jimi hendrix research paper

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• The Life and Influence of Jimi Hendrix

The Life and Influence of Jimi Hendrix - Research Paper Example

• Subject: People
• Type: Research Paper
• Level: College
• Pages: 6 (1500 words)
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• Author: bergefranz

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The sixties cultural movement, the nature and evolution of the blues, steve ray vaughan, the history of protest music in the us, how ideas about the body have become an important part of contemporary culture and society, the ideas of fashion within the cultural and social influences, important trends in popular music emerged in the early 1960s, rock and roll influences 1950 - present.

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The Racialization of Jimi Hendrix

The period of history immediately following World War Two was a time of intense social change. The end of colonialism, the internal struggles of newly emerging independent nations in Africa, social and political changes across Europe, armed conflict in Southeast Asia, and the civil rights movement in America were just a few. Although many of the above conflicts have been in the making for quite some time, they seemed to unite to form a socio-political cultural revolution known as the 60s, the effects of which continues to this day.

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This essay shows how Jimi Hendrix's experiments with fuzz anticipated notyet-audible sonic worlds and evinced Blackness in sound. Focusing on the American guitarist's debut album, Are You Experienced (1967), I describe fuzz as an entryway into the politico-theatrical scene of Black sociality. My analysis pivots on two axes: edgework and excess. I argue that Hendrix's pursuit of new sonic territory, as well as the mathematical-electrical engineering that brought such sounds into being, can be read as an aesthetic practice of edgework, but also that the resulting music-which early reviewers described as "hellish," "freaky," "unimaginable," and "manic"-acts as a sign of fuzz's unruly excess. Across my analysis, I am in conversation with Matthew Morrison's theory of "Blacksound," which shows how US popular music attempts to essentialize and delimit Black performativity. If Hendrix's fuzz tone is audible as an enactment of fugitivity born from a tradition of radical Black aesthetics, I argue, then its unruly and anarchistic ethos refutes racial essentialism, insisting on agency, beauty, and life in the face of social death. Through this intervention, I develop a theory of "rehearsal" as a future-oriented Black performance sensibility that creates the conditions in which living otherwise becomes imaginable and achievable.

The Sixties: A Journal of History, Politics and Culture

This article examines the role of Jimi Hendrix in the late 1960s as a vessel of the Black Atlantic, what Paul Gilroy describes as the counterculture to modernity. Placed against the backdrop of The Dick Cavett Show, a newly created talk show in 1969 hosted by the white liberal Dick Cavett, this article explores the dialogue between host and guitarist in an attempt to trace the longue durée assumptions and ideological patterns of modernity and its late 1960s repercussions at the end of the American Civil Rights movement. Using the theories of Gilroy, James Baldwin, Raymond Williams, and Jacques Attali, I outline how the two visits of Hendrix on The Dick Cavett Show were analogous to larger patterns coursing through American society as popular institutions such as television and film formed important bulwarks against not only the countercultural ideas of the 1960s, but the more radical sets of ideas that increasingly took aim at the institutional nature of US racial capitalism and modernity itself. While The Dick Cavett Show embodied the assimilation of aspects of cultural radicalism, the show also offered lessons on how institutions such as television used cultural radicalism as both a point of sale and a reflective other in rehabilitating the frayed edges of American truth-constructing processes. As a guest, Hendrix often provided answers to Cavett’s questions which frequently opened doors to implicitly anti-systemic – or anti-modern – discussions. As a host, Cavett’s reactions can be read as parrying these blows, using comedy and his persona as a Midwestern straight white man as the blunting instrument.

Drawing on Halbwach's notion of collective memory the paper reassess some of the key turning points in Hendrix's legacy. Highlighting the contingent nature of Hendrix's rise to fame through to its peak in 1968, the paper illustrates how, despite the fact that Hendrix continued to grow as a musician, from 1969 onwards his business and personal affairs were increasingly in disarray. In fact he was telling Rolling Stone in May of that year, that he needed to take a year off ("Hendrix's One Year Retirement Plan"). Secondly, I show that Hendrix's Woodstock performance did not represent the high point of the festival either artistically or in terms of crowd numbers, and that rather than being regarded as iconic at the time, Hendrix's rendering of the anthem was regarded as controversial by his opponents and as a theatrical display of music virtuosity by his supporters. I also demonstrate how Hendrix's flirtation with the American anthem represented part of a wider cultural phenomenon at the time.

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This chapter argues that contrary to conventional wisdom and the views of many scholars and critics, rock and roll’s most important rhythmic elements are derived from a complex blend of African, American, and European musical traditions. There is therefore no objective support for racialized characterizations of the “beat ” that often serve, however unintentionally, to perpetuate stereotypes in discussions of both the genre and American popular music more broadly. You take a white right hand, and a black left hand, and what do you got? Son, you got rock and roll. —Sam Phillips (purportedly) The mysteries of black and white in American music are just not that simple. —Greil Marcus Tracking the origins of rock and roll is as difficult as identifying the headwaters of a large river. As Robert Palmer observed, “It would

Jimi Hendrix’s 18 August 1969 performance of “The Star-Spangled Banner” at the Woodstock Music and Art Fair has been characterized as an expression of transcendent political resistance as well as crude anti-U.S. drivel. Drawing on Hendrix’s own archive of recordings, writings, interviews, stage banter, and especially live performances, this article analyzes Hendrix’s artistic engagement with the United States national anthem by locating his Woodstock Banner as a central moment in a two-year fascination with the song, brought to a close only by Hendrix’s untimely death. It presents the anthem as an artistic vehicle for Hendrix’s political musings, a thoughtful engagement with current events, and as commentary responsive to Hendrix’s immediate environment and expressive of his aspirations for the nation of his birth. Insights offered here include the roots of Hendrix’s Banner performances as ornaments to the Civil War eulogy “Taps,” the plural construction of the Hendrix Banner and an account of the aesthetic development of his anthem arrangement, the value of his recorded stage banter for understanding Hendrix’s Banner politics, the impact of the film Woodstock on Hendrix’s renditions, and the use of the Banner during Hendrix’s final 1970 “The Cry of Love Tour” as part of a closing anti-war set and call to action for the psychedelic citizen.

Tom Liszewski has been part of this project since the early inception of this idea, almost 30 years now, and I am thankful for your friendship and steady support through all of the ups and downs of my research process, and for setting me on the path to Memphis at just the right time. Thanks to my editor Dr Katherine Harris for getting my manuscripts back on the right path. Thanks to my student assistant Stephany Weller for finding and fixing my erroneous references. And a special thanks to my library colleague Stacy Anderson who, as usual, was there at the beginning and at the end of my project. Thanks to my two amazing children, Naomi and Jake, who put up with my seemingly endless projects and to my incredible wife Helen for all her sacrifices and patience with my research over the years. Time to celebrate. Thanks to the vast pantheon of known and unknown blues artists, many lost to history, having contributed so much to our culture and yet somehow, not getting proper recognition, just compensation, sometimes not even headstones for their final resting place, living and dying impoverished while creating incredible wealth for other blues rockers And finally I'd like to dedicate this project to my late brother-in-law Dr Paul Nonnekes, the consummate sociologist, for his role in helping me initiate this effort, for his past encouragement, and for his enduring inspiration to those who knew him.

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