Inkwell: Authors and Artists
Lisa Harris (lrph) Sun 11 Nov 07 15:12
I am pleased to introduce our next guest, Steven Roby, author of "Black Gold: The Lost Archives of Jimi Hendrix." Steven previously worked for the family of Jimi Hendrix and was editor and publisher of the international Hendrix fanzine, Straight Ahead, from 1989 to 1996. In 1996 he went to work for Experience Hendrix, LLC, as editor of their fan magazine and contributor of their website. His articles and interviews have appeared in numerous magazines, and Roby has produced annual radio tributes to Hendrix including the national syndicated show NBC's Source network. He has also promoted and produced several tribute concerts. In 1995, The Jimi Hendrix Electric Guitar Festival brought together all of the original band members together on stage for an amazing three-hour performance. In 2002, his first book was published, "Black Gold: The Lost Archives of Jimi Hendrix" (Billboard Books). He has since lectured on Hendrix at three universities, and teaches a college course on the life and music of Jimi Hendrix. Steven will be hosting a Hendrix 65th Birthday Bash at Book Passage (Corte Madera) on November 27, 2007. Joining Steven is Scott MacFarlane. Scott lives in Western Washington and is the author of "The Hippie Narrative: A Literary Perspective on the Counterculture." (Inkwell Interview <http://tinyurl.com/2e4tog> for off- site readers, <inkwell.vue.296> if you're logged in). When he was 14 years old, Scott saw Jimi's last concert in Seattle at Sicks Stadium, less than two months before Jimi died. He shares Jimi's birthday of November 27, grew up in the same city and is mostly left-handed. Being white and musically-challenged, any comparison ends there. Favorite Hendrix album is Axis: Bold as Love. Favorite Jimi song: "Little Wing."
Steven Roby (jimijames) Sun 11 Nov 07 16:39
Greetings! One of the questions I'm often asked in interviews is - what do you think Hendrix would be doing today? Other than attending the birthday bash I'm hosting in a few weeks (shameless plug), I think he would have followed in similar footsteps as his peers -- Eric Clapton and Carlos Santana. We would have seen a jazz collaboration with Miles Davis, probably "On The Corner," a blues duet album with Johnny Winter and Buddy Guy, and no doubt Disco would have ended a whole lot sooner or never reared its ugly cocaine-fueled head. I also imagine Jimi would have his children (James and Tamika) in the music business with careers of their own.
Scott MacFarlane (s-macfarlane) Sun 11 Nov 07 21:37
Welcome, Steven! Here's an interesting account of Jimi's two children including a photo of a grown, James Daniel Sundqvist, Jimi's half-Swedish son: http://members.tripod.com/~Wallyrus/JimisKids.html
Scott MacFarlane (s-macfarlane) Mon 12 Nov 07 09:05
Steve, Black Gold has a fascinating structure as a book. You move through Jimi's story by tracking the history of his recordings, mainly. Can you tell us if this was by design? Were you intending to create a narrative of Hendrix's life as well as a scholarly means for musicologists to track the artistic development of this innovative and iconic figure?
Lisa Harris (lrph) Wed 14 Nov 07 04:39
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Steven Roby (jimijames) Wed 14 Nov 07 08:44
Scott, The main focus of the book is to show what a creative genius Hendrix was. Many other biographies have zeroed in on drugs, groupies, and the financial nightmares that are present in his afterlife - the numerous court cases that continue today. Many don't realize that Jimi could not read or write music. As a result, he had to convey his song structures on tape or paper -- any scrape of paper. Since his death in 1970, music historians, such as myself, have discovered a different side of Hendrix. Sure the guy carried his guitar with him everywhere he went, but he needed capture all that imagination in his head. He had a decent tape recorder that he bootleged his own jams with. He'd also compose beautiful songs and even suites, often giving them away as a "thank you" to fans and friends. One of these songs, a 23 minute suite of music called "Scorpio Woman," was given to Melinda Merryweather. Melinda became good friends with Jimi over a two week period while he was staying on Maui in 1970. Jimi recorded it with an electric guitar and a small amp in his rented apartment. She held on to it for 27 years before selling to Hendrix's estate. You can now purchase it on a CD called "Morning Symphony ideas." I'm not sure if I created "Black Gold's" structure by design, but it has helped in the college course I now teach on Jimi's life and music. Critics have written off Jimi as a "one hit wonder" or that wild man who burned his guitar. But if you look a little closer, especially if you explore his R&B roots, the man was more complex. There was talk of sending him to a famous school of music in New York prior to his death so he could take his talents further. Can you imagine what music would sound like today?
Mark McDonough (mcdee) Wed 14 Nov 07 09:20
Yup. Of all the people who died before their time in that period, and there were far too many, Hendrix is really the one who makes me wonder what he could have produced if only... I enjoy the surface flash, and it's certainly rooted in his R&B background (which I'd love to know more about), but the only part of "one hit wonder" that's accurate is the last word.
Scott MacFarlane (s-macfarlane) Wed 14 Nov 07 10:52
Nicely put, Mark. Hendrix was quite a phenomenon on many fronts, and I think that "Black Gold", by focusing foremost on the musical recordingsboth found and still lostallows us closer to the essence of the man. Steve, this approach really worked well for me. You've chosen as part of your life work to keep the spirit of Jimi Hendrix alive, to create a larger sense of who this man was as a person and as a musician. Can you give us some more insight into your own motivation for focusing all these years on Hendrix in this way, starting a respected fanzine, and working for Experience Hendrix, LLC? In other words, you've establishing yourself as a consummate "Jimiphile" (my word). How did you get here?
Steven Roby (jimijames) Wed 14 Nov 07 10:57
Jimi's singles charted, but only in certain locations. "All Along The Watchtower" (in the US) was his only Billboard Top 40 hit. In San Francisco, "Purple Haze" reached #5 shortly after Monterey Pop -- playing a week at Fillmore West may have helped too. Prior to the Experience, and something I didn't know until I began research for the book, was that Jimi plays on Don Covay's hit "Have Mercy" - the Stones even covered it. I had my suspicions that Jimi was on it (listen to that Curtis Mayfield style opening riff), but it wasn't until I could confirm it with Don Covay that I could be certain. During this R&B period, Jimi also played with Jayne Mansfield, the b-movie actress who decided to make records (bad career move). This was another hard one to track down, but I did find the producer who said Jimi plays bass and guitar for the session. The song's called "Suey," and it has some really lyrics -- "It make my knees freeze, It makes my liver quiver." The melody is total bump-n-grind.
Scott MacFarlane (s-macfarlane) Wed 14 Nov 07 11:03
<<a 23 minute suite of music called "Scorpio Woman," was given to Melinda Merryweather. Melinda became good friends with Jimi over a two week period while he was staying on Maui in 1970.>> As for other never released archival works, you also named your book, "Black Gold," after an unpublished rock opera that Jimi was working on at the time of his death. Jimi's work suffered posthumously from a slate of substandard recordings full of poor audio quality and musician overdubbings that probably had Jimi rolling over in his grave. Yet, the thought of this unfinished rock opera is especially intriguing. Do you know of any talk, or interest in either having those songs released, or,if they are too unpolished, of allowing some other rock group to take the core of the "Black Gold" rock opera and finish what Jimi started?
Steven Roby (jimijames) Wed 14 Nov 07 11:18
Scott, They're not "too unpolished" for me, but maybe for the regular record buying public. They may show up one day on the official bootleg label "Dagger Records." "Black Gold" is a sci-fi autobographical rock opera that Jimi wanted to animate. In regards to your other question: It's all about respect and setting the record straight. In the early 1970s, I bought into a lot of the hype and misinformation... for example how he died, where he played, and that there was very little left to release. Some of that still continues today. After hours of sifting through collector's tape (and all the trading that goes with that), and cross referencing information with other world-wide collectors, did a chronological concert and studio log surface. Please keep in mind that this was years before the Internet and home computers. When I started my fanzine, Straight Ahead, I started conducting interviews and further verified dates etc. This still continues. Just a few weeks ago I interviewed a lady that was with Jimi at party he was at just hours before his death. Something keeps telling me to continue. If you'd like to read more about my past, please go to my website: http://www.steveroby.com/ You can see photos of some of the people I've interviewed, an amazing tribute concert I helped put together in 1995, and what I looked like in 1967 - check out the fringe vest, man.
Ed Ward (captward) Wed 14 Nov 07 12:05
Hendrix played on several Covay sessions, if I remember right, and also contributed some really deep guitar to one of Little Richard's best records "I Don't Know What You've Got (But It's Got Me)," which Covay wrote and (my ears say) sings harmony vocal on.
Scott MacFarlane (s-macfarlane) Wed 14 Nov 07 12:19
You've put together a great website, Steve. As for digging deeper into the essence of Jimi Hendrix, "Black Gold" does a fine job of chronicling the many anecdotes, quotes from friends and fellow musicians, and the phases of Jimi's life from growing up in Seattle, following the "Chitlin" curcuit, the Greenwich Village scene in 1966 and hitting it big in London, and then in the States. A few years ago I did a good deal of probing into the life of Jimi Hendrix for a fiction project I was researching. In many ways, I found Jimi to be a highly paradoxical person. Most people think of the flamboyant performer at the height of the psychedelic rock movement, lighting his guitar on fire, playing with his teeth or behind his head. At the same time, repeatedly in your book, you quote several people such as Billy Preston saying that "he was a very introverted kind of person, but a very sweet guy"; or, Judy Roderick, a folk singer from the Village describing Jimi as shy and withdrawn. Another time he's very overtly seducing one of the many girlfriends he would have during his short life. Then, in other places, you quote Jimi talking enthusiastically about his future music projects where he uses rich, excited, phantasmagorical language. You mentioned Jimi's two weeks on Maui a few weeks before he died. For me, there were a few scenes from the movie, "Rainbow Bridge", that gave me a sense of this complete person. Jimi was, indeed, a fascinating contradiction of all these ways he was described. One consistent thread, the primary driver in his life, though, came from Carlos Santana who, in "Black Gold" said that: "Jimi had a ferocious appetite to explore new music." When you began to seriously explore this man's life and music, was there ever a moment, or realization, or awareness for you, Steve, when you had captured a full sense of this complex man, Jimi Hendrix?
Steven Roby (jimijames) Thu 15 Nov 07 11:56
Very Good Ed. There was a brief opportunity for Little Richard and Jimi to perform in 1970, but it never happened. Take a peek a the Nightrain TV show from 1965 on You Tube. Little Richard's band (minus Little Richard) perform "Shotgun" - Jr. Walker hit. Jimi will be on the left behind the singers Buddy and Stacy. Jimi fans his guitar and plays it with his elbow. My ears also hear him a little louder than the other guitar player. Scott: Good observations, and I'd love to hear about your fictional project as I'm working on as well. Rainbow Bridge: From the people I interviewed this seemed liked the happiest two weeks in Jimi's. He loved the weather, the people, and considered coming back to Maui to grow grapes. What I found unusual was Chuck Wein's comments that Jimi was so frustrated will all the conflicts in the world that he suggested a three-way suicide with Chuck, a lady friend named Pat Hartley, and himself. There's a section in "Black Gold" where I talk about the spoken word version of a song in progress called "Roomful of Mirrors." I think Jimi suffered numerous nervous breakdowns; stress from touring and management, and some may have been have been brought on by using different combinations of drugs. My point is that I feel he was wrestling with his superstar image (king guitar/stud), and the gentle child inside that had alcoholic parents that may have never given him all the love he needed. The only way he could express his sadness and joy was through composing and performing. Yes, Carlos even said he wanted to join his band, but as Carlos said, "What would I play?" I think Jimi wanted to lay back after the disastrous 1970 European tour and do some musical explorations. Had he lived, I feel he would have found new management, his own record label, and Chas Chandler would have returned as his producer.
Steven Roby (jimijames) Thu 15 Nov 07 11:59
Regarding Jimi's children (post #2): He had two a daughter Tamika, and a son named James. It's a shame he never saw them. I think Jimi would have been a great father. Who knows, maybe Tamika and James would be performing now.
Scott MacFarlane (s-macfarlane) Thu 15 Nov 07 12:27
One of the most fascinating things about Jimi concerns the way he walked a fine line as a black American in the charged civil rights era, but also managed to largely transcend racial barriers by succeeding as a superstar in a predominantly white market of hard rock music. "Black Gold" does a fine job of chronicling the stages of Jimi's development, but I'd like to ask you a couple or three questions about his upbringing in Seattle. For a major city, Seattle in the 50s and 60s had one of the smallest concentrations of blacks. Prior to desegregation, Jimi went to Garfield High School, which served Seattle's Central District, which was the closest Seattle had to what was then called a ghetto. At the same time, Garfield served the wealthy white neighborhoods along Lake Washington (where Kurt Cobain later lived and committed suicide). I once met a white man who had gone to H.S. with Jimi and remembered how friendly Jimi was and how easy it was to hang out with him. Jimi obviously had this fluid ability to live and work in the black R&B scene, but then, rather easily, adapt to the psychedelic rock scene when that opportunity presented it. Do you think his upbringing in a less racially-charged environment of Seattle, helped Jimi be more chameleon-like with regards to his career?
Scott MacFarlane (s-macfarlane) Thu 15 Nov 07 12:42
The song "Spanish Castle Magic" on Jimi's Axis:Bold as Love LP was inspired by a rock n' roll nightclub between Seattle and Tacoma that catered to teens. Author Keith Abbott (originally of Tacoma) wrote a great short story called "Spanish Castle" that describes the mostly white greaser/gang teen scene there. The Spanish Castle was significant to Jimi because it was one of the few venues where a 16/17 year old kid could play. Abbott's story talks about a battle of the bands between The Wailers and The Coasters. In other words, Jimi, as a teen, was influenced by an eclectic array of sounds, of which Rock N Roll was very significant. He also loved traditional blues and R & B. Steve, don't you think this eclecticism that Jimi grew up with in Seattle, helps to also explain how fluidly he could explore so many types of sounds? Do you think it helps us understand how he could then adapt himself so well to the blues/rock N roll based psychedelic sound of which he played no small role in creating in the last half of the '60s?
Scott MacFarlane (s-macfarlane) Thu 15 Nov 07 13:55
Finally, on this Seattle note, it's fairly well documented that Jimi visited his family after he had hit it big. He played at the smallish Seattle Arena in 1968 and at Sicks Stadium in July, 1970. Compared to London, New York and Los Angeles, Seattle probably seemed like a frontier outpost to Jimi by the late '60s. Yet, he corresponded fairly regularly with his dad, Al. Also, I noticed in your list of songs that Jimi was working on in 1969, one of them was titled: "If Found Lost...Please Return to BodyWest Coast Seattle Boy." The title speaks both to Jimi's identity with the city in which he grew up, and to his increasing fascination with extraterrestial and paranormal themes. There is also a strong hint of homesickness attached to this title. What do you know about this song? Did you ever hear any version of it, or read the lyrics?
Street Figthing Man (carolw) Thu 15 Nov 07 14:00
>>alcoholic parents Was his father an alcoholic too?
Steven Roby (jimijames) Thu 15 Nov 07 19:19
>>Do you think his upbringing in a less racially-charged environment of Seattle, helped Jimi be more chameleon-like with regards to his career? While there was racial diversity in Seattle, I don't feel it was less racially charged than other well-known cities. Jimi had problems with schoolmates making fun of the clothing his Native American grandmother made for him ("they talk about me like a dog, they talk about the clothes I wear..." - Stone Free). He even upset a teacher for holding hands with a white girl (refer to the article in Look magazine 1969). I think Jimi had a thick skin when the press called him a "Psychedelic uncle Tom" or even the "Wild Man from Borneo." What makes Jimi and his music unique for the time was that he made rock music and mixed in his R&B roots, and it was packaged for the white kids. Interacial groups like Love focused more on a folk sound, while Sly and the Family Stone stayed with R&B. Jimi did experience pressure from the Black Panthers to become more sympathetic to their cause, and he even sided with them in a 1968 interview, but for the most part Jimi was "color blind." >>don't you think this eclecticism that Jimi grew up with in Seattle, helps to also explain how fluidly he could explore so many types of sounds? I feel his father's record collection and love of music had a lot more to do with it than growing up in Seattle. Al had a mix of R&B (e.g., Etta James) and jazz (e.g., Jimmy Smith) records that I'm sure young Jimmy strummed a broomstick to. Then of course add in some Elvis, Little Richard and Chuck Berry (from the radio) and you have a variety of influences. >>Do you think it helps us understand how he could then adapt himself so well to the blues/rock N roll based psychedelic sound of which he played no small role in creating in the last half of the'60s? Of course! Gather those early influences, add in a few years on the Chitlin' Circuit, playing with the greats like B.B. King, Cutis Mayfiled, and The Isley Brothers... flip the script with LSD, Sci-Fi, and an enormous imagination and that's the basis for Hendrix's sound. >>What do you know about this song ("West Coast Seattle Boy"? Did you ever hear any version of it, or read the lyrics? Part of it appears in the "Black Gold" suite. I'm not sure if there's homesickness attached to it. Jimi was ready to leave Seattle, and that's evident in the song "Hear My Train A Comin'" I didn't love that town Had to leave that town Go out on the road, become a magic boy Gonna come back and buy that town Put it all in my shoe Jimi dropped out of high school, hung out with the wrong crowd, and was arrested. Seattle held a lot bad memories. Even when he went back to Garfield High School in 1968 to address the students, he didn't take it seriously. It's a shame Seattle hasn't done more to recognize him. There's that embarrassing hot rock exhibit in the zoo, and a statue of him playing guitar (on his knees) on a street corner. I do like the exhibit at EMP, but that's been pulled for a few years to preserve it. >> Was his father an alcoholic too? Watch the documentary "Jimi Hendrix: The Uncut Story." Leon, Jimi's brother, talks about some rough times growing up.
Steven Roby (jimijames) Thu 15 Nov 07 20:02
There a few references Jimi makes to his rough childhood in songs like "Castles Made of Sand": Down the street you can hear her scream you're a disgrace As she slams the door in his drunken face And now he stands outside And all the neighbors start to gossip and drool Then there's "51st Anniversary" And a thousand kids run around hungry Cause their mama's a louse Daddy's down at the whiskey house Jimi's mother also had another brother and sister that were given up for adoption. For thirty years they've been married They don't get along so good They're tired of each other, you know how that goes She got another lover Al suspected Lucille was having an affair So now you're seventeen Running around hanging out, and a havin' your fun Life for you has just begun Lucille was a teenager when she got married.
Scott MacFarlane (s-macfarlane) Thu 15 Nov 07 20:28
<<I don't feel it was less racially charged than other well-known cities.>> Growing up white in suburban Seattle in the late Sixties and Seventies, the Central District, where Jimi grew up, was known as a place to avoid. This was because it was considered the black ghetto. Certainly, Seattle had its proportionate share of racism. But compared to Watts in LA, Newark, Detroit, Oakland,etc., Seattle had nowhere near the racial discord, or history of rioting in the Fifties an Sixties. Maybe having a black population of about 6% had something to do with this. Jimi, as a kid, by going to places like the Spanish Castle, listening to Elvis and other "white" Rock N Rollers, engaging well with the white kids at his school, showed a knack for being able to rise above some of the racial bullshit of his times. Maybe this had more to do with Jimi's personality, but had he grown up in Newark, Detroit, Watts, or Oakland, would he have been as racially transcendent as he was? It's a rhetorical question, of course. <<It's a shame Seattle hasn't done more to recognize him.>> Maybe you can shed some light on this, Steve. Paul Allen, a big Hendrix fan from his teen years in Seattle and co-founder of Microsoft, had a vision of building a world-class museum dedicated to the memory of Jimi Hendrix. You worked for the heirs of the Hendrix estate with Experience Hendrix, LLC. Apparently, there was a major falling out between Paul Allen and Al Hendrix during the developmental phase of the Seattle Hendrix Museum. Consequently, Allen shifted gears and donated more than $250,000,000.00 for the construction of the Experience Music Project (EMP) at the base of Seattle's most notable monument, the Space Needle. Despite the falling out, Jimi Hendrix remained a strong focal point of this museum. EMP also features many other Northwest musicians and rock groups, including those in Seattle's later Grunge scene. My sense is that the people of Seattle are very proud of Hendrix and the other rock groups from the city. A few years ago I went to the Greenwood Cemetery in Renton (south of Seattle) to visit Jimi's gravesite. He was buried next to his relatives under an inauspicious paver. To one side of the Cemetery was a fundraising display erected by the family to build a more prominent burial site. It struck me as odd that the heirs of the considerable Hendrix estate were asking for outside money for a shrine to Jimi. I actually liked Jimi's modest burial site and the fact that some fans would leave incense and cool mementos on his paver. Also, throughout Seattle there are several cool Hendrix statues. I guess I don't know what more you would expect that the people of Seattle should do? Does Liverpool have a quarter-billion dollar museum for the Beatles? Where's San Francisco's world-class museum for Psychedelic Rock? I would love to learn more about why there was a falling out between the Hendrix family and Paul Allen that diminished the greater exposure and legacy that Hendrix would have had in Seattle.
John Ross (johnross) Thu 15 Nov 07 21:36
The entire history of the Experience Music Project (the Paul Allen Museum) is full of stories of people driven away by the way the place has been managed. Much of it comes down to the fact that Allen is in control, and what he wants, he gets, even if the professional staff don't think it's in the museum's best interest. A personal example: There's a stack of about 60 tapes from 1970s Seattle concerts and live radio gigs in my garage. I offerred to donate it to EMP, and deliver it to their loading dock. After four months, they told me they couldn't accept them, because they need the space in their vault to hold Paul Allen's art collection. New question: Steven, did you have any contact with the former Sandy Fisher, who was a studio engineer at Ladyland? He was an early role model (more or less) of mine.
Scott MacFarlane (s-macfarlane) Thu 15 Nov 07 22:13
<< Interacial groups like Love focused more on a folk sound, while Sly and the Family Stone stayed with R&B. Jimi did experience pressure from the Black Panthers>> Motown had crossover artists, but Arthur Lee of Love and Sylvester "Sly Stone" Stewart represent, along with Hendrix, three highly talented black American musicians who best embraced the psychedelic rock of the '60s in its many permutations. In "Black Gold" you mention Jimi, near the end, talking with Arthur Lee about cutting an album together. You also mention that he did share a concert with Sly and the Family Stone. Do you know if Jimi and Sly had much interaction?
Scott MacFarlane (s-macfarlane) Thu 15 Nov 07 22:17
As for the Black Panthers, I read where Jimi's family chose to have a memorial service for Jimi in Seattle instead of a big wake for him in NYC. The reason given was that the Hendrix family was afraid that the Black Panthers would distrupt such a musical gathering. Do you know anything about this scenario?
Steven Roby (jimijames) Fri 16 Nov 07 10:16
>>I would love to learn more about why there was a falling out between the Hendrix family and Paul Allen that diminished the greater exposure and legacy that Hendrix would have had in Seattle. I covered this topic extensively in my fanzine with an article called "S'cuse Me While I Sue This Guy." It's my understanding that after Al Hendrix was told by a family member that Jimi's rights were being sold to overseas investors, Paul Allen stepped in with a generous loan of $5 million to help get the legal case started. (At the time, Mr. Hendrix was only receiving a $50,000 year annuity - that's it!). As the case proceeded, Paul Allen expressed his interest to build an exclusive all-Jimi Hendrix museum. (Mr. Allen scooped up most of the major Hendrix items that were being auctioned in the early '90s.) When the Hendrix family discovered that Mr. Allen wanted to sell his own Hendrix brand of t-shirts, mugs, etc. (in the gift shop), the $5 mil. gift became a loan. I believe now that the "misunderstanding" is over, and Janie Hendrix is now working with EMP helping to provide artifacts to the exhibit, and granting certain rights. >> He (Jimi) was buried next to his relatives under an inauspicious paver. To one side of the Cemetery was a fundraising display erected by the family to build a more prominent burial site. It struck me as odd that the heirs of the considerable Hendrix estate were asking for outside money for a shrine to Jimi. I actually liked Jimi's modest burial site... Me too! Years before the shrine, I interviewed a person in charge at Greenwood Cemetery, and he told me that "fans" would often steal flowers from other graves and put them on Jimi's. People would get high, leave a mess, and trample other sites. The cost was always passed onto the Hendrix family. It was suggested that a new burial structure be constructed for Jimi. From what I've read, I guess several things went wrong. There was a plan to sell engraved nameplates at the new site, and even dirt (to cover costs)- Jon Stewart did quite a parody on The Daily Show. Jimi's body was secretly exhumed and relocated to the new location, without telling Leon Hendrix. Leon said he later discovered he was praying to an empty grave. I believe Leon recently had a private ceremony for he and Jimi's mother Lucille -- she previously had a private unmarked grave away from Jimi's. >> I guess I don't know what more you would expect that the people of Seattle should do? I don't know, and that's not for me to decide. I imagine many people still believe Jimi was a drug addict and loop him in with Janis' overdose. So, that prohibits many projects from ever getting off the ground. >>Does Liverpool have a quarter-billion dollar museum for the Beatles? No. They don't need one. Where's San Francisco's world-class museum for Psychedelic Rock? It's coming. The Grateful Dead are working on one, and I believe there's also something similar in the works with another investor. There's also Jerry Garcia amphitheater, and they're working on changing a section of Golden Gate Park to Chet Helms Meadows.
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