when she was strong enough to record over Simpson's guide vocals, insisting Terrell had sung on the album. Easy produced the singles "Good Lovin' Ain't Easy to Come By", "What You Gave Me", "California Soul" and the UK top ten hit, "The Onion Song". Late in 1969, Terrell made her final public appearance at the Apollo Theater where Marvin Gaye was performing. As soon as Terrell was spotted by Gaye, he rushed to her side and the duo began singing "You're All I Need to Get By" together. They were given an ovation by the public.

Personal life

In her memories about her famous sister, Ludie Montgomery writes that Terrell was the victim of sexual molestation by three boys after leaving a neighborhood party at the age of eleven. The boys were arrested and convicted on a rape charge. The incident led to a change in Terrell's behavior. During her early career, Terrell dated many men both in the music business and out. Though they never dated, Terrell had been romantically interested in singer Sam Cooke and she had a budding friendship with Gene Chandler. In 1962 at age 17, she signed with James Brown and the two engaged in a sexual relationship. However, this relationship turned out to be abusive. After a horrific incident with Brown backstage after a show Terrell asked Chandler, who had witnessed the incident first hand, to take her to the bus station so she could go home. He later called Terrell's mother to pick her up. This ended Terrell's two-year affair with Brown.

In 1965, Terrell began a romance with then-Temptations singer David Ruffin. The following year, Ruffin surprised Terrell with a marriage proposal. However, Terrell was devastated once she learned that Ruffin had a wife and three children and another girlfriend, also living in Detroit. This led to the couple having public fights. Though it was later claimed that Ruffin had hit Terrell with a hammer and a machete, these claims were denied by Terrell's family and her Motown label mates, though Ludie Montgomery confirmed a story that Terrell was hit on the side of her face by Ruffin's motorcycle helmet, leading to the end of their relationship in 1967. After signing with Motown, she began friendships with some of the label's artists. One of her closest friends was her duet partner, Marvin Gaye, with whom she had a close platonic relationship. Though it's often alleged their relationship grew into a brief romance, those close to the singers denied this claim. Ashford & Simpson, and Gaye in later years, stated the relationship was almost sibling-like. Nevertheless, they were reported as having opposite personalities: Gaye being shy and introverted, Terrell being streetwise and extroverted. What they shared was their charisma as a performing couple and their sense of humour. Gaye would later call Terrell "sweet" and "misunderstood" and stated that Terrell was his "perfect [musical] partner". At the time of her death, she was engaged to be married to Ernest Garrett, a doctor at Terrell's hospital but not her personal doctor.

Death

By early 1970, Terrell was confined to a wheelchair, suffered from blindness and hair loss, and weighed a scant 93 pounds (42 kg). Following her eighth and final operation on January 25, 1970, Terrell went into a coma. She died on March 16 due to complications from brain cancer, a month shy of her 25th birthday. Terrell's funeral was held at the Janes Methodist Church in Philadelphia. At the funeral, Gaye delivered a final eulogy while "You're All I Need to Get By" was playing. According to Terrell's fiancé Dr. Garrett, who knew Gaye, her mother angrily barred everyone at Motown from her funeral except for Gaye, who she felt was Terrell's closest friend.

Aftermath

Already depressed from the first diagnosis of her illness back in October 1967 and from her onstage collapse, Marvin Gaye further withdrew from performing following Terrell's death, re-emerging two years later performing during a benefit concert at the then newly opened Kennedy Center in Washington, D.C., in May 1972. Terrell's mother criticized Motown for not helping with Terrell's illness and accused the label of covering up the singer's condition and releasing albums of Terrell's work without her approval. Gaye had also contended that he felt Motown was taking advantage of Terrell's illness and refused to promote the Easy album despite Motown telling him it would cover Terrell's health expenses.

Gaye never fully got over Terrell's death, according to several biographers who have stated that Terrell's death led Gaye to depression and drug abuse. In addition, Gaye's classic album What's Going On, an introspective, low-key work which dealt with mature themes released in 1971, was in part a reaction to Terrell's death. In July 1970, four months after Terrell's death, a dramatic rearrangement of "Ain't No Mountain High Enough", was released by Diana Ross, becoming a number-one hit and one of Ross' signature songs. On October 8, 2010, Hip-O Select released Come On and See Me: The Complete Solo Collection, a collection of all of Terrell's solo work dating back to high school, plus never before released songs and 13 minutes of the only known live stage recordings.