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justamusicpodcast · 4 years

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Episode 6 out today!

We’re talking about Blues music

Transcript under the cut

Sup, I’m Laura Cousineau and welcome to Just A Music Podcast, where I, Laura Cousineau, tell you about some music history, how it relates to the world around us, and hopefully, introduce you to some new tunes. This show is theoretically for everyone but I will swear and when it comes down to it and sometimes we may need to talk about some sensitive topics so ur weeuns might wanna sit this one out.

And boi unless you’ve had that talk with ur kids about systemic racism you might wanna let them sit this one out because we’re gonna be touching on a bunch of terrible racist shit this week Because we’re gonna be talking about the Blues and various different type of blues musics. I’m actually really excited to talk about it too because blues, as you guys will find out in the future is kinda the basis for a lot of other, what one might consider more modern, genres of American popular musics. So this one’s gonna be important for ur earholes and ur brainholes. Just like last time I will be airing a sensitive content warning for some graphic descriptions of violence and I will put the time stamps in the description for y’all for when that starts and ends.

First though, I wanna issue an apology for being away so long, I tend to work on this podcast in my free time, and currently I’ve had none of that what so ever. It just so happened that October worked out this year that it was thanksgiving and my birthday and then a bunch of big projects due then Halloween and now I’m working on my fucking thesis proposal, I’m actually recording this episode at 1:35 am on a Saturday night/Sunday morning, so needless to say all this in combination with trying to deal with my depression hasn’t been a cake walk but we’re making it work. I will likely run up against a similar time issue during the first couple weeks of December because that’s when all my final papers are due. After that thought I should have smooth sailing for about a month. I wanted to make sure I had an episode out this week because as I think… well everyone… is aware the American election took place this week and understandably people were stressed as shit about that. So I think we could all use a little music right now.

Ok so Like all fuckin things we need to know where blues came from. Now blues is actually a lot older than a lot of people are gonna be expecting, like really damn old. Like pretty much everything in academia (and I mean EVERYTHING, at least in the humanities), the dates are contested, but it seems that the blues, or at least what began as the blues, started in and around the 1860s. For those who didn’t listen to last week’s episode on slave songs, spirituals, and gospel, or just those who don’t know their American history too too well, the 1860s marks a very important time for black people, many of which at that time had been enslaved, because in 1865 the thirteenth amendment was amended into the American constitution. For those who aren’t aware, the thirteenth amendment as stated by the national archives of the United States of America reads as such: "Neither slavery nor involuntary servitude, except as a punishment for crime whereof the party shall have been duly convicted, shall exist within the United States, or any place subject to their jurisdiction."

Now this of course was fantastic news of course! And for some people, this might be where you think oppression in the Americas ends for Black people but you would be incredibly wrong! Because this is the period where we see the start of a phenomenon referred to as sharecropping. Sharecropping or crop sharing as it’s known otherwise is considered part of what we historians sometimes refer to as the Jim Crow economy of the American South after the civil war. But what is Jim crow economy, what did it come from, why is it bad, why is sharecropping bad, how does any of this relate to the blues? Well lucky for u lil turnips imma tell ya.

Jim Crow culture is something that I imagine most North Americans will have even the most basic knowledge of but for those that don’t the name Jim Crow as applied to economy, laws, and any other part of American culture during these time periods refers to sets of crazy fucking racist laws written and unwritten that kept black people subjugated under the whims of the government as well as their fellow white countrymen. The term Jim crow itself is reference to a song often featured in the supremely racist minstrel shows of the mid to late 1800s and early 1900s referred to as “Jump Jim Crow” in which a white man in black-face sings in a parody centric dialect about the life of a charicaturishly uneducated back-woodsy Black man named, you fuckin guessed it, Jim Crow. The significance of the Crow being that it was a pejorative term for black individuals which can actually dated back to the early mid 1700s. Now I wanna preface the excerpt of it with the fact that I’m uncomfortable listening to this, I understand if others are too. The thing is that acknowledging these uncomfortable things and knowing about them is necessary in order to understand the type of historical impact that they had. “So laura, you must obviously support statues being raised to commemorate things like slavery and secessionism!” Absolutely not. Where statues and monuments exist to praise the efforts of individuals, the listening to and learning about songs in a teaching context like this very podcast are meant to educate. Statues commemorating culture surrounding one of the worst atrocities to have taken place on American soil should never have been erected in the first place let alone celebrated. One is meant to celebrate while the other is to educate because one is a historical primary source that lets us think critically about the history, the other is a tertiary celebration. The purpose of listening to a clip like this is then to educate and understand a piece of actually history, not to replicate and enjoy. The version of the song that I have is sung without the charicaturish accent but uses the original words but with all that in mind here’s a bit of Jump Jim Crow:

In terms of laws I’m sure just about everyone knows separate drinking fountains and schools but this really permeated pretty much every sphere of life for Black peoples especially those in the south. I say especially those in the south but not exclusively those in the south because racial segregation, although not as supported by law but more socially, also existed in the Northern States as well as in Canada. Anecdotally, my mother grew up in a suburb of Cleveland Ohio, she remembers going into Cleveland when she was a kid when Cleveland was still a very racially segregated city, Black peoples lived in, shopped in, and attended schools in certain areas of the city and white people in other’s. My grandmother who was also raised in the area even remembers Black people having separate lunch counters if any at all in some of the larger department stores in the area.

It might also be handy when I mention the south to actually talk about what the south and particularly the deep south is for y’all outside of America. So when we talk about the south we are talking about a geographically bounded area just not the area that one might think of by looking at a map because where you might be thinking like ah just take the country and cut it in half, and the bottom half is the south that wouldn’t be correct. So, from the United States Census Bureau itself the south we’re talking about is Alabama, Arkansas, Delaware, Florida, Georgia, Kentucky, Louisiana, Maryland, Mississippi, North and South Carolina, Oklahoma, Tennessee, Texas, Virginia, and West Virginia. Now some who live in the surrounding areas such as Kansas might also consider themselves as being from the “south” somewhat culturally but those states previously listed as the official ones. When we talk about the DEEP SOUTH however, that range closes a little more, and that would mainly just include Georgia, Alabama, South Carolina, Mississippi, Louisiana, and sometimes Texas and Florida due to their involvement as part of the confederate states of America, meaning states that were on the south side of the civil war.

Also briefly just so we’re clear, again this is for those people who didn’t receive the best education on Slavery and the Civil War in general but to be clear, the civil war was fought over primarily states rights to use and perpetuate slavery. The common narrative you hear a lot in protests by those on the right, who would like to uphold the institutions set out by their forefathers in the creation of the abominable act, is that the civil war was primarily fought over states rights. What they then so often forget to elaborate is that those rights were perceived as the right to govern themselves independently so that they may still be able to employ slave labour in the operation of their economies and also to expand further westward to continue and be able to use slavery out in those areas as well.

The reason that we hear about these Jim Crow laws particularly in the South is because where the Northern states and Canada did have (and still continues to have) some violent racist issues, the Jim Crow south was specifically really bad. And I mean fucking abominable. Though Black people were free from being directly owned, society at large and all it’s trappings found new ways to oppress them. This started with Black Codes which were individual state law codes that dictated where Black peoples could move, for how long they could stay, restricted their rights to vote (or made it extremely difficult to vote via poll taxes, literacy tests, etc), as well as where they could work, and in some cases even if their children could be taken away from them on the basis labour needs. So I really can’t drive home the point enough of how much life sucked for Black peoples under Jim Crow laws and economy in the southern states, to call it any less than abominable would seem to understate it in a major way. In the 1880s Jim Crow laws hadn’t started to be rolled into large southern cities yet so many Black peoples were inclined to move into them because life was actually slightly easier for a short while. White people being offended and upset at this, because “how dare a black person just try to live their lives in my good white pure Christian neighborhood,” then fully supported Jim crow laws being rolled out to remove them from areas where white people would normally interact with them. This included but was not limited to, barring them from public parks entirely, having entirely different theaters at one point and then segregated theaters after a while with separate entrances based on your race, restaurants, bus and train stations, water fountains, restrooms, most building entrances in general, elevators, amusement park ticket windows, public schools, phone booths, hospitals, asylums, jails, elderly care homes and even fucking cemeteries. Of course being treated as diseased subhuman parasites is never enough for the racism machine that is the public conscious at this time so there was also a lot of violence both systematic and grassroots that accompanied this era.

And here’s where I’m going to have to issue a sensitive content warning because I’m about to describe some truly heinous shit in a whole second. So by violence, I mean very public and very culturally accepted violence, similar to what we’re seeing more and more of in the states again. As many will know now in the light of the many many many police shootings of unarmed, unthreatening black people in the states, the police traditionally haven’t been on the side of black citizens. This is due to a number of reasons, for one, on the most basic of levels the police serve to protect the interests of those in power, in our case that means the property and lives of middle to upper class (mostly) white Americans. The natural extension of this is that many police forces in the states, especially in Southern states started out as slave catching forces bringing back runaway enslaved people to their owners. So as time progressed and Black peoples became a “free” population this still meant protecting mainly middle to upper class white people from the “threat” of black people. This was enforced in a number of ways, such as arresting black individuals found breaking these rules, framing black people for crimes committed by others and arresting them for population suppression, and turning a blind eye to the grassroots violence perpetrated by non-black citizens, which very often were white citizens. An example of just straight up police brutality can be found in the case of Isaac Woodard JR. who was viciously beaten by police only hours after being honorably discharged from the fucking military on February 12 1946. The bus driver driving Woodard and some of his fellow soldiers called the police after Woodard asked the bus driver if there might be time for him to use the restroom as they approached a rest stop. When the police arrived, the bus driver accused Woodard of drinking in the back of the bus and he was hauled off, dragged into an alley and beaten with nighsticks. That night he was thrown in the town jail, by morning he had been beaten so severely he was left permanently blind in both eyes.

And that grassroots violence is just as nasty, really fucking nasty. The violence could be perpetrated for things as small as being in the wrong place at the wrong time, entering a white neighbourhood, “talking back to” the wrong person. Since black men have always been are still to some degree subject to the stereotype that they are all sex incensed monsters, being left alone in a room with a white woman could be enough to incite violence against them. In the Mississippi delta during the season where share cropping debts were settled up, there was a sharp uptick in violence against and killings of black people. If you were white, because let’s be real here some white people definitely were on the side of their oppressed countrymen, you could be hung on the basis of being an N-word lover, which could range from being found to being in a romantic/sexual relationship with a person of colour, to just being fucking friends with them. The violence was often varied too, where kidnapping and hanging someone either with or without brutalizing them first (also known as a lynching) is the form most commonly associated with Jim Crow era violence less extreme but still horrible harassment could perpetuate in any form. Mississippi had the highest amount of lynchings from 1882-1968 with 581. You might think that is a low number but first, similarily to when we were talking about slavery in the last episode, 1 lynching is too fucking many, and secondly these are only the ones that were officially recorded. Since lynchings didn’t always happen in broad daylight and since law enforcement really didn’t care about Black individuals, there were almost certainly more that happened that just never were recorded. Georgia was second with 531, and Texas was third with 493. 79% of lynching happened in the South. So as I said before though, lynching was not the only form though, beatings were also entirely all too common forms of violence perpetrated against blackf people to make them scared and thus more compliant. A good example of this is the case of Emmet Till a 14 year old boy who made the mistake of playfully flirting with a white woman, who was beaten nearly to death, had one of his eyes gouged out, was then shot in the head, and tied to some cotton mill equipment before his body was thrown in a river. This wasn’t even that long ago, the beating happened on the 28th of August 1955.

THE next parts are also gonna be not great but there wont be anymore descriptions of graphic violence, so I’m calling an end to the sensitive content warning. So the then how does sharecropping play into all this and what does it have to do with the blues (we’re getting there babes I promise.) So as I explained previously, sharecropping was a part of the Jim Crow economic era. It was part of the era of reconstruction meaning the period of rebuilding after the civil war. How it worked was that let’s say for a second, come with me into the theater of the mind for a second, take a seat, close your eyes, take a deep breath, Ok so lets imagine for a second you’re a farmer in the south, the civil war has kinda left you in a spot, if you’re black, you’re starting off without an awful lot, you don’t have any generational wealth you don’t have property likely aside from maybe a relatively small plot of land (but this was uncommon,) you probably didn’t have much if any equipment because that would have been way too expensive, and the land you may have had may have been of shitty quality. So what could you do to earn yourself a living?! Well you would go to a landowner, and ask him rather kindly if you might be able to work the land they lived on in exchange for some of the profits of the crops that you would produce. The landowner would provide you with the tools, seed, housing, land, store credits at local shops in order to subsist offa for food and other supplies and sometimes a mule in order to help you work the land seeing as motorized machinery was still few and far between in the united states at this point. The issue of this system is that how much you receive for you labour, the cut that you actually get from selling crops, that you grew with ur own backbreaking labour, is more or less decided by your landowner. And as I mentioned last episode, those who’ve ever had to rely on the benevolence of a boss for any period of time knows that this shit ain’t gonna cut it. So often you would end up underpaid, underfed, and in a debt hole that lasted as long as you did. If it sounds like legal slavery that’s kinda because it was. You would basically remain in indentured servitude to the landowner for as long as you were a part of this system. Like don’t get me wrong there were people who managed to not be a part of it but it was an incredibly largescale problem.

It’s important to note that this wasn’t just a black phenomenon either, white tenants of sharecroppers existed and in incredibly large numbers as well. By 1900, 36 percent of all white farmers in Mississippi were either tenant farmers or sharecroppers (by comparison, 85 percent of all black farmers in 1900 did not own the land they farmed). This all sucks for various reasons but like partially because there was this whole other plan proposed that after the war, all the land that had been seized from slave owners would have been divvied up to the newly freed slave populations. It was colloquially known as the 40 acres and a mule plan but yeah unfortunately never happened cause fuckin president Andrew Johnson was like ”WELL AKSHULLY SWEATY I THINK THE LAND SHOULD GO BACK TO SLAVE OWNERS BECAUSE UHHHHHH” AND THEN IT DID AND THEN WE ENDED UP WITH SHARE CROPPING. But anyway that’s sharecropping. And of course I could go onto describe how all of this still affects black people in the united states and how the effects of systematic racism are still being felt generations later but… we’re gonna save that for a different episode. FOR NOW THOUGH, WHY IS THIS ALL IMPORTANT, WHY DID I TAKE ROUGHLY 3000 WORDS TO TELL YOU GUYS ABOUT THE HORRORS OF RECONSTRUCTION ERA SOUTH!? Well because we’re talking about the blues, and what does it mean when you have the blues, it means that you’re sad as hell, given all that I’ve just described to you is it no wonder that the blues emerged as the soundtrack to the lives these people lived?

So then what is blues? Well as I mentioned last time, blues sort of develops out of the field holler/spiritual tradition. A fair amount of field hollers, a type of work song that enslaved peoples would sing in fields while they were doing their work, were about regular ass things for regular ass peoples; this dude stole my girl, im gonna find me a girl to love, life sucks and im gonna sing about it, life doesn’t suck so much but I’m still gonna sing about it. Blues then tended to explore more themes related to the sadder points of those stories but in similar ways and styles. So where did blues come from specifically, what makes it a different genre than a field holler or a spiritual, and that’s a great question so let’s get in it.

Let’s say for a second you went through a real shitty period in your life, you significant other named steve dumped you, your pet armadillo, also named steve, died, ur mom (also coincidentally named steve) has taken away your showering privileges, you’ve forgotten how to speak ur native language and to top it all off you just burnt your gotdamn mac and cheese. You spiral into a deep situational depression that lasts quite a little while. During this time you listen to one album on repeat just over and over again, you know it all inside out and backwards and diagonal, you know every instrumental part by heart, you’ve got the lyrics tattooed on your ass, the whole 9 yards. And then you start working your way out of it, slowly but steadily the days start getting brighter, you move out of your abusive mother’s house, you find a new partner or get comfortable being single, you appropriately morn the loss of ur pet armadillo, hell you even learn to make a better mac and cheese, things aren’t all fixed, and life isn’t breezes and cakes but it is ever so slightly easier than it was before, at least you have ur freedom right? BUT NOW, everytime you listen to one of those songs from that album it mentally brings you back to the way things used to be and it’s not great. Well that’s kinda what happened with blues music but, ya know, infinitely worse. Essentially, black people wanted a new sound to accompany this new life and so they fuckin made it and it’s great.

The similarities of blues to field hollers and spirituals are relatively easy enough to hear if you know where to look which isn’t really surprising given that blues is the evolution of it. For example the basic structure stayed pretty similar, simple rhyming schemes, simple harmonies, melismatic vocal structures in places, and many times the lyrics were often very similar to those forms before them. But it goes even further than that! Most of the early blues melodies were directly derived from their spiritual predecessors. So for some comparison here’s some songs, first one is gonna be a field holler, next one is gonna be a spiritual, and then the last one is gonna be a blues song mmk? And here we go:

AND ACTUALLY YOU KNOW WHAT WAIT, JUST CAUSE IM FUCKIN, OOO BABE, OK, SO WHEN I WAS RESARCHING THIS FUCKING EPISODE I WAS TRYING TO FIND GOOD AUDIO CLIPS TO USE, AND LEMME TELL YA MAN YOU WOULDN’T THINK SPIRITUALS WOULD FUCKIN EXIST OUTSIDE THE LIBRARY OF FUCKING CONGRESS CAUSE APPARENTLY THEY HAVE A GODDAMN STRANGLEHOLD ON ALL BLACK SPIRITUALS EVER RECORDED BY THE LOMAX’S. The thing is is that fuckin copyright at least in the states is supposed to run out 75 years after the death of the recorder or fucking owner of the rights, which it certainly has been for Alan Fucking Lomax BUT NOOOOOOO, I HAVE TO NEARLY PURCHASE A GODDAMN CD IN ORDER TO GET YOU GUYS A FUCKING ACCURATE REPRESENTATION OF MUSIC THAT CAME OUT LIKE 100 YEARS AGO. To be clear I refuse to buy anything for this podcast other than my recording equipment, but man researching this podcast is big joab hours, god just keeps fuckin testing me. Just slap my ass and call me a pickle, ok, rage is over, time for songs:

These freed populations wanted a new music, a music that fit their current situation better, that didn’t rely on the imagery of the past in order to get across the situation they were in. And so that’s what blues did, it was a new sound for a new era and even more importantly it was a sound entirely their own. Whereas field hollers and various other types of music sung by enslaved peoples were by definition their invention, many of them still borrowed heavily from the dominant cultures of their oppressors, and so in creating blues what they had was something they could 100% call their own. Even if they didn’t own the land they worked/lived on, and had few rights to the crops they sewed and reaped, they did have blues, and that’s something beautiful.

But when does it become a thing, like when does blues start becoming a thing? And that’s a hard part. Like any cultural phenomenon it’s hard to fuckin say, there’s some accounts that say 1865 like the fuckin second the civil war ended, then there’s some that attribute it to the 1920s. Most of the sources I’ve looked at put it around 1890-1910. It originates unsurprisingly in and around the Mississippi Delta Region and East Texas where you have a lot of farmland and thus a lot of poor folks just trying to scratch out a living for themselves. AND SO THE BLUES BECOMES A THING AND IT’S COOL AS HELL AND IT DEVELOPS IN SO MANY DIFFERENT WAYS! And I’m sorry that I’m not gonna get enough time to do every subgenre of blues, but we’re gonna look at 3 of the big regions or subgenres of blues.

So blues first of all have all those things that I mentioned before simple rhyming schemes, like ABAB or ABCC, simple harmonies, Call and response is definitely a thing that still happens in this specific style, but then they also have blues notes, for those who missed the last episode, blues notes are notes within a standard scale that are “bent” (or at least that’s how they were initially described.) These notes are lowered by a semitone making the overall colour of the sound a bit darker and more… emotional, sad? Like we ascribe emotions to the way things sound and that might be western centric, I’m actually gonna have to look into it later, but for western listeners we’re gonna read the emotion in these tones as sad. So the notes specifically are lowered the 3rd 5th and 7th degrees of a regular scale. I’m going to play you guys an example of blues scale in just a second but the guy playing the example is using the pentatonic version of the scale meaning only 5 notes of it.

In terms of instruments the most standard you’re going to find in any blues band is at it’s most basic one guitar and a person singing. You could even make an argument that just singing could be blues if you’re using a blues scale but usually there will at least a guitar and one dude singing. The rest of the intstruments are gonna depend on the region you’re playing from. So remember the moaning thing I mentioned last time? The moaning style vocals? Not pioneered by but made popular by a man that went by Blind Lemon Jefferson? This one:

Well he falls under the Mississippi/Texas type of blues which we’re gonna call texasippi. It differs from other types of blues in the united states for a couple reasons but one of them is that moaning style of vocals, in other parts of the country the style where the blues vocals function similarly to other styles of singing, clean and clear, no moaning. Another cool thing that texasippi blues also does is they incorporate a lot of metal into the way they play their guitars. Not like the heavy screamy kind that’s come to be MY fave, but like actual metal objects! How they incorporate this is through the strings of the guitar specifically causing a little extra twangy buzzing when the strings resonate but also a sort of pleasing screech when they’re shifted up and down the strings like this:

but what did they use to make this sound? Well just about anything small enough and metal you could thread between the strings or held against them while playing, this coulda been bottle caps, pocket knives, silverware. Remember, we’re still talking about a type of music that was very much being played by people without very much or no money, so you’re using what you can to make it. Nowadays you can purchase wee cylanders made of glass or metal that go over ur fingers that you press up against the strings to create the desired effect. In addition to this, something that’s pretty regional to the blues in this area is the harmonica. I’m assuming most of you know about the harmonica and have heard it but for those who don’t, the harmonica is a squanky reed instrument that you play with your mouth. I would tell you the physics of how it works but fuck if I ever studied physics. Basically when you blow in it, it vibrates the reed and makes a note depending on the holes you blow into, and when you suck air in it, it makes other sounds! They can be very very large or very very small thus changing how low or high the sound is respectively. They were invented somewhere in the early 1800s in Germany we think and they sound something like this:

How were harmonicas introduced into blues music? Well turns out, much like some of the other instruments we’ll see in a hot minute, harmonicas were often carried by soldiers during the American civil war, even President Abraham Lincoln himself was reported to have carried a harmonica with him in his coat pocket and would play it as he “found it comforting.” Thing about the harmonica was that it was relatively easy to make and it was extremely cheap to buy in comparison to other instruments at the time, even better was that you really didn’t need lessons to figure out how to make it sound good. So during the reconstruction period, as industrialization rapidized in America, and harmonicas became more available, and previous soldiers reminisced about the songs they heard played in their camps during the civil war, more and more people started picking up the harmonica. And so poor southern americans were able to incorporate the instrument into this new music they were developing like this:

Also I would big time recommend just watching the video for that song, dudes just sittin there legit just suckin on his harmonica at some point, that’s what I fucking call dedication bud. The cool part about blues from the texasippi way is then during the great migration, the phenomenon that I mentioned last episode, where black southerners just start heading northwards, is that the blues travels with them too. Just briefly on the great migration, remember all the shitty stuff I discussed earlier, the lack of work, sharecropping, lynching and what have you? That’s why the great migration takes place. Basically black people all around the south are going jesus fucking christ shit sucks let’s get out of here and find somewhere better to be, and so they do, and about 6 MILLION Black Americans head north to where it’s… better. I mean there’s definitely still racism and all sorts of jim crow era laws and practices up north but it is still some degree better than the south. So this great migration is how texasippi blues music then comes to be transplanted into Chicago, and turns into Chicago blues.

“BUT LAURA” YOU SAY, UR HANDS CLENCHED INTO FISTS AT UR SIDES, “IF TEXASIPPI BLUES IS THE SAME AS THE ONES IN CHICAGO THEN HOW’RE THEY DIFFERENT!?” YOU CRY WITH TEARS FORMING AT THE SIDES OF YOUR EYES. And you’re right b, they are the same so why are they different? Well ya gotta remember that time does funny stuff to music similarly as it does with language and just abut anything else, things change over time, AND, things get invented over time. And time as we’re moving into now is like 30s and 40s era. So in the case of Chicago blues we get the additives of the piano, which has been around for some time but people are now just being able to put into their blues music due to becoming more financially stable, BUT WE ALSO GET THE COOL NEW INVENTION OF THE ELECTRIC GUITAR. Now there is some speculation over the invention of most things throughout history, for example, y’all might be familiar of Thomas Edison not actually inventing the lightbulb and being a bit of a dick about things, so when I talk about inventors of things, unless otherwise stated, please take it with some amount of a grain of salt. So Paul H Tutmarc may have been the first person to invent the first electric guitar when he managed, by some feat of science, which I will not explain because science is for wizards and freeks and while I am both of those I am not at all qualified or able to explain it, but essentially he managed to electrify a Hawaiian guitar! He supposedly invented this sometime in the 1930s. Here’s an example of what that sounds like:

Very Spongebobby… spongeboblike…spongebobesque… so EITHERWAY the electric guitar, as well as the electric bass is invented and so those are then infused into Chicago blues. In some cases you will also get the addition of drums and saxophone, but it is the electrified elements as well as the piano that really characterize the biggest difference between Chicago blues and texasippi blues. Overall, it sounds like this:

Something you also probably heard in there was just the level of intensity, the volume or what I’m gonna call the perceived volume, is louder. Whereas the songs of the texasippi blues is a little softer, quieter, very much just dude and his guitar volume, Chicago blues is gonna sound a little louder and a little more intense at most times. This is due to blues clubs becoming a big thing during this time period. And why shouldn’t they? In diaspora communities, that is communities consisting of people from a similar ethnic or national background, you often get patterns of similar settlement. So in our case, when Black Americans started moving northward, they would often settle in similar communities or move into similar communities based off of their ethnicity. Afterall you wanna be able to live in places where people understand your experience. There’s also the element of racism of course, homeowners associations making it hard for Black folk to move into white neighbourhoods and of course school segregation which didn’t end until the 1954. So while in some cases there was def an element of wanting to feel safe in a community of people who understand you, there’s also a big ol element of racism as there pretty much always is when we talk about anything. Seriously ur gonna be surprised at how far reaching and fucking just convoluted and stupid racism is, especially when we get into like Europeans being racist against other Europeans. So since we have all these people moving up north they need to be entertained, we all need entertainment after-all, but lo and behold! They can’t go to white clubs in a lot of cases because fucking racism (unless you are a performer in which case sometimes you can go to white clubs but only to perform, I’m gonna get more into that when we have our jazz episode.) So we start having blues clubs and because they’re a club and there’s drinking and talking and what not, often these songs tend to be a little louder or more rowdy to compensate.

On the other end of the country we also have my favorite flavour of blues which is the New Orleans blues. I’m definitely 100 percent biased when I say this but why does everything in New Orleans just sound better? If I had to guess it’s the multiculturalism and thus people bringing in tonnes of different ideas, but it’s hard to quantify awesome so we’re just gonna leave it there. BUT YEAH so we have texasippi blues that travels down the river (cause things rarely travel up a river) and hits New Orleans. But again, if we’re talking about the same style of blues then what makes it different? A lot hunny, a lot. So as we talked about in our last episode there’s a lot of different cultural elements at play in Louisianna culminating in some cool ass musical styles and changes. It’s also absolutely something we’re gonna talk about when we go back and do the Jazz episode cause lord knows New Orleans jazz is just as fuckin hot and dangerous (like serious lemme just go fuckin hangout with you guys down there, that’s all I want, musical tour of louisianna) I will say though that the line between jazz and blues does tend to get a little blurry though when we’re talking about New Orleans Blues so just hold onto ur femurs there yall and strap in.

So New orleans blues is different from other types of blues again by incorporating horns and piano into the music, most notably this will be the trumpet cause trumpets after the civil war just kinda leached out into the general public and since people got used to them in that capacity they became sorta naturally engrained into the soundscape of the music of the area. “but laura doesn’t Chicago also have horns?!” and ur right man they absolutely do, but there’s even more. So where texasippi blues relies on a rather standard rhythms in most cases, the New Orleans Blues scene takes from some of that different heritage and combines Caribbean inspired or based rhythms. We can find a good example of the inspiration for those rhythms in another genre of music that was popular at the same time, Calypso. Calypso is a genre of music which we will look more in depth in the future but just really generally for now it is popular in the Caribbean as well as certain parts, South America (particularly Venezuela), Mexico, and of course New Orleans during this time. It is usually up-beat and relies a lot on emphasizing the offbeat, and these are all things that we hear being incorporated into New Orleans blues during the time. So when we hear blues from New Orleans, one of the things we can usually use to tell the difference is merely just the upbeat tempo of things and slightly more rhythmically complex manner in which it existed. In fact Blues in New Orleans was so fuckin different it actually started what we know of as R&B or rhythm and blues which sounds like this:

Just a quick detour, I fuckin love like, blues and jazz names. The Man I played just there was Roy Brown but man the names really take off on occasion my personal favorite being Guitar Slim Jr., but we also got Fats domino (sometimes just known as fats, or the fat man), we god fuckin Professor Longhair, we got a dude who just goes by the name sugar boy, like… guys…. What happened to nicknames like that, I wanna walk around and when people see me comin at a distance they just point and go oh lord here comes swamp papa, like, that’s livin man, I dunno what to tell you but that’s absolutely livin.

Anyhow, what ur gonna notice, or maybe you didn’t notice but I’m gonna tell you and you can go back and notice is that blues, (along with jazz but we’re gonna get to that) as it goes on and evolves starts sounding a lot like early rock and roll music, and that doesn’t happen by coincidence. Also you’re probably noticing that blues at least as far as it goes for the Chicago variety and the New Orleans variety we talked about, sound a hell of a lot like Jazz and again we’ll get more into the specifics later. The thing is when we talk about invention, whether it be music, or physical things, or even sometimes schools of thought and ideas is that things get borrowed and changed and moulded into something else by other people. Hell the phenomenon of something being invented in multiple different places at the same time is so common enough that it even has a name, it’s called multiple discovery. Generally people in North America prefer a more black and white “this thing was developed at this time and this place by this person because definitive reason definitive reason definitive reason.” Because we have this weird sense of individuality and crediting individuals with discovery as opposed to a group or the society itself as maybe it should more rightly be. This means that in our endless want to categorize and systematize and ize all these things, particularly things like music, it gets sorta difficult to discern what is what and why and how. Of course we’ve already seen this with spirituals and gospel, and now we’ve seen it with blues/jazz/and early rock.

I just wanted to bring it up sooner than later because, especially as we move into more modern north American Genres, and honestly genres from various other places throughout the world. I wanted to bring this up now before we go any further in this podcast because as we get into more modern genres and hell maybe even with this episode I imagine I might get some rather angry mail from elitests who will smash their foreheads on the keyboard in absolute blind fuckin dismay and rage accusing me of putting the wrong genre lables on the wrong songs. The thing is though, like most art, or definitions in life, things are salient. Just because music fits one genre doesn’t mean it only fits within that genre, in the case of the Rhythm and Blues song by Roy brown that I played earlier, while it is definitely Rhythm and Blues there’s also gonna be other people who strongly consider that Rock and Roll. And that’s alright! Music doesn’t have to rigidly fit into one genre, we give things genre titles or group things into genres to help more easily understand their histories and identify other things that sound like it! All music is going to have variation, and in the case of rhythm and blues, a style of blues that very much informs early rock, you’re going to have cross roads like that. So instead of getting defensive, maybe take some time to think about how cool it is that music exists on an ever evolving spectrum.

So with that, that’s all for just a music podcast this week, I hope you’ve heard something new, and I hope you’ve heard something that you like. If you haven’t there’s always next time where we’re actually gonna do something a little different. Next time we’re gonna look at the Minstrel show which I’m subtitling right now, “why we don’t wear black face.” In the meantime, though if one of y’all would like to suggest a topic I would love nothing more than to answer your musical questions or talk about topics that interest you guys in music. Feel free to drop me a line at [email protected]

List of Music: Jump Jim Crow - https://www.youtube.com/watch?v=AjIXWRG09Qk

Belton Sutherland's field holler (1978) - https://www.youtube.com/watch?v=1CPJwt14d5E&list=PLAyuUbD3Cdhxx__cTlFDrkxxKiYllrYwJ&index=2

Wash Dennis & Charlie Sims - Lead Me To The Rock - https://www.youtube.com/watch?v=zmPqmLovNms&list=PLAyuUbD3Cdhxx__cTlFDrkxxKiYllrYwJ&index=4

Leroy Carr & Scrapper Blackwell - How Long Has That Evening Train Been Gone - https://www.youtube.com/watch?v=JEw0ek2BhJE

Blind Lemon Jefferson – Black Snake Moan - https://www.youtube.com/watch?v=h3yd-c91ww8

Mississippi Fred McDowell - You gotta move - https://www.youtube.com/watch?v=mtlVSedpIRU&feature=emb_logo

Red River Valley -Traditional - Harmonica solo by Kyong H. Lee - https://www.youtube.com/watch?v=xKM4bn4kS-0

Sonny Boy Williamson - Keep it to Yourself - https://www.youtube.com/watch?v=GtRxJDb3vlw

Paul Tutmarc performs - My Tane - https://www.youtube.com/watch?v=RUOms5y6cmI

Buddy Guy - First Time I Met The Blues - https://www.youtube.com/watch?v=R1jruvTBleY

Roy Brown - Mighty Mighty Man - https://www.youtube.com/watch?v=rhp8jMykAVg

Technical Clip I used: PianoPig (on youtube) - Minor Pentatonic vs Blues Scale https://www.youtube.com/watch?v=uwz0b-At1ys

#music #music podcast #podcast #just a music podcast #music history

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deepbluexsea · 3 years

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Task #1

Basic Information

Full Name: Jonathan Scott James-Michaels.

Nickname(s): Johnny, John, Jay (Briel only). D.A. James-Michaels.

Age: 47 years young.

Date of Birth: May 10, 1973.

Hometown: Manhattan, New York.

Current Location: Yep, you guessed it – Manhattan, New York.

Gender: Male.

Pronouns: Johnny goes by he/him pronouns only.

Sexual Orientation: Mostly gay. He has been attracted to women in the past, but it has been extremely rare.

Occupation: District Attorney of New York County, N.Y.

Living Arrangements: Johnny lives with Briel in the home they bought and renovated together in 2010.

Language(s) Spoken: English (native), French (proficient), Spanish (intermediate).

Accent: Typically, Johnny doesn’t have a very strong accent; as an attorney of 22 years, he has worked on having skilled vocal control. He also had voice lessons as a kid. However, when he’s not paying attention, not at work, or gets really into an argument, his accent is clearly NYC metropolitan.

Physical Appearance

Hair Color: Dirty blonde/light brown.

Eye Color: Blue, very blue.

Height: 6′1″.

Build: Johnny usually maintains a fairly athletic and somewhat muscular physique.

Tattoos: Two. 1) A drunken “accident” in college that he now hides. Only Briel has ever gotten to see it. 2) His husband’s initials over his heart.

Piercings: None. Never. And none in the future.

Clothing Style: Johnny is almost always found in a suit due to his profession. If he doesn’t have court, he’ll wear slacks and a button-up or a sweater. On his off days, he’s mostly business casual. At home, he dresses as most guys do (e.g., a t-shirt and jeans).

Favorite Accessories: His watch and his wedding ring.

Distinguishing Characteristics: Undeniably, Johnny’s eyes are hard to miss. People comment on his teeth/smile. Mainly, he’s noticed for the way he commands a room.

Health

Physical Conditions: None. Johnny’s physical health is good. He wears contact lenses and has a couple scars, but that’s it.

Mental Health Conditions: Alcohol Abuse Disorder - in remission.

Allergies: Some mild seasonal allergies, but nothing severe.

Sleeping Habits: Johnny typically goes to bed at or before 10:00 PM and wakes up around 5:30 AM (much to Gabriel’s chagrin). On the weekends, he’s a little more lax. One thing everybody knows about Johnny is that he can sleep anywhere, and will fall asleep when/wherever he feels the urge.

Eating Habits: Mostly healthy/balanced. He sticks to lean meats, veggies, etc., although he isn’t obsessed. Food just isn’t on his mind a lot. Johnny will often forget to eat if someone doesn’t feed him.

Exercise Habits: He enjoys running, boxing, and weightlifting a few times a week.

Addictions: None anymore, thankfully. He will smoke a cigar every now and again, but it’s far from an addiction.

Drug Use: In college, he experimented with psychedelics, molly, and weed. It didn’t stick.

Alcohol Use: Once or twice a year now that he is sober. One drink + water.

Personality

Label: It’s literally impossible to pick just one, right??? The Competitor (attorney + personality), The Advocate, The Liberator, and The Reformer (attorney), and The Thinker (personality). Different ones at different times, and sometimes a combination.

Positive Traits: Intelligent, caring, hardworking, methodical, clean/organized, passionate.

Negative Traits: Competitive, stubborn, argumentative, blunt, relentless.

Goals/Desires: Taking an extended vacation on the boat. Seeing the aurora borealis. Raising/watching his kids grow successfully. Retiring and spending more of life with his husband. Seeing justice prevail more often than not.

Fears: Losing his family. Heights.

Hobbies: Watching the New York Yankees, taking care of and going out on his boat, playing with his pets + kids, cooking, reading, singing, traveling, taking Gabriel out.

Habits: Running his hands through his hair, chewing on pens, drinking when stressed (past).

Favorites

Season/Weather: Fall. Not too hot, not too cold.

Color: Probably blue. Maybe green.

Music Genre: Rock, singer-songwriter, classical.

Movie: Legally Blonde? He doesn’t watch a lot of movies because he doesn’t really have time, but when he does, he falls asleep during at least half of them.

Sport: Baseball, but he will also watch football.

Beverage: Coffee at all times of the day.

Food: Sushi? Pizza? Steak? Not picky.

Animal: Dogs. Definitely dogs.

Family

Father: Geoffrey Warren Michaels – former Wall Street analyst (deceased since June 2020).

Mother: Virginia Lorraine Matthews – former private practice attorney; current co-owner of Matthews & Wyatt, LLC. She resides at 305 West End Assisted Living Facility and is 87 years of age (although still sharp as a tack).

Sibling(s): None; a spoiled only child.

Children: Juliet Michaels (biological daughter), Andrew James (stepson), Constance James (stepdaughter), Arabella James-Michaels (adopted daughter, step-granddaughter via Constance).

Pet(s): Four dogs, two cats, a rabbit, a donkey, and an alpaca. The last two live at Gabriel’s place from when they were separated in 2018.

Other Important People: Sam Wilder – best friend. Joan Lourd (deceased; best friend for many years). His staff at the D.A.’s office. Gabriel’s friends and coworkers are also often a big part of his life (Nicola, Kale, Kid, Abby, etc.).

Extra

Zodiac Sign: Taurus – smart, ambitious, stubborn, hardworking, inflexible, reliable, pleasure-seeking, resilient, blunt.

MBTI: ENTJ – The Commander. While Johnny wavers between introverted and extroverted, this personality type fits him best. “People with this personality type embody the gifts of charisma and confidence, and project authority. Commanders can be dominant and relentless. They are true powerhouses. They cultivate an image of being larger than life – and often enough, they are.” Strengths: strategic, efficient, strong-willed, inspiring. Weaknesses: stubborn, impatient, ruthless.

Hogwarts House: Ravenclaw – intelligence, knowledge, curiosity, creativity, and wit.

Moral Alignment: Lawful Neutral: The Judge – law, tradition, order, organization, reliable, honorable. However, Johnny would not fit with the weaknesses; he is very appreciative of diversity and freedom.

Primary Vice: Pride – excessive belief in one’s own abilities; also known as Vanity.

Primary Virtue: Diligence – no matter what stands in their way, one with this virtue will accomplish their goals + stay true to their core beliefs.

Element: Earth – real, methodical, physical, bull-headed. Though Johnny has characteristics of Fire (natural leader, dynamic) and Air (clever, free-thinking), and he has wished to garner more Water characteristics, Earth fits him best.

#task #task 1

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authorunpublished · 5 years

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Book Review: Obsidian

Title: Obsidian [Lux 1]

Author: Jennifer L. Armentrout

Genre: Young Adult, Science Fiction, Romance

Rating: 5 Stars

Starting over sucks.

When we moved to West Virginia right before my senior year, I’d pretty much resigned myself to thick accents, dodgy internet access, and a whole lot of boring… until I spotted my hot neighbor, with his looming height and eerie green eyes. Things were looking…

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#1 #aliens #author #authorunpublished #book #jennifer L. armentrout #lux #obsidian #review #romance #science-fiction #unpublished #ya #young adult

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voodoochili · 4 years

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My Favorite Songs of 2020

With nowhere to go and nothing to do in 2020, I had plenty of time to listen to as much music as I could stand. Luckily for me and for everyone else, 2020 supplied an embarrassment of musical riches; the endless creativity of our artists providing necessary emotional support during the Worst Year Ever™.

I’ve compiled my favorite 100 songs of 2020. Again, I limited my selections to only one song per artist, but as you’ll see, I couldn’t quite stick to it this year. Narrowing the list down to 100 was a painful process, with many excellent songs left on the cutting room floor.

Check below for Spotify playlists

Top 100 Songs of 2020: https://open.spotify.com/playlist/3ySKk19paBFgO698vw7HTs?si=-al-SyEsTqWzqKfmEraNFw Best Songs of 2020 (Refined): https://open.spotify.com/playlist/1ET0aA5TPj5JDsUtosaCVv?si=MyDxjcXKQpy3SNs7dV0wIQ Best Songs of 2020 (Catch-All): https://open.spotify.com/playlist/0XxtEo0PrNSyZDWBCjJtuR?si=pBZWRoNGSGWBCaqxJrHoyw

Without further ado, my favorite songs of 2020.:

25. Yg Teck - “What You Know”: Yg Teck has one of the more prominent Baltimore accents in rap music, elongating “ooh” sounds and shortening “er” sounds with reckless abandon. “What You Know” is buried towards the end of his excellent mixtape Eyes Won’t Close 2, but it stands out as one of Teck’s strongest songs. The buoyant piano-led beat offers Teck an opportunity to reflect on his struggle with heart-breaking directness: “So what if they hate me, sometimes I hate myself.”

24. Brian Brown - “Runnin” ft. Reaux Marquez: Filtering the conventions of southern rap through his easy-going drawl and omnivorous musical appetite, Brian Brown is the brightest light in Nashville’s burgeoning hip-hop scene. Built around producer Black Metaphor’s circuitous jazz piano, “Runnin” is a soulful and poetic meditation on breaking out of the staid existence that can creep up on you if you stay still for long enough. Brown serves up the song’s irresistible hook and provides a grounding presence on his second verse, evoking the styles of two Tennessee rap titans: Chattanooga’s Isaiah Rashad and Cashville’s own Starlito.

23. 42 Dugg - “One Of One” ft. Babyface Ray: Detroit producer Helluva’s beats provide the tissue that connects the Motor City with the West Coast, creating anthems that mix D-Town propulsion with soundscapes perfect for a top-down drive down PCH. The Helluva-produced “One Of One” is an electric duet between two of the D’s most distinct voices: low-talking, whistle-happy guest verse god 42 Dugg and nonchalantly fly Babyface Ray. They trade bars throughout the track, weaving between squelches of bass to talk about the ways women have done them wrong.

22. PG Ra & jetsonmade - “Keeping Time”: The phrase “young OG” was invented for guys like PG Ra, who is somehow only 20-years-old. On “Keeping Time,” the South Carolina rapper spits sage-like wisdom about street life over Jetsonmade’s signature trampoline 808s, decrying nihilism and emphasizing the importance of holding strong convictions in a deliberate, raspy drawl: “Oh, you don't give a fuck 'bout nothing, then you damn wrong/Cause every soldier stand for something if he stand strong.”

21. Empty Country - “Marian”: After spending a decade as the main songwriter for Cymbals Eat Guitars, Joseph D'Agostino is an expert at crafting widescreen indie anthems. CEG is no more, but D’Agostino is still doing his thing, opening the self-titled album of his new entity Empty Country with “Marian,” a chiming and heartfelt power ballad with sunny vocal harmonies and a fist-pumping riff. It’s hard to make out the lyrics on the first few spins, but a closer listen reveals some striking imagery (“In a sea of Virginia pines/A burnt bus”), as the narrator imagines the life that lies ahead for his newborn daughter.

20. Raveena - “Headaches”: Raveena’s music is a soothing balm, capable of transforming any negative emotion into peaceful reverie. “Headaches” starts as a sensual, woozy, reverbed-out slow jam–typical Raveena territory, perfect for emphasizing the enlightened sensuality that she exudes in her vocals. The song mutates in its second half into an invigorating bit of dream pop, picking up a ringing guitar riff and a prominent backbeat as Raveena struggles to stay close to the one she loves (“There's no sunset, without you”).

19. Los & Nutty - “I’m Jus Fuckin Around” ft. WB Cash: In which three Detroit emcees receive an instrumental funky enough for ‘90s DJ Quik and proceed to not only not ride the beat but to fight so hard against it you’d think they’re training to get in the ring with Mayweather. I love Michigan rap.

18. Sufjan Stevens - “My Rajneesh”: I’ve never seen Wild Wild Country, or read about Bhagwan Shree Rajneesh and his cult, so I don’t know too much about the subject matter of “My Rajneesh.” I do know, however, that it’s a story that involves crises of faith and the state of Oregon, which means it fits perfectly into Sufjan’s milieu. “My Rajneesh” does an excellent job of relaying the ecstasy of a devout believer, layering celebratory chants, South Asian traditional percussion, and glitchy electronics into a 10-minute epic. As the song progresses, the sonic tapestry grows distorted, mimicking the emptiness that lies beneath Rajneesh’s surface and the darkness and confusion faced by his followers when the illusion fades.

17. Koffee - “Lockdown”: Leave it to rising dancehall superstar Koffee to find ebullient joy in a situation as bleak as quarantine. Weaving around piercing guitar licks and euphoric vocal samples, Koffee schemes to turn her lockdown romance (”quarantine ting”) into a long-term deal, fantasizing about travel with her love even as she’s content to just spend time in her apartment. Everything is dandy as long as they're in the same room.

16. Rio Da Yung OG & Louie Ray - “Movie”: Flint’s answer to Detroit’s “Bloxk Party,” one of the best rap songs of the past decade. Rio and Louie trade verses throughout the song, competing with one another to see who can be the most disrespectful.

Rio’s best line: “Ma don't drink that pop in there, I got purple in it/I know it look like Alka-Seltzer, it's a perky in it”

Louie’s best line: “Let me cut my arms off before I ball, make it fair”

15. Ratboys - “My Hands Grow”: “My Hands Grow” shines like an early-morning sunbeam, hitting that circa-2001 Saddle Creek* sweet spot with aplomb. But “My Hands Grow” is more than just a throwback–it’s an oasis, populated by sweeping acoustic guitars, electric leads with just the right amount of distortion, and especially Julia Steiner’s affectionate vocal, which blooms into gorgeous self-harmonies during the bridge.

*Obligated to add that this song came out before Azure Ray signed to Saddle Creek, but the point stands.

14. J Hus - “Triumph”: J Hus and Jae5 have the kind of telepathic artistic connection and song-elevating chemistry only present in the best rapper-producer pairs. A great example of how their alchemy blurs the lines between genres, “Triumph” is the J Hus/Jae5 version of a boom-bap rap track. Hus rides Jae5’s woodblock-and-horn-accented beat with unassailable confidence, gradually elevating his intensity level as he sprays his unflappable threats. Like most of Hus’s best songs, “Triumph” is home to an irresistible hook, which I can’t help but recite whenever I hear the words “violence,” “silence,” or “alliance” (more often than you think!).

13. Sada Baby - “Aktivated”: Every post-disco classic from the early ‘80s could use a little bit of Sada Baby’s wild-eyed intensity and dextrous flow. On “Aktivated,” Sada runs roughshod atop Kool & The Gang’s ‘81 classic “Get Down On It,” turning it into an irresistible and danceable anthem about going dumb off a Percocet. Sada is a master of controlled chaos, modulating his voice from a simmer to a full-throated yell within the space of a single bar. It really makes lines like “Coochie made me cry like Herb in the turtleneck” pop.

12. Yves Tumor - “Kerosene!”: Prince is one of the most-imitated artists on the planet, but while most artists can only grasp at his heels, Yves Tumor’s “Kerosene!” reaches a level of burning passion and sexual literacy that would make The Purple One proud. A duet with Diana Gordon, “Kerosene!” is a desperate plea for connection, each duet partner thinking that a passionate dalliance might cure the emptiness inside. The song vamps for five minutes, filled with guitar pyrotechnics and moaning vocals, its extended runtime and gradual comedown consigning the partners to a futile search for a self-sustaining love that won’t burn itself out when the passion fades.

11. Special Interest - “Street Pulse Beat”: “Street Pulse Beat” sounds like “Seven Nation Army,” as performed by post-punk legends Killing Joke. It’s a strutting, wild, propulsive anthem–part come-on, part self-actualization, all-powerful. Dominated by an insistent industrial beat and the fiery vocals of frontperson Alli Logout, whose performance more than lives up to the song’s grandiose lyrics (““I go by many names such as Mistress, Goddess, Allah, Jah, and Jesus Christ”), “Street Pulse Beat” was the song released this year that made me miss live music the most.

10. Megan Thee Stallion - “Savage” (Remix) ft. Beyonce: The first-ever collaboration between these two H-Town royals was the most quotable song of the year, firing off hot lines and memorable moments with an effortless majesty. Megan does her thing, bringing classy, bougie, and ratchet punchlines about the men who grovel at her feet, but it’s who Beyoncé elevates the track to transcendence. She prances around the outskirts of Megan’s verses, applying the full force of her lower register to her ad-libs (“THEM JEANS”), and during her verses, the Queen proves once again that you can count the number of rappers better than her on your fingers.

9. DJ Tunez - “Cool Me Down” ft. Wizkid: WizKid is almost alarmingly prolific, releasing enough amazing songs per year that he would be a worthy subject of his own “best-of” list. My favorite WizKid song of 2020 didn’t come from his excellent album Made In Lagos–instead it was this team-up with Brooklyn-based DJ Tunez. A favored collaborator of WizKid (Tunez is partially responsible for career highlights like 2019’s “Cover Me” and 2020’s “PAMI”), Tunez’s organic and textured approach to Afrobeats is an excellent fit for his voice, mixing swelling organs, 808 blocks, and the occasional stab of saxophone into a percolating concoction. The “Starboy” rises to the occasion, hypnotically repeating phrases in English and Yoruba, making octave-sized leaps in his vocal register, and stretching syllables like taffy as he sings the praises of his lady love.

8. Sorry - “Rock ‘n’ Roll Star”: Part swaggering indie anthem and part skronking no wave, “Rock ‘n’ Roll Star” struts with the woozy confidence of someone who’s had just the right amount to drink. It’s the ideal throwback to late L.E.S. (or Shoreditch) nights, sung with irresistible gang vocals on the chorus and a detached sneer on the verse that jibes with the sinister undertones of the deliberately off-key backing track.

7. Destroyer - “Cue Synthesizer”: As Dan Bejar ages, he becomes less like a singer and more like a shaman, his incantatory near-spoken word verses grounding his band’s instrumental heroics. On “Cue Synthesizer,” Bejar plays the role of conjurer, summoning synthesizers and electric guitars in celebration of music’s ability to breathe life into modern mundanity.

6. Chloe x Halle - “Do It”: Pillow-soft R&B that walks the fine line between retro and futuristic, powered by the Bailey Sisters’ playfully twisty melodies and sumptuous production from a somewhat unexpected source. That’s right, piano man Scott Storch took a break from smoking blunts with Berner to deliver his smoothest beat since he teamed with Chloe x Halle mentor Beyoncé for “Me Myself & I” in 2003.

5. Fireboy DML - “ELI”: Nigeria singer Fireboy DML is an unabashed fan of ‘90s adult contemporary, worshipping idols (‘90s Elton John, Celine Dion) that even some devout poptimists wouldn’t touch with a ten-foot pole. A modern-day retelling of the Biblical fable of Samson and Delilah, “ELI” seems to take inspiration from Ace of Base’s “All That She Wants,” its rocksteady beat, wobbling bassline, snake-charming flute, and “lonely girl, lonely world” lyrics recalling the 1994 Swedish pop smash. It’s a testament to Fireboy’s charisma and melodic mastery that “ELI” is as invigorating as “All That She Wants” is annoying. He switches from playful flirtation on the verse, to hopeless devotion on the chorus, to lascivious swagger on the bridge, gently ratcheting up the intensity in his vocals until the song’s climactic guitar solo* grants glorious release. *The build-up on “ELI” is so great that it makes it easy to ignore that the guitar solo itself is a mess. It sounds like the producers couldn’t get Carlos Santana, so they settled for Andre 3000 instead.

4. The Beths - “Dying To Believe”: If you’ve ever audibly cringed while thinking about something you’ve said or done in the past, The Beths have the song for you. Carried by its driving backbeat, “Dying To Believe” chronicles singer Liz Stokes’s rumination on a crumbling friendship, her fear of confrontation preventing her from removing her toxic friend from her life. Though the lyric is pained and uncertain, there’s no such lack of confidence in the music. An adrenaline rush of muscular, sugary power pop, “Dying To Believe” is an immaculate construction, each fuzzy guitar riff arriving with mathematical precision and each “whoa-oh” chorus hitting like a ton of bricks. Jump Rope Gazers might not have been as consistent as the Auckland, NZ band’s self-titled debut, but “Dying To Believe” is as good as anything on that album and helps solidify The Beths’ deserved reputation as some of the best songwriters and tightest performers on either side of the International Date Line.

3. The 1975 - “What Should I Say”/“If You’re Too Shy (Let Me Know)”: I know, I know. I was supposed to only pick one song per artist, but sue me, this is my list and I just could not decide between these two. The 1975 have always balanced their affinity for ‘80s-style pop anthems with an interest in experimental electronic music. In 2020, they released the two very best songs of their career, each seemingly fitting into one of those two boxes. On its face, “If You’re Too Shy (Let Me Know)” is the band’s transparent attempt at recording their own “Everybody Wants To Rule The World”–it’s in D Major, it has a chugging backbeat, an echoing two-chord riff in the verse, and an ascending E Minor progression in the pre-chorus. Where the Tears For Fears classic takes a birds-eye look at the yuppie generation, Matty Healy uses his song’s swelling bombast and gleefully cheesy sax solo to explore the awkward intimacy of cyber sex. The burbling Eno-style synth that opens up “If You’re Too Shy” evokes a dial-up connection, simulating the thrill of discovery felt by those whose only connection to the outside world comes through their screens.

“What Should I Say,” meanwhile, combines Boards Of Canada-esque bloops with bassline that strongly resembles Mr. Fingers’ oft-sampled “Mystery Of Love”, over which Healy sings in a heavily-manipulated voice that sounds like the lovechild of Travis Scott and Sam Smith. Fittingly for a song about loss for words, the best moments of “What Should I Say” spring from vocal manipulations, imparting more emotional resonance than mere words could ever hope to provide. The final minute of “What Should I Say” is almost tear-jerkingly beautiful, as a single computerized voice cuts through cacophony, determined to let the world know how it feels, language be damned.

2. King Von - “Took Her To The O”: His career was far too short, but King Von had plenty of chances to demonstrate his god-given storytelling ability before he passed away in November. Accompanied by regular collaborator Chopsquad DJ’s chaotic, circular pianos, Von recounts an eventful night in his home neighborhood of O’Block. Von’s gripping narrative is packed with writerly detail (“Nine missed calls, three of them from ‘Mom,’ other six say ‘Duck’”), peeking into his justifiably paranoid state-of-mind (“My Glock on my lap, I'm just thinkin' smart”) and ending with a smirk on a bit of gallows humor that recalls prime Ghostface. Long Live Von.

1. Bob Dylan - “I’ve Made Up My Mind To Give Myself to You”: It’s impossible to escape that 2020 was a year of mass devastation, on a scale not seen in American life since the second World War. In the midst of the cascading chaos of this year, I married my best friend. So it’s fitting that the song that resonated most with me this year was “Throat Baby (Go Baby)” by BRS Kash.

*Ahem* Excuse me. It was a love song, and not just any love song: the finest love song of Bob Dylan’s six-decade, Nobel Prize-winning career.

Bob Dylan spent much of the 2010s trying his hand at the Great American Songbook, applying his craggy croon to standards made famous by Bing Crosby and Frank Sinatra. It felt like a weird turn for such an iconoclastic figure, one known for his massive (and valuable) library of originals. “I’ve Made Up My Mind To Give Myself To You” proves that Bob’s covers and Christmas albums weren’t larks or cash grabs, but an old dog’s attempt to learn new tricks by digging into the past.

“IMUMMTGMTY” shares a lot of DNA with “The Way You Look Tonight” and “I’ve Got You Under My Skin,” bringing florid metaphors and touching pledges of devotion, but it also inherently understands that love is a decision–a weighty decision that imparts great responsibility–as much as it’s a feeling. What really makes “IMUMM” sing is the tastefully folksy arrangement, which ties into the old weird America explored by Dylan’s compadres in The Band, filled with bright Telecaster leads and easily-hummed choruses. And the lyrics are excellent even by Bob’s elevated standards. It turns me into a puddle every time I listen. I’ll let Bob take it from here:

Well, my heart's like a river, a river that sings Just takes me a while to realize things I've seen the sunrise, I've seen the dawn I'll lay down beside you when everyone's gone

Here’s the rest of the list. Check back later this week for my albums list!

26. Katie Gately - “Waltz” 27. Bonny Light Horseman - “Bonny Light Horseman” 28. Bullion - “Hula” 29. Omah Lay - “Lo Lo” 30. Greg Dulli - “Sempre” 31. Fiona Apple - “Shameika” 32. Anjimilie - “Your Tree” 33. Key Glock - “Look At They Face” 34. Lido Pimienta - “Te Queria” 35. Morray - “Quicksand” 36. Obongjayar - “10K” 37. Xenia Rubinos - “Who Shot Ya?” 38. Kiana Lede - “Protection” 39. Flo Milli - “Weak” 40. G.T. - “What You Gon Do” 41. Chris Crack - “Hoes At Trader Joe’s” 42. Lil Baby - “The Bigger Picture” 43. The Orielles - “Memoirs of Miso” 44. Shoreline Mafia - “Change Ya Life” 45. Masego - “Mystery Lady” ft. Don Toliver 46. Junglepussy - “Out My Window” ft. Ian Isiah 47. Siete Gang Yabbie - “Gift Of Gab” 48. Rosalía - “Juro Que” 49. Black Noi$e - “Mutha Magick” ft. BbyMutha 50. BFB Da Packman - “Free Joe Exotic” ft. Sada Baby 51. Andras - “Poppy” 52. Lianne La Havas - “Weird Fishes” 53. Crack Cloud - “Tunnel Vision” 54. Lil Uzi Vert - “No Auto” ft. Lil Durk 55. Fred again… - “Kyle (I Found You)” 56. Burna Boy - “Wonderful” 57. Lonnie Holliday - “Crystal Doorknob” 58. Mozzy - “Bulletproofly” 59. Tiwa Savage - “Koroba” 60. Frances Quinlan - “Your Reply” 61. Ariana Grande - “my hair” 62. Bad Bunny - “Safaera” ft. Jowell & Randy & Ñengo Flow 63. Yhung T.O. & DaBoii - “Forever Ballin” 64. Katie Pruitt - “Out Of The Blue” 65. Sleepy Hallow - “Molly” ft. Sheff G 66. Niniola - “Addicted” 67. Prado - “STEPHEN” 68. Drakeo The Ruler - “GTA VI” 69. Boldy James - “Monte Cristo” 70. Caribou - “Like I Loved You” 71. Andy Shauf - “Living Room” 72. Hailu Mergia - “Yene Mircha” 73. Kabza de Small & DJ Maphorisa - “eMcimbini” ft Aymos, Samthing Soweto, Mas Musiq 74. Gunna - “Dollaz On My Head” ft. Young Thug 75. Roddy Ricch - “The Box” 76. The Lemon Twigs - “Hell On Wheels” 77. Sun-El Musician - “Emoyeni” ft. Simmy & Khuzani 78. Madeline Kenney - “Sucker” 79. Natanael Cano - “Que Benedicion” 80. ShooterGang Kony - “Jungle” 81. Don Toliver - “After Party” 82. Chicano Batman - “Color my life” 83. Pa Salieu - “Betty” 84. Chubby & The Gang - “Trouble (You Were Always On My Mind)” 85. Dua Lipa - “Love Again” 86. Rucci - “Understand” ft. Blxst 87. Skilla Baby - “Carmelo Bryant” ft. Sada Baby 88. Bartees Strange - “Boomer” 89. Jessie Ware - “Read My Lips” 90. The Hernandez Bros. & LUSTBASS - “At The End Of Time” 91. Brokeasf - “How” ft. 42 Dugg 92. Mulatto - “No Hook” 93. Eddie Chacon - “Outside” 94. Veeze - “Law N Order” 95. Polo G - “33” 96. Bktherula - “Summer” 97. Jessy Lanza - “Anyone Around” 98. Perfume Genius - “On The Floor” 99. ComptonAssTg - “I’m Thuggin’” 100. Mario Judah - “Die Very Rough”

Honorable Mentions: Jamila Woods - “SULA (Paperback)” Demae - “Stuck In A Daze” ft. Ego Ella May Good Sad Happy Bad - “Bubble” Guerilla Toss - “Human Girl” Kaash Paige - “Grammy Week” ft. Don Toliver Kre8 & CJ Santana - “Slide!” Laura Veirs - “Another Space & Time” Angelica Garcia - “Jicama” Malome Vector - “Dumelang” ft. Blaq Diamond OMB Bloodbath - “Dropout” ft. Maxo Kream SahBabii - “Soulja Slim” Shabason, Krgovich & Harris - “Friday Afternoon” Skillibeng - “Mr. Universe” Waxahatchee - “Fire” Westerman - “Float Over”

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aion-rsa · 4 years

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The Devil All the Time Director on Channelling Donald Ray Pollock’s Book and Casting Robert Pattinson

https://ift.tt/eA8V8J

Since the first sinister trailer for Antonio Campos’ adaptation of Donald Ray Pollock’s novel The Devil All the Time arrived, the film has caused quite a buzz. This is the latest Netflix original to land, a pitch black drama set in the Ohio town of Knockemstiff where the corrupt and the lost intertwine in a mix of horror and tragedy. One of the standouts from the trailer is the incredible A-list cast brought together for this ensemble piece. Robert Pattinson plays a predator preacher, Bill Skarsgard a damaged war veteran, Sebastian Stan a dirty cop and Jason Clarke and Riley Keough husband and wife serial killers.

“I wasn’t like Nick Fury showing up,” laughs Campos when he chats to us about building his cast. “It’s a very long drawn out process.” Though he has two actual Avengers in his line up, this is a portrait of villains rather heroes and those trying to negotiate the world between two wars.

Campos chats to us via Zoom from his home in Chile about casting, building the world of Knockemstiff and the Godless fanatics that populate his film.

When did you first come across the book and what made you hunger to turn that into a movie?

I read the book because Randy Poster, who’s known as a music supervisor, gave me the book and he said, “I think you’d really like this and that if you like it, then we could do it together” and he would produce. And I really loved it. I thought, well this something I’d love to do with my brother, who’s not a screenwriter, but has written short stories and prose. So that’s how it all started. And then from there, it was many years of just working on the script and getting this cast together.

What did you love about the material? Because, there’s not much redemption for anyone other than possibly Arvin.

I don’t always go when I read a story “Okay, well, this character needs to be redeemed”. It’s more “do I enjoy the journey that I go on with the character? And do I experience something that I haven’t experienced before? Can I get into their head and mindset?” A lot of characters were from the universe of Southern Gothic and noir and hard-boiled fiction, which are two of my favorite genres, but they felt different. They felt a little more complicated. And the way that Don [Ray Pollock] was weaving from one story to the other was really exciting. At the end of the day, it was this main thread with Willard and Arvin that held it all together.

This father-son story set between two wars and the trauma that the father passes on to the son. That was the thing that tied it all together. That generational story I found really compelling. I’ve been drawn to generational stories recently, in the last few years, the last four or five years, it’s been the kind of story that I’ve been most excited to try to tell. Then dramatically the exploration of faith in the book, and the fact that the book is about all these people that are such devout fanatic believers, but there isn’t really the presence of God, but still there’s some sort of grand design that reveals itself by the end. That aspect of it I thought was really compelling to do.

You mentioned obviously your incredible cast, can you tell me a little bit about how you went about assembling such a massive group of A-listers on this?

That’s the question I get the most. I wasn’t like Nick Fury showing up and going there. It’s a very organic process where I was lucky to have come across some of these actors along the way. Like Rob, we had some mutual friends and we started to become friendly and I showed him the script and he immediately sort of gravitated towards Teagardin. I actually said “you’re basically the first person to have read this, tell me who you’d love to play?” And he said Teagardin.

Tom had been cast as Spider-Man, but I hadn’t seen him as Spider-Man. He was just this really interesting young actor. I really was drawn to his personality and his energy. I had seen The Impossible so I knew that he had chops. And I knew that he also had this interesting background in theater. I just saw this young scrappy guy who could portray someone like Arvin. That was good fortune that I had met him when I met him. Just little by little, it’s a very long drawn out process.

Lots of your cast are British but they all absolutely nail the accent, can you tell me about that?

The accents were really specific. We got really specific to regions and we had an amazing dialect coach named Rick Lipton and Don Pollock had recorded a lot of the dialogue himself. So the actors could listen to it to get the Southern Ohio of it. Don had found a female friend of his to record some of the dialogue for Haley and for Riley to hear. Then Don had found some friends in West Virginia, and then there’s this really great documentary from the 60’s called Holy Ghost People and that was a big reference point for the West Virginia accent. It’s a documentary about these kinds of Backwoods churches.

Don Ray Pollock is your narrator, which is incredible. How did that come about and how did that affect you in terms of any changes from the book?

We always had Don’s voice in our head for a narrator and there was nobody else that could play it. We were lucky that he said yes. It was a lot of pressure on my brother and I, because we loved the book and we respected the hell out of Don. We really wanted him to be happy with the script and with the movie. He read drafts along the way, he gave his thoughts, his notes, he’d riff on the voiceover and, as we were editing, I would send him, “Oh, like, record this line, record that line”. And he’d record it right away, do a few takes. It was a very collaborative process. It was just like working with another actor. But an actor that knew this world inside and out.

But because it was Don and because we were so close, I felt a lot of pressure and a big obligation to be faithful to the spirit of the book because we really loved it so much.

The world building of Knockemstiff is so detailed, how did you manage to create that and was Don a help to you in making that world feel so very tangible?

I would go to Ohio and visit Don. Don would take me to different locations and he’d be like “this is what inspired the prayer log” and sometimes those things lined up, but for instance I never saw a house that was Willard’s house. He never took me and said, “This was Willard’s house”. We shot the film in Northern Alabama and I randomly saw this house in the middle of nowhere. And I was like, “Let’s find out who owns that house and get that house”. And we managed to get it. Don showed up on set and he walked up and he was like, “Man, that’s the house, that’s the house”.

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He’d never told us or drawn a picture or anything. He’d just described it so beautifully in the book and I had a feeling for what he was looking for. It was this house on a Hill. I spent enough time in Knockemstiff and Chillicothe, Ohio, which was the basis for me to get a sense of the world Don was creating. Also the book is a work of fiction, so it’s genre and it’s elevated, it’s heightened. Finding locations is like casting. You’re patient, you spend the time just finding exactly the right place to shoot something. You know within a second, you’re like, “that’s it”. It presents itself.

The Devil All the Time is available to stream now on Netflix.

The post The Devil All the Time Director on Channelling Donald Ray Pollock’s Book and Casting Robert Pattinson appeared first on Den of Geek.

from Den of Geek https://ift.tt/2FypraY

#aion-rsa #Den of Geek

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itunesbooks · 6 years

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How to Speak Southern - Steve Mitchell

How to Speak Southern Steve Mitchell Genre: Humor Price: $6.99 Publish Date: April 1, 1984 Publisher: Random House Publishing Group Seller: Penguin Random House LLC This tongue-in-cheek dictionary of Southern words and phrases offers a hilarious spoof of the Southern accent. This book is dedicated to all Yankees* in the hope that it will teach them how to talk right. * Yankee: Anyone who is not from Kentucky, Virginia, Tennessee, North Carolina, South Carolina, Georgia, Florida, Mississippi, Alabama, Louisiana, Arkansas, Texas, and possibly Oklahoma and West-by-God-Virginia. A Yankee may become an honorary Southerner, but a Southerner cannot become a Yankee, assuming any Southerner wanted to. http://bit.ly/2VLQiT6

#Humor

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desuchine · 8 years

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6 Facts About Myself

I was tagged by @fruk-de-lys! Thank you, friend! 1) I was dyslexic for a good portion of my childhood, and I believe some of it has followed me through the years. 2) I've always had top notch scores in the history sections of all my standardized tests. 3) My internet friends tend to mistake my accent for odd things (Dutch, Swedish, etc). I'm from West Virginia and I have no idea how they do this lol. I think the way I pronounce my words throws them off. 4) My favorite genres of music are trip-hop, melodic death metal, and electronica! I'm currently super into Massive Attack and Nightwish. 5) I'm working on becoming a mechanical engineer. I'm torn between going for individual certifications vs actually getting a college degree. 6) My favorite YouTubers to watch when I'm feeling down are Joel from Vinesauce, Criken, SovietWomble, and Northernlion. I tag @usagi323, @escalusia, and @wolfgirl44. Feel free to skip if you don't feel up to it. :)

#storytime with Des

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bewitchedreader · 6 years

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Obsidian by Jennifer L. Armentrout Audiobook

Genre

YA Sci-Fi

Format

Audiobook

Description

Starting over sucks.

And then he opened his mouth.

Daemon is infuriating. Arrogant.…

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#Enemies to Lovers #Sci-Fi #Young Adult

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chaos-and-recover · 7 years

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all of them. all. of. them.

WHY DO YOU DO THIS TO ME EVERY TIME is it because you know I have nothing better to do? Because you are right.

1. What is you middle name? Barbara. It’s my mom’s first name2. How old are you? OLD AS BALLS. Or like. 32.3. When is your birthday? April 4th.4. What is your zodiac sign? Aries5. What is your favorite color? purple6. What’s your lucky number? I don’t know if I have one?7. Do you have any pets? nope. I am sad and empty and pet=less8. Where are you from? Canada, eh?9. How tall are you? 5′11″ or somewhere in there. Apparently freakishly tall, according to my tiny, tiny friends10. What shoe size are you? ladies’ 9 1/2-10. Currently wearing size 9 boots every day because I haven’t gotten around to getting new winter boots and got those ones for a cosplay a few years ago because they looked rad and were cheap but NOT COMFY and I NEED NEW BOOTS.11. How many pairs of shoes do you own? lemme tell you it’s not nearly as many as it was when I worked in a mall with a Payless and went there WAY too often. There’s probably like 5 or 6 I wear regularly now.12. What was your last dream about? I... actually don’t even remember? I remember waking up the other morning thinking “what in the FUCK” about a dream I’d had but now I can’t remember what it actually WAS lol13. What talents do you have? none lol14. Are you psychic in any way? I mean I don’t know if I ACTUALLY am but I’ve learned to trust my gut when I feel really sure of an outcome of something because I’ve been right more than I’ve been wrong15. Favorite song? Falling Slowly from the movie Once is probably my favourite thing in the world.16. Favorite movie? 10 Things I Hate About You, The Princess Bride, and a bunch of objectively awful movies that I love.17. Who would be your ideal partner? Someone who will leave me tf alone. Actually I would probably thrive in a long distance relationship where I don’t have to like... see them all the time and can still have my own space?18. Do you want children? Not especially. I recently figured out that may be negotiable though which was... interesting.19. Do you want a church wedding? Not necessarily but if I did have one I would only want it at my grandparents’ church because history (my parents were married there; I was baptized there; my Oma loved that church).20. Are you religious? Not even a little.21. Have you ever been to the hospital? My guy I spent so much time in the ER as a kid that they almost called social services.22. Have you ever got in trouble with the law? Nope, I’m a nerd.23. Have you ever met any celebrities? Yes, quite a few. That was like, My Thing in high school24. Baths or showers? baths if they stay warm for more than 0.00005 seconds.25. What color socks are you wearing? black, with white writing. They’re my July Socks because I am JUST that awful and love a bad pun.26. Have you ever been famous? I had my 15 minutes of fame in 2004. Green Day were involved. The story circulated the local music/industry community for at least a year. That’s all.27. Would you like to be a big celebrity? I don’t think I would like that AT ALL.28. What type of music do you like? I listen to so much music, honestly. Name a genre and I could probably name at least one artist I like from it.29. Have you ever been skinny dipping? Not totally but I’ve gone halfway there. Not sober lol.30. How many pillows do you sleep with? 231. What position do you usually sleep in? Usually on my stomach32. How big is your house? not as big as the rest in the neighbourhood now but when it was built in the 70s it WAS one of the biggest around33. What do you typically have for breakfast? either: a bagel w/ cream cheese, Eggos (with chocolate chips sometimes), toast w/ peanut butter & banana, Cheerios w/ banana, or oatmeal34. Have you ever fired a gun? only a laser gun lol35. Have you ever tried archery? yeah, I actually liked it? I wasn’t very good. Although my Opa did make my brother and I our own bow and arrow sets when we were little. Nobody lost an eye, so it worked out well.36. Favorite clean word? I don’t know if I have one?37. Favorite swear word? I like made up ones, like “fucknugget.”38. What’s the longest you’ve ever gone without sleep? Without ANY sleep at all, like a day and a half. With minimal sleep, a few days - a week or so.39. Do you have any scars? Yes and they’re all dumb.40. Have you ever had a secret admirer? lol doubtful41. Are you a good liar? Sometimes. For like, inconsequential shit I don’t even need to lie about.42. Are you a good judge of character? I wanna say yes but I’m actually just kind of a bitch and super judgy anyway?43. Can you do any other accents other than your own? Every one I try turns out like a really shitty southern accent44. Do you have a strong accent? I don’t think so but people from elsewhere might disagree45. What is your favorite accent? Irish, specifically Galway-area. I also like certain southern accents, like... wherever Matthew McConaughey is from. That’s a nice accent.46. What is your personality type? Like... those acronyms? No idea lol. I don’t do those personality tests.47. What is your most expensive piece of clothing? Probably my Roots cabin sweater which I got for Christmas last year but I know ain’t cheap.48. Can you curl your tongue? Yes49. Are you an innie or an outie? Innie50. Left or right handed? Right, although I’m fairly competent with my left from when I was 8 and broke my right arm and had to use my left for everything for a while.51. Are you scared of spiders? Yes, they’re awful little demon bugs.52. Favorite food? Poutine lmao. I’m a stereotype.53. Favorite foreign food? Burritos.54. Are you a clean or messy person? Horrifically messy.55. Most used phrased? Lord, probably “lmao.” Or “your face.”56. Most used word? Probably “fuck”57. How long does it take for you to get ready? Depends for what. For just like, every day shit, like 20 minutes. If I actually wanna look good I need more time. Both of those require at least 20-40 minutes of sitting despondently on my bed wondering if I REALLY need to go where I’m supposed to go.58. Do you have much of an ego? I don’t think so?59. Do you suck or bite lollipops? Lick/suck til I get bored, then bite. (Hey boys ;) )60. Do you talk to yourself? Yes, way too much.61. Do you sing to yourself? Quietly, but I do.62. Are you a good singer? FUCK no.63. Biggest Fear? The existential horror of Never Getting My Life Together.64. Are you a gossip? More than I should/want to be 65. Best dramatic movie you’ve seen? Ever? That’s a hard question. I have a really unpopular opinion about Manchester By The Sea (I KNOW how we’re supposed to feel about Casey Affleck) but I don’t even know if that’s the best EVER, it’s just very good and that makes me angry.66. Do you like long or short hair? On myself? Kinda miss my long hair now.67. Can you name all 50 states of America? If you give me time to figure them out, probably. (let’s see - Alabama, Alaska, Arkansas, Hawaii, Washington, Oregon, California, Nevada, Utah, New Mexico, Texas, Louisiana, Florida, Georgia, Tennessee, Idaho, Iowa, North Dakota, South Dakota, Kentucky, Ohio, Pennsylvania, Montana, Indiana, Michigan, Illinois, Rhode Island, New York, Maine, Vermont, Massachusetts, Virginia, West Virginia, Maryland, New Jersey, North Carolina, South Carolina, Colorado, Delaware, Wisconsin, Nebraska, Connecticut, Minnesota, Wyoming, Arizona, Missouri, Mississippi, Kansas, New Hampshire, Oklahoma. BAM.68. Favorite school subject? I was a nerd and loved History. I took American History in grade 11 SPECIFICALLY because my 10th grade History teacher was so good and he taught it, I wanted him again. I also liked English. Math can choke.69. Extrovert or Introvert? Introvert. But I play an extrovert on the internet.70. Have you ever been scuba diving? Nope.71. What makes you nervous? Crowds, specifically crowds hindering where I need to go or what I want to accomplish.72. Are you scared of the dark? No, I’m scared of things IN the dark lmao.73. Do you correct people when they make mistakes? Sometimes, but usually I couch it in “I think it might be this actually” which probably comes off as passive aggressive.74. Are you ticklish? Yes but if you exploit that you gonna die75. Have you ever started a rumor? Probably lol76. Have you ever been in a position of authority? Yep. I used to manage a store. I’m also a supervisor at my part-time job.77. Have you ever drank underage? I really didn’t that much but I did a little.78. Have you ever done drugs? Never hard drugs because I’m lame.79. Who was your first real crush? Third grade. Luke Costello. That crush... set a bit of a tone lol.80. How many piercings do you have? None, not even my ears, which everyone finds baffling for some reason.81. Can you roll your Rs? Yes!82. How fast can you type? I don’t know my exact WPM but it’s pretty fast I think.83. How fast can you run? Not very.84. What color is your hair? Red85. What color is your eyes? Green/hazel86. What are you allergic to? Potentially cats and/or dogs, dust, MAYBE alcohol lol.87. Do you keep a journal? Nope88. What do your parents do? they’re both retired but they were both teachers, the absolute nerds.89. Do you like your age? Sure90. What makes you angry? Dumb people at rush hour on public transit.91. Do you like your own name? I don’t hate it.92. Have you already thought of baby names, and if so what are they? Not in a long, long time and when I used to they were all ridiculous and terrible, thank GOD I never had any.93. Do you want a boy a girl for a child? I wouldn’t care.94. What are you strengths? I’m pretty chill I think?95. What are your weaknesses? Maybe too chill when things are important.96. How did you get your name? It was crazy popular in the 80s and my parents just liked it.97. Were your ancestors royalty? No, but there may have been a Polish lord somewhere in the line? No one is really sure. We ARE sure about the bank robber though. She’s my favourite.98. Do you have any scars? Oh hey a repeat question.99. Color of your bedspread? Purple100. Color of your room? Also purple

#tbh on the states I got as far as connecticut and looked at a map #shut it i got close #nikkihorrorxx

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samanthasroberts · 7 years

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Jimi Hendrix: ‘You never told me he was that good’

On the eve of the 40th anniversary of Jimi Hendrix's death, Ed Vulliamy speaks to the people who knew him best and unearths a funny, if intense, superstar

On the morning of 21 September 1966, a Pan Am airliner from New York landed at Heathrow, carrying among its passengers a black American musician from a poor home. Barely known in his own country and a complete stranger to England, he had just flown first class for the first time in his life. His name was James Marshall Hendrix.

On 18 September 1970, four years later, I picked up a copy of Londons Evening Standard on my way home from school, something I never usually did. There was a story of extreme urgency on the front page and a picture of Hendrix playing at a concert still ringing in my ears at the Isle of Wight festival, only 18 days earlier. The text reported how Hendrix had died that morning in a hotel in the street, Lansdowne Crescent in Notting Hill, in which I had been born, and a block away from where I now lived.

During those three years and 362 days living in London, Hendrix had conjured with his vision and sense of sound, his personality and genius the most extraordinary guitar music ever played, the most remarkable sound-scape ever created; of that there is little argument. Opinion varies only over the effect his music has on people: elation, fear, sexual stimulation, sublimation, disgust all or none of these but always drop-jawed amazement.

The 40th anniversary of Hendrixs death next month will be marked by the opening of an exhibition of curios and memorabilia at the only place he ever called home a flat diagonally above that once occupied by the composer George Frideric Handel, on Brook Street in central London, in the double building now known as Handel House. The flat will be opened to the public for 12 days in September and there is talk about plans for a joint museum, adding Hendrixs presence to that already established in the museum devoted to Handel. Involved in the discussions is the woman with whom Hendrix furnished the top flat of 23 Brook St, and with whom he lived: the only woman he ever really loved, Kathy Etchingham.

In a rare interview by telephone, (she has moved abroad), Ms Etchingham explains: I want him to be remembered for what he was not this tragic figure he has been turned into by nit-pickers and people who used to stalk us and collect photographs and evidence of what we were doing on a certain day. He could be grumpy, and he could be terrible in the studio, getting exactly what he wanted but he was fun, he was charming. I want people to remember the man I knew.

When she met Hendrix (the same night he landed in London), he had already lived an interesting, if frustrating, 23 years. He was born to a father who cared, but not greatly, and a mother he barely knew she died when he was 15 but adored (shes said to be the focus of two of his three great ballads, Little Wing and Angel). He had always been enthralled by guitar playing a natural, immersed in R&B on the radio and the music of blues giants Albert King and Muddy Waters. When he was 18, he was offered the chance to avoid jail for a minor misdemeanour by joining the army, which he did, training for the 101st Airborne Division.

His military career was marked by friendship with a bass player called Billy Cox from West Virginia, with whom he would play his last concerts, and a report which read: Individual is unable to conform to military rules and regulations. Misses bed check: sleeps while supposed to be working: unsatisfactory duty performance.

Hendrix engineered his discharge in time to avoid being mobilised to Vietnam and worked hard as a backing guitarist for Little Richard, Curtis Knight, the Isley Brothers and others. But, arriving in New York to try and establish himself in his own right, Hendrix found he did not fit. The writer Paul Gilroy, in his recent book Darker Than Blue, makes the point that Hendrixs life and music were propelled by two important factors: his being an ex-paratrooper who gradually became an advocate of peace and his transgressions of redundant musical and racial rules.

Hendrix didnt fit because he wasnt black enough for Harlem, nor white enough for Greenwich Village. His music was closer to the blues than any other genre; the Delta and Chicago blues which had captivated a generation of musicians, not so much in the US as in London, musicians such as John Mayall and Alexis Korner, and thereafter Eric Clapton, Peter Green, Jeff Beck and Jimmy Page among many others.

As luck would have it, the Brits were in town and Linda Keith, girlfriend of the Stones Keith Richards, persuaded Chas Chandler, bass player of the Animals, to go and listen to Hendrix play at the Cafe Wha? club in the Village. Chandler wanted to move into management and happened to be fixated by a song, Hey Joe, by Tim Rose.

It was a song Chas knew would be a hit if only he could find the right person to play it, says Keith Altham, then of the New Musical Express, who would later become a kind of embedded reporter with the Hendrix London entourage. There he was, this incredible man, playing a wild version of that very song. It was like an epiphany for Chas it was meant to be.

To be honest, remembers Tappy Wright, the Animals roadie who came to Cafe Wha? with Chandler that night, I wasnt too impressed at first, but when he started playing with his teeth, and behind his head, it was obvious that here was someone different.

Before long, Hendrix was aboard the plane to London with Chandler and the Animals manager, Michael Jeffery, to be met by Tony Garland, who would end up being general factotum for Hendrixs management company, Anim. When he arrived, recalls Garland now, sitting on his barge beside the canal in Maida Vale, west London, where he now lives, I filled out the customs form. We couldnt say hed come to work because he didnt have a permit, so I told them he was a famous American star coming to collect his royalties.

It is strange, tracking down Hendrixs inner circle in London. His own musicians in his great band, the Experience Noel Redding and Mitch Mitchell are dead. Likewise, his two managers, Chandler and Jeffery, and one of his closest musician friends, the Rolling Stone Brian Jones; the other, Eric Burdon of the Animals, declined to be interviewed. But some members of the close-knit entourage are still around, such as Kathy Etchingham and Keith Altham, wearing a flaming orange jacket befitting the time of which he agrees to speak, in defiance of a heart attack only a few days before.

Music in London had reached a tumultuously creative moment when Hendrix arrived and was perfectly poised to receive him. The performers were just your mates who played guitars, recalls Altham. It was tight everyone knew everyone else. It was just Pete from the Who, Eric of Cream, or Brian and Mick of the Stones, all going to each others gigs.

For reasons never quite explained, the blues both in their acoustic Delta form, and Chicago blues plugged into an amplifier had captivated this generation of English musicians more deeply than their American counterparts. Elderly blues musicians found themselves, to their amazement, courted for concerts, such as an unforgettable night at Hammersmith with Son House and Bukka White. Champion Jack Dupree married and settled in Yorkshire. People [here] felt a certain affinity with the blues, music which added a bit of colour to grey life, Altham continues. And as Garland points out: White America was listening to Doris Day black American music got nowhere near white AM radio. Jimi was too white for black radio. Here, there were a lot of white guys listening to blues from America and wanting to sound like their heroes.

Things happened at speed after Hendrix landed. Come down to the Scotch, Chas told me the day Jimi arrived and hear what I found in New York, recalls Altham. Jimi couldnt play because he had no work permit, but he jammed that night, and my first impression was that hed make a great jazz musician. That was the night, his first in London, that Hendrix met Kathy Etchingham. It happened straightaway, she recalls. Here was this man: different, funny, coy even about his own playing.

A short while later, recalls Altham, Chas took me to hear him at the Bag ONails club [in Soho] for one of his first proper gigs, turned to me and said, Whatya think? I said Id never heard anything like it in all my life. At a concert in the same series, remembers Garland, Michael Jeffery put an arm round Chas, another round me and said, I think weve cracked it, mate. They had: Kit Lambert, according to Altham, literally scrambled across the tables to Chas at one of the shows and said, in his plummy accent, he had to sign him. Chas needed a record contract, Decca had turned Hendrix down (along with the Beatles) and Lambert was about to launch a new label, Track Records, with interest from Polydor: The deal was done, on the back of a napkin, says Altham.

Hendrix had formed his band at speed: a rhythm guitarist from Kent called Noel Redding who had applied to join the Animals but to whom Hendrix now allocated bass guitar and Mitch Mitchell, a jazz drummer seeking to mould himself in the style of John Coltranes great percussionist, Elvin Jones. With a stroke of genius, Jeffery came up with the only name befitting what was to follow: the Jimi Hendrix Experience. Is there any line in rocknroll more assuredly seductive as: Are you experienced?/ Have you ever been experienced?/ Well, I have (from 1967s Are You Experienced)?

Paul McCartney, John Lennon and the other Beatles quickly converged to hear this phenomenon, along with the Stones and Pete Townshend. Arriving one night at the Bag ONails, Altham met Brian Jones walking back up the stairs with tears in his eyes. I said, Brian, what is it? and he replied, Its what he does, it chokes me only he put it better than that.

There was also curiosity from the emergent powerhouse of British blues: Cream and Eric Clapton. There was a particular night when Cream allowed Jimi to join them for a jam at the Regent Street Polytechnic in central London. Meeting Clapton had been among the enticements Chandler had used to lure Hendrix to Britain: Hendrix blew into a version of [Howlin Wolfs] Killing Floor, recalls Garland, and plays it at breakneck tempo, just like that it stopped you in your tracks. Altham recalls Chandler going backstage after Clapton left in the middle of the song which he had yet to master himself; Clapton was furiously puffing on a cigarette and telling Chas: You never told me he was that fucking good.

With a reputation, a recording contract and the adoration of his peers, Hendrix was allocated a flat belonging to Ringo Starr, in Montagu Square, in which he lived with Etchingham, Chandler and Chandlers Swedish girlfriend, Lotta. It was not ideal, but base camp for an initial tour as opening act for Cat Stevens and Engelbert Humperdinck, with the Walker Brothers topping the bill.

Something was needed, Chandler thought, whereby Hendrix could blow the successive acts off the stage and Altham had the beginning of an idea. He said: Its a pity that you cant set fire to your guitar. There was a pregnant pause in the dressing room, after which Chas said, Go out and get some lighter fuel. Garland remembers: I went out into Seven Sisters Road [in north London] to buy lighter fluid. At first, it didnt make sense to me there were too many things going on to worry about lighter fluid but it all became clear in the end.

Altham borrowed a lighter from Gary the third Walker brother and drummer and that night, at the Astoria theatre in central London, Hendrix set his guitar ablaze for the first time. One of the security guards said, Why are you waving it around your head? recalls Altham. Cause Im trying to put it out, replied Jimi. Actually, he only did it three times after, says Altham, but it became a trademark.

The touring began in earnest during that winter of 1966-7: around working mens clubs and little theatres in the north of England. Thats when I remember him at his very best, recalls Etchingham. And at his happiest. The small clubs in regional venues. When he was desperate to make a name for himself, but was also playing for himself. In the working mens clubs, they just wanted some music to enjoy while they drank their beer. In the small theatres, people had come to hear him. But that was his best music ever played for its own sake. None of these crazy expectations, no one hanging on just the people he knew, liked and trusted, and his own music.

But what was this music, this singular, uplifting, otherworldly, menacing, exotic and erotic sound? Hendrix was a magpie, says Altham. He would take from blues, jazz only Coltrane could play in that way and Dylan was the greatest influence. But hed listen to Mozart, hed read sci-fi and Asimov and it would all go through his head and come out as Jimi Hendrix. Then there was just the dexterity he was left-handed, but I remember people throwing him a right-handed guitar and Hendrix picking it up and playing it upside down.

And dont forget, says Tappy Wright, who acted as roadie at first, then joined the management team, we were using the cheapest guitars. These were no Fenders or Stratocasters. These were Hofners we bought for a few quid. Very basic, but stretched to the fucking limit.

The most precious insight comes from Etchingham. People often saw Jimi on stage looking incredibly intense and serious. And suddenly this smile would come across his face, almost a laugh, for no apparent reason, she says. Well, I remember that very well, sitting on the bed or the floor at home in Brook Street. Sometimes, he would play a riff for hours, until he had it just right. Then this great smile would creep across his face or hed throw his head back and laugh. Those were the moments he had got it right for himself, not for anyone else.

Touring ran concurrent with work in the studio first the singles: Hey Joe, the inimitable Purple Haze and The Wind Cries Mary, written for Kathy when Hendrix was left alone at home after she had stormed out from an argument, so the story goes (Mary is her middle name). I never realised quite how hard he worked, says Sarah Bardwell, director of the Handel House Museum, researching her new charge. The Experience would finish a concert up north, drive south, record between 3am and 9am, then return north for two more shows each day. LSD had yet to play a major role if the Experience were on amphetamines, it was to keep the schedule.

In various studios, ending up at west Londons Olympic, work began. I used to ring them up to book time, recalls Etchingham. Thirty quid an hour and theyd want the cheque there and then. Chandler was aware of this and would occasionally hasten things along by taking what the band thought was a warm-up to be the finished product. What? the band would say, recalls Altham. Thats it, Chas would reply. Now for the next one.

But the soundscape unique to Hendrix, pushing the technology to its limits, was not serendipity, nor was it only about Hendrixs genius: there was science behind the subliminal magic. This was not psychcolergic, as Eric Burdon used to call it, says Garland. Hendrix knew exactly what he was doing. And this process began with a man called Roger Mayer.

We call this the Surrey blues Delta, says Mayer, with a wave of his arms across the crazy-paving pathways of Worcester Park, near Surbiton. Eric over here, Keith down the road, the Stones from there. Mayer was an acoustician and sonic wave engineer for the Admiralty, a civil servant in the Ministry of Defence, but also an inventor of various electronic musical devices, including an improved wah-wah pedal and the Octavia guitar effect with its unique doubling effect. Id shown it to Jimmy Page, but he thought it was too far out. Jimi said, the moment we met, Yeah, Id like to try that stuff. One of my favourite memories of all, says Etchingham, is Jimi and Roger huddled together over the console and the instruments, talking about stuff way over my head, and then this glorious thing happening.

We started from the premise that music was a mission, not a competition, says Mayer, who describes himself as a sonic consultant to Hendrix. That the basis was the blues, but that the framework of the blues was too tight. Wed talk first about what he wanted the emotion of the song to be. Whats the vision? He would talk in colours and my job was to give him the electronic palette which would engineer those colours so he could paint the canvas.

Let me try to explain why it sounds like it does: when you listen to Hendrix, you are listening to music in its pure form, he adds. The electronics we used were feed forward, which means that the input from the player projects forward the equivalent of electronic shadow dancing so that what happens derives from the original sound and modifies what is being played. But nothing can be predictive it is speed-forward analogue, a non-repetitive wave form, and that is the definition of pure music and therefore the diametric opposite of digital.

Look, if you throw a pebble into a lake, you have no way of predicting the ripples it depends on how you throw the stone, or the wind. Digital makes the false presumption that you can predict those ripples, but Jimi and I were always looking for the warning signs. The brain knows when it hears repetition that this is no longer music and what you hear when you listen to Hendrix is pure music. It took discussion and experiment, and some frustrations, but then that moment would come, wed put the headphones down and say, Got it. Thats the one.

But I take none of the credit, insists Mayer. You can build a racing car just like the one that won the 1955 grand prix. But if you cant drive like Juan Manuel Fangio, youre not going to win the grand prix. Jimi Hendrix only sounds like he does because he was Jimi Hendrix.

Everyone knows that Hendrix had hundreds of women, often concurrently but that is not as interesting as the fact that, says Altham, Kathy Etchingham was the love of his life. Mayer recalls them oozing affection, even when there was a row he needed her very badly indeed. Hendrix called the flat into which he moved with her in 1968 the only home I ever had.

We knew we wanted Mayfair, says Etchingham, so we could walk to the gigs, but the prices were high, even though it was a little seedy 30 a week. The couple furnished the split-level, top-floor apartment together with prints and wall hangings from Portobello Road. When Hendrix found out that Handel had lived downstairs, he went round to HMV or One Stop Records to get Messiah, says Sarah Bardwell. What is so interesting is that they were both musicians from abroad, who came to London to make their name in this building.

It feels extraordinary now to walk over the venerable floorboards past a replica of Handels harpsichord, portraits of the composer and the score of Messiah in the room in which it was composed, then up a wooden staircase to Hendrixs whitewashed sitting room and bedroom above. Sarah Bardwells aim is for a joint Handel-Hendrix house museum of some kind. Blue English Heritage plaques accompany each other on the wall outside; Hendrix was added in 1997, a labour of devotion by Kathy Etchingham, who recalls English Heritage balking at the fact that the shop front below was a lingerie shop, all mannequins wearing suspenders and knickers, which needed covering up while the plaque was unveiled.

Now, it is the posh Jo Malone perfumery, though in our day it was Mr Loves cafe, she recalls fondly. On the corner of Oxford Street. And there was an Indian tea shop wed go to in South Molton Street, and always HMV or One Stop and wed walk to the gigs along Regent Street or across Hanover Square, and maybe take a taxi home.

The memories of the people who actually knew him overshadow the tragic, antiheroic Hendrix of popular imagination. Etchingham and Keith Altham recall a man with a sense of humour. If things were getting tense in the studio, says Altham, hed just play Teddy Bears Picnic. Adds Tony Garland: If I told Jimi to kiss my arse, hed answer, Youve got a rubber neck, do it yourself with a sly grin. You always knew you were with someone quicker-witted than yourself.

Altham also talks about Hendrix saying nothing to reporters, or contradictory things, on purpose. He would pat his fingers against his lips mid-sentence and go, etcetera, etcetera, etcetera, in order to say, in effect, nothing. He wanted the music to speak. He also had this way of saying things that made you do a double take: Did he really say that? Such as, just before he went on to play with Clapton, who was his idol, for the first time, he told me, I want to see if he is as good as he thinks I am which is not at all the remark you first think it is.

But many of those who comprised Hendrixs inner circle in London now talk about some demise in his mental agility once he became popular in his native US, a mass commodity caught between the triangle of his own racially transgressive music, his blackness and the black power movement, and his overwhelmingly white audience. Even then, though, Hendrix closed the 1969 Woodstock festival with a version of The Star-Spangled Banner, which became the anthem for both the movement against the war in Vietnam and Hendrixs own complicated empathy with the young American fodder sent to fight it, as a former military man himself. Many of his childhood friends were over there, some never to return. The anthem made Jimi famous worldwide, veering into a vortex out of which emerged Purple Haze, a glorious, lyrical dirge for something, for everything; an endpiece not only to Woodstock but to so many dreams.

Chas Chandler would come into the studio and find two women in his chair, recalls Tappy Wright. Get out of my chair! hed say. And then, well, there were drugs, drugs, drugs. I never took any, because I had to make sure everyone got out of bed in the morning but they were around, too much around. Altham says that Chandler told him that he gave Jimi an ultimatum: Either I go or the hangers-on go. But there was no getting rid of them, so Chas quit and Jimi was left with Michael Jeffery.

Jimi was at his best when the fame never got in the way of the music, says Etchingham, and at his worst when the fame took over, when people who hardly knew him suddenly became his best friends. He had this thing, says Altham, of not being able to say no to people and this became a problem.

Even the flat on Brook Street became an open house, to journalists, anyone. Its funny, says Sarah Bardwell. Here we are trying to contact his old friends who are now superstars for our events and exhibition, and its like laying siege to Fort Knox! Yet Hendrix was available to anyone, perhaps almost too much so.

Despite the distractions, there was one project consistently dear to Hendrixs heart: the state-of-the-art Electric Lady Studios in New York, opened with a party on 26 August 1970, the night before he was due to fly back to England to play the Isle of Wight festival. Only Hendrix was almost too shy to appear and, when he did so, he retreated to the steps outside, where he met a young singer-songwriter too shy to enter the fray Patti Smith. It was all too much for me. Johnny Winter in there and all, recalled Smith in a past interview with the Observer. So I thought, Ill just sit awhile on the steps and out came Jimi and sat next to me. And he was so full of ideas; the different sounds he was going to create in this studio, wider landscapes, experiments with musicians and new soundscapes. All he had to do was get over back to England, play the festival and get back to work…

It had been a long weekend on the Isle of Wight and, for me, an exciting one. I was compelled not disgusted, as is the official history by the determination of French and German anarchists to tear down the fences so that it be a free festival. I loved the fact that Notting Hills local band, Hawkwind, played outside the fence in protest at the ticket prices. The strange atmosphere added to the climactic moment, after the Who and others: the one set, at 2am on the Monday, for which it was imperative to get down from among the crowds on Desolation Row and force a way right to the front and concentrate or, rather, submit to hypnosis. The set by Jimi Hendrix.

It is written in the lore of Hendrixology that this was a terrible performance. Hendrix had arrived exhausted, by the previous months events, the upcoming tour, the days violence and by walkie-talkie voices that somehow made their way into the PA system. But all I remember, having just turned 16, is a dream coming true: the greatest rock musician of all time (one knew this with assurance) dressed in blazing red and purple silks, actually playing the version of Sgt Peppers about which I had read so much in NME, playing Purple Haze, Voodoo Chile and a long, searing Machine Gun, just yards away. I remember the sound the sounds, plural bombarding me from the far side of some emotional, existential, hallucinogenic and sexual checkpoint along the road towards the rest of my life. I remember him playing the horn parts to Sgt Peppers on his guitar! I remember the deafening and painful silence after he finished his fusillade and in the crowd a mixture of rapture, gratitude, enlightenment and affection.

Afterwards, Hendrix went on a reportedly disastrous tour of Scandinavia and Germany (failing to meet one of his two children, by a Swedish girlfriend the other he had sired in New York and also never met), before returning to the Cumberland hotel and the room in which he gave his last ever interview, to Keith Altham. (To mark the anniversary, the Cumberland has designed and decorated these rooms in a swirl of colour, stocked it with Hendrix music and called it the Hendrix Suite, in which people can stay.)

There were two women in the room, recalls Altham. One of them was a girlfriend called Devon Wilson and she was dodgy she dealt him drugs and I can say that now because shes dead. But he knew me well by this time and he seemed better than Id seen him previously. The interview is a remarkable one, utterly devoid of all the nonsense that would ensue about suicide and a death wish. On the tape, Hendrix laughs and jokes; he tells Altham about plans to re-form the Experience and tour England again.

On the night of 16 September, Hendrix went to Ronnie Scotts without his guitar, hoping to jam with Eric Burdons new band, War. Burdon considered him unfit to play. The following night, he returned and joined his friend on stage. I was tired, I missed it, says Altham, though, of course, I regret that now. It was the last time Hendrix ever played the guitar.

Hendrix went on to a party with a German woman, Monika Dannemann, and back to her rooms at the Samarkand hotel in Lansdowne Crescent. There are so many accounts of exactly what happened next, but all converge on the fact that he had drunk a fair amount, taken some kind of amphetamines (Black bombers, I think, given to him by Devon Wilson, surmises Altham) and some of Dannemans Vesparax sleeping pills, not knowing their strength. He vomited during the deep ensuing sleep, insufficiently conscious enough to throw up; Danneman panicked, and telephoned Burdon, who urged her to call an ambulance. But the greatest guitarist of all time was dead upon arrival at St Mary Abbots hospital, aged 27. (Sadly, Danneman took her own life in 1996.)

So it was, back in September 1970, that I made my way up Lansdowne Rise and round the corner to the Samarkand hotel after reading the news today, oh boy. I was amazed to have the pavement outside the address at which Jimi Hendrix had died that morning all to myself for a good couple of hours not a soul. I went home, got some chalk, and wrote: Scuse us while we kiss the sky, Jimi on the flagstones (OK, but I was only 16) and retreated to watch. Nothing happened and after another hour, a man came out and washed the words away and I returned home to write a lament in my diary, which I still have, the Standards front page folded at the date.

Speculations about suicide and murder are too ridiculous to contemplate most of them are probably concocted in order to dramatise and distract from the awful reality of such a genius dying in this way but what does matter are Kathy Etchinghams reflections. Jimi died because the simple things got complicated. He was born to a father who was an alcoholic and a mother who died and he died because he was in that flat in Notting Hill with a complete stranger who gave him a load of sleeping pills without telling him how strong they were. Its as simple and as complicated as that.

Im older and wiser now, she says. I enjoy culture and the fine things in life. I can look back and see all that more clearly than I did at the time I was so young, only 24. Of the compelling memoir she has written, Through Gypsy Eyes, she says: Id like to go over it again, fill in a few things, but what I want now, most of all from this anniversary, is for people to understand that it was in Britain that he was welcomed, it was there he was happy and such fun to be around yes, grumpy at times, and a handful but such a man. Id like the young people to know that.

Lets face it, says Tappy Wright, if Jimi had stayed with Kathy, hed probably be alive and playing still. Plus, he always said he wanted to be buried in London, not Seattle, where he was born and his family lived. It wasnt just me he told that, it was plenty of people that this was home. Still, says Etchingham, at least weve got the plaque, the Handel House Museum, and Im looking forward to seeing everyone in September. They were great times and well take a trip down memory lane. Only 40 years is a long time and Jimi wont be there.

The Hendrix in Britain exhibition runs at Handel House museum, 25 Brook Street, London W1, from 25 Aug-7Nov. Hendrixs rooms will be open from 15-26 Sep

Source: http://allofbeer.com/2017/07/15/jimi-hendrix-you-never-told-me-he-was-that-good/

from All of Beer https://allofbeer.wordpress.com/2017/07/15/jimi-hendrix-you-never-told-me-he-was-that-good/

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World Series official With 61- and 37-Across, famous line by 53-Across in [see circled letters] With 51-Down, late, beloved actress When Polonius says 'Brevity is the soul of wit' Tusked beast Turnoff for drivers Tree-lined walkway, in France The 'E' in HOMES Tennis champ Agassi Swoon Swindles Squeak stopper Speak with a gravelly voice So far, informally Sign of things to come See 2-Down See 18-Across See 18-Across Renaissance Faire instrument Reference in 'Treasure Island' Real head-turners? Rae Sremmurd, e.g Puppy sounds Place where trials are conducted Online crafts seller Nubian heroine of opera Not deceived by Nosedive Non's opposite Mont Blanc, e.g., to locals Modern lead-in to space or security Michelangelo masterpiece Merit badge displayer Makeup of the planet Hoth Make slo-o-o-ow progress Like old, neglected sweaters, maybe Knock 'em dead Kind of threat Is victorious in Influence In fine ___ (healthy) Iconic role for 2-/51-Down Hitting blackjack after blackjack, say Hell-bent (on) Heeds Having four sharps Hairstyle for 53-Across, colloquially Formerly named Figure on an Aussie Xing sign, perhaps Family member who was probably adopted Essential point Entitled sorts? Drag Deviate during flight, as a rocket Deal with a broken teleprompter, say Cripple Country singer Judd Concealed mike Coffee container Chant after a fútbol goal Certain marketing gimmicks British derrière Brand of artificial fat Beer barrel Amy Adams's 'Man of Steel' role Ambience Alan who played Captain Pierce Agree to a proposal Agonizes (over) A few '___ late!' '___ a trap!' 'What have we here?!' 'Same here!' 'Harrumph!' 'Doctor Faustus' novelist Thomas - See more at: http://crosswordssolver.net/clue/New-York-Times-Crossword-Answers—Jan-17-2017#sthash.5SfJNoYV.dpuf

___ Minor (Polaris setting) World's longest river Without charge Winter Olympian Winning hand, and a hint to the puzzle theme Williams of 'Game of Thrones' Wax-coated cheese Two-time role for Jim Carrey Ticklish Muppet Tap Take home Take advantage of Supporting vote Source Snake-haired monsters of myth Small bills Skilled in Skating sites Singer DiFranco Salad bar item RuPaul, notably River through Florence Pressing need? President before Hayes Poker ploy Pleasant Place to get pampered Pile Ocean off Calif Not barefoot Musical sound Movie beast billed as 'the Eighth Wonder of the World' Mother who was sainted in 2016 Monsoon weather Miles away McGregor of 'Moulin Rouge!' Malleable metal Mah-jongg piece Lip curls Like cigars and enchiladas Like an old cuss Lamb's mother Knotted mass Headache helper Halliwell also known as Ginger Spice Glacier National Park locale Generous General Bradley Fraternity letters Former Yankees slugger, familiarly Fast-running bird Fashion designer Michael Farrow of 'Rosemary's Baby' Even so Drink cooler Deteriorate Danny of 'Moonstruck' Cut, as hay Countless Coffee dispensers Chamber group Busy hosp. areas Bullring cry Bullring beast British flag Bread for a Reuben Bloomingdale's rival Bicycle type Bearded antelope Bauxite and magnetite Banned insecticide Asian entertainer Army address Archipelago unit 'Yo!' 'Scarface' star 'Oh, got it!' 'Maple Leaf Rag' composer - See more at: http://crosswordssolver.net/clue/Wall-Street-Journal-Crossword-Answers—Jan-17-2017—Good-Deal#sthash.4y4sGb49.dpuf

Words on a box of dishes, maybe Word after black or photo West Virginia resource URL suffix for AA or AARP Triumphs over Trade verbal jabs Tex-Mex snacks Ten C-notes Tabloid twosomes St. Louis landmark Sporty auto, for short Spock, in part Sell, as an automat does Score before ad in Ready to serve Rash symptom Rail rider Put on hold Princess Fiona, for one Picnic contest, perhaps Parkinson's treatment Paleontologist's find Origami bird Off one's rocker O, on a greeting card Norman who created the Bunkers Minnesota state bird Merchant's supply Memory unit Luau greeting Like some family history Like Mayberry Like die-hard fans Level or bevel Leprechaun land, in poetry Kitchen allure Kept back Jury member, in theory Judgment slip-up Jawbone source, in the Bible Jagger and McCartney, for two It's on the house Inherited item In a funk Honor ___ thieves Henry VIII's house Hefty volume Heart chamber Hard to rattle Goes to seed Gathering clouds, to some Fraternal fellows Flipped item Fifth-century sacker of Rome Fairy tale starter Destinations of some errant drives Deejay's smooth transition Dark ___ (Hogwarts subject) Cruiser driver Cross to bear Come-on Cat calls Carbon monoxide's lack Calculus pioneer Leonhard Brief time, briefly Baskin-Robbins implement Barley brew Bake sale sponsor (Abbr.) Arabian Peninsula sultanate Any of the Dionne quints Aerie babies ABM part 44-Down, e.g 41-Across multitude 1933 Erskine Caldwell novel 1-Down et al 'Sully,' for one 'Frozen' snowman - See more at: http://daily-crossword.com/clue/USA-Today-Crossword-Answers—Jan-17-2017#sthash.J15TgIzV.dpuf

'Come again?' sounds

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__ monster (Arizona lizard) __ Major (Big Dipper locale) When planes should leave: Abbr Vote in Vocal inflections Veggies in minestrone Urgent Unruly kid Unable to move Traffic tie-up Tango or waltz Talks and talks Takes advantage of Take to court Swelled heads Squeaking rodents Spherical hairdo South Pole's region Small citrus fruits Singing star Lady __ Side order with eggs Short golf stroke Second-year student School attendee Sandwich fish San Francisco baseballers Sacred music genre Remove chalk from Read electronically Ram of the zodiac Racing bikes Postpones Players who are paid Pellet shooter Pay-__-view movie Pacific or Atlantic Overwhelmingly Offer for purchase Movie excerpt More elegant Loch __ monster Likes a lot Less common Laundry appliance Japanese money Japan's continent Informal talk Huff and puff Hoofbeat sound Honey source Greek liqueur Great poker cards Get a glimpse of G sharp alias Furniture to sleep on Football arbiters Fly high Entice Ensnare Embarrass Drop __ (visit briefly) Copper-coated coin Competent Classroom furniture Charged towards Breakfast potatoes Block, as a river Billionaires' boats Barnyard cacklers Baking appliance Backbone Atmospheric layer All over again A Great Lake ''That's too bad'' ''Taps'' instruments ''Once __ a time . . .'' ''Hurry up!'' - See more at: http://daily-crossword.com/clue/Newsday.com-Crossword-Answers---Jan-17-2017#sthash.wEoUkjOP.dpuf

___ choice Words that encourage people to do as they're told With a traveling band Wind down Washed Ward off Varsity QB, to some Trojan War hero They smell in a pigsty Taking care of business Swindle Stinger Sounds of disapproval Snapped out of it Small diamond, perhaps Served up a whopper Sean Connery, for one Really bad coffee Raggedy doll Pulled tight Proctor's call POTUS appointee Participates at a certain kind of meet One who gets everything Muscle quality Most intense Middle of London? Man of La Mancha

'Hannah and __ Sisters': Woody Allen film 'Come again?' sounds

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