#New Jimi Hendrix Experience

[newplaces2drown]

Jimi Hendrix Experience performing at The Fillmore East in New York City on May 10th, 1968

Photographer unknown (to me)

[lisamarie-vee]

[guitar-prgress]

Day 41 of trying to guitar… i guess

day 2 of trying to play iron man by black sabbath opening riff. i can consistently play it at the correct bpm without any buzz in the sound so i just think this feels too easy. imma just speak speak about a manga i read a few days ago so feel free to ignore the rest of the post. i just read a manga by the name "the shiori experience" it is about a high school teacher getting possessed by jimi hendrix and having to become a guitar legend before she turns 28 so she does not join the 27 club and it is very fun and has charming characters and was what got me into hendrix so it is a 10/10 for me, i would recommend this to anyone who likes music manga.

[cherrychilli]

Slip of the Tongue

A mini series I 18+ I Enemies to lovers

Chapter one

Eddie Munson, AFAB reader, neighbor! reader.

Reader and Eddie are the same age - she's in College and he's repeating his senior year once again.

Chapter Summary: You discover that Eddie's been practicing a very interesting new trick on his guitar, one which he offers to use on you under the guise of giving you some much needed stress relief.

A/N: Listen, series scare the shit out of me but I'm trying to challenge myself with a tiny one. I kind of already feel like I'm biting off more than I can chew but I'm going to give it my best shot.

Inspired by those clips of Steve Vai and Jimi Hendrix. ifkyk.

Chapter warnings: Nothing explicit this chapter. Some suggestive stuff but the real smut begins next chapter, so if you want more you better let me know!

“Are you fucking kidding me?”

He's doing it again. Of course he's doing it again.

You tilt your head forward, forehead dropping into your hands. Heatedly, you mutter your annoyance under your breath, thumbs rubbing at throbbing temples and eyes squeezing shut when the music picks up to an ear ringing volume.

Eddie Munson took sick pleasure in riling you up – you were certain of that given how he only ever seemed to plug in his guitar when it was time for you to study your coursework, wrecking your concentration and making your temper skyrocket with a kind of ease only he was capable of.

For years, you’d taken issue with the fact that your trailer neighbored his own, your bedroom becoming an echo chamber for every blaring chord progression and heavily distorted guitar riff that strummed out from Eddie's open window.

And as always, you felt the need to make your displeasure known.

Abandoning your textbooks, you hastily shove your shoes on to stomp over next door. You knew from painful experience that it was best to head behind the Munson’s trailer and approach Eddie’s bedroom window than to pound on the front door, the sound of his playing almost always too loud for him to notice your knocking.

Trampling over the patchy, dry lawn that lay between your homes, you made your way across, rounding the corner and striding up to the open window, fuming with thoughts of what you’d yell at him this time when you caught sight of the metalhead.

As expected, he's rocking out in the center of his unruly bedroom. No doubt having tuned the rest of the world out, channeling so much of his wild, boundless energy into his playing.

His mop of dark messy curls aren't tied back today, allowed to sway, tumble and whip around his face as he played to an audience of some devilish looking posters and a couple figurines that stood on his crowded desk, probably a part of that fantasy game he's always going on about.

He's dressed in grey sweats that hang low around his hips and a ratty old band tee that tended to ride up, you couldn't help but notice.

‘At least he’s got clothes on today’, you thought to yourself mirthlessly, only a touch thankful for the silver lining of not having to confront him while he's shirtless or in his boxers again. Not that he’d ever minded you seeing him like that before.

Your last encounter with Eddie was one you hoped to soon forget, cringing because he'd caught your gaze wandering when you came over to reprimand him for the noise again, becoming noticeably distracted by his bare chest and the tattoos adorning it.

You don't know how it happened, only that you fell into a sort of daze when your eyes slipped lower to follow the slope of his pale tummy, leading to the sparse trail of dark hair which thickened below his belly button and disappeared underneath the waistband of his boxers.

D'you want a picture or something, darling?, he'd quipped, growing even more pleased with himself when your face turned hot and the embarrassment of getting caught had you stuttering out the first thing you could manage.

"F-fuck off, Munson", you spit back and retreated awkwardly, the sound of his barking laughter as you did so ringing in your ears long after you made it back into your room and hid underneath your blankets for a good hour.

Yeah, that was hard to live down. As was trying to expunge the image of Eddie's unclothed torso from your mind.

Most times he could anticipate your arrival, like a lightning storm only he could forecast but this time he hasn’t seemed to noticed you yet, tongue pinched between his lips in concentration while his fingers travelled skillfully over the ebony fretboard of his guitar.

Watching him play like that sometimes made you think that if he hadn't plagued you for half your life with all of his antics, you might have admitted that he was good musician - that he had talent most people didn't care to acknowledge and maybe even go so far as to say that you found it impressive that he’d managed teach himself how to play in lieu of any lessons.

But you weren’t about to sing Eddie Munson's praises. Not when he was seconds away from making you pop a vein.

Taking a deep breath in, you prepared yourself to start the unpleasant cycle of bickering with your neighbor once again, hoping against hope that, at the very least, it'll be a short exchange this time.

“Ed-"

You meant to catch his attention with a single shout but the heated call flattens on your tongue in an instant, heart beat kicking up as you watch what he does next.

He lifts his treasured Warlock and you're half afraid for him when he casually flips the front of the instrument towards his face, its angular design and jagged edges enough to worry you even when he played on it the regular way.

But it's when his tongue stretches out, long and slick like a serpent, that things start to feel...hazy. Speechlessly, you stare as he slides it along one of the guitar's six strings, following the length of it from near the bottom of the fretboard while his left hand continued to flit over the strings by the neck, creating harmonics in a way you’d never thought was possible before.

Are my palms sweating?

The sound begins to shift again and your eyes bulge when he slides his tongue back down, flicking and picking the guitar strings by the tip of it with more speed and dexterity than you'd thought was possible, his fingers continuing to move seamlessly to hold down every note.

Eyes closed (and there was no chance of you letting that happen) there was no way you could've told the difference than if he’d been playing with his fingers all along, the sound just as sharp and crisp as as every time before.

It's filthy, bordering on vulgar the way he’s moving the silky pink muscle so expertly, so much so that it makes you feel like you're intruding, peeping in on something that only happened behind closed doors.

But that gnawing feeling isn't anywhere near enough to make you stop looking. Your gaze stays planted firmly on Eddie's mouth, the sight making your head crowd with static and your belly swirl with heat. Your thighs had been clamped together too, you realize, a sickening realization dawning over you when they rub together, registering the dampness pooling between them underneath your skirt.

Oh my god…am I w-?

And just as abruptly as the realization had sunk in, the song ends. Deafening silence returns to your shared corner of the trailer park when Eddie sets the guitar back down to hang by the strap fixed over his shoulder, eyes flicking to you as if he'd known all along that you'd been standing there, gawking at him.

"So, what do you think? pretty good, right? been working on it for weeks", he pants out, chest rising and falling softly with each labored breath.

Somehow, this feels so much worse than when he caught you staring the last time.

With luck, you're able to shake yourself out of your trance like state, round eyes narrowing in preparation to berate him as originally intended

"Fucking hell, Eddie would you keep it down? I'm trying to study!", you agonize, scrambling to find your fury again.

But your tone doesn’t seem to bother him, it rarely ever did. So he leans through the open window, elbows resting on the window pane, eyeing you up and down all amused.

"You look stressed", he observes, and it's the flippant way in which he does it that ticks you off, with the kind of lopsided smile you’d often described as annoying. For the most part because he’d almost always done something to that effect before flashing you one.

"I am", you confirm with an acidic glare, hoping he couldn't tell how frazzled his little performance had left you.

"And you're not helping so knock it off"

Turning on your heel, you're desperate to retreat back to your place for a reprieve, heart hammering inside your chest when he calls out to you again.

"I could help you relax, y'know"

The way he says it makes you pause, like he's about to let you in on a secret.

Your skin prickles with goosebumps. "I'm not buying weed from you Eddie", you answer back over your shoulder, trying to look unimpressed as you attempt to turn him down.

"I wouldn't charge", the boy winks at you without missing a beat, undeterred by your cold attitude and you hate that his persistence makes your face feel hot.

"But that's not what I was going to suggest"

"Oh?"

You turn around to face him again, intrigue building.

He takes a moment to scan you thoughtfully, brows furrowing, almost as if he's weighing the outcomes of what might happen if he were to continue.

"You liked what you saw, right?", his brown eyes flicked down to his guitar and back up to you in quick reference to what you were hoping to avoid.

The mention of what you'd witnessed him doing with his tongue brings that hot, sticky feeling sitting at the base of your stomach back in full force, alarm bells ringing in your head.

"What does that have to do with anything?", you ask cautiously, realizing a second too late that you’ve only confirmed his suspicion.

"Well..."

Eddie curls a finger up at you, rings glinting in the sunlight, beckoning you closer and for some reason you actually oblige, stepping up to his window until you’re only a foot apart from one another.

Low and throaty, he whispers to you. "I can do a lot more with my tongue than just shred on my guitar", flicking the muscle salaciously between his lips like a viper ready to strike.

It should revolt you, watching the crude gesture courtesy of the bane next door, the implication behind it enough to make your skin crawl.

So why doesn't it?

Why does it make you want to leap at him and close the distance between the two of you, hungry to feel his tongue against your own?

"You're disgusting", you tell him instead in an attempt to deflect, voice wavering through the lie.

But he's too astute to be fooled now. "And you like it", he counters easily.

"So are you going to cut the bullshit and climb in here or what?"

You stare at the hand he holds out to you and before you can think to just walk away, before you can pull yourself together and stifle the roaring fire inside lapping at your bones, your fingers have found their way to his.

[detroitlib]

Portrait of musician Jimi Hendrix. Typed on back: "From: Goldstein Organization, 200 W. 57th Street, New York, N.Y. 10019. LT 1-3800. Contact: Pat Costello. The Jimi Hendix experience. Jimi Hendrix."

E. Azalia Hackley Collection of African Americans in the Performing Arts, Detroit Public Library

[stench-blossom]

The Strokes on meeting each other

Various excepts from the book “Meet me in the Bathroom: Rebirth and Rock and Roll in New York City 2001–2011” by Elizabeth Goodman

“NICK VALENSI: I remember what Julian was wearing the day I met him in middle school: blue jeans and a white button-down shirt. The shirt had the name of his former school on it - which was funny to me, that he wore the uniform from his old school to the first day of his new school. I was thirteen, he was fifteen.

JULIAN CASABLANCAS: We met at orientation at the Dwight School.

FABRIZIO MORETTI: Dwight sucked.

…

NIKOLAI FRAITURE: Julian was cool even before the band. He was cool from first grade. We went to Friends School, on the Upper East Side. I don't remember meeting him but I remember when our friendship was solidified. We were six or seven. Our school had a water main break. It was in the morning so it was right after class started and everyone had to go home. My parents were working and they couldn't come to pick me up, so Julian told me to come home with him. The water main didn't get repaired for three days so I just stayed over.

FABRIZIO MORETTI: Nikolai was always around. Julian has this very attractive way of being, even on a subconscious level. People run the risk of wanting to bend towards his wishes. And at that time, the way I saw it, Nikolai was the only one who Julian would bend to. That changed, but I remember Nikolai's school got out later than ours, and Julian would wait for what seemed like a long time, for him to come home and just hang out.

NICK VALENSI: Fab was in my grade at Dwight-I didn't have classes with Julian, but I had English and French with Fab.

FABRIZIO MORETTI: Then they found out Nick was actually better at French than they initially graded him so he moved. We were all friends. But I always felt like I was chasing them, like I wasn't cool enough. They would kinda let me in every once in a while. They were thick as thieves, those two. I would try to hang out with them, and it always felt like a privilege when I did.

…

NIKOLAI FRAITURE: The first time I met Nick, were going to a music store on Forty-Eighth Street, Sam Ash. He was much younger than Julian and I were-he was thirteen and we were fifteen- but then we got home and he played "The Star-Spangled Banner" by Jimi Hendrix and I was like, "Holy shit."

NICK VALENSI: Right away Julian and I started doing music together. He started writing songs basically right away.”

…

RYAN GENTLES: Those guys all go so far back. Albert knew Jules since they were eight years old. He met Jules when he was eight!

ALBERT HAMMOND JR.: Julian and I went to boarding school together in France.

JULIAN CASABLANCAS: Before Dwight, I was kind of messing up in school as usual so I got sent to the boarding school that my father had gone to and that he loved. I had a roommate who had some video games, Street Fighter II and shit. People would come over and play.

ALBERT HAMMOND JR.: We connected in a way where he was like an older brother. We hung out in his room and played video games, that kind of thing. I was like a little kid to him, even though really, it was only a two-year difference.

JULIAN CASABLANCAS: Albert was a little younger so I wasn't really friends with him then, but he was one of the only other Americans there. I kept a pretty low profile at that school. I mean, it was a pretty big culture shock.

…

ALBERT HAMMOND JR.: I met Julian and Nikolai first, before I even tried out for the band. We went to Ryan's Daughter and had margaritas. I was never a big drinker. I was more of a stoner in L.A., so I was pretty wasted already, and then they were like, "Let's get forties!" I was like, "You want beer after this?" So we get forties and we're hanging out on the east park, Eighty-something, drunk.

NIKOLAI FRAITURE: Oh yeah, Carl Schurz Park, with the L.A. boy.

ALBERT HAMMOND JR.: It was a fun little bonding experience. Then I went home and threw up everywhere.

…

[vintage-tigre]

"What do you need to know about Tokyo? Deep, deep waters. The first time I came here, it was a transformative experience. It was a powerful and violent experience. It was just like taking acid for the first time-meaning, What do I do now? I see the whole world in a different way.

I often compare the experience of going to Japan for the first time, going to Tokyo for the first time, to what Eric Clapton and Pete Townshend-the reigning guitar gods of England-must have gone through the week that Jimi Hendrix came to town.

You hear about it. You go see it. A whole window opens up into a whole new thing. And you think, What does this mean? What do I have left to say? What do I do now?"

[redpanther23]

When I returned to the Free State of Jones in 2021 after my years of worldly travel, my first order of business was to start an experimental punk band. It hardly took any time for people (Dan Brewer) to compare my exploits to those of the then-defunct group GATORFIGHT. Immediately I knew I was destined to see this band, although they were broken up, and they entered a space in my mind reserved for performances of heroic legend (for example, the slaying of the Nemian Lion, the Jimi Hendrix Experience, etc.)

In person, they more than lived up to my expectations. Their set was deconstructive, daring, experimental, and hilarious. Their final piece, “The Ballad of Scotty Potty” was particularly resplendent. My eyes were glued to the stage, mesmerized, I tried and failed to guess what to expect from the singer’s monologue. It was vile, it was sick, it was Lovecraftian, and I loved every minute of it. GATORFIGHT not only pushes the boundaries of decorum, but of genre. Is this punk rock? (Is New Wave punk rock, for that matter?) I urge you to listen, watch, and decide for yourself.

There are few times in the average person’s life which can be described as a transcendental experience. Jesus had his cross, Buddha had his tree, in the 60’s all them hippies had Woodstock, and I saw GATORFIGHT.

Check them out on Bandcamp here.

[thislovintime]

Peter Tork attending concerts in 1968 — The Bee Gees (photo from Tiger Beat), and the Jimi Hendrix Experience at the Shrine Auditorium on February 10, 1968 (photo by Kim Gottlieb).

“The Jimi Hendrix Experience and Eric Burdon and the Animals played to near-capacity houses for two shows at the Anaheim Convention Centre last Friday night. […] Following the concert, Jimi, Noel and Mitch went to a party at Peter Tork’s house. Also there—David Crosby, Jim Frawley, Micky Dolenz and with Samantha Juste, and Graham Nash. For most of the evening Peter’s guests sampled health foods—the new kick at Peter’s—and listened to tracks from the forthcoming Monkee album. One song, ‘Tapioca Tundra,’ has distorted voices, while another has a strong Indian influence, featuring the sound of the tabla, and Peter on lead vocal.” - Ann Moses, NME, February 24, 1968 “Health food was just starting to catch on in the sixties and Peter was kind of a fore-runner of that whole scene. I’m afraid that sort of image was a little thin for two other guys I could mention, but I understood—I really did. And I think he knew it. I didn’t inwardly agree with a lot of his company but it didn’t keep me from dropping in on him from time to time. Great salads—and always a cold beer to wash down the tofuburgers and brown rice.” - Davy Jones, They Made A Monkee Out Of Me (1988) “Influential Personalities [of L.A.]—Peter Tork: When Stan Freberg shows up on the set of the Monkee movie, this is the Monkee he is there to see… to talk about a ‘symphony’ Tork has written, among other things. Tork, folksinger-turned-teen millionaire, also appears regularly (and without pay) at the Monday night ‘hoot sessions’ at the Troubadour—to sing and play and laugh at Monkeedom. By definition, the Monkees are in another world, but they are honest people, after all, and do fit into the scene quite well.” - Rolling Stone, June 22, 1968 The “influential personalities” named were David Crosby, Cass Elliot, Terry Melcher, David Anderle, Lou Adler, Peter, Frank Zappa, Brian Wilson, Jim Morrison, Barry McGuire, and Phil Spector, in that order. “Steve [Stills] hung out with Peter Tork a lot because they were friends from before. Stephen was very frustrated that he didn’t get to be a Monkee. It’s true. Peter was a real sweet guy. He was the Monkee that hung out with us. The party went back and forth between Peter’s house and Steve’s in Malibu. The clique was Buddy Miles, Peter Tork, Crosby, Steve and right after Monterey, they hooked up with Hendrix. We all lived at Peter Tork’s at one time or another.” - Miles Thomas, For What It’s Worth: The Story of the Buffalo Springfield (2004)

[keepingupwithzaynmalik]

Zayn Malik is gearing up to release his long-awaited fourth studio album, and he’s co-produced the upcoming LP with Grammy-winner Dave Cobb, Rolling Stone can exclusively confirm.

In working with Cobb — one of Nashville’s most accomplished and in-demand producers — Malik will explore new sonic territory and lean into pairing his unmistakable vocals with live instrumentation. The soulful singer-songwriter had spent several years writing the album at his home in rural Pennsylvania before enlisting Cobb’s help as a co-producer. There’s no release date or title yet, but the album will be Malik’s first on new label, Mercury Records.

“What got me about Zayn was his voice, you can hear love, loss, pain, triumph and humanity in it. I feel as if this record is removing the glass from his spirit directly to his fans,” Cobb says. “Zayn has really created his own universe on this record, he really has no fear and is speaking straight from his soul.”

In an interview on Call Her Daddy last year, Malik teased the upcoming album a bit, saying, “I’m doing a record I don’t think people are really gonna expect. It’s a different sound for me. And it’s got some more narrative going on, like real-life experiences and stuff. My daughter’s mentioned in there a couple of times.”

Malik’s last album, Nobody Is Listening, was released in 2021. Since then, he’s shared a couple of scattered singles, including “To Begin Again” with Ingrid Michaelson, a cover of Jimi Hendrix’s “Angel,” and last year’s “Love Like This.” Back in January, Malik collaborated with the up-and-coming Pakistani group Aur on a reimagining of their hit single, “Tu Hai Kahan.”

As for Cobb, his credits include hit albums and critically acclaimed projects with Chris Stapleton, Brandi Carlile, Lady Gaga, Jason Isbell, Lori McKenna, and Sturgill Simpson. More recently, he’s teamed up with some classic rockers like Slash and Sammy Hagar, as well as Barry Gibb, Greta Van Fleet, Gavin DeGraw, and William Prince.

[omg-hellgirl]

The Beatles, The Who, The Rolling Stones, Cream, Spencer Davis and ‘Keep On Running,’ The Animals, The Byrds, The Troggs and the Jimi Hendrix Experience, emphasized the differences between us: Youth and Them, them were the tired and old warmongers.

— Angie Bowie on her new blog.

[cherrylng]

2004 Absolution Interview - Matthew Bellamy [CROSSBEAT Muse Special Book]

"The music that I find the most emotional is the music written by the 19th century Romantic composers, and that's one of the pieces of music that has influenced us the most."

Interview from 2004, in which he [Matthew] talks about Muse's core = emotion. Interview with Hidefumi Harima

You are making and playing very emotional music with Muse now, but when was the first time you felt an uncontrollable emotion welling up inside you? 「Hmmm…… I think it was probably when I started thinking about playing music. I felt that desire to bring something inside of me to the surface. I think I was 12 or 13 or something like that. That was when I first picked up a guitar and I also played a bit of piano. That's when I realised that there was a feeling inside me that I hadn't felt before. I also realised that even when I was playing simple music, I was very focused, and I was aware that my life was being projected onto it. It was a very simple, very pure emotion. That's how I got into music.」

Are you a very emotional person in everyday life? 「Yes, I am (laughs). I think the music reflects in some way what I experience in my life. It could be an event, or a lot of different events. There are hopes and fears from the past, in a positive way.」

However, it's not as intrusive as Muse's music, is it? 「Haha (laughs). I think music is a projection of what's going on inside me. Not just what you can see from the outside. For example, an argument with your girlfriend, or the fear you felt at something you saw on the news - the things we hold inside are very complex, aren't they? You can't always see it from the outside. Maybe what's inside me isn't always linked to my life. That's why I like music, and I guess my deep inner life, which is invisible in my everyday life, corresponds with music.」

Why do you think you can express your emotions so freely in music? 「I think it just comes naturally. I don't consciously try to put something into it. Both music and emotion can't exist without the other. My music exists because of my emotion, and in a way, my emotion exists because of my music. If it wasn't for the music, I might not have even realised that my emotions existed. I guess music breathes life into it and makes you realise that emotions exist.」

What is it about Muse's music that appeals and resonates so much with the listener, that it makes some people cry because of their emotions? 「Especially with the last album, we didn't hesitate to show a different side of ourselves. We didn't hesitate to express a very simple, positive hope, or the opposite. Bands nowadays tend to show only one side of themselves, the side they think is cool or fashionable. But we want to be more open and show different sides. Even if it's an uncool side. And I think people can relate to the side of you that you might be a bit embarrassed about. We want to express that 'something' through our music, especially the 'something' that society wants to hide.」

You are a very technical player, whether on guitar or piano. Do you need a certain amount of technique in order to fully express your inner emotions? 「Some of our songs don't need any technique at all. And some of the songs are not well constructed, they're just a bit of a mess. But I don't think it's a bad thing to have technique. For example, if you want to express a grand emotion in a song, you need technique. If you don't have technique, you're limited in what you can do. Of course I like both technical music and non-technical music. But when it comes to expressing emotion, which is the opposite of physical expression, I think you need technique.」

Jimi Hendrix and Tom Morello are your guitar heroes, but do you have anyone in the non-rock genre? 「I like Villa-Lobos (Heitor Villa-Lobos: a highly eclectic Brazilian classical musician who was also influenced by European music) and some very unusual composers from the early 20th century. Jazz is…… It's not guitar, because I don't know much about jazz guitar. For blues, I like Bob (Robert) Johnson and …. If it's piano, then Ray Charles or Nina Simone.」

"If you want to express a grand emotion in a song, you still need technique."

On stage you're exploding with emotion, but at the same time you're also playing difficult guitar parts. How do you strike a balance between letting yourself get carried away with the excitement and playing calmly? 「The music I find the most emotional is the music written by the 19th century Romantic composers - Rachmaninoff, Debussy, Liszt, Berlioz - composers who were technically geniuses, yet still expressed their emotions to the fullest extent. And I would say it's one of the most influential influences on our music. If you look back at the history of pop music over the last 40-50 years, it's a combination that's hard to come by. It's technical and emotional music. A lot of emotional music is rough and simple. On the other hand, technical music is always progressive and not very emotional. So we wanted to be in between the two, and we wanted to do something that had never been done before. But our technique doesn't compare to the jazz and classical people…… They are ten times better than us. We are, well…… We're just good for rock (laughs). I've done it.」

Does your music make you cry? 「Hmmm (laughs)…… I don't know. …… I don't think so. Sometimes when I play music I reach a point where I transcend the act of crying. I think crying happens when you still have a clear awareness of yourself, but when you're playing music it can feel like even that awareness has slipped away. Sometimes when I'm on stage I get a feeling similar to crying…… It's more like a feeling of rapture, like being overwhelmed…… It's more like that. It's the opposite of crying.」

Do you ever lose control of your emotions? 「There are times when I play music and I feel like I'm going overboard. Not just when I'm playing music, but also when I'm introverted, when I'm playing music all the time and forgetting to eat and sleep, when I can't communicate with people. I've been in that state for about four weeks a couple of times. It's like I can't go about my day-to-day life normally anymore. I don't think it's a bad thing. Also, I often get drunk and can't do what I need to do properly, especially when I'm making an album (laughs).」

(laughs) "Dramatic expression" has the fate that it has to be even more stimulating when the audience gets used to the stimulation. What are your thoughts on this? 「Certainly we make dramatic music, and there's some of that on this album. I think dramatic songs have a certain inevitability of characterisation. Like playing a character in a fictional world, away from the day-to-day life in the normal world. One of the things I wanted to achieve with this album was to show a side of myself that I hadn't shown before, but I don't think it necessarily has to be sadness or joy. It can be a fictional world. 'Apocalypse Please' is a case in point. It's a very exaggerated world, so it's very far from reality, but it exists somewhere in your mind. Maybe it's a moment of upset, maybe it's a moment of fear. That's what that song exaggerates. Other songs with that kind of drama are "Butterflies and Hurricanes" and "Blackout". I think it's good to write about those feelings that you don't remember once they've passed. I think I've learnt a lot from this album, and I hope to use that in the future. But whether it's going to be more dramatic, that depends on how many fictional worlds we incorporate. We're very careful about the balance between the fictional and the real.」

When you're young it's one thing, but as you get older your emotions tend to calm down, so I think it takes both physical and mental strength to continue using "extreme" or " insane" expressions. 「Haha, I see (laughs).」

"Sometimes when I play music, I reach a point where I feel like I've transcended the act of crying."

What about you? Do you still find it hard to imagine yourself no longer being able to express yourself intensely, or only seeking calm comfort? 「I don't know, but I think there's always been a weird contrast in what we do. Song by song, album by album, everything. It's better to have multiple contrasts than to be simply just loud or quiet, or minimal or epic. There are two contrasts on this album, one dramatic and one realistic. It's hard to predict what's going to happen next, but if I get old and slow down and become an old and boring person, I'll probably start making slow, old and boring music (laughs).」

When you're making a kind of excessive music, are you going for that kind of thing from the stage of writing the melody? 「We basically write the song first, but we have an immediate instinct about what it's going to sound like. For example, 'Apocalypse Please' was written from the piano part, and the sound of the piano and the chords already took me into a fantasy world. So it's all about how it sounds. And then I write the lyrics according to what emotions are contained in it. So both piano and guitar are essential to songwriting. It develops into a wide range of soundscapes and gives me new ideas. Simple, straightforward chords open up a warm landscape, while complex, epic chords open up a fantasy world that you wouldn't normally think of.」

I see. Good expressions are often so awesome and extreme that you can't help but laugh, and I think Muse's music has some of that in it. What are your own thoughts on this? 「When I pursue music, I find myself going in…… I think it goes in a grandiose and fantastic direction. Like the Flaming Lips. Stuffed bears on stage, big balloons popping up. I like that kind of direction, like going back to my childhood (laughs). I don't know if we'd do something like that now, but I can see why the Flaming Lips did it. That's what happens when you're confronted with lyrics that are ultimately emotional. When you simplify it, you're going back to your childhood, I suppose.」

Have there been times when you've listened to or watched something you've done and laughed at the excessively dense expression? 「Well, I think it happens all the time (explosive laughter). When I'm making an album, I'm so focused on not making mistakes and playing better that I can't really listen to it objectively until much later. I can also watch live shows on video after I've forgotten all about them, so I can look at them objectively. It's quite interesting when you do that (laughs).」

Then, please comment on artists who express themselves in such extreme ways. First of all, Freddie Mercury of Queen. 「(laughs) He's great. He did comedy on the ground, you know. I think he's the one who's done the bicycle songs ("Bicycle Race") and the big-ass songs ("Fat Bottomed Girl") with the musical excesses, and he's the one who's done the real comedy. I respect him a lot. Because he did it without any shame. He did a lot of things that I would have been too embarrassed to do (laughs).」

Indeed. Marilyn Manson is next. 「He's…… He's not showing all the sides that he has. Basically, he's just showing a certain side of himself. He's only showing a certain twisted side, a dark fictional world that he has, that's all he's showing. And I think he's always conscious of trying to take himself in a serious direction. He's a good artist. Especially when he does something like that, there's probably no one else who can do it right. But I don't think he's going to get any wider than that.」

Then there's Slipknot. 「(Laughs) They only show one side of themselves too. That's fine up to about three songs, but if you listen to any more than that you get bored.」

It must be difficult to keep releasing as much emotion as possible every night on a long, gruelling tour, is there anything you do to avoid that? 「The secret is, when we make music, we try to create clues that naturally draw something out of us. When we make music, we always try to make something that makes us feel something. The music has to move me, it has to release my emotions. There are some of our older songs that don't work, but we don't play them anymore. All the songs we play live are the ones that just sound like the song itself.」

Who are some of the artists that you feel are as good or better than you in terms of "emotion"? 「I think the Flaming Lips are more emotional than us. Jeff Buckley's 'Grace' is amazing on that album, not to mention the others (laughs). The rest is…… that's right. For composers, I'd say Rachmaninoff. My girlfriend studies psychology and she has a list of the psychological states of artists from all over the world (laughs), and all my favourite artists are in the same category. Wagner, Rachmaninoff, Liszt, Tchaikovsky, Debussy all seem to have multiple personalities (laughs).」

I see (laughs). What do you think about that yourself? 「(laughs) I don't think I'm one of them. Because they are real geniuses. At best I can understand something of their inner life. I don't think they have any mental illness. Maybe a little bit…… Maybe (laughs).」

COLUMN Matthew Bellamy's pick of the five most emotional albums

1. 'Simon & Garfunkel Greatest Hits' (1972) Simon & Garfunkel 2. 'Grace' (1994) Jeff Buckley 3. 'I Put A Spell On You' (1965) Nina Simone 4. 'Incesticide' (1992) Nirvana 5. 'A Night at the Opera' (1975) Queen

(1) It's very emotional. I first heard Simon & Garfunkel when I saw the film 'The Graduate', and I think the song portrays the emotions of the characters. I love that film and have seen it many times. The music is linked to the emotions of the teenagers as they grow up.

(2) It's very pure and the production is perfect. The performances capture it at its best.

(3) It's like a protest song, with a lot of bare emotion. I heard she wasn't a very nice person (laughs). I don't know her personally (laughs), but she was a hard person to get on with. I guess she was the type of person who projected her emotional self directly into her music.

(4) This work shows that it was made by someone who committed suicide. You can feel it from the music, but also in the lyrics there are frequent references to suicide. Words like 'lost purpose' and 'emotionless' also appear. That's a kind of emotion too.

(5) This is also a completely different kind of emotion. It's an unusual world of experimentation, as if something that had been suppressed for a long time had finally exploded and created a fantasy world. It's like Freddie's sexuality had been suppressed for so long that it exploded. But it was something that wasn't really socially acceptable to be open about in the first place.

Translator's Note: Just one more interview and we're basically done reading through this special booklet.

[toast-with-jam38]

WATCHMEN PLAYLIST !!!!!

I love my Watchmen playlist that I wrote down every song and why it is on it😭

Why each song on my WATCHMEN playlist is on it:

Unforgettable- Nat King Cole: The ad that plays for Veidt as Dan and Laurie kiss in Chapter 7

Im Your Boogie Man- KC & The Sunshine Band: The song from the riot scene in the movie.

The Comedians- Elvis Costello & The Attractions: The title of chapter 2, Absent Friends.

The Times They Are a Changin’- Bob Dylan: Credit Scene in the movie.

Desolation Row- Bob Dylan: Title of chapter 1, At Midnight All the Agents.

All Along the Watchtower- Bob Dylan: Title of chapter 10, Two Riders Approaching.

All Along the Watchtower- Jimi Hendrix: Title of chapter 10, Two Riders Approaching. 

Sanctus (Sanities)- Music For a New Society- John Cale: Title of chapter 11, A Stronger Loving World.

Please Mr. Kennedy- Elvis Costello, Oscar Isaac, Adam Driver: Fits the era. About not wanting to go into outers space/ the space race.

Swamp- Live- Talking Heads: About War, multiple aspects fit.

Don’t Let Me Be Misunderstood- Elvis Costello: Elvis Costello, could be about multiple of the characters. “I'm just a soul whose intentions are good/ Oh Lord please don't let me be misunderstood” Could have multiple meanings. Rorschach’s vigilantism, and trying to clean up the city while also obviously breaking the law. Could also be about guilt over other things.

You’re My Thrill- Billie Holiday: From Chapter 7.

I’ll Be Seeing You- Billie Holiday: Just another song by Billie Holiday since Daniel loves her. I’ll be seeing you is also a song about missing a loved one, so I chose it because Dan would obviously miss Rorschach and might be reminded of that by listening to the song.

Snow Owl- The Mountain Goats: Dan is Nite Owl, and wears a snow owl costume in chapters 10 and 11. Thats it lol.

99 Luftballons- Nena: Played in the scene where Dan and Laurie get dinner in the Watchmen Movie.

Dance Music- The Mountain Goats: Reminds me of Laurie and her snow globe in chapter 9. The entire song reminds me of Daniel and Laurie.

Die Walkure, Act III: Ride of the Valkyries- Richard Wagner: From the section of under the hood after chapter 1.

Southwood Plantation Road- The Mountain Goats:

Nuts (feat. rainy bear)- Lil Peep, rainy bear: There is a really good watchmen edit to this of Dan and Laurie lol

 Yeh Yeh- They Might Be Giants: I dont really know why I just think it fits the vibe.

I Bet On Losing Dogs- Mitski: Daniel and Rorschach sadness. Rorschach is said losing dog that Daniel bets on.

Once More to See You- Mitski:Daniel and Rorschach sadness part two. Gay.

Heart To Heart- Mac DeMarco: There is a really good watchmen edit to this of Dan and Rorschach.

The Hand That Rocks The Cradle- The Smiths: Reminds me of Daniel and Rorschach. About wanting to protect someone from evilness and harm.

Kryptonite- 3 Doors Down: Besides being about DC comics, the chorus about going insane and still being there to support the person reminds me of Daniel and Rorschach after the Blaire Roche Case.

Ain’t No Sunshine- Bill Withers: The entire section of “Wonder this time where she's gone/ Wonder if she's gone to stay/ Ain't no sunshine when she's gone/ And this house just ain't no home/ Anytime she goes away” Reminds me of Daniel wondering where Rorschach is and if he is okay and if he is going to survive.

Watching The Detective- Elvis Costello: Another Elvis Costello song, also it is about detectives which reminds me of watchmen lol.

I Should Be Allowed To Think- They Might Be Giants: The priest quotes the first section of the chorus to Walter in the Before Watchmen for Nite Owl. Obviously hes quoting the poem and not the song, but the song quotes the poem so yk.

Army Dreamers- Kate Bush: Reminds me of Rorschach. It is talking about the potential everyone had before going to war just to die. Walter/ Rorschach had potential to be something greater. He was very intelligent and hard working, but due to his experiences and traumas from childhood and then soon vigilantism, he never could really be the person he should have turned out to be.

Real Men- Mitski: Reminds me of Rorschach and his judgment of everyone and most likely himself.

Little Dark Age- MGMT: There is a really good Watchmen edit to this song.

Back to the Old House- The Smiths: Could be about literally any single one of the people in watchmen besides The Comedian or Veidt, but even then you could probably twist it to fit in their favor.

This Night Has Opened My Eyes- The Smiths: Also could be about any of the Watchmen characters. The section “You kicked and cried like a bullied child/ A grown man of 25/ Oh, he said he'd cure your ills/ But he didn't and he never will” is like Rorschach (and there is a good edit to this song about him.)  The lyric “This night has opened my eyes And I will never sleep again” fits for all the characters. 

The Comedian: Him learning about Karnak and going to visit Moloch, having basically a mental breakdown.

Rorschach’s mental break over the Blaire Roche case.

Daniel and Laurie after witnessing Karnak.

Doctor Manhattan's death and rebirth in the test chamber. 

With Veidt I think this part relates to Doctor Manhattan talking to him after Karnak and making him question his choices. The talk has opened his eyes and he doesn’t know if he can live with himself after.

I Know It’s Over- The Smiths: Also just about Rorschach

Cold Island- My Singing Monsters: There is a wonderful Doctor Manhattan edit to this song.

She- Elvis Costello: Another Elvis Costello song. DanRor?? LMAO

Wake Up (It’s 1984)- Oingo Boingo: Rorschach. Him trying to preach his beliefs.

Old College Try- The Mountain Goats: This entire song is so DanRor it is so awfully wonderful.

Sun To Me- Zach Bryan: “​​The only bad you've ever done was to see the good in me” ….. danror.

I Don’t Smoke- Mitski: Also Danror, sorry there is ALOT of songs that remind me of danror haha.

[bayareabadboy]

May 3, 1968

New York, NY

Jimi Hendrix Experience recorded "Voodoo Child (Slight Return)" at the Record Plant for "Electric Lady Land." Soon after, Hendrix bought the Generation Club in Greenwich Village and began constructing Electric Lady Studios.

Photo with Buddy Miles taken by Eddie Kramer during sessions for the album.

[peaceloveandhistory]

Today in 1966, Jimi Hendrix's first single is released "Hey Joe." Before the hit, Jimi was fronting in the band Jimmy James and the Blue Flames, until his manager Chas Chandler of The Animals suggested he leave the band. Chandler set up a new band, The Jimi Hendrix Experience, which included drummer Mitch Mitchell, and bassist Noel Redding. They would record "Hey Joe," and an original by Hendrix called "Stone Free." Chandler and the band take the recordings to Decca Records which rejects them, however, this is the same record company that denied The Beatles. The songs are then taken to Polydor who agrees to release "Hey Joe" as a single. The song was introduced to the UK and reached number six on the UK Singles Chart in February 1967. The song "Hey Joe" has a vast history, changing lyrics, genres, and original composers. The song is generally accredited to American folk musician

Billy Roberts, but it was Tim Rose's slower version of the song that inspired Jimi. Chandler happened to be at Cafe Wha?where he found Jimi with Jimmy James and the Blue Flames performing the song. Ironically, the night before Chandler had heard Tim Rose's version, and he vowed to find a musician to record this song in London. After the performance Chandler was determined to take Hendrix back with him, give him a new band, and record his version of "Hey Joe." Hendrix revolutionized the song with his intricate, unique vibrato techniques, and creative electric guitar rhythm to make it his own.

[meimeimoimoiart]

Hi! Moi! I’m fishbred who deeply loves your art!!!! Firstly, thanks for posting awesome art!!　Your art is soooo fantastic that I can’t express how much I love it. I feel really happy and jump for joy every time I see your new post…!!😭😭💕💕

So, Could I request for you…? I'd really really like you to request the Jimi Hendrix experience, please ...! I would like you to draw even just one of the members of the Jimi Hendrix Experience… (Jimi, Noel, or Mitch) 

Also, time is unlimited! Yeah, I don’t want to push my request on you so hard. I hope you take care of yourself and stay healthy!! 

Love ya!👍👍👍👍

Thank you! I don't know what to say so here is my honest reaction:

Have to say I love Jimi Hendrix Exp too but Jimi is too hard for me to draw 😭😭😭 (I know you didn't ask me must to draw him but I take this occassion as a chance to draw Jimi cause he's my hotty guitar god 🥺🫶❤️).

And I captured Noel and Mitch's features very well but Jimi's is 💀. But at least I tried my best and got a pretty good looking Jimi finally. So here you are 🫶❤️❤️❤️ (It's kinda messy so excuse me for that 🥲)