DOCSLIB.ORG

Voodoo Child 78 (Final)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Voodoo Child 78 (Final) VOODOO CHILD 78 (FINAL) HENDRIX WORLDWIDE CATALOG IS NOW UNIVERSAL…Can the world be ready for more Jimi Hendrix? Universal Music certainly believes so as they have recently signed an exclusive administration agreement with Experience Hendrix LLC to manage the catalog of Jimi Hendrix’s music encompassing all territories throughout the world outside the United States. In that global realm, UMPG will represent the catalogue for all commercial opportunities including synchronization licensing for Motion Pictures, TV, Advertising and other mediums. The five-year contract moves the management from Sony ATV, which had managed the catalog since 1998. Upon making the announcement Renzer, Chairman/ CEO, Universal Music Publishing Group (UMPG) commented, "We are so honored that Experience Hendrix has chosen Universal Music Publishing Group to represent their iconic catalogue. Jimi Hendrix's catalogues represents the work of one of the premiere artists of our time and we look forward to working closely with the Hendrix family in representing these amazing songs". Janie L Hendrix President/CEO of Experience Hendrix commented: "We are excited about working with David Renzer and the UMPG staff. Our beloved Jimi has long been recognized as the greatest guitarist ever and the most amazing performer in music history. His ability to expand the frontiers of composition with an almost supernatural sense of melody and rhythm coupled with his truly poetic lyricism has made his catalogue of songs one of the true cornerstones of musical art foreach successive generation. His matchless skill, creativity and imagination on the guitar continue to give those who have come after him an elusive standard to strive for. Jimi's catalogue demands the best and we feel very comfortable entrusting the stewardship of his work to our UMPG partners". Experience Hendrix will continue to oversee releases within the States. LONNIE YOUNGBLOOD SUFFERING THE GEORGIA BLUES… Saxophonist Lonnie Youngblood, who played and recorded with Hendrix briefly during the pre-Experience era of Jimi’s career in 1966, is suing Experience Hendrix LLC, MCA Records and film director Martin Scorsese, for the inclusion of the track “Georgia Blues” album "Martin Scorsese Presents The Blues: Jimi Hendrix”, which Youngblood claims he co-wrote with Hendrix and they recorded the take in 1969. Saxophonist Youngblood secured his first professional gig in 1959 after relocating from his native Georgia to Newark, New Jersey. He served in the Army for a short time, and returned to Harlem in 1963, where he took over leadership of Curtis Knight’s band. In 1965, a then unknown Jimi Hendrix joined the entourage Curtis Knight and the Squires. But, according to an interview with Youngblood in the book Becoming Jimi Hendrix, by the summer of 1966, “Curtis started to lose interest in the band,” explained Youngblood, “and at the same time, I had a couple of job offers to be a bandleader. I knew I didn’t want to play in his band forever, so I told Jimi and a couple of the guys in the band about it and they said, ‘Let’s go!’ From there, we started playing a few gigs as The Blood Brothers. I was an enterprising guy and wanted to cut me some records.” In June of 1966, Youngblood and Hendrix entered Abtone Studios in New York. Three of those sessions yielded the singles “Goodbye Bessie Mae” b/w “Soul Food (That’s What I Like)”, “Under the Table” b/w “Wipe the Sweat” and “Go Go Shoes” b/w “Go Go Place”. Later that year, Hendrix and Youngblood returned to the Abtone studios as session players for producer Johnny Brantley. It’s said that as many as 13 tracks, including alternate takes, were recorded. Those sessions yielded the singles “My Girl (She’s a Fox)” b/w “(I Wonder) What It Takes” released by The Icemen; “Sweet Thang” (originally titled “Wipe the Sweat”) by Billy Lamont, and “Your Only Hurting Yourself” b/w “That Little Old Groovemaker” by Jimmy Norman. Over the years, numerous Hendrix/Youngblood albums have been released, some including tracks Hendrix never played on while other overdub guitar tracks to try to accentuate the Hendrix sound. The friendship between the two endured, though, and in 1969, at the peak of Hendrix's popularity, the two men recorded several songs in a New York studio. The tunes recorded during those two or three days are the subject of the lawsuit Youngblood filed this spring that claims one of the songs, "Georgia Blues," was included on the 2003 compilation without his permission and without crediting him as its author. The suit seeks unspecified lost-income damages from Hendrix's estate, MCA Records and film director Martin Scorsese, who collaborated on the collection Martin Scorsese Presents The Blues: Jimi Hendrix. Youngblood alleges he was not asked for permission to include the track on the album and was not credited as a creator of the track. In the filing, Youngblood claims he refused an offer of $3,000 by a lawyer for the Hendrix estate, and he’s determined to win the case. His comments echo those of the late Al Hendrix when he was informed that his attorney Leo Branton had sold the rights to his son’s music. The 68-year-old Youngblood says, “It’s the principle. I want my song back. They had no right to take my song.” In an Associated Press interview, Youngblood recalls the wayfaring Hendrix, “He had a guitar in a sack, a change of pants and a shirt in another sack, maybe a toothbrush and some type of comb. And basically that was it," Youngblood said. "He basically didn't have a worry." When Hendrix asked him to come down and play in Greenwich Village, Youngblood rejected the opportunities, having other responsibilities. "He wanted me to go down to Cafe Wha and play for tips," he said, "to me, that was out of the question. I had a car, a wife, a son, an apartment. I told him, 'You've got to go where you can get some sure money.'" It was at that time Hendrix created Jimmy James and the Blue Flames. Hendrix went on to England where he skyrocketed to rock stardom. Youngblood remained performing in the Harlem circuit and becoming a fixture on college campuses throughout the Northeast. Then, one night in 1969 Youngblood was onstage when Hendrix showed up unexpectedly, wearing his signature floppy hat, tassels and ruffled shirt, and "turned the place inside out." Hendrix told Youngblood he would record some songs with him, Youngblood remembers, as payback for his help several years earlier. "Jimmy had moved on to another place by then, but it was his way of saying thank you," Youngblood said. Youngblood said he wrote "Georgia Blues" and points out that one line in the song goes, "I was born in Georgia 27 years ago" (born Lonnie Thomas 8/3/41) — a clear reference to Youngblood, who was 27 at the time and a native of Augusta, Georgia. Youngblood worked mostly as a backing musician during the rest of the '60s, playing on tours and/or sessions for the likes of James Brown, Jackie Wilson, Ben E. King, Sam & Dave, and other soul greats. He also continued to record independently, scoring a couple of mild R&B chart hits in the mid-70s. Like many other musicians, he battled drug problems off and on throughout his career. In 2004, when he became clean and sober, he recorded a gospel album titled The Garden and another uplifting spiritual project Count Your Blessings for the Deblon label. Youngblood, who still lives in the Newark area, still performs as many as 20 dates a month at clubs and private parties in the northern New Jersey and New York City area. You can view his tour itinerary at http://www.lonnieyoungblood.com/schedule.php. MERCHANDISING JIMI…Authentic Hendrix, LLC the merchandise licensing subsidiary of Experience Hendrix, L.L.C., has appointed Los Angeles-based Brand Sense Partners ("BSP") as their exclusive partner to manage the Hendrix merchandising efforts. As a leader in licensing and brand management, BSP has a long and successful track record of assisting brand owners to manage their intellectual property more effectively and profitably. Indications are BSP will manage the Hendrix merchandise program and the icon's legacy by deploying its unique approach to business development and brand management. "We are honored to be working with the Hendrix family merchandising company to manage and extend the brand of one of the greatest talents in music and pop culture history. BSP's unrivalled team of brand, product, and retail specialists will complement the incredible group of individuals at Authentic Hendrix to perpetuate and honor all-things Jimi," said BSP president Ramez Toubassy. The Hendrix program will be managed by BSP's Theresa Brown, a celebrity licensing expert who has represented such estates as Albert Einstein and Steve McQueen, and currently leads BSP's celebrity and estate initiatives which count Sheryl Crow and Marlon Brando among their number. "This is an exciting mingling of sentiment and savvy. BSP understands and shares our value system. Placing Jimi's persona, his image, on an item is something we take very seriously. We have always been very selective and careful with treatment of his legacy. This is the first time we have ever considered utilizing exclusive external management to assist in broadening the Jimi Hendrix brand," said Janie Hendrix, President & CEO of Authentic Hendrix. “After a thorough search for the right partner we are pleased to announce that we have chosen BSP to methodically cultivate and protect Jimi's name and likeness in a way that respects his legacy and grows the business.
Load more

Recommended publications
  • Interview with Nelly White
    What have you been doing up until now? NELLY: I signed a deal with Arpej Yapım in the autumn of 2017. I’d pretty much had a finished album when having talks with them, and I’d spent two years completing that to the mastering stage. I was working as musician in the evening, and in between my daily life found time to record the album. I have a growing family and that took up a lot of energy. I decided to concentrate my efforts on producing the music that I had been writing since my teens and through to today. An amazing bunch of musician friends came together and played on the album. Those brilliant people didn’t take any money for their efforts, as they had heard what kind of music we were producing, and they were just happy to be a part of it with us. I also worked with Engin Kaan Günaydın, drummer of The New York Gypsy All Stars, and internationally recognised group playing Turkish Jazz Fusion. Nelly White At the end of the recording process the group went to Istanbul and played in Nardis Jazz Club, as virtual unknowns, but we had an amazingly warm reception from Zuhal Focan, her team and the audience, and Zuhal was really ignited by our music. Along the way during the albums’ mixing process, our sound engineer happened to play some of the tracks to Genco Arı, who instantly picked up on the music. He loved the sound we were producing and offered to get involved. When I heard this I was over the moon, and I believe that his influence in the album and the direction he took the songs, really made a massive difference to the final production.
    [Show full text]
  • Blues Phenom Jonny Lang to Blow up the House at Hard Rock Casino Vancouver
    FOR IMMEDIATE RELEASE Blues Phenom Jonny Lang To Blow Up The House At Hard Rock Casino Vancouver COQUITLAM, BC (November 12, 2013) – Grammy-winning singer-guitarist Jonny Lang is embarking on a North American tour and will be bringing his unique brand of blues-rock to the Hard Rock Casino Vancouver on Saturday, January 18, 2014. Since the release of his 1997 major label debut, Lie to Me, the then-16-year old North Dakota native has built a reputation as one of the best live performers and guitarists of his generation. A blues artist who respects and reveres the traditions of the past, Lang embraces the more complex and evolved genres, grafting them to the blues foundation to create a hybrid sound that is simultaneously traditional and fresh. His most recent album, Fight For My Soul – the follow-up to his 2006 Grammy Award-winning album, Turn Around – was released this past September on Concord Records and features the single, “Blew Up (The House)”. Tickets go on sale on Thursday, November 14 at 10 am and are $29.50, $34.50 & $44.50 (plus service charges). For more information and to purchase tickets, go to HardRockCasinoVancouver.com. -30- About Hard Rock Casino Vancouver: Hard Rock Casino Vancouver will be situated in the thriving City of Coquitlam, British Columbia in Metro Vancouver and home to unparalleled entertainment, dining and gaming offerings. With an 80,000 square foot casino floor, Hard Rock Casino Vancouver will offer more than 950 interactive slot machines and popular table games such as blackjack, roulette, baccarat, poker, pai gow, craps, VIP high limit salons and others.
    [Show full text]
  • {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.
    [Show full text]
  • 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.
    [Show full text]
  • “All Fired Up” Le Monde De Merde
    The Krewe du Vieux Presents PURPLE PROSE, YELLOW Le Monde de Merde JOURNALISM AND THE LUST Vol. 19, No. 1 January 30, 2010 Priceless FOR GREEN Krewe du Vieux Is “All Fired Up” Dr. John Will Light Krewe’s Fire KdV Parade Route and Firewalk the parade fires up at NEW ORLEANS – We didn’t start the Regionalism took on a new meaning, Royal Street Chartres & Marigny fire. But looking around the city and the as politicos in Jefferson, St. John and Royal Street country, the whole shithouse nearly did St. Tammany parishes demonstrated a go up in flames. burning desire to mimic the exploits of things really start to heat up here! Despite the best efforts of President our home-cooked (and half-baked) of- Chartres Street Yomama and Fed Chief Burned Hankey ficials. Many will soon be facing a trial Frenchmen Street (Indian casinos being about the only by fire. Street Toulouse Decatur Street the parade ends in a profitable enterprises around these Meanwhile, at City Hall… blaze of glory at Chartres & Elysian Fields Franklin Avenue days), the economy refused to rise from Chief Technology Punk Greg Meffert the ashes. The Cash for Clunkers pro- found himself smiling for the crime cam- gram netted only a small number of used eras. Recovery Czar Ed Blakely burned U.S. Congressmen, though we were every last bridge, but most people had Parade Route of the Krewe du Vieux, Saturday, January 30, 2010 at 6:30 PM pleased to see that former LA Rep. already decided it was extraneous com- citronellas of the Krewe will burn the Krewe of PAN, Mystic Krewe of Dollar Bill Jefferson was one of them.
    [Show full text]
  • Off the Beaten Track
    Off the Beaten Track To have your recording considered for review in Sing Out!, please submit two copies (one for one of our reviewers and one for in- house editorial work, song selection for the magazine and eventual inclusion in the Sing Out! Resource Center). All recordings received are included in “Publication Noted” (which follows “Off the Beaten Track”). Send two copies of your recording, and the appropriate background material, to Sing Out!, P.O. Box 5460 (for shipping: 512 E. Fourth St.), Bethlehem, PA 18015, Attention “Off The Beaten Track.” Sincere thanks to this issue’s panel of musical experts: Richard Dorsett, Tom Druckenmiller, Mark Greenberg, Victor K. Heyman, Stephanie P. Ledgin, John Lupton, Angela Page, Mike Regenstreif, Seth Rogovoy, Ken Roseman, Peter Spencer, Michael Tearson, Theodoros Toskos, Rich Warren, Matt Watroba, Rob Weir and Sule Greg Wilson. that led to a career traveling across coun- the two keyboard instruments. How I try as “The Singing Troubadour.” He per- would have loved to hear some of the more formed in a variety of settings with a rep- unusual groupings of instruments as pic- ertoire that ranged from opera to traditional tured in the notes. The sound of saxo- songs. He also began an investigation of phones, trumpets, violins and cellos must the music of various utopian societies in have been glorious! The singing is strong America. and sincere with nary a hint of sophistica- With his investigation of the music of tion, as of course it should be, as the Shak- VARIOUS the Shakers he found a sect which both ers were hardly ostentatious.
    [Show full text]
  • Whiskey River (Take My Mind)  I 
    whiskey river (take my mind) i introduction 00 Bush rev pg proofs 000i-xxiv i i 12/11/06 9:58:38 AM THIS PAGE INTENTIONALLY LEFT BLANK whiskey river (take my mind) iii The True Story of Texas Honky-Tonk by johnny bush with rick mitchell foreword by willie nelson University of Texas Press, Austin introduction 00 Bush rev pg proofs 000i-xxiv iii iii 12/11/06 9:58:39 AM iv copyright © 2007 by the university of texas press All rights reserved Printed in the United States of America First edition, 2007 Requests for permission to reproduce material from this work should be sent to: Permissions University of Texas Press P.O. Box 7819 Austin, TX 78713-7819 www.utexas.edu/utpress/about/bpermission.html ∞ The paper used in this book meets the minimum requirements of ansi/niso z39.48-1992 (r1997) (Permanence of Paper). library of congress cataloging-in-publication data Bush, Johnny. Whiskey river (take my mind) : the true story of Texas honky-tonk / by Johnny Bush with Rick Mitchell ; foreword by Willie Nelson. — 1st ed. p. cm. Includes discography (p. ), bibliographical references (p. ), and index. isbn-13: 978-0-292-71490-8 (cl. : alk. paper) isbn-10: 0-292-71490-4 1. Bush, Johnny. 2. Country musicians—Texas—Biography. 3. Spasmodic dysphonia—Patients—Texas—Biography. 4. Honky-tonk music—Texas— History and criticism. I. Mitchell, Rick, 1952– II. Title. ml420.b8967a3 2007 782.421642092—dc22 [B] 2006033039 whiskey river (take my mind) 00 Bush rev pg proofs 000i-xxiv iv iv 12/11/06 9:58:39 AM Dedicated to v John Bush Shinn, Jr., my dad, who encouraged me to follow my dreams.
    [Show full text]
  • 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.
    [Show full text]
  • The Showstopper of the Festival Performed an 80-Minute Set, During Which Zal Yanovsky, Former Lovin’ Spoonful Guitarist, Made a Surprise Guest Appearance
    1 iislesle ooff wwightight ffestivalestival 11970970 2 3 photo essay by michel arnaud p u b l i s h e r ssettingetting tthehe sscenecene In 1968, the Beatles closed their Apple Boutique at 94 Baker Street. Perhaps it was a sign of things to come. BY April 1970, the Fab Four had disbanded. Both Paul 4 and John were married. The ultimate “boy band” 5 had grown up. The Swinging Sixties had come to a end. pop music which had emerged and developed during the decade was in a state of transition. Influences of Hippie Culture, Folk Music, psychedelic drugs, and the anti-war movement in America had seeped into left: London was abuzz fashion, music, art and design. with activity giving a sign of things to come at the Isle of Wight Festival. This was the scene that welcomed above: The official festival poster. right: Michel Arnaud the 1970 Isle of Wight Pop Festival. in 1970 ready to go. 6 7 8 9 the line-up 10 wwese ddnenesdayday 226t6thh judas jump, Kathy smith, Rosalie soRRels, david BRomBeRg, RedBone, KRis KRistoffeRson, mighty BaBy tthursdayhursday 227th7th gR aR y faRR, supeRtRamp, andy RoBeRts eveyone, howl, BlacK widow, gRoundhogs, teRRy Reid, gilBeRo gil ffridayriday 228th8th fi a Rfield paRlouR, aRRival, lighthouse, taste, tony joe white, chicago, family pRocol haRum, the voices of east haRlem, cactus ss aatturdayurday 229th9th john seBastian, shawn phillips, lighthouse, joni mitchell, tiny tim, miles davis, ten yeaRs afteR, emeRson laKe and palmeR, the dooRs, the who, melanie, sly and the family stone, tiny tim with islandeRs ssundayunday 330th0th good news, KRis KRistoffeRson, Ralph mctell, heaven, fRee, donovan, pentangle, moody Blues, jethRo tull, jimi hendRix, joan Baez, leonaRd cohen, Richie havens, haw11 Kwind 12 13 14 15 john sebastian the showstopper of the festival performed an 80-minute set, during which Zal yanovsky, former lovin’ spoonful guitarist, made a surprise guest appearance.
    [Show full text]
  • Mise En Page 1
    FREE Local News St-Barth in English Published by Le Journal de Saint-Barth WEEKLY05 90 27 65 19 - [email protected] N°235- January 12, 2012 2012 12, January N°235- 2 St Barth Weekly n°235 ROCKIN’ ON THE DOCK A first for the St Barth Music Festival: a free rock concert on the main dock in Gustavia, Saturday, January 21 at 7pm, featuring Brad Whitford of Aerosmith and some of his hot rockin’ friends. Here’s who’s in the band: BRAD WHITFORD includes co-writing Aerosmith’s hit «Last Guitarist Brad Whitford Child« as well as some joined Aerosmith of Aerosmith’s heaviest in1971, replacing the songs: «Nobody’s Fault« band’s original guitar and «Round and player Ray Tabano. Round,» and playing While Joe Perry is Aero- lead guitar on «Back in smith’s most well the Saddle« (on which known guitarist and the Perry plays six string band’s principal song- bass) and on the ballads writer with Steven Tyler, «You See Me Crying« continued to co-write singer, songwriter, and Whitford has made sig- and «Home Tonight.» nificant contributions to tracks such as «Perma- producer. His multiple When Aerosmith made nent Vacation» and talents have allowed the band’s repertoire their comeback in the over the years. This «Voodoo Medicine him to collaborate with late 1980s, Whitford Man,» and plays occa- the biggest names in sional lead guitar on pop and rock: Aero- some more recent tracks. smith, Sting, Bryan Whitford left the band Adams, Meatloaf, Scor- (as dick Perry) in 1981 pions, Clay Aiken… as to work on his own proj- well as Paul Stanley ect with singer Derek St.
    [Show full text]
  • Interview with Corey Washington, Independent Scholar on Jimi Hendrix Seretha D
    Williams: Interview with Corey Washington, Independent Scholar on Jimi Hend Interview with Corey Washington, Independent Scholar on Jimi Hendrix Seretha D. Williams (3/6/2019) Most people in Augusta, GA, know Corey Washington. He is a popular history teacher, beloved by his students and their parents. He is a patron of music, attending local cultural events and supporting the burgeoning live music scene in the region. He is an independent author and expert on the life and music of Jimi Hendrix. Having seen him at the Augusta Literary Festival on multiple occasions and purchased one of his books on Hendrix for a friend, I decided to reach out to Mr. Washington for an interview on Hendrix, whom scholars describe as an icon of Afrofutur- ism. 1. How did you first become interested in Jimi Hendrix? I always have to mention the name of a disgraced individual Hulk Hogan, who was later exposed as a racist. But he was the one that hipped me to Hendrix because of his ring entrance music: “Voodoo Child.” The song opened with some weird scratching sounds, which I later learned was Jimi’s pre- cursor to a DJ scratching. He was manipulating the wah-wah pedal to get those sounds from his guitar. That drew me in, and I’ve been collecting his music and researching him ever since. That was in 1996. Follow ups: Washington grew up listening to Disco, House, and Hip-Hop. Born in 1976, Washington identifies a cultural “dead spot” for Hendrix between 1976 and 1990. I asked him why he thought that was.
    [Show full text]
  • Downbeat.Com February 2021 U.K. £6.99
    FEBRUARY 2021 U.K. £6.99 DOWNBEAT.COM FEBRUARY 2021 DOWNBEAT 1 FEBRUARY 2021 VOLUME 88 / NUMBER 2 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow.
    [Show full text]