By Jimi Hendrix
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Tribute to Three Giants Figures of the Sixties' Pop
TRIBUTE TO THREE GIANTS FIGURES OF THE SIXTIES’ POP MUSIC IN THE 50th ANNIVERSAIRE OF THEIR DEATH. ALAN WILSON, JIMI HENDRIX AND JANIS JOPLIN: ASTROLOGICAL REVIEW OF THREE 27’ CLUB MEMBERS. We were at the end of the “sixties”, a remarkable decade of 20th century for popular music, revolutionary movements, technological achievements and radical changes in human relationships. It was also the time of “hippie liberation”, the spread of drugs through young people. Everything was fine when, just in the span of thirty days, three outstanding members of musical background suddenly died. 1970, September the 3th: Alan Wilson, “Canned Heat” guitar, harmonica and vocal, commit suicide at home of another member group, Bob Hite, in Topanga Canyon, California. An overdose was the cause of his death. He was 27 years old. 1970, September the 18th: Jimi Hendrix, one of the bests guitarrist of all times, share his last night with Monica Dannemann in Samarkand Hotel, London. When she woke up Jimi was inconscious, yet breathe. He was moved at St. Mary Abbot Hospital, but he was not alive. The cause of his death: asphyxia per vomit. His partner declared that Jimi had had seven tablets of Vesparax, a barbituric, say, 18 times the recommended dose. He was 27 years old. 1970, October the 4th: Janis Joplin, a singer and contraculture icon of the sixties was found dead in her hotel room, at Los Angeles, just when she was going to record the vocal part of Buried Alive in the Blues next morning. A portent, maybe a synchronicity. The official cause of her death was an heroine overdose, probably combined with alcohol effects. -
A Film by Chris Hegedus and D a Pennebaker
a film by Chris Hegedus and D A Pennebaker 84 minutes, 2010 National Media Contact Julia Pacetti JMP Verdant Communications [email protected] (917) 584-7846 FIRST RUN FEATURES The Film Center Building, 630 Ninth Ave. #1213 New York, NY 10036 (212) 243-0600 Fax (212) 989-7649 Website: www.firstrunfeatures.com Email: [email protected] PRAISE FOR KINGS OF PASTRY “The film builds in interest and intrigue as it goes along…You’ll be surprised by how devastating the collapse of a chocolate tower can be.” –Mike Hale, The New York Times Critic’s Pick! “Alluring, irresistible…Everything these men make…looks so mouth-watering that no one should dare watch this film on even a half-empty stomach.” – Kenneth Turan, Los Angeles Times “As the helmers observe the mental, physical and emotional toll the competition exacts on the contestants and their families, the film becomes gripping, even for non-foodies…As their calm camera glides over the chefs' almost-too-beautiful-to-eat creations, viewers share their awe.” – Alissa Simon, Variety “How sweet it is!...Call it the ultimate sugar high.” – VA Musetto, The New York Post “Gripping” – Jay Weston, The Huffington Post “Chris Hegedus and D.A. Pennebaker turn to the highest levels of professional cooking in Kings of Pastry,” a short work whose drama plays like a higher-stakes version of popular cuisine-oriented reality TV shows.” – John DeFore, The Hollywood Reporter “A delectable new documentary…spellbinding demonstrations of pastry-making brilliance, high drama and even light moments of humor.” – Monica Eng, The Chicago Tribune “More substantial than any TV food show…the antidote to Gordon Ramsay.” – Andrea Gronvall, Chicago Reader “This doc is a demonstration that the basics, when done by masters, can be very tasty.” - Hank Sartin, Time Out Chicago “Chris Hegedus and D.A. -
Midnight Special Songlist
west coast music Midnight Special Please find attached the Midnight Special song list for your review. SPECIAL DANCES for Weddings: Please note that we will need your special dance requests, (I.E. First Dance, Father/Daughter Dance, Mother/Son Dance etc) FOUR WEEKS in advance prior to your event so that we can confirm that the band will be able to perform the song(s) and that we are able to locate sheet music. In some cases where sheet music is not available or an arrangement for the full band is need- ed, this gives us the time needed to properly prepare the music and learn the material. Clients are not obligated to send in a list of general song requests. Many of our clients ask that the band just react to whatever their guests are responding to on the dance floor. Our clients that do provide us with song requests do so in varying degrees. Most clients give us a handful of songs they want played and avoided. Recently, we’ve noticed in increase in cli- ents customizing what the band plays and doesn’t play with very specific detail. If you de- sire the highest degree of control (allowing the band to only play within the margin of songs requested), we ask for a minimum of 100 requests. We want you to keep in mind that the band is quite good at reading the room and choosing songs that best connect with your guests. The more specific/selective you are, know that there is greater chance of losing certain song medleys, mashups, or newly released material the band has. -
Monterey Pop Festival: Otis Redding / Jimi Hendrix
Der folgende Text erschien zuerst in: Kieler Beiträge zur Filmmusikforschung 5.4, 2010, S. 501 - 505. Er findet sich nun auch im „Archiv der Rockumentaries“ der Zeitschrift Rock and Pop in the Movies: Ein Journal zur Analyse von Rock- und Popmusikfilmen. ZWEI NACHTRÄGE ZUM MONTEREY POP FESTIVAL: OTIS REDDING / JIMI HENDRIX Claus Tieber Rund 20 Jahre nach MONTEREY POP [1] machten D.A. Pennebaker und Chris Hegedus aus dem 1968 gedrehten Material zwei weitere Filme, in deren Mittelpunkt die Auftritte von Otis Redding und Jimi Hendrix stehen. Beide Shows sind vollständig dokumentiert, die Filme dauern 19 (Redding) bzw. 49 Minuten (Hendrix) und werden sowohl aus inhaltlichen wie aus pragmatischen Gründen zumeist gemeinsam gezeigt. Die beiden Shows heben sich aus unterschiedlichen Gründen vom Rest des Festivals ab – und das nicht nur, weil Redding und Hendrix die beiden einzigen afro-amerikanischen Musiker des Festivals waren. Beide Filme sind in der DVD-Box The Complete Monterey Pop Festival der Criterion Collection (Ausg. 167) enthalten (3 DVDs, USA 2002, kein Regional-Code). SHAKE! OTIS AT MONTEREY USA 1989 R: Don A. Pennebaker, Chris Hegedus, David Dawkins. P: Alan Douglas. K: Nick Doob, Barry Feinstein, Richard Leacock, Albert Maysles, Roger Murphy, D.A. Pennebaker, Nicholas T. Proferes. T (Re-Recording): Dominick Tavella. Musiker: Otis Redding with Booker T. and the MGs and the Markeys (Booker T. Jones: org., Steve Cropper: git., Donald "Duck" Dunn: b, Al Jackson Jr.: dr., perc.; Wayne Jackson: tr, Joe Arnold; t-sax, Andrew Love b-sax). 19min. 35mm, 1,33:1. Farbe. Songs: Shake, Respect, I’ve been loving you too long, Satisfaction, Try a Little Tenderness. -
Rolling Stone Magazine's Top 500 Songs
Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35. -
{PDF} Electric Ladyland, Jimi Hendrix Experience Ebook Free Download
ELECTRIC LADYLAND, JIMI HENDRIX EXPERIENCE PDF, EPUB, EBOOK Victor Villar Hauser | none | 24 Jan 2017 | Audible Studios on Brilliance | 9781536633757 | English | none Electric Ladyland, Jimi Hendrix Experience PDF Book Long Hot Summer Night demo 4 Original album remastered by Bernie Grundman from the original analog tapes! It's still quite a trip, half a century later. Burning of the Midnight Lamp Voodoo Chile 6. The Beginning Long Hot Summer Night Newswire Powered by. Print this Page. Electric Ladyland stands as the last album Jimi Hendrix recorded with the Experience, and the last studio effort released in his lifetime. For the first time, a 5. Self Noel Redding Haven't signed up for an account? Romantic Sad Sentimental. Voodoo Chile 6. To help keep your account secure, please log-in again. Long Hot Summer Night 7. Rate This. On the night of May 2nd, , after encountering Steve Winwood and Jack Casady at the Scene — both of their bands were in town for gigs at the Fillmore East — he brought them back to the studio and instructed Eddie Kramer to set up the microphones for a Scene-style jam session with Mitch Mitchell on drums. It is filled with detailed recording information and unpublished photos, including many taken by Eddie Kramer during the recording of the album. Originally produced in as part of the Classic Albums television series, this expanded edition features almost 40 minutes of additional content not seen in the original feature. Electric Ladyland, Jimi Hendrix Experience Writer To help keep your account secure, please log-in again. We Accept. -
Voodoo Child (Slight Return)
VOODOO CHILD (SLIGHT RETURN) As recorded by Jimi Hendrix Experience (From the 1968 Album ELECTRIC LADYLAND) Transcribed by Joff Jones + Words and Music by Jimi Hendrix peedeeboy Tune down half-step (low to high: Eb Ab Db Gb Bb A Intro P = 96 1 g I 4 k } } } } } } } } } } } } } } } } } } } } } } } w Gtr I mp w/wah-wa T A x x x x x x x x x x x x x x x x x x x x x x x B 3 g I } } l } } } } } } } } } } } } } } } } } } } } } } } } mp mf T A x x x x x x x x x x x x x x x x x x x x x x x x x x B 3 5 g P V V V V V V V k k } } P V V I z V V V V V V V V z V V V V V V V V V w V V [[ 1/2M [[ [[ T (7) 0 7 9 9 7 9 7 9 7 x x 7 9 0 7 A 7 9 5 5 7 5 7 (0) 9 7 9 5 5 7 0 7 0 B (0) H P H H H P 8 g V V V V k j V V V V V V V V V k k } } I V u V V V V V V V 3 V V V w 1/2M [[ 1/2M [[ [[ T 9 0 7 9 9 0 7 5 5 9 7 9 7 x x A 7 9 7 5 0 9 B (0) (5) (7) H P P H H P 3 V V V V V 11 g V V V m V V V V V I V V V V V V V V 1/4M 1/2M FullM T 10 10 10 (10)O 8 9 0 7 9 9 7 9 9 A 7 9 5 5 7 B 5 7 H H 1968 Bella Godiva Music, Inc. -
The Relationship Between Fame and Fortune in Performance Related Careers with A
International Journal of Health and Economic Development, 6(2), 36-46, July 2020 36 The Relationship between Fame and Fortune in Performance Related Careers with a Shorter Life Expectancy due to Accidents, Addiction, Homicide and Suicide S. Eric Anderson, Ginny Sim La Sierra University, Riverside, California, USA [email protected] Abstract Around 92% of the US population dies from natural causes. However, only 49% of famous musician stars die from natural causes resulting in performance related careers being one of the most dangerous professions in the United States. According to this study, musicians were 20 times more likely to die from an addiction, four times more likely to die from an accident, six times more likely to die of homicide and four times more likely to die of suicide than the general population. Why do dangerous profession lists fail to include musicians in the high risk career list categories? It is not the profession that is dangerous, but primarily the personality type gravitating towards the profession that creates risk. Should certain personality types be directed to non-performance related careers? Probably not, since performing on stage may be a more effective intervention than psychiatric treatment. Keywords: Accidents, Alcohol, Anxiety, depression, homicide, musicians and suicide. Introduction Is there a relationship between fame in performance related careers with the shorter life expectancy due to accidents, drug overdose, homicide and suicide? The number of musicians, Elvis Presley, Janis Joplin, Jimi Hendrix, Keith Moon, Sid Vicious, Kurt Cobain, Amy International Journal of Health and Economic Development, 6(2), 36-46, July 2020 37 Winehouse, Michael Jackson, Whitney Houston and Prince who died of addiction is staggering. -
Aint Gonna Study War No More / Down by the Riverside
The Danish Peace Academy 1 Holger Terp: Aint gonna study war no more Ain't gonna study war no more By Holger Terp American gospel, workers- and peace song. Author: Text: Unknown, after 1917. Music: John J. Nolan 1902. Alternative titles: “Ain' go'n' to study war no mo'”, “Ain't gonna grieve my Lord no more”, “Ain't Gwine to Study War No More”, “Down by de Ribberside”, “Down by the River”, “Down by the Riverside”, “Going to Pull My War-Clothes” and “Study war no more” A very old spiritual that was originally known as Study War No More. It started out as a song associated with the slaves’ struggle for freedom, but after the American Civil War (1861-65) it became a very high-spirited peace song for people who were fed up with fighting.1 And the folk singer Pete Seeger notes on the record “Waist Deep in the Big Muddy and Other Love Songs”, that: "'Down by the Riverside' is, of course, one of the oldest of the Negro spirituals, coming out of the South in the years following the Civil War."2 But is the song as we know it today really as old as it is claimed without any sources? The earliest printed version of “Ain't gonna study war no more” is from 1918; while the notes to the song were published in 1902 as music to a love song by John J. Nolan.3 1 http://myweb.tiscali.co.uk/grovemusic/spirituals,_hymns,_gospel_songs.htm 2 Thanks to Ulf Sandberg, Sweden, for the Pete Seeger quote. -
View the Program Book for How I Got Over
A conversation with Judith Casselberry, Charrise Barron, Mellonee Burnim, Joyce Marie Jackson, Randal Jacobs, and Matthew D. Morrison Performances by Marcelle Davies-Lashley, Jhetti, and Samuel Guillaume Sunday, December 10, 2017 3:00 p.m. Apollo Theater Front Cover: Mahalia Jackson; March on Washington for Jobs and Freedom 1957 LIVE WIRE: HOW I GOT OVER - THE SPIRIT OF GOSPEL MUSIC In 1963, when Mahalia Jackson sang “How I Got Over” before 250,000 protesters at the March on Washington for Jobs and Freedom, she epitomized the sound and sentiment of Black Americans one hundred years after Emancipation. To sing of looking back to see “how I got over,” while protesting racial violence and social, civic, economic, and political oppression, both celebrated victories won and allowed all to envision current struggles in the past tense. Gospel is the good news. Look how far God has brought us. Look at where God will take us. On its face, the gospel song composed by Clara Ward in 1951, spoke to personal trials and tribulations overcome by the power of Jesus Christ. Black gospel music, however, has always occupied a space between the push to individualistic Christian salvation and community liberation in the context of an unjust society— a declaration of faith by the communal “I”. From its incubation at the turn of the 20th century to its emergence as a genre in the 1930s, gospel was the sound of Black people on the move. People with purpose, vision, and a spirit of experimentation— clear on what they left behind, unsure of what lay ahead. -
FOXY LADY As Recorded by Jimi Hendrix (From the 1967 Album ARE YOU EXPERIENCED?) Transcribed by Roadkill Words and Music by Jimi Hendrix
FOXY LADY As recorded by Jimi Hendrix (From the 1967 Album ARE YOU EXPERIENCED?) Transcribed by Roadkill Words and Music by Jimi Hendrix A Intro Moderate Rock = 100 1 P 4 UU W gV V } V V I 4 gV V Gtr I gVf V [1/2[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[ (0) 5 x 5 5 T (10)M 10 5 x 5 5 10 ((10)) 11 A 4 4 B 2 2 sl. 4 gV V gV j V V j V j V I Gtr II mf T 14[[ 14[[[[[ 14[[[[[ A 14 14 14 14 B sl. } eV V V V V V V V } eV I V V V R V V gV V V V V gV V V V P gV gV V fV V gV GtgVr I V V gV V gV V x 5 5 5 5 5 x T x 4 4 4 5 5 5 5 5 x 4 4 4 4 4 4 A 4 4 4 4 4 4 2 4 4 4 B 0 2 2 2 2 4 7 3 4 2 2 2 2 2 2 H sl. 1967 Six Continents Music Publishing, Inc. Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org PDF created with FinePrint pdfFactory trial version www.pdffactory.com FOXY LADY - Jimi Hendrix Page 2 of 10 B 1st Verse 7 V V V V eV V V V V V I gV V V V gV V V V V gV V V V V GtgVr I V gV V 1/2 gV V 5 5 5 5 5 5 5 T 5 5 5 5 4 (4)M 5 5 5 4 4 (4) A 4 4 4 4 4 4 (4) O 4 4 2 B 0 2 O 2 2 2 2 O 2 2 gV gV V j V j V V j V V j V I Gtr II T 14[[[[[[ [[ 14[[ 14 [[[[[[ A 14 14 14 14 14 14 B 10 V } V V gVV VV V } eV V V I } V V V gV V fV gV gV V gV V V V V gV V gV V gV V V 1/2 5 x 5 5 2 2 5 x T 5 x 5 5 5 5 5 x 4 M 4 4 4 A 4 4 4 4 O 4 B 4 2 3 4 0 2 O 2 5 2 2 2 2 O gV gV V V } V V V P gV V V I j gV V u k j j z j tr T 14[[[[[ [ 14[[ 14 [[[[[ 14 14 (16) 14 14 14 14 A x 14 16 14 B 16 14 sl. -
The Racialization of Jimi Hendrix Marcus K
Eastern Michigan University DigitalCommons@EMU Senior Honors Theses Honors College 2007 The Racialization of Jimi Hendrix Marcus K. Adams Follow this and additional works at: http://commons.emich.edu/honors Part of the African American Studies Commons Recommended Citation Adams, Marcus K., "The Racialization of Jimi Hendrix" (2007). Senior Honors Theses. 23. http://commons.emich.edu/honors/23 This Open Access Senior Honors Thesis is brought to you for free and open access by the Honors College at DigitalCommons@EMU. It has been accepted for inclusion in Senior Honors Theses by an authorized administrator of DigitalCommons@EMU. For more information, please contact lib- [email protected]. The Racialization of Jimi Hendrix Abstract The period of history immediately following World War Two was a time of intense social change. The nde of colonialism, the internal struggles of newly emerging independent nations in Africa, social and political changes across Europe, armed conflict in Southeast Asia, and the civil rights movement in America were just a few. Although many of the above conflicts have been in the making for quite some time, they seemed to unite to form a socio-political cultural revolution known as the 60s, the effects of which continues to this day. The 1960s asw a particularly intense time for race relations in the United States. Long before it officially became a republic, in matters of race, white America collectively had trouble reconciling what it practiced versus what it preached. Nowhere is this racial contradiction more apparent than in the case of Jimi Hendrix. Jimi Hendrix is emblematic of the racial ideal and the racial contradictions of the 1960s.