User:Charlie Inks/sandbox/hendrix

Please don't edit this page. I'm developing new sections/additions in my little sandbox here. With great respect, I kinda enjoy having my headspace to myself. If you have any suggestions, you're welcome to share your thoughts on the Talk page. When I'm ready to share bits of this page or the whole thing, I'll be sure to let you all know and you can just...do what you tend to do. Delete it cos it won't fit with the wikipedia view of the world...or Jimi Hendrix. Thanks. --Charlie Inks (talk) 02:03, 16 July 2012 (UTC)

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"The Black Elvis"?

"When I saw him, I knew immediately that he was the real thing..." Eric Clapton said, of the first time he met and jammed with Hendrix in 1966. "If I was black, I'd be this guy." Clapton's racial essentialism, "commodification of suffering," and ideas about blackness, black performers, and the blues were not untypical of the time He and many other big name white artists of the time - Pete Townshend, the Rolling Stones, [find names of others reffed] - appeared, at that time, to accept the idea that the blues were "black peoples' music." [b, w, and b] As Caucasian musicians, they were "'white negroes' struggling to find an identity." The irony was especially stark with Clapton given his very public racist statements about black people and immigration to Britain and their relationship to his perhaps unconscious idea idea of racial purity. More than one music journalist has noted Clapton's extensive "borrowings", one even going to far as to put an ironic twist on his moniker, Slowhand, suggesting it be changed to "Secondhand."[guardian ref.][et al]

It was musicologist Arnold Shaw who called Hendrix, "the Black Elvis" in his Dictionary of American Pop/Rock. [ref Race Consciousness 51] Judith Jackson Fossett in her book, Race Consciousness: African-American Studies for the New Century, sees a "clear irony" in this "or designating him a black version of a white man, who since the inception of his own career, had been labeled a white version of a black man.[51, Race Consciousness] [dissociation of heavy metal from blackness - several refs]

For some, as a multiracial man who used his sexuality and the mythologies around his race and gender, the perception was that it was something about Hendrix's racial/ethnic identity that formed the basis for his talent - and whatever it was, it was rooted in the "black" part of him. [multiple refs, inc b, w & b, et al] "

"Everybody and his brother in England still sort of think that spades [sic] have big dicks," Clapton elaborated on his perceptions of Hendrix to Rolling Stone in 1968. "And Jimi came over and exploited that to the limit, the fucking tee. Everybody fell for it. Shit. I fell for it."

"Way back when there were fewer clearer signs of being Black on the outside and white on the inside (the classic old stigma of being the 'Oreo' African-American) than declaring love for James Marshall Hendrix," Rebecca Walker writes. "Yet when it comes to evolving the Black identity, rock music's number one guitar god represents on many levels." In the Afro-American communities being ripped apart by social and civil unrest, the appearance on the scene of a black man with all the flair Hendrix had, flanked by two white men, went down like a proverbial lead zeppelin.

As Hendrix's fame grew, he would find himself in increasingly uncomfortable positions, perhaps not out of choice, but as other Afro-American artists of his time, because he could step away from the States - whereas the millions of Afro-Americans he hoped would embrace his music could not escape the civil unrest, riots, assassinations, police brutality, and features of every day life for black Americans. [quote/ref timing that Hendrix decided to transcend racial lines]

An Afro-American artist having a largely white audience was hardly new, even then, but it was the canvas on which Hendrix's genius was drawn that made the realities especially painful for him - and so easy to cash in on for his management. [mutliple refs]

"Hendrix wasn't black or white," Alvin Lee, who also performed at Woodstock said. "Hendrix was Hendrix." Yet perhaps it was the very power of race in Hendrix's world that inspired him to create music that would transcend racial and other boundaries. [ref. predecessors and BoG interview w/ Lenny Kravitz talking about this.]

Hendrix-Handel Connection: two musical geniuses, separated only by time

[add Beeb ref w/ clip, and look for public domain photo of Jimi @ Brooke Street]

After a year based in the US, Hendrix temporarily moved back to London and into the flat his girlfriend Kathy Etchingham had rented for them on Brook Street. The home links Hendrix to its former musical resident some 200 years earlier, George Frideric Handel. Handel lived in 25 Brook Street, long since merged in with number 23 to be one property. The attic where Hendrix lived between 1968-1969 is now the administrative office for the Handel House Museum, in Mayfair, West London.

"This is my first real home of my own," Hendrix told Etchingham. In addition to watching Coronation Street - Etchingham recalls Hendrix was a huge fan of Ena Sharples - the couple enjoyed milky tea - as opposed to harder intoxicants. Since there were no neighbours, Hendrix could set up and "play to his heart's content."

It also has a Blue Plaque commemorating Handel's 36-year residence in the building until his death in 1759. He composed Messiah (Handel) in the building. When Hendrix learned of the connection, he headed out to HMV and One Stop Records, and bought all the composers' recordings he could find.

For the 40th anniversary of Hendrix's death, the tiny two level attic was restored with Etchingham acting as consultant. [note to self: also in Beeb piece no?]

Awards

Year
1967	Pop Musician of the Year	Melody Maker
1968	Pop Musician of the Year	Melody Maker
1968	Performer of the Year	Rolling Stone Magazine
1968	Rock Album of the Year	Rolling Stone Magazine
1968	Key to the City	City of Seattle
1969	Artist of the Year	Playboy Magazine
1970	Hall of Fame (by readers' poll)	Downbeat Magazine
1970	Rock Guitarist of the Year	Guitar Player Magazine
1983	Lifetime Achievement	Guitar Player Magazine
1999	Are you Experienced? (Reprise, 1967)*	Grammy Hall of Fame (Rock, Album)
2006	Axis: Bold as Love (Reprise, 1968)*	Grammy Hall of Fame (Rock, Album)
2004	Number Six, 100 Greatest Artists of All Time	Rolling Stone Magazine
2001	All Along the Watchtower (Reprise, 1968)*	Grammy Hall of Fame (Rock, Single)
1999	Electric Ladyland (Reprise, 1968)	Grammy Hall of Fame (Rock, Album)
2000	Purple Haze (Reprise, 1967)*	Grammy Hall of Fame (Rock, Single)
2009	The Star-Spangled Banner (Cotillion, 1970)	Grammy Hall of Fame (Rock, Track)
1992	The Jimi Hendrix Experience	Rock & Roll Hall of Fame (US)
2005	Jimi Hendrix	UK Music Hall of Fame
1997	Blue Plaque for Jimi Hendrix's home: 23 Brook Street, Mayfair	Blue Plaque, English Heritage
1991	Jimi Hendrix Star	Hollywood Walk of Fame
2005	Are you Experienced	National Recording Registry, Library of Congress
2003	Greatest Guitarist of All Time	Rolling Stone Magazine
1992	Lifetime Achievement Award	Grammy
2011	Greatest Guitar Player of All Time	Rolling Stone Magazine
1969	World Top Musician	Disc & Music Echo newspaper (London, UK)
?	Number 3 of 100 Greatest Artists of Hard Rock	VH1
?	Number 3 of 100 Greatest Artists of Rock 'n' Roll	VH1
1968	Artist of the Year	Billboard Magazine

Asterix in the table indicates the award was for The Jimi Hendrix Experience.

"We were off somewhere on the road, and I was brushing my teeth, thinking about it," Hendrix said of the Melody Maker Pop Musician of the Year Award (1967). "I started to cry because it meant so much, and I ended up washing my face three times to get off this mess of tears and toothpaste." The award was the first of many Hendrix won during his lifetime, but many more were given posthumously. In its March 15, 1968 issue, rock journalist Alfred G. Aronowitz writing in Life Magazine, described Hendrix as "the most spectacular electric guitarist in the world."

Given Hendrix's influence on other major musicians, incredibly, Hendrix did not receive a single Grammy Award in his lifetime - not even a nomination. Posthumously, he and The Jimi Hendrix Experience received a collective total of seven Grammy awards (see table above) including one for Lifetime Achievement.

In addition to Rolling Stone, Guitar World and many other magazines and polls have voted Hendrix the best electric guitarist of all time.

Guitar World's readers voted six of Hendrix's solos among the top 100 Greatest Guitar Solos of All Time: "Purple Haze" (70), "The Star-Spangled Banner" (52), "Machine Gun" (32), "Little Wing" (18), "Voodoo Child (Slight Return)" (11) and "All Along the Watchtower" (5).

The English Heritage blue plaque that identifies his former residence at 23 Brook Street, London, was the first the organization granted to a pop/rock star in the UK. It was a direct result of Kathy Etchingham's efforts, Hendrix's former girlfriend who lived with him at the flat. She wrote to English Heritage first in 1992 - and her request, along with all those received from other writers, was declined. She persisted, asked others to write, all requesting a plaque to recognize Hendrix's home. Finally the Committee gave its approval. There "had been talk of carrying it out in purple," Sue Ashworth, one of the plaque makers remembers, but it was eventually done in the traditional blue.

"We needed a guitar player to do this," Pete Townshend said, at the plaque's unveiling in September 1997. Noel Redding, and Kathy Etchingham, looked on with several other rock luminaries and hundreds of other people in the street. "And I'm so proud to be able to pull this bit of string [to unveil the plaque]. I have to tell you, I am so proud," Townshend added.

This is the only one of Hendrix's homes officially recognized as such in the world.

Hendrix's childhood home of 900 square feet in Seattle where he lived in virtual abject poverty for about three years no longer exists. Some of its original fixtures and contents were put in storage by the structure's owner, Pete Sikov. The real-estate investor spent some $100,000 trying to rescue the home. But after spending eight years trying to get it set up as a "music centre" with the "James Marshall Hendrix Foundation" with no result, it was finally demolished in 2009.