Hal Hendrix

Hal Hendrix

Harold (Hal) Hendrix is ​​gebore in 1922. Hy is opgelei aan die Rockhurst -universiteit voordat hy by hom aangesluit het Die Kansas City Star in 1944. Aanvanklik 'n plaaslike nuusverslaggewer, het hy uiteindelik Latyns -Amerika behandel.

In 1957 is hy gewerf deur Die Miami News. Hy spesialiseer in Latyns -Amerikaanse aangeleenthede. Die skrywers van Deadly Secrets: The CIA-Mafia War against Castro and the Assassination of JFK (1992) berig dat 'n voormalige JM/WAVE -agent onthou: ''n Papier soos die Miami Herald sou een of twee verslaggewers met die jurisdiksie vir Kuba beskik, en ons sou hulle toegang tot die stasie gee. Ons gee hulle dus inligting en gee hulle 'n loopbaan uit die uitdeelstukke. Die ouens leer om jou nie seer te maak nie. Soms gee jy hulle 'n groot leuen, en dan net om 'n goeie rede. Die koerant was altyd bereid om dinge vir ons stil te hou. ”

Ander joernaliste het Hendrix die 'Spook' genoem omdat hulle vermoed het dat hy inligting van die Central Intelligence Agency ontvang het. 'N Paar jaar later het die Senaat se subkomitee oor multinasionale korporasies ontdek dat Hendrix in die laat 1950's en vroeë 1960's deur die CIA gebruik is om' swart propaganda 'teen Fidel Castro te skryf.

In Oktober 1962 berig Hendrix oor die Kubaanse missielkrisis. Volgens William Pawley is Hendrix inligting gevoer deur Ted Shackley, die CIA -hoof in Miami (aangehaal deur David Corn in sy boek, Blond Ghost: Ted Shackley en die CIA se kruistogte). Gevolglik het Hendrix 'n aantal artikels oor die aanwesigheid van Sowjet -missiele in Kuba geskryf. Die jaar daarna is hy toegeken aan die Pulitzer -prys vir joernalistiek as gevolg van sy verslae oor Kuba.

Henry Luce en Clare Booth Luce was sterk teenstanders van Fidel Castro en sy revolusionêre regering in Kuba. Hulle het kragte saamgesnoer met Hal Hendrix, Paul Bethel, William Pawley, Virginia Prewett, Dickey Chapelle, Edward Teller, Arleigh Burke, Dickey Chapelle, Leo Cherne, Ernest Cuneo, Sidney Hook, Hans Morgenthau en Frank Tannenbaum om die Burgerkomitee in Free Cuba te vorm. (CCFC). Op 25 Maart 1963 het die CCFC 'n verklaring uitgereik: "Die komitee is onpartydig. Hy is van mening dat Kuba 'n kwessie is wat partyverskille te bowe gaan, en dat die oplossing daarvan die soort nasionale eenheid vereis wat ons altyd geopenbaar het op 'n oomblik van groot krisis. Hierdie oortuiging word weerspieël in die breë en verteenwoordigende lidmaatskap van die komitee. "

In September 1963 het Hendrix as 'n Latyns-Amerikaanse spesialis by Scripps-Howard News Service aangesluit. In plaas daarvan om na Washington te verhuis, het hy in Miami gebly "waar sy kontakte was". In 'n artikel op 24 September 1963 kon Hendrix die staatsgreep beskryf wat Juan Bosch, die president van die Dominikaanse Republiek, omvergewerp het. Die enigste probleem was dat die staatsgreep op 25 September plaasgevind het. Sommige joernaliste beweer dat Hendrix hierdie inligting van die CIA moes gekry het.

'N Paar uur nadat John F. Kennedy vermoor is, het Hendrix agtergrondinligting aan 'n kollega, Seth Kantor, verskaf oor Lee Harvey Oswald. Dit bevat besonderhede van sy weglating na die Sowjetunie en sy werk vir die Fair Play for Cuba -komitee. Dit verbaas Kantor omdat hy hierdie inligting gehad het voordat dit later die aand deur die Federale Buro vir Ondersoek bekend gemaak is.

Jeff Morley het egter daarop gewys dat daar 'n ander verduideliking vir hierdie verhaal is. "'N Band van die WDSU -radiodebat is die eerste keer op 22 November op NBC -televisie deur NBC -televisie uitgespeel, om 22:30. Die beskuldiging wat Hendrix oor 'n mate van binne -kennis gehad het, word dus nie bevestig nie. die inligting oor die WDSU -debat wat hy aan Kantor oorgedra het nadat hy TV gekyk het. "

In haar boek, 'N Afskeid van geregtigheid (2005) Joan Mellen voer aan dat Hal Hendrix een van 'n groep joernaliste in Miamia was wat vir die CIA gewerk het. Mellen beweer dat Don Bohning die kodenaam AMCARBON-3 gekry het. Op 8 September 2005 bespiegel Larry Hancock op die Education Forum dat terwyl Bohning AMCARBON-3 was, maar Hal Hendrix AMCARBON-1 was en Al Burt, ook 'n joernalis by die Miami Herald, was AMCARBON-2.

Hendrix verlaat die Scripps-Howard News Service in 1966 en werk by die International Telephone & Telegraph Corporation as direkteur van inter-Amerikaanse betrekkinge in Buenos Aires. Amptelik werk Hendrix in openbare betrekkinge, maar volgens Thomas Powers was hy ''n manier om 'n geheime werker vir die onderneming te wees'. Later verhuis Hendrix na die wêreldhoofkwartier van ITT in New York.

In 1970 stuur ITT Hendrix om die onderneming in Chili te verteenwoordig. Op 4 September 1970 is Salvador Allende verkies tot president van die land. Hendrix is ​​ontsteld oor hierdie ontwikkeling omdat Allende gedreig het om $ 150 miljoen se ITT -bates in Chili te nasionaliseer as hy die verkiesing wen. Dit het later geblyk dat Hendrix saam met die CIA gewerk het by die omverwerping van Allende. Sy CIA -kontak tydens die operasie in Chili was David Atlee Phillips.

Op 20 Maart 1973 lewer Hendrix getuienis voor Frank Church en sy multinasionale korporasiesubkomitee. Hy ontken dat hy ooit 'n betaalde agent van die CIA was. 'N Ondersoek deur Walter May, advokaat van die departement van justisie, het egter dokumente ontdek wat toon dat Hendrix gelieg het toe 'n onderhoud met die kerk se komitee onderneem is. Hendrix mag skuld beken dat hy onder eed gelê het (wat hom 'n boete van $ 100 en 'n opgeskorte vonnis van een maand gekos het) in ruil vir sy samewerking met die departement van justisie in die strewe na meineedsklagte teen hooggeplaaste ITT- en CIA-amptenare in die Chili maak saak.

Volgens redakteur David W. Dent, die skrywer van U.S. - Latin American Policymaking: A Reference Handbook (1995), het 'n CIA -amptenaar gesê Die New York Times in 1977 was Hendrix 'n "bate" van die agentskap. Hendrix het geantwoord dat hy bloot 'n 'normale joernalistieke verhouding' met die CIA het.

Hal Hendrix is ​​op 12 Februarie 2015 op 92 -jarige ouderdom oorlede in Vero Beach.

Sommige van die meer oneerbiedige verslaggewers in die kantoor van Washington in Scripps-Howard in Washington het na Hendrix verwys as "The Spook" vanweë die uitdeelstukke wat hy na bewering van die CIA geneem het.

'N Paar jaar later het die Senaat -subkomitee oor multinasionale korporasies inligting ontvang dat Hendrix aan die einde van die vyftigerjare en vroeë 1960's besig was met' swart propaganda 'toe Castro sy magsbasis in Kuba gestig en versterk het. Swart propaganda is 'n CIA -term vir politieke verhale, wat nie noodwendig deur die waarheid ondersteun word nie, en het 'die ander kant' seergemaak.

Miskien was Hendrix nie 'n swart propagandis nie, maar hier is 'n voorbeeld in 'n artikel wat hy, 11 November 1964, geskryf het van sy benadering. Die artikel handel oor die sukses van 'spontane' sabotasie ', wat Castro se onvermoë om die bestendige ekonomiese verbrokkeling van Kuba te hanteer, vergroot.' In die artikel haal Hendrix ongenoemde Kubaanse ontsnaptes aan wat die werk van saboteurs wat na Kuba gesmokkel word prys, maar "hulle voeg bitter by dat aansienlik meer gedoen kan word om die lewe vir Castro al hoe meer ellendig te maak as infiltrasie en raiding -partye nie deur die Britte geteister word nie. Amerikaanse owerhede. "

Dit was omstreeks 18:00, 22 November 1963, toe ek Hendrix by sy huis in Coral Gables bel, om verskoning omdat ek die oproepoproep van die polisiestasie in Dallas moes plaas. Hy het gesê dat dit geen probleem is nie, en hy berei hom voor om onmiddellik 'n reis na Latyns -Amerika te onderneem; anders sou hy self die inligting skryf wat hy op die punt was om vir my te gee.

Die inligting wat hy my gegee het, het volgens my aantekeninge betrekking op die besonderhede van Lee Harvey Oswald se verlede, veral Oswald se tydsduur in Rusland en sy latere verband met die Fair Play for Cuba -komitee in New Orleans. Hendrix het my 'n klomp kundige agtergrond gegee oor Oswald se verskyning op die New Orleans -radiostasie WDSU, die vorige Augustus. In 'n program wat deur William Kirk Stuckey gelei is, het Oswald gedebatteer oor Carlos Bringuier, 'n anti-Castro-aktivis en Kubaanse vlugteling. Op die program was Oswald skerp kritiek op die Amerikaanse onverdraagsaamheid teenoor die Castro -regering.

Die koerante in Miami was net so toegewyd soos tydens die voorbereiding van die Bay of Pigs. 'N Voormalige JM/WAVE -agent onthou:' 'n Papier soos die Miami Herald sou een of twee verslaggewers met die jurisdiksie vir Kuba beskik, en ons sou hulle toegang tot die stasie gee. Die koerant was altyd bereid om dinge vir ons stil te hou. "By die kleiner Miami Nuus die redakteur, Bill Boggs, was 'n goeie vriend van die Kennedys, en die hoof Latyns -Amerikaanse verslaggewer, Hal Hendrix, was naby aan die CIA.

In 1975 het 'n gesiene Washington -koerantkorrespondent, Seth Kantor, ontdek dat die FBI steeds 1133 onderdruk en was verbaas om te vind dat die dokument 'n rekord was van sy eie oproepe van Dallas die middag van die moord. Die joernalis het bevind dat die amptelike rede vir die omskakeling van sy oproepe in 'n staatsgeheim was dat openbare openbaarmaking 'die identiteit van vertroulike bronne van inligting kan openbaar'. van die middag, wat hy gehou het. Uiteindelik het hy die dokument gekry wat blykbaar die minder bewonderende inligting bevat wat Kantor gebel het vanaf Dallas City Hall, Parkland Hospital en die lughawe in Love Field. Kantor se aantekeninge het uiteindelik onthul dat een van die oproepe wat hy gemaak het na 'n Florida-nommer was, Coral Gables MO 5-6473. Dit was die aantal Hal Hendrix, 'n joernalis in Miami, wat ook vir Kantor se koerantgroep gewerk het, wat inligting oor Oswald aangebied het. Hendrix kon op die middag van die sluipmoord Kantor besonderhede oor Oswald se verlede, sy afvalligheid na Rusland en sy pro-Castro-aktiwiteite gee oor sy terugkeer-inligting wat binnekort algemeen bekend sou word, maar die Hendrix-oproep het 'n spesiale betekenis. Hy was geen gewone joernalis nie.

Hendrix het vroeër in 1963 'n Pulitzer -prys gewen vir sy dekking oor die Kubaanse missielkrisis, en in die herfs van daardie jaar het hy homself weer uitgeblink. In September voorspel hy die staatsgreep wat die pro-Kennedy-president Bosch van die Dominikaanse Republiek verdryf het. Hendrix het blykbaar 'n binnebaan, want hy het geskryf oor 'n staatsgreep vier en twintig uur voordat dit gebeur het. Na verneem word, was 'n belangrike voordeel wat Hendrix gehad het, 'n bron van die CIA by die Homestead Air Force Base, suid van Miami. In die komende maande en jare word Hendrix bekend as "The Spook" by sy kollegas in Washington vanweë sy fenomenale betrekkinge met Amerikaanse intelligensie. In 1976 het hy skuld beken dat hy inligting van 'n senaatskomitee weerhou het wat die verband tussen multinasionale korporasies en die CIA ondersoek het. Hy het met die samespanning van die CIA vir die komitee gelieg en sy toegang tot CIA -inligting verberg. Dit was die man wat die middag van 22 November 1963 soveel van Lee Oswald geweet het.

Die roete wat van Maurice Bishop na Virginia Prewett na die Citizens Committee na Free Cuba gelei het, het 'n ander persoon met 'n noue band met David Phillips veroorsaak. In 1961, toe Phillips die propaganda -lessenaar vir die Bay of Pigs -operasie hanteer en as sodanig voortdurend in kontak was met vriendelike mediasoorte, was daar 'n verslaggewer op die Miami Nuus met die naam Hal Hendrix, wie se dekking oor die inval dieper en gedetailleerder blyk te wees as enige ander joernalis, plaaslik of nasionaal. In 1962 was Hendrix se dekking oor die Kubaanse missielkrisis so indringend en insiggewend dat dit sy koerant 'n Pulitzer -prys opgelewer het. Die volgende jaar word Hendrix bevorder tot 'n meer gesogte pos, wat Latyns-Amerika dek vir die Scripps-Howard News Service. Hendrix se bronne was nog steeds in Miami gevestig, maar dit was nogal buitengewoon. In 'n stuk vir Scripps-Howard van 23 September 1963 skryf Hendrix 'n kleurvolle en gedetailleerde beskrywing van die staatsgreep wat Juan Bosch, die linkse president van die Dominikaanse Republiek, omvergewerp het. As Hendrix se verslag nie van binne gekom het nie, was dit 'n ongelooflike bewys van heldersiendheid-die staatsgreep het eers die volgende dag plaasgevind. Hendrix se noue bande met die CIA was so duidelik dat daar volgens 'n personeellid soms in Scripps-Howard se kantoor in Washington na hom verwys as "The Spook". Dit was egter nie iets wat Seth Kantor veral onthou toe hy Hendrix die middag van 22 November 1963 in Coral Gables bel nie.

Seth Kantor was die Scripps-Howard-verteenwoordiger in die persperskorps van die president op die tragiese en chaotiese dag in Dallas. Die gewig van die nuusdiens se dekking val veral swaar op Kantor omdat hy vir 'n koerant in Dallas gewerk het en die inwoners geken het. (Een plaaslike persoon wat hy geken het, was Jack Ruby. Kantor het ontmoet en met Ruby gepraat in Parkland -hospitaal oomblikke voordat Kennedy dood verklaar is. Ruby het later ontken dat hy daar was en die Warren -kommissie, wat gretig was om enige bewyse te vermy dat Ruby se skietery op Oswald nie was nie spontaan, tot die gevolgtrekking gekom dat Kantor verkeerd was.) Nadat Oswald gearresteer is, het Kantor by sy besturende redakteur in die kantoor in Washington aangemeld en is aangesê om Hal Hendrix tuis te bel in Florida. Hendrix vertrek vir 'n opdrag in Latyns -Amerika, is aan Kantor meegedeel, maar hy het agtergrondinligting oor Oswald wat hy wou oordra. Kantor het hom gebel en Hendrix het 'n gedetailleerde inligtingsessie gegee oor Oswald se afvalligheid aan die Sowjetunie en oor sy aktiwiteite in New Orleans wat pro-Castro-pamflette uitgedeel het. Kantor was besig om te bel met die drukke polisiekantoor in Dallas, en hy was te besig om dit te doen om Hendrix te vra waar hy die inligting gekry het-of hoe hy dit gekry het so gou nadat Oswald gearresteer en met die sluipmoord verbind is.

Seth Kantor het eers jare later die belangrikheid van wat gebeur het erken, hoewel die regering uiteraard baie vroeër gedoen het. Toe die Warren -kommissie sy bewysstukke publiseer, bevat dit 'n dokument met die FBI se kontrole van telefoonoproepe wat Kantor daardie dag gemaak het. Die dokument is egter gebaseer op 'n FBI -verslag wat nie vrygestel is nie. In die oorspronklike FBI -verslag, maar nie in die dokument wat in die Warren -kommissie se bewysstukke gepubliseer is nie, was Kantor se oproep aan Hal Hendrix. Waarom is die oproep na Hendrix opgehou?

'N Paar jaar later het Hendrix by die International Telephone & Telegraph Corporation in Chili gaan werk. In 1973 het 'n subkomitee van die senaat van multinasionale korporasies begin kyk na die rol wat die CIA en ITT gespeel het in die poging om die verkiesing van die sosialistiese Salvador Allende in 1970 te voorkom. Hendrix is ​​onder eed gevra oor die bron van 'n kabel wat hy na 'n ITT -vise -president gestuur het hom in kennis gestel dat die Amerikaanse ambassadeur in Chili 'n groen lig van die Nixon Withuis ontvang het, wat hom 'maksimum gesag gee om alles moontlik te doen-kort om 'n soort aksie van die Dominikaanse Republiek te doen-om Allende van die mag te weerhou'. Die kabel het ook gesê dat die Chileense weermag verseker is van "volle materiële en finansiële hulp deur die VSA" en dat ITT finansiële steun aan die anti-Allende-magte verleen het. Soos die Kerkkomitee later sou leer, was David Phillips in beheer van die CIA se anti-Allende-operasie. Maar toe Hendrix tydens die ondersoek van 1973 na die bron van die kabel gevra is, het Hendrix aan die ondersoekers van die senaat gesê dat sy bron ''n Chileense persoon was' '. Hy het gelieg. Drie jaar later is 'n CIA -kabel ontdek wat nie net aan die lig gebring het dat Hendrix se bron 'n CIA -beampte was nie, maar dat die agentskap geweet het hy gaan lieg. Haai, waarvoor is vriende?

Op 23 Maart 1978 skryf ek 'n memorandum aan hoofraadslid Blakey oor Hal Hendrix. 'N Voorblad in die Washington Post het aan die lig gebring dat twee bestuurders van ITT aangekla is in verband met die ondersoek van die CIA-ondernemings deur die regering in Chili, en dat Hendrix 'n regeringsgetuie geword het. My memo het opgemerk: "Die twee ITT -assistente word nou aangekla van sameswering met Hendrix om die ondersoek van die senaat te blokkeer van aanklagte wat ITT saam met die CIA in 1970 saamgestel het om teenstanders van Allende te finansier. Verlede jaar het Hendrix skuld beken op 'n wangedrag nadat hy aangekla is. vir meineed in sy getuienis van die Senaat. Ek stel voor dat dit 'n baie geskikte tyd is om Hendrix voor ons komitee te dagvaar in die hoop om waardevolle inligting van hom te kry. informele bevraagtekening ... "

Ek het gedink dat Hendrix se geneigdheid om oor sy CIA -aktiwiteite te lieg, in ag geneem het, dat die kans min is dat hy die waarheid praat. Die druk om die waarheid onder eed af te lê, kan egter waardevolle bewyse lewer, beide oor sy kennis van Oswald se aktiwiteite en sy verhouding met David Phillips. Ek het Hendrix as 'n uiters belangrike getuie beskou.

Ongelukkig was dit nie 'n goeie tyd om vir Blakey te vra om voort te gaan met die bewyse wat na die intelligensiegemeenskap verwys nie, omdat hy baie betrokke was by die strukturering van die komitee se openbare verhore met hul klem op georganiseerde misdaad. Daar was nooit 'n reaksie op my Hendrix -memorandum nie.

'N Vroeë fokus van die ondersoek was Harold Hendrix, eersgenoemde Miami Nuus verslaggewer wat hom in 1967 by ITT aangesluit het en wat soms deur bekendes deur die bekendes "Whispering Hal" genoem is vir die geluid van sy stem na 'n keeloperasie. In 1970 verteenwoordig Hendrix ITT in Chili, waar hy die kern van ITT -pogings was om Allende se verkiesing te blokkeer. Die getuienis van die groot jurie deur die CIA-beamptes, sowel as kabels en interne memorandums wat deur die agentskap gedagvaar is, het na bewering nie net bewys gelewer van ITT se anti-Allende-veldtog nie, maar ook van planne om die feite in 1972 en vroeg in 1973 te verberg, nadat dit bekend geword het dat senator Die kerk se komitee oor multinasionale ondernemings beplan verhore oor die Chileense episode. Hendrix was na bewering bang dat die ITT-CIA-verbinding van 1970 tydens die kerkkomitee se verhore sou ontstaan, en hy het die CIA gevra hoe hy die saak moet hanteer.

Op 'n wintersdag het Shackley na Capitol Hill gery vir onaangename sake. In die kantoor van Church was Levinson en Blum geamuseerd om hierdie man te ontmoet. Levinson het by sy CIA -kontakte gehoor dat sommige spooks verwys na die blondekop wat oorkant hom sit as die 'slagter van Laos'. Hy het meer gelyk aan 'n strak sakeman, maar geen geheime agent nie. Hy was styf, sonder twyfel die hele pad. Hy het geen praatjies gemaak nie. Hy was daar om die grondreëls vir 'n historiese geleentheid te bespreek: die openbare getuienis van 'n CIA -beampte.

Shackley het dit nie goed geag nie. 'Hy was baie nare,' onthou Levinson. "Hy het gedink dit is alles 'n groot fout. Ons moes hom aanhou herinner dat ons 'n ooreenkoms het." Helms vir William Broeth was die ooreenkoms. Shackley het probeer om perke te stel aan wat die subkomitee vir Broe kan vra. Die komitee -advokate het nie sy voorwaardes aanvaar nie. Toe hulle sê, hier is die vrae wat Broe moet beantwoord, Shackley kon nie nee sê nie.

Maar daar was iets wat Shackley kon doen: die inligting wat aan die subkomitee verskaf is, opstel. Sy belangrikste taak was om die voorbladverhaal te bewaar dat hoewel senior amptenare van ITT en die CIA in die Verenigde State 'n dinkskrum gehad het oor hoe om van Allende ontslae te raak, was die ITT-dokumente onweerlegbaar; CIA en ITT-manne in die veld het dit nie beplan nie saam. Shackley kon dit net doen met die samewerking van Hal Hendrix en Robert Berrellez, oud -toeriste op die ITT -betaalstaat, wat in 1970 in kontak was met die CIA in Chili. Gelukkig het hy 'n noue band met een gehad. Hendrix was die voormalige korrespondent van Miami News wat vermoedelik inligting van Shackley gebruik het om sy artikels oor die missiele in Kuba oor die missiele in Kuba te skryf.

Die subkomitee was geïnteresseerd in wat Hendrix en Berrellez te sê het oor CIA-ITT-samespanning. Soos Jack Anderson berig het, het die twee in September 1970 'n verslag aan die ITT -bestuurders gestuur waarin hulle opgemerk het dat die Amerikaanse ambassadeur in Chili, Edward Korry, 'n "groen lig" van Nixon ontvang het om Allende se verkiesing te blokkeer. Levinson en Blum was nuuskierig hoe die ITT -mans dit geleer het. Die ondersoekers het vermoed dat die bron vir die kabel die plaaslike CIA-beamptes insluit, en hulle was van mening dat die kabel 'n bewys was dat die CIA en ITT in Chili saamgewerk het teen Allende-aktiwiteite.

Vir Shackley was dit van kardinale belang om die ondersoekers van die kerk weg te hou van enige spoor wat hulle na die uiters geheime doen van die baie aktiewe stasie in Santiago, Chili, gelei het. Hendrix se gesprekke met stasiehoof Henry Hecksher was nie meer skandalig as die in die Verenigde State tussen Broe en ITT -korporatiewe bestuurders nie. Maar as die subkomitee sou begin ingryp in die agentskap se optrede in Chili, sou die CIA in die moeilikheid wees. Dit moes teen amper elke prys voorkom word.

Shackley het die saak aan Jonathan Hanke, hoof van geheime optrede vir die afdeling, toegewys. Hy het vir Hanke gesê om Hendrix te adviseer wat hy moet sê wanneer hy bel om te getuig. Jim Flannery, die adjunkhoof van die afdeling, het gekant teen die stuur van Hanke om Hendrix te kontak. Laat ons wegbly van Hendrix, het hy aangevoer, so daar is nie eens die voorkoms van samespanning nie. Shackley het Flannery se aanbeveling geïgnoreer. Shackley het "daarop aangedring," herinner Flannery, "ons het [Hendrix] nie gesê wat om te doen nie." Dit is net wenke, "het hy gesê. gebruik te maak van morele of wettiese handvaardigheid. ” Shackley het saamgesweer om die kongres te mislei.

Hendrix het vir Shackley se afgesonder gesê dat hy hom nie hoef te bekommer nie. Hy sou die subkomitee ontken dat hy van die "groen lig" van Hecksher verneem het. Hanke het ook kontak gemaak met Berrellez, wat ook beloof het om valslik aan die subkomitee te vertel dat hy geen CIA -beamptes in Latyns -Amerika ken nie. Begin Februarie 1973 ontmoet Hendrix en Berrellez Levinson en Blum van die Kerk -subkomitee. Soos Shackley gehoop het, het die paar gesê dat hulle geen kontak met die CIA in Chili gehad het nie.

Hal Hendrix het meer as 'n dekade lank die CIA -agendas ondersteun, van Miami tot Suid -Amerika, maar hy en David Phillips was dikwels in stryd met die Kennedy -administrasie en die president. Hendrix se eie agenda kan gesien word in 'n verhaal van November 1963 wat aanhalings bevat wat hy toegeskryf het aan naamlose Kubaanse ontsnaptes. Die verhaal beskryf die sukses van spontane Kubaanse sabotasiepogings "wat Castro se onvermoë om die bestendige ekonomiese verbrokkeling van Kommunistiese Kuba te hanteer, verhoog". Hy het voortgegaan: 'aansienlik meer kan gedoen word om die lewe vir Castro al hoe meer ellendig te maak as infiltrasie en aanvalpartye nie deur die Britse en die Amerikaanse owerheid geteister word nie.' Dit is geskryf in 'n tyd toe die Administrasie, die Spesiale Groep en vermoedelik JM/WAVE alles in hul vermoë gedoen het om onafhanklike ballingsaksies te sluit en uitgebreide mediakritiek vir hierdie beleid te ontvang van al die elemente van die Luce-Phillips-media netwerk.

Seth Kantor se belangstelling in Hal Hendrix het op 22 November 1963 begin. Kantor het sy huiskantoor by Scripps-Howard gebel ná die arrestasie van Lee Oswald en is meegedeel dat sy beste bron van inligting oor Oswald Hal Hendrix in Miami sou wees. Toe Kantor Hendrix kontak, het hy gevind dat laasgenoemde baie inligting het oor Oswald se tyd in Rusland, sy verbintenis met die Fair Play For Cuba -komitee en al die besonderhede van Oswald se aktiwiteite in New Orleans, insluitend die radiodebat. Alhoewel New Orleans nie op die maat van Hendrix in Latyns -Amerika was nie, blyk dit dat sy bronne hom om een ​​of ander rede volledig oor Lee Oswald ingelig het. In werklikheid het Hendrix na die sluipmoord intmediateli/ Scripps-Howard gekontak en hulle daarvan bewus gemaak dat hy die agtergrond van Oswald het vir almal wat dit nodig mag hê.

Hendrix was slegs een tandwiel in die CIA -medianetwerk wat in die vroeë 60's ontwikkel is. Die anti-kommunistiese media wat Phillips kon bereik, het gestrek van Hendrix en Scripps-Howard tot invloedryke redaksionele soos Virginia Prewett in Washington, DC en, via Claire Booth Luce en haar man, die hele Luce Tyd-Lewe netwerk. 'N Oorsig van die netwerk kan gesien word by die meer bekende lede van die Burgerkomitee na Free Cuba, gestig en gelei deur Paul Bethel, die ou vriend van Phillips uit Havana. Die Burgerkomitee na Free Kuba het William Pawley (van die Bayo-Pawley-sending), Claire Booth Luce (van die Life geborg en op die voorblad met Alpha 66-aanvalle teen Russiese teikens in Kuba), Hal Hendrix, Virginia Prewett en Ernest Cuneo ingesluit van die Noord -Amerikaanse Newspaper Alliance. Cuneo, 'n OSS-veteraan, het ook as 'n ongeregistreerde agent vir die Chinese nasionalistiese regering gedien en was goed verbind met Drew Pearson. Die politiek van al hierdie individue was aggressief teen Castro en anti-kommunisties. Dit is waarskynlik die beste saamgevat in 'n boek wat Bethel in 1969 getiteld geskryf het Die verloorders, 'n boek wat John Kennedy, Robert Kennedy en Martin Luther King, asook sekere personeellede van die staatsdepartement en die CIA geïdentifiseer het as die vergemakliking van die kommunistiese agenda. "

Harold "Hal" Hendrix het moontlik 'n deel van die sukses wat hy in sy loopbaan as Latyns -Amerikaanse korrespondent behaal het, te danke aan die sluk van 'n oop veiligheidspennetjie as baba.

Dokters was nie daarop ingestel om in 1923 in Richmond, Missouri, tragedies oor babas te doen nie, maar Hendrix was 1. Maar sy gesin het 'n baanbrekende dokter gevind wat die operasie uitgevoer het om die pen te verwyder. Die prosedure het egter sy stembus beskadig, wat Hendrix met 'n duidelike rasp laat, nie anders as laringitis nie.

'Op die lange duur was die stem vir hom 'n voordeel. Mense in Latyns -Amerika het hom onthou. Mense het dadelik geweet wie hy is, ”het sy dogter Kathy Hendrix gesê.

Terwyl hy by die Miami Nuus, het hy Kuba breedvoerig behandel en was die eerste Amerikaanse joernalis wat berig het dat daar Sowjet -missiele op die eiland was. Hy het dit berig twee weke voordat die Kennedy -administrasie sy radio- en televisie -aankondiging oor die Kubaanse missielkrisis in Oktober 1962 gemaak het.

Hendrix verdien die Pulitzer -prys in 1963 vir International Reporting vir sy reeks artikels oor Kuba. Volgens redakteur David Dent se U.S.-Latyns-Amerikaanse beleid: 'n Verwysingshandboek (Greenwood; $ 126) in 1995, het 'n amptenaar van die CIA gesê Die New York Times in 1977 was Hendrix 'n "bate" van die agentskap. Hendrix het geantwoord dat hy bloot 'n 'normale joernalistieke verhouding' met die CIA het.

Die nuus van Pulitzer het 'n rukkie geneem om Hendrix te bereik, wat ook Haïti, Panama, Guatemala en Venezuela gedek het gedurende hierdie era.

"Toe hy die Pulitzer wen, was hy een van die laaste mense wat dit agtergekom het, want hy was in die Dominikaanse Republiek besig met 'n staatsgreep en daar was 'n uitgangspunt vir verslaggewers in die hotel. Teen 7 was dit onmoontlik om 'n oproep te kry, sodat hy het drie dae lank nie daarvan geweet nie. My ma het hom vertel, "het Kathy Hendrix gesê.

Hendrix verlaat die Miami Nuus vir Scripps Howard News Service om sy Latyns -Amerikaanse korrespondent te word, maar hy wou nie uit Scripps se kantore in Washington werk nie.

'Hy was die enigste korrespondent wat nie in Washington was nie, en dit was amper 'n ooreenkomsmoordenaar,' het sy dogter gesê. 'Pa het daarop gewys dat die Kubaanse gemeenskap in Miami dit die moeite werd gemaak het om in Miami te bly, en dit was makliker om uit Miami na Latyns -Amerika te kom. Die Miami Herald het hom kantoorruimte gegee vir die gebruik van sy rubriek. ”

Teen die laat 60's het die voortdurende reis na verhale jaag en 'n joernalistebetaling Hendrix gedwing om 'n pos as direkteur van openbare betrekkinge vir Latyns -Amerika by International Telephone and Telegraph Company te aanvaar. Hy woon 'n paar jaar saam met sy oorlede vrou, Pat, en dogter, wat hom oorleef, in Buenos Aires voordat hy na New York verhuis.


Hendrix 'geskiedenis na Tuscaloosa gebring'

TUSCALOOSA | As dit nie was vir Beasey Hendrix Jr. nie, sou baie mense nooit gehoor het van kapt. Benjamin Eddins, die enigste inwoner van Tuscaloosa wat doodgemaak is toe die troepe van die Unie in 1865 op Tuscaloosa en Northport toegeslaan het.

Hendrix het 'n eenman-kruistog geloods om erkenning vir Eddins te verkry, insluitend 'n stadspark wat vernoem is na die leier van Tuscaloosa se huiswag. Hendrix is ​​Maandag oorlede voordat sy droom ten volle verwesenlik kon word.

Hendrix (76) was van die vroeë sewentigerjare tot verlede jaar lid van die erfeniskommissie van die Tuscaloosa County County. Hy het 'n besondere belangstelling in die geskiedenis van die land se burgeroorlog gehad.

Hy het die stadsraad van Tuscaloosa oorreed om 'n historiese merker in 'n stadspark op die Black Warrior River -oewer naby die Hugh Thomas -brug te plaas om die plek te merk waar Unie -soldate die rivier oorgesteek het, dieselfde plek waar Eddins vermoor is om die stad te verdedig. Maar ondanks sy volgehoue ​​pogings, kon Hendrix nie die raad oorreed om die park vir Eddins te noem nie.

'Hy het die verhaal bekend gemaak', het Betsy Tierce, voormalige direkteur van die Heritage Commission, gesê. 'Ek het dit nog nooit in geskiedenisboeke gehoor of daaroor gelees nie.'

Hendrix het 'n paar jaar lank stadsraadslede beywer en briewe aan The Tuscaloosa News en die Northport Gazette geskryf in sy strewe om Eddins te laat gedenk.

'Ons sou almal net so passievol wil wees oor ons belange as oor sy belange,' sê David Nash, wat 'n paar jaar saam met Hendrix in die Erfeniskommissie gedien het.

Hendrix het emfiseem gehad en het die afgelope paar jaar 'n suurstoftenk gebruik, maar dit het hom nie vertraag nie, het Tierce gesê.

"Hy was een wat baie deeglik was. As hy iets byt, sal hy dit deurgaans ondersoek. Hy het altyd 'n projek gehad," het Tierce gesê. "Hy het geskiedenis na Tuscaloosa gebring."

Hendrix het baie afgeleë landelike begraafplase ondersoek en dit vir mede -genealoë in kaart gebring. Hy het skoolkinders geleer hoe om hul familiegeskiedenis op te spoor en het hulle op toer na plaaslike begraafplase geneem. Ongeveer 10 jaar gelede het Hendrix 'n heropvoering van die burgeroorlog in Northport gereël.

Hendrix was 'n veteraan van die weermag en het by die posdiens afgetree.

Tierce het gesê Hendrix het 'n posroete wat die historiese distrikte in die middestad van Tuscaloosa insluit, en die roete het hom vertroud gemaak met die geskiedenis van die omgewing en was nuttig tydens sy diens in die kommissie.


Jimi Hendrix

In sy kort regeringstyd van vier jaar as 'n superster, het Jimi Hendrix die woordeskat van die elektriese rockkitaar meer as ooit tevore uitgebrei. Hendrix was 'n meester daarin om allerhande onvoorsiene sonika uit sy instrument te haal, dikwels met innoverende versterkingseksperimente wat terugvoer van astrale kwaliteit en brullende vervorming veroorsaak het. Sy gereelde orkaanstorm van geraas en skitterende vertoning - hy kon en wou agter sy rug en met sy tande speel en sy kitaar aan die brand steek - het soms sy aansienlike gawes as liedjieskrywer, sanger en meester van 'n spektrum blues verduister. , R&B en rockstyle.

Toe Hendrix in 1967 'n internasionale superster word, het dit gelyk asof hy uit 'n Mars -ruimteskip geval het, maar eintlik het hy sy vakleerlingskap op 'n lang, alledaagse manier gedien in talle R & B -optredes op die chitlin -baan. Gedurende die vroeë en middel-60's het hy saam met R & B/soul-grotes soos Little Richard, die Isley Brothers en King Curtis as 'n rugsteun kitaarspeler gewerk. Soms het hy opgeneem as 'n sessielid (die Isley Brothers se enkelsnit "Testify" uit 1964 is die enigste van hierdie vroeë snitte wat selfs 'n blik op sy toekomstige genie bied). Maar die sterre waardeer nie sy show-steel-showmanship nie, en Hendrix was vasgebind deur kantrolrolle wat hom nie toegelaat het om as solis te ontwikkel nie. The logical step was for Hendrix to go out on his own, which he did in New York in the mid-'60s, playing with various musicians in local clubs, and joining white blues-rock singer John Hammond, Jr.'s band for a while.

It was in a New York club that Hendrix was spotted by Animals bassist Chas Chandler. The first lineup of the Animals was about to split, and Chandler, looking to move into management, convinced Hendrix to move to London and record as a solo act in England. There a group was built around Jimi, also featuring Mitch Mitchell on drums and Noel Redding on bass, that was dubbed the Jimi Hendrix Experience. The trio became stars with astonishing speed in the U.K., where "Hey Joe," "Purple Haze," and "The Wind Cries Mary" all made the Top Ten in the first half of 1967. These tracks were also featured on their debut album, Are You Experienced, a psychedelic masterwork that became a huge hit in the U.S. after Hendrix created a sensation at the Monterey Pop Festival in June of 1967.

Are You Experienced was an astonishing debut, particularly from a young R&B veteran who had rarely sung, and apparently never written his own material before the Experience formed. What caught most people's attention at first was his virtuosic guitar playing, which employed an arsenal of devices, including wah-wah pedals, buzzing feedback solos, crunching, distorted riffs, and lightning, liquid runs up and down the scales. But Hendrix was also a first-rate songwriter, melding cosmic imagery with some surprisingly pop-savvy hooks and tender sentiments. He was also an excellent blues interpreter and a passionate, engaging singer (although his gruff, throaty vocal pipes were not nearly as great an asset as his instrumental skills). Are You Experienced was psychedelia at its most eclectic, synthesizing mod pop, soul, R&B, Dylan, and the electric guitar innovations of British pioneers like Jeff Beck, Pete Townshend, and Eric Clapton.

Amazingly, Hendrix would only record three fully conceived studio albums in his lifetime. Axis: Bold as Love and the double-LP Electric Ladyland were more diffuse and experimental than Are You Experienced. On Electric Ladyland in particular, Hendrix pioneered the use of the studio itself as a recording instrument, manipulating electronics and devising overdub techniques (with the help of engineer Eddie Kramer in particular) to plot uncharted sonic territory. Not that these albums were perfect, as impressive as they were the instrumental breaks could meander, and Hendrix's songwriting was occasionally half-baked, never matching the consistency of Are You Experienced (although he exercised greater creative control over the later albums).

The final two years of Hendrix's life were turbulent ones musically, financially, and personally. He was embroiled in enough complicated management and record company disputes (some dating from ill-advised contracts he'd signed before the Experience formed) to keep the lawyers busy for years. He disbanded the Experience in 1969, forming Band of Gypsies with drummer Buddy Miles and bassist Billy Cox to pursue funkier directions. He closed Woodstock with a sprawling, shaky set, redeemed by his famous machine-gun interpretation of "The Star Spangled Banner." The rhythm section of Mitchell and Redding were underrated keys to Jimi's best work, and Band of Gypsies ultimately couldn't measure up to the same standard, although Hendrix did record an erratic live album with them. In early 1970, the Experience re-formed and disbanded again shortly afterward. At the same time, Hendrix felt torn in many directions by various fellow musicians, record company expectations, and management, all of whom had their own ideas of what Hendrix should be doing. Almost two years since Electric Ladyland, a new studio album had yet to appear, although Hendrix was recording constantly during the period.

While outside parties did contribute to bogging down Hendrix's studio work, it also seems likely that Hendrix himself was partly responsible for the stalemate, unable to form a permanent lineup of musicians, unable to decide what musical direction to pursue, unable to bring himself to complete another album despite endless jamming. A few months into 1970, Mitchell -- Hendrix's most valuable musical collaborator -- came back into the fold, replacing Miles in the drum chair, although Cox stayed in place. It was this trio that toured the world during Hendrix's final months.

It's extremely difficult to separate the facts of Hendrix's life from rumors and speculation. Everyone who knew him well, or claimed to know him well, has different versions of his state of mind in 1970. Critics have variously mused that he was going to go into jazz, that he was going to get deeper into the blues, that he was going to continue doing what he was doing, or that he was too confused to know what he was doing at all. The same confusion holds true for his death: Contradictory versions of his final days have been given by his closest acquaintances of the time. He'd been working intermittently on a new album, tentatively titled First Ray of the New Rising Sun, when he died in London on September 18, 1970, from a drug-related overdose.

Hendrix recorded a massive amount of unreleased studio material during his lifetime. Much of this (as well as entire live concerts) was issued posthumously several of the live concerts were excellent, but the studio tapes have been the focus of enormous controversy for over 20 years. These initially came out in haphazard drabs and drubs (the first, The Cry of Love, was easily the most outstanding of the lot). In the mid-'70s, producer Alan Douglas took control of these projects, overdubbing many of Hendrix's tapes with additional parts by studio musicians. In the eyes of many Hendrix fans, this was sacrilege, destroying the integrity of the work of a musician known to exercise meticulous care over the final production of his studio recordings. Even as late as 1995, Douglas was having ex-Knack drummer Bruce Gary record new parts for the typically misbegotten compilation Voodoo Soup. After a lengthy legal dispute, the rights to Hendrix's estate, including all of his recordings, returned to Al Hendrix, the guitarist's father, in July of 1995.

With the help of Jimi's step-sister Janie, Al set up Experience Hendrix to begin to get Jimi's legacy in order. They began by hiring John McDermott and Jimi's original engineer, Eddie Kramer, to oversee the remastering process. They were able to find all the original master tapes, which had never been used for previous CD releases, and in April of 1997, Hendrix's first three albums were reissued with drastically improved sound. Accompanying those reissues was a posthumous compilation album (based on Jimi's handwritten track listings) called First Rays of the New Rising Sun, made up of tracks from the Cry of Love, Rainbow Bridge and War Heroes.

Later in 1997, another compilation called South Saturn Delta showed up, collecting more tracks from posthumous LPs like Crash Landing, War Heroes, and Rainbow Bridge (without the terrible '70s overdubs), along with a handful of never-before-heard material that Chas Chandler had withheld from Alan Douglas for all those years.

More archival material followed. Radio One was basically expanded to the two-disc BBC Sessions (released in 1998), and 1999 saw the release of the full show from Woodstock as well as additional concert recordings from Band of Gypsies shows entitled Live at the Fillmore East. 2000 saw the release of the Jimi Hendrix Experience four-disc box set, which compiled remaining tracks from In the West, Crash Landing, and Rainbow Bridge, along with more rarities and alternates from the Chandler cache.

The family also launched Dagger Records, essentially an authorized bootleg label to supply hardcore Hendrix fans with material that would be of limited commercial appeal. Dagger released several live concerts (of shows in Oakland, Ottawa, Clark University in Massachusetts, Paris, San Francisco, Woburn in Bedfordshire, and Cologne) and a collection of studio jams and demos called Morning Symphony Ideas.

Mainstream Hendrix reissue activity continued during the 2000s and 2010s, spotlighted by major live albums originally recorded at the Isle of Wight (2002), Berkeley (2003), Monterey (2007), Winterland (2011), and the Miami Pop Festival (2013). In 2010, Sony issued a four-disc set titled West Coast Seattle Boy: The Jimi Hendrix Anthology, which offered a full disc of recordings from Hendrix's time as a backing guitarist.

That same year, Legacy, an imprint of Sony, released Valleys of Neptune. The compilation contained 12 previously unreleased tracks, and was the first of further such releases. In 2013, a second compilation appeared. People, Hell and Angels again contained 12 never-before-released songs, which in this case were recorded while Hendrix was working on the follow-up to Electric Ladyland. The final release in this series was put out in 2018, and its ten unreleased tracks also featured guest appearance from Stephen Stills and Johnny Winter.


James Marshall Hendrix

Widely recognized as one of the most creative and influential musicians of the 20th century, Jimi Hendrix pioneered the explosive possibilities of the electric guitar. Hendrix’s innovative style of combining fuzz, feedback and controlled distortion created a new musical form. Because he was unable to read or write music, it is nothing short of remarkable that Jimi Hendrix’s meteoric rise in the music took place in just four short years. His musical language continues to influence a host of modern musicians, from George Clinton to Miles Davis, and Steve Vai to Jonny Lang.

Jimi Hendrix, born Johnny Allen Hendrix at 10:15 a.m. on November 27, 1942, at Seattle’s King County Hospital, was later renamed James Marshall by his father, James “Al” Hendrix. Young Jimmy (as he was referred to at the time) took an interest in music, drawing influence from virtually every major artist at the time, including B.B. King, Muddy Waters, Howlin’ Wolf, Buddy Holly, and Robert Johnson. Entirely self-taught, Jimmy’s inability to read music made him concentrate even harder on the music he heard.

Al took notice of Jimmy’s interest in the guitar, recalling, “I used to have Jimmy clean up the bedroom all the time while I was gone, and when I would come home I would find a lot of broom straws around the foot of the bed. I’d say to him, `Well didn’t you sweep up the floor?’ and he’d say, `Oh yeah,’ he did. But I’d find out later that he used to be sitting at the end of the bed there and strumming the broom like he was playing a guitar.” Al found an old one-string ukulele, which he gave to Jimmy to play a huge improvement over the broom.
By the summer of 1958, Al had purchased Jimmy a five-dollar, second-hand acoustic guitar from one of his friends. Shortly thereafter, Jimmy joined his first band, The Velvetones. After a three-month stint with the group, Jimmy left to pursue his own interests. The following summer, Al purchased Jimmy his first electric guitar, a Supro Ozark 1560S Jimi used it when he joined The Rocking Kings.

In 1961, Jimmy left home to enlist in the United States Army and in November 1962 earned the right to wear the “Screaming Eagles” patch for the paratroop division. While stationed at Fort Campbell, Kentucky, Jimmy formed The King Casuals with bassist Billy Cox. After being discharged due to an injury he received during a parachute jump, Jimmy began working as a session guitarist under the name Jimmy James. By the end of 1965, Jimmy had played with several marquee acts, including Ike and Tina Turner, Sam Cooke, the Isley Brothers, and Little Richard. Jimmy parted ways with Little Richard to form his own band, Jimmy James and the Blue Flames, shedding the role of back-line guitarist for the spotlight of lead guitar.

Throughout the latter half of 1965, and into the first part of 1966, Jimmy played the rounds of smaller venues throughout Greenwich Village, catching up with Animals’ bassist Chas Chandler during a July performance at Caf‚ Wha? Chandler was impressed with Jimmy’s performance and returned again in September 1966 to sign Hendrix to an agreement that would have him move to London to form a new band.

Switching gears from bass player to manager, Chandler’s first task was to change Hendrix’s name to “Jimi.” Featuring drummer Mitch Mitchell and bassist Noel Redding, the newly formed Jimi Hendrix Experience quickly became the talk of London in the fall of 1966.

The Experience’s first single, “Hey Joe,” spent ten weeks on the UK charts, topping out at spot No. 6 in early 1967. The debut single was quickly followed by the release of a full-length album Are You Experienced, a psychedelic musical compilation featuring anthems of a generation. Are You Experienced has remained one of the most popular rock albums of all time, featuring tracks like “Purple Haze,” “The Wind Cries Mary,” “Foxey Lady,” “Fire,” and “Are You Experienced?”

Although Hendrix experienced overwhelming success in Britain, it wasn’t until he returned to America in June 1967 that he ignited the crowd at the Monterey International Pop Festival with his incendiary performance of “Wild Thing.” Literally overnight, The Jimi Hendrix Experience became one of most popular and highest grossing touring acts in the world.

Hendrix followed Are You Experienced with Axis: Bold As Love. By 1968, Hendrix had taken greater control over the direction of his music he spent considerable time working the consoles in the studio, with each turn of a knob or flick of the switch bringing clarity to his vision.

Back in America, Jimi Hendrix built his own recording studio, Electric Lady Studios in New York City. The name of this project became the basis for his most demanding musical release, a two LP collection, Electric Ladyland. Throughout 1968, the demands of touring and studio work took its toll on the group and in 1969 the Experience disbanded.

The summer of 1969 brought emotional and musical growth to Jimi Hendrix. In playing the Woodstock Music & Art Fair in August 1969, Jimi joined forces with an eclectic ensemble called Gypsy Sun & Rainbows featuring Jimi Hendrix, Mitch Mitchell, Billy Cox, Juma Sultan, and Jerry Velez. The Woodstock performance was highlighted by the renegade version of “Star Spangled Banner,” which brought the mud-soaked audience to a frenzy.
Nineteen sixty-nine also brought about a new and defining collaboration featuring Jimi Hendrix on guitar, bassist Billy Cox and Electric Flag drummer Buddy Miles. Performing as the Band of Gypsys, this trio launched a series of four New Year’s performances on December 31, 1969 and January 1, 1970. Highlights from these performances were compiled and later released on the quintessential Band of Gypsys album in mid-1970 and the expanded Hendrix: Live At The Fillmore East in 1999.

As 1970 progressed, Jimi brought back drummer Mitch Mitchell to the group and together with Billy Cox on bass, this new trio once again formed The Jimi Hendrix Experience. In the studio, the group recorded several tracks for another two LP set, tentatively titled First Rays Of The New Rising Sun. Unfortunately, Hendrix was unable to see this musical vision through to completion due to his hectic worldwide touring schedules, then tragic death on September 18, 1970. Fortunately, the recordings Hendrix slated for release on the album were finally issued through the support of his family and original studio engineer Eddie Kramer on the 1997 release First Rays Of The New Rising Sun.

From demo recordings to finished masters, Jimi Hendrix generated an amazing collection of songs over the course of his short career. The music of Jimi Hendrix embraced the influences of blues, ballads, rock, R&B, and jazz a collection of styles that continue to make Hendrix one of the most popular figures in the history of rock music.


"Hey Joe" and "Purple Haze"

Released in 1967, the Jimi Hendrix Experience&aposs first single, "Hey Joe," was an instant smash in Britain and was soon followed by hits such as "Purple Haze" and "The Wind Cries Mary." 

On tour to support his first album, Are You Experienced? (1967), Hendrix delighted audiences with his outrageous guitar-playing skills and his innovative, experimental sound. In June 1967 he also won over American music fans with his stunning performance at the Monterey Pop Festival, which ended with Hendrix lighting his guitar on fire.


Jimi Hendrix

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Jimi Hendrix, byname of James Marshall Hendrix, originally John Allen Hendrix, (born November 27, 1942, Seattle, Washington, U.S.—died September 18, 1970, London, England), American rock guitarist, singer, and composer who fused American traditions of blues, jazz, rock, and soul with techniques of British avant-garde rock to redefine the electric guitar in his own image.

Though his active career as a featured artist lasted a mere four years, Hendrix altered the course of popular music and became one of the most successful and influential musicians of his era. An instrumentalist who radically redefined the expressive potential and sonic palette of the electric guitar, he was the composer of a classic repertoire of songs ranging from ferocious rockers to delicate, complex ballads. He also was the most charismatic in-concert performer of his generation. Moreover, he was a visionary who collapsed the genre boundaries of rock, soul, blues, and jazz and an iconic figure whose appeal linked the concerns of white hippies and black revolutionaries by clothing black anger in the colourful costumes of London’s Carnaby Street.

A former paratrooper whose honourable medical discharge exempted him from service in the Vietnam War, Hendrix spent the early 1960s working as a freelance accompanist for a variety of musicians, both famous and obscure. His unorthodox style and penchant for playing at high volume, however, limited him to subsistence-level work until he was discovered in a small New York City club and brought to England in September 1966. Performing alongside two British musicians, bassist Noel Redding and drummer Mitch Mitchell, he stunned London’s clubland with his instrumental virtuosity and extroverted showmanship, numbering members of the Beatles, the Rolling Stones, and the Who among his admirers. It proved a lot easier for him to learn their tricks than it was for them to learn his.

Hendrix had an encyclopaedic knowledge of the musical roots on which the cutting-edge rock of his time was based, but, thanks to his years on the road with the likes of Little Richard and the Isley Brothers, he also had hands-on experience of the cultural and social worlds in which those roots had developed and a great admiration for the work of Bob Dylan, the Beatles, and the Yardbirds. Speedily adapting the current musical and sartorial fashions of late 1966 London to his own needs, he was soon able not only to match the likes of the Who at their own high-volume, guitar-smashing game but also to top them with what rapidly became the hottest-ticket show in town.

By November his band, the Jimi Hendrix Experience, had their first Top Ten single, “Hey Joe.” Two more hits, “Purple Haze” and “The Wind Cries Mary,” followed before their first album, Are You Experienced?, was released in the summer of 1967, when it was second in impact only to the Beatles’ Sers. Pepper’s Lonely Hearts Club Band. Its immediate successor, Axis: Bold as Love, followed that December. On Paul McCartney’s recommendation, Hendrix was flown to California for a scene-stealing appearance at the Monterey Pop Festival, which rendered him a sensation in his homeland less than a year after his departure.

Relocating back to the United States in 1968, he enjoyed further acclaim with the sprawling, panoramic double album Electric Ladyland, but the second half of his career proved frustrating. Legal complications from an old contract predating his British sojourn froze his recording royalties, necessitating constant touring to pay his bills and his audiences were reluctant to allow him to progress beyond the musical blueprint of his earliest successes. He was on the verge of solving both these problems when he died of an overdose of barbiturates, leaving behind a massive stockpile of works-in-progress that were eventually edited and completed by others.

For Hendrix, the thunderous drama of his hard rock band was but a fraction of what he aspired to: he wanted to compose more complex music for larger ensembles, rather than simply to improvise endlessly in front of a rhythm section for audiences waiting for him to smash or burn his guitar. Nevertheless, in his all-too-brief career, he managed to combine and extend the soaring improvisational transcendence of John Coltrane, the rhythmic virtuosity of James Brown, the bluesy intimacy of John Lee Hooker, the lyrical aesthetic of Bob Dylan, the bare-knuckle onstage aggression of the Who, and the hallucinatory studio fantasias of the Beatles. Hendrix’s work provides a continuing source of inspiration to successive generations of musicians to whom he remains a touchstone for emotional honesty, technological innovation, and an all-inclusive vision of cultural and social brotherhood. The Jimi Hendrix Experience was inducted into the Rock and Roll Hall of Fame in 1992.


"Voodo Child (Slight Return)" (1968)

The sprawling "Electric Ladyland" album closes with "Voodoo Child (Slight Return)." It is a five-minute song that developed from the fifteen-minute "Voodoo Chile" that appears earlier in the album. Much of it was originally improvised in the studio. The explosive guitar solo on the song earned praise from rock critics as one of Jimi Hendrix' best. "Voodo Child (Slight Return)" is influenced by Mississippi Delta blues but gives the more traditional music a strong psychedelic twist.


Wat Hendrix familie rekords sal jy vind?

There are 90,000 census records available for the last name Hendrix. Like a window into their day-to-day life, Hendrix census records can tell you where and how your ancestors worked, their level of education, veteran status, and more.

There are 3,000 immigration records available for the last name Hendrix. Passasierslyste is u kaartjie om te weet wanneer u voorouers in die VSA aangekom het en hoe hulle die reis onderneem het - van die skeepsnaam tot die aankoms- en vertrekhawe.

There are 25,000 military records available for the last name Hendrix. For the veterans among your Hendrix ancestors, military collections provide insights into where and when they served, and even physical descriptions.

There are 90,000 census records available for the last name Hendrix. Like a window into their day-to-day life, Hendrix census records can tell you where and how your ancestors worked, their level of education, veteran status, and more.

There are 3,000 immigration records available for the last name Hendrix. Passasierslyste is u kaartjie om te weet wanneer u voorouers in die VSA aangekom het en hoe hulle die reis onderneem het - van die skeepsnaam tot die aankoms- en vertrekhawe.

There are 25,000 military records available for the last name Hendrix. For the veterans among your Hendrix ancestors, military collections provide insights into where and when they served, and even physical descriptions.


The Story of Hendrix’s Flying V

They go together like peas and carrots, and there’s many an iconic photo featuring Hendrix with Leo Fender’s finest creation.

But, as any Hendrix aficionado will tell you, Jimi also had a propensity for instruments crafted by Fender’s main rival, Gibson. And, throughout his short but memorable performing career, several of the company’s most recognizable instruments found their way into Hendrix’s hands.

Today, we’re taking a look at what is probably Hendrix’s most iconic Gibson, and where it features in his performing history.

The 1967 Flying V, with its distinctive psychedelic, hand painted design, is probably Hendrix’s most famous guitar that isn’t a Strat.

The date of purchase is unknown, but the earliest photograph of him playing it is August 15 th , 1967 at the Fifth Dimension Club in Ann Arbor, Michigan. As GroundGuitar notes, it’s probably reasonable to assume that Hendrix bought the instrument in July 1967 while he was staying in New York, possibly from Manny’s Music Shop.

What drew Hendrix to the Flying V? Two qualities: tone and form factor. As Reverb Notes, Hendrix’s dalliances with Gibson guitars were likely down to a quest for a more blues-friendly sound, especially as his career progressed. And, for a southpaw like Jimi, the symmetrical design of the Flying V made it easy to flip for left-handed playing.

Hendrix used the V throughout the rest of August ’67, and, upon his return to the UK, it became one of his go-to instruments alongside his white Strat. Photographs evidence its use throughout the guitarist’s European tour of September 1968 and it featured during the recording of French television programme “Dim Dam Dom” in October of that year.

By March ’68, however, the V had fallen out of rotation, when Jimi went back to playing a Fender Strat. His Gibson fixation didn’t end there, though. Later that year, he’d go through dalliances with both a Les Paul Custom and a ’68 SG. The SG would even wind up on national television, during Hendrix’s memorable Dick Cavett show performance on September 9 th , 1969.

As for studio appearances, rumors have persisted that it was used on some of the “Electric Ladyland” album, including “All Along the Watchtower.” But, there’s no real proof that this was the case, and the recordings themselves sound very Strat-like.

The ’67 wasn’t the last V Hendrix played. During his lifetime, he also owned a ’68 tobacco burst model and a custom left handed ’69 V. He played this custom model throughout 1970, including his appearance at the Isle of Wight concert on August 31 st .

So what happened to the ’67 V? In 1969, Hendrix gifted the guitar to Mick Cox of Eire Apparent. Cox stripped the instrument of its psychedelic paint job and it was sold on through various players and shops throughout the 1970s.

“I happened to be in my local guitar shop in Newcastle upon Tyne. I knew the owner, John, very well. He said, "Hey, I've just got a Jimi Hendrix Flying V!" He showed it to me, and I asked if it really was Jimi's. He said no, but it was the same model, and added: "Wouldn't it be something if it was actually Jimi's guitar?" At this point, in the mid-'90s, nobody had seen the Jimi guitar, the one with his hand-painted decorations on it, for over 20 years.”

Following some detective work, however, Brewis deduced that it was indeed Hendrix’s guitar, and with most of the original hardware intact:

“I positively identified it by matching the wood grain with old photos. Amazing! I then restored it and sold it on to a collector, and it's since changed hands at least once.”

And there you have it folks, the story of a seriously cool addition to Hendrix’s guitar arsenal.

What’s your favourite Hendrix Gibson? And, what other oddities do you remember the guitar legend using? Share your stories in the comments!


Hal Hendrix - History

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Guitar legend Jimi Hendrix leapt forward musically by packing countless innovations on the electric guitar into just a few years. Hendrix expert John McDermott chronicles each of Jimi's revolutionary recording sessions, enlisting the help of Hendrix's friend and bandmate Billy Cox, and sound engineer and photographer Eddie Kramer. The beautifully d. Click To Read More About This Product

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This oversized item has special shipping requirements

  • The shipping company will call you to schedule your delivery date and time
  • Someone will need to be home to receive the package
  • Be sure you have measured your entryway and have help available to carry the item in
  • Due to our extended shipping times, we are also extending our return policy. Some exclusions apply.

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Guitar legend Jimi Hendrix leapt forward musically by packing countless innovations on the electric guitar into just a few years. Hendrix expert John McDermott chronicles each of Jimi's revolutionary recording sessions, enlisting the help of Hendrix's friend and bandmate Billy Cox, and sound engineer and photographer Eddie Kramer. The beautifully designed and illustrated Ultimate Hendrix book also includes vivid descriptions of every live Jimi Hendrix concert from 1963 to 1970.

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