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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. -
Rock Album Discography Last Up-Date: September 27Th, 2021
Rock Album Discography Last up-date: September 27th, 2021 Rock Album Discography “Music was my first love, and it will be my last” was the first line of the virteous song “Music” on the album “Rebel”, which was produced by Alan Parson, sung by John Miles, and released I n 1976. From my point of view, there is no other citation, which more properly expresses the emotional impact of music to human beings. People come and go, but music remains forever, since acoustic waves are not bound to matter like monuments, paintings, or sculptures. In contrast, music as sound in general is transmitted by matter vibrations and can be reproduced independent of space and time. In this way, music is able to connect humans from the earliest high cultures to people of our present societies all over the world. Music is indeed a universal language and likely not restricted to our planetary society. The importance of music to the human society is also underlined by the Voyager mission: Both Voyager spacecrafts, which were launched at August 20th and September 05th, 1977, are bound for the stars, now, after their visits to the outer planets of our solar system (mission status: https://voyager.jpl.nasa.gov/mission/status/). They carry a gold- plated copper phonograph record, which comprises 90 minutes of music selected from all cultures next to sounds, spoken messages, and images from our planet Earth. There is rather little hope that any extraterrestrial form of life will ever come along the Voyager spacecrafts. But if this is yet going to happen they are likely able to understand the sound of music from these records at least. -
Jimi Hendrix the Collector’S 1969: Studio, Private, Related & Remixed Recordings
Jimi Hendrix The Collector’s 1969: Studio, Private, Related & Remixed Recordings Studio & Private pg. 2 – 115 Related & Remixed pg. 116 – 131 Cover Sources pg. 131 – 136 Brief CD Track List pg. 137 – 147 Song Index pg. 148 – 153 Flac Fingerprints pg. 154 – 161 The intention of this set is to bring together all 1969 Hendrix-related recordings in the best available sound quality and the most complete versions. As with all reference works of this magnitude there are likely unintended errors in spite of diligent efforts to be error free; corrections are encouraged. If you are aware of any upgrades, know of additional tracks that should be included, or have comments about the information presented here please contact [email protected] or [email protected]. This collection was assembled based on information contained at Doug Bell's website, which is compiled from several reference sources: http://home.earthlink.net/~ldouglasbell/jimi.htm. Further details were obtained from Jimpress (2014-2015, From The Benjamin Franklin Studios, 4th edition): http://www.jimpress.co.uk/, Ultimate Hendrix (2009, Backbeat Books), Jimi Hendrix: The Ultimate Lyric Book (2012, Backbeat Books), In From The Storm: http://infromthestorm.net/hendrix.html, and Discogs.com. All tracks are as they appear on their sources, though some sources are known to have utilized normalization, pitch correction, etc. A few tracks have had beginning/ending dead silence removed and are so noted, and track 127 has had a minor non-music patch. Four tracks are lossy and so noted. The track order is roughly from session takes to intermediate mixes to final and alternate mixes; complete versions precede incomplete versions. -
Jimi Hendrix
JIMI HENDRIX BIOGRAFIA Jimi Hendrix não foi um músico excepcional no sentido exacto da palavra. Autodidata e canhoto, tocava de maneira completamente estranha uma guitarra Fender Stratocaster para destros, com as cordas invertidas. Revolucionou a maneira de tocar guitarra, desenvolvendo o uso da alavanca e principalmente dos pedais conhecidos como wha-wha. Mais do que isso colocou a figura do guitarrista como principal personagem nas bandas de rock. Seus solos e riffs foram uma das principais raízes para o nascimento do heavy metal. Johnny Allen Hendrix nasceu em Seattle, Washington, em 1942. O seu nome foi posteriormente alterado pelo pai ainda durante a infância para James Marshall Hendrix. Aos 16 anos começou a tocar violão, participando num grupo chamado Velvetones. Aos 17 recebeu do pai uma guitarra eléctrica e entrou para o grupo Rocking Kings que mais tarde mudaria de nome para Thomas & The Tomcats. Jimi resolveu abandonar a escola e entrar para um batalhão de pára-quedismo do exército, de onde foi logo desligado em virtude de uma fractura no joelho. Sem a escola e não podendo mais seguir carreira no exército decidiu dedicar-se exclusivamente à música, tocando em bares e clubes com o amigo Billy Cox em numa banda chamada King Kasuals. Em 1963 Mudaram-se para Nova York, onde actuou também como músicos de estúdio, gravando e tocando com os Isley Brothers, Jackie Wilson e Sam Cooke. Em 1965, numa de muitas apresentações ao vivo como acompanhante de bandas diversas, Jimi chamou a atenção de Little Richard, grande astro e pioneiro do rock and roll dos anos 50. -
“Yosemite Is a Pile.” “The Bouldering Is Just A
Contents Preface 9 Ahwahnee Boulders, West 94 Indian Creek 98 Introduction 11 Lower Yosemite Falls 104 Swan Slab Boulders 108 Logistics 11 Camp 4, Overview 112 Bouldering History 22 Camp 4, Columbia Grades and Stars 29 Boulders 114 Yosemite’s Best Lists 31 Camp 4, East 116 Overview Maps 32 Camp 4, Center 122 How to Use this Guide 34 Camp 4, West 128 Topo Legend 34 The Crystals 136 Areas Yabo Boulder 139 The Bachar Boulder 140 Turtle Dome 35 Wood Yard 142 Bridalveil Boulders 36 The Wave 146 Lower Cathedral 38 Intersection Boulders 148 Gunsight Boulders 40 Knobby Wall 148 Cathedral Boulders 42 Appendix Lost Boulders 50 Candyland 54 More From SuperTopo 150 The Presidential Boulder 60 About the Author 152 Sentinel Boulders 62 Problems by Grade 153 Chicken Boulder 68 Index 157 Housekeeping 70 Curry Village 76 Happy Isles 82 Horse Trail Boulders 84 Ahwahnee Boulders, East 88 Ahwahnee Boulders, Central 90 5 FOR CURRENT ROUTE INFORMATION, VISIT WWW.SUPERTOPO.COM Warning! Climbing and bouldering are inherently dangerous sports in which severe injuries or death may occur. Relying on the information in this book may increase the danger. When climbing you can only rely on your skill, training, experience, and conditioning. If you have any doubts as to your ability to safely climb any route in this guide, do not try it. This book is neither a professional climbing instructor nor a substitute for one. It is not an instructional book. Do not use it as one. It contains information that is nothing more than a compilation of opinions about bouldering in Yosemite Valley. -
Jimi Hendrix and the Black Experience
the land (sort of but not really), eat (mostly) macrobiotic vegetarian food, take mescaline and LSD, and, of course, smoke buckets of marijuana. The Eden Express’s biggest differ- ence from the rest of the madhouse memoirs is that the author’s father is a counterculture giant, one whose best novels are animated by dark absurdity. Father and son share affini- ties and contradictions, but this book leaves them untouched. It seems only to say, “Look what happens when you have a dad who’s a hippie icon in an era when anything goes—you go crazy! But not so fast. Hippiedom was harmless. Look, I got better and wrote a book about it. We were right all along!” The confessional and harrowing particularity of the current memoir craze would have helped Eden Express. This book about intense feel- ings lacks feeling. Vonnegut never comes to life. He advances a cocka- mamie theory that multivitamins Jimi Hendrix at Woodstock in 1969. cured him of schizophrenia, though he disavows it in an afterword written for this tuoso guitarist and consummate showman edition—he did, after all, go on to Harvard but a musical visionary and writer of endur- Medical School and become a pediatri- ing songs. His career as a headliner was cian—and admits that he wasn’t really schiz- meteoric, from the release of his jaw-drop- ophrenic, but manic depressive. ping debut album Are You Experienced? in In the end, there is a pervasive sense of 1967 to his drug-related death in 1970 at age falseness here, a maddening skimming of 27. -
Manuskript Als
„Castles Made Of Sand“ Eine Lange Nacht zum 75. Geburtstag von Jimi Hendrix Autor: Michael Frank Regie: Jan Tengeler Redaktion: Dr. Monika Künzel Sprecher: Claudia Mischke Heiko Obermöller Sendetermine: 25. November 2017 Deutschlandfunk Kultur 25./26. November 2017 Deutschlandfunk __________________________________________________________________________ Urheberrechtlicher Hinweis: Dieses Manuskript ist urheberrechtlich geschützt und darf vom Empfänger ausschließlich zu rein privaten Zwecken genutzt werden. Jede Vervielfältigung, Verbreitung oder sonstige Nutzung, die über den in den §§ 45 bis 63 Urheberrechtsgesetz geregelten Umfang hinausgeht, ist unzulässig. © Deutschlandradio - unkorrigiertes Exemplar - insofern zutreffend. „Castles Made Of Sand“ Eine Lange Nacht zum 75. Geburtstag von Jimi Hendrix Seite 2 1. Stunde TEIL 1 O-TON KONZERT-ATMO, VORSTELLUNG DER BAND, EINZELNE LÄUFE / AKKORDE JIMI HENDRIX Hello, how are you doing ? Listen, It's gonna take us about 30 seconds, or 45 seconds to get ourselves adjusted here and there, little minor things here. Ok ? (…) We'd like to get tuned up and everything, before we start we'd like you to forget everything that went on today or last night, or things that's supposed to happen tomorrow, because we're trying to make our own little world right here, at least give us that. It could be our own little electric church, I say. ( bis dahin ca.1.30, ATMO VON KONZERT LÄUFT WEITER UNTER FOLGENDEN O- TÖNEN) O-TON LOTHAR TRAMPERT Hendrix ist einfach so ein Synonym für E-Gitarre. SPRECHERIN: Lothar Trampert, Autor der ersten musikwissenschaftlich fundierten, deutschsprachigen Studie zu Jimi Hendrix aus dem Jahr 1991 und seit über 20 Jahren Redakteur des Fachmagazins „Gitarre und Bass“ . O-TON LOTHAR TRAMPERT Also, ich würde mal sagen, die Musiker, die nicht direkt von ihm beeinflusst worden sind, oder nicht hörbar von ihm beeinflusst worden sind, die haben trotzdem alle einen Respekt. -
Jimi Hendrix the Collector’S 1970: Studio, Private, Related & Remixed Recordings
Jimi Hendrix The Collector’s 1970: Studio, Private, Related & Remixed Recordings Studio & Private pg. 2 – 148 Related & Remixed pg. 148 – 163 Cover Sources pg. 164 – 173 Brief CD Track List pg. 174 – 182 Song Index pg. 183 – 188 Flac Fingerprints pg. 189 – 195 The intention of this set is to bring together all 1970 Hendrix-related recordings in the best available sound quality and the most complete versions. As with all reference works of this magnitude there are likely unintended errors in spite of diligent efforts to be error free; corrections are encouraged. If you are aware of any upgrades, know of additional tracks that should be included, or have comments about the information presented here please contact [email protected] or [email protected]. This collection was assembled based on information contained at Doug Bell's website, which is compiled from several reference sources: http://home.earthlink.net/~ldouglasbell/jimi.htm. Further details were obtained from Jimpress (2014-2015, From The Benjamin Franklin Studios, 4th edition): http://www.jimpress.co.uk/, Ultimate Hendrix (2009, Backbeat Books), Jimi Hendrix: The Ultimate Lyric Book (2012, Backbeat Books), In From The Storm: http://infromthestorm.net/hendrix.html, and Discogs: https://www.discogs.com/. All tracks are as they appear on their sources, with a few noted exceptions, though some sources are known to have utilized normalization, pitch correction, etc. All tracks were lossless tested; 12 tracks are lossy/MPEG/MP3 and so noted. The track order is roughly from session takes to intermediate mixes to final and alternate mixes; complete versions precede incomplete versions. -
Download Experience Hendrix Album Zip Download the Jimi Hendrix Experience - Live in Maui (2020) Album
download experience hendrix album zip Download The Jimi Hendrix Experience - Live In Maui (2020) Album. 1. Chuck Wein Introduction (Live In Maui, 1970) 2. Hey Baby (New Rising Sun) [Live In Maui, 1970] 3. In From the Storm (Live In Maui, 1970) 4. Foxey Lady (Live In Maui, 1970) 5. Hear My Train A-Comin' (Live In Maui, 1970) 6. Voodoo Child (Slight Return) [Live In Maui, 1970] 7. Fire (Live In Maui, 1970) 8. Purple Haze (Live In Maui, 1970) 9. Spanish Castle Magic (Live In Maui, 1970) 10. Lover Man (Live In Maui, 1970) 11. Message to Love (Live In Maui, 1970) 12. Dolly Dagger (Live In Maui, 1970) 13. Villanova Junction (Live In Maui, 1970) 14. Ezy Ryder (Live In Maui, 1970) 15. Red House (Live In Maui, 1970) 16. Freedom (Live In Maui, 1970) 17. Jam Back at the House (Live In Maui, 1970) 18. Straight Ahead (Live In Maui, 1970) 19. Hey Baby (New Rising Sun) / Midnight Lightning (Live In Maui, 1970) 20. Stone Free (Live In Maui, 1970) The Jimi Hendrix Experience – Electric Ladyland (1968) The Jimi Hendrix Experience – Electric Ladyland (1968) EAC Rip | 3xCD | FLAC Image + Cue + Log Blu-ray | MPEG-4 AVC Video | DTS- HD MA (5.1 / 24bit / 96kHz) | LPCM (5.1 & 2.0 / 24bit / 96kHz) Hi-Res | FLAC Tracks / 24bit / 96kHz | Stereo & Multichannel Full Scans Included Total Size: 1.27 GB (CDs) + 45.1 GB (BD) + 6.29 GB (Hi-Res FLAC Stereo/Mch) + 1.19 GB (Scans) | 3% RAR Recovery Label: Legacy | EU | Cat#: 19075859022 | Genre: Hard Rock. This new edition of the 1968 album will be available as a 3CD+blu-ray set or a 6LP+blu-ray edition. -
Sélection Jimi Hendrix
1 TABLE DES MATIERES LE CONFÉRENCIER ................................................................................. 3 LA CONFERENCE ................................................................................... 4 JIMI HENDRIX EN 5 DATES .................................................................... 5 SÉLECTION DE DOCUMENTS .................................................................. 6 Discographie (1967 – 1970) ................................................................................. 6 Albums studio : ......................................................................................................................................... 6 Albums live : .............................................................................................................................................. 6 Compilation : ............................................................................................................................................. 7 Discographie posthume (1970 – 2018) ................................................................ 7 Albums studio posthumes : ...................................................................................................................... 7 Albums live posthumes :........................................................................................................................... 8 Compilations posthumes : ........................................................................................................................ 9 Compilations générales -
The Jimi Hendrix Experience[:] Live at Monterey Usa 2007
Kieler Beiträge zur Filmmusikforschung, 5.2, 2010 // 312 THE JIMI HENDRIX EXPERIENCE[:] LIVE AT MONTEREY USA 2007 R: Bob Smeaton (Filmmaterial von D.A. Pennebaker). P: Janie Hendrix, John McDermott. K: John Halliday, John Simmons (Monterey Pop: James Desmond, Barry Feinstein, Richard Leacock, Albert Maysles, Roger Murphy, D. A. Pennebaker, Nick Proferes. S: Kevin McCullough, Adam Payne, David Dawkins, Chris Hegedus (Monterey Pop: Lou Adler, John Phillips). T: Eddie Kramer, Tim Fraser, Allen Green. D: Jimi Hendrix, Mitch Mitchell, Noel Redding. Video-/DVD-/HD-DVD-Vertrieb: Universal. EAN0602517455177. (USA: Experience Hendrix/Geffen/UMe.) UA; 26.10.2007. 116min (CD-Soundtrack-Edition: 44min [?]). 2.0 Dolby Stereo, 5.1 DTS Surround. NTSC, 16:9, Farbe und Schwarzweiß. Live fast, Love Hard, Die Young [1] – es scheint fast so, als könnte dieses auf das Leben Jimi Hendrix‘ sicherlich zutreffende Leitmotiv auch dem vorliegenden Film metaphorisch vorangestellt werden. Denn der in zwei Abschnitte unterteilte Film erzählt in den ersten 22 Minuten in Interviewausschnitten aus Gesprächen mit diversen Zeitgenossen und ehemaligen Bandmitgliedern der Jimi Hendrix Experience (Mitch Mitchell und Noel Redding) den musikalischen Werdegang Hendrix’ bis zu seinem legendären Auftritt auf dem Monterey Pop Festival 1967 in rasanter Geschwindigkeit. Nur kurzer Stücke zu verschiedenen Themen werden hintereinandergeschnitten. Dabei erkennt man erst allmählich, dass die chronologische Reihenfolge der Themen auf das Festival hin zielt. Der zweite und längere Abschnitt des Films zeigt den gesamten Auftritt von Jimi Hendrix auf dem Monterey-Festival [2]. Jimi Hendrix zählt zu den einflussreichsten und virtuosesten E-Gitarrenspieler der Rockgeschichte. Seine erste Akustikgitarre bekam er mit 15 Jahren von seinem Vater geschenkt, wenig später die elektrische Gitarre Supro Ozark 1560S. -
Arts & Letters
Current Books al or homosexual, or daring or timid. He lays into finds so irritating. He convincingly demolishes suggestions from evolutionary psychology that a number of simplistic arguments from evolu- male assertiveness and female coyness (not to tionary psychology, but seems to think he has mention everybody’s sweet tooth) are geneti- thereby undermined the whole enterprise. And cally hard-wired. Much of his argument is that he hews to an extremism of his own, embracing the things the sociobiologists say they are the social constructionist’s creed that “there is no explaining do not exist in the first place. Male such thing as human nature independent of and female roles are not the same in every soci- human culture.” He never provides any justifi- ety; there are no universal standards of female cation for this ideology, apart from rounding up attractiveness or male desirability; even the declarations from the usual suspects: Karl human sweet tooth is not universal (Nigerians Marx, Clifford Geertz, and the like. don’t like candy, or so he says a friend told Still, for all his vehemence, Lancaster is a him). fluent, often funny, and (dare I say it?) good- This is a polemic, in other words, but a natured writer. He divests constructivist theory polemic against what, exactly? In his attacks and gender studies of their usual obtuse jargon on oversimplified misconceptions, Lancaster and acknowledges the silliness of some ideo- will find many allies among scientists. When it logical critiques of science. comes to assessing the science itself, he is less In the end, though, he seems to wish that authoritative.