dinosaur rose

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Why Hendrix Still Matters

Historical revisionism and the endless stream of tired imitators that followed in his wake sometimes makes it difficult to appreciate what a radical listening experience the music of Jimi Hendrix was and still is. Yet for those with the ears to hear, his influence is everywhere in contemporary rock.

In the Stone Roses and their guitarist John Squire’s polychromatic action-painting style of playing. In My Bloody Valentine, a group which has worked with Roger Mayer, the guy who invented effects boxes and distortion pedals for Hendrix. In Loop’s noise symphonies. In Sonic Youth, whose unusual tunings would not have been possible without Hendrix’s reinvention of the guitar. (Drummer Buddy Miles, who played with Hendrix, recorded an album called Expressway to Your Skull in 1968. Nineteen years later Sonic Youth recorded a song with the same name.)

In the wah-wah heaven of Dinosaur Jr. In the raga free-form folkadelic blitz of Husker Du’s “Recurring Dreams” on Zen Arcade. In the wigged out, apocalyptic, nouveau acid rock of the Butthole Surfers. (Think of their “Jimi” as a fin de siecle version of Hendrix’s “Third Stone From the Sun.”) In the oceanic rock of A.R. Kane. In the black rock of Living Colour and 24-7 Spyz. In the thrashing metal-funk of the Red Hot Chili Peppers (who covered Hendrix’s “Fire” and inherited his febrile hypersexuality and imitated his bad-ass virility). Not to mention obvious examples like Prince and George Clinton.

And then there’s heavy metal as a genre. If Hendrix paved the way for this music, it was because he showed that the blues could be blown up from a porch-side lament into a mountain range. Hendrix invented the “air guitar,” not in the sense of an imaginary instrument played by hair farmers in front of their bedroom mirrors, but rather in the sense of a guitar that refused to be bound solely by earthly roots, a sound that grew wings and took flight. An aerial guitar, if you will.

The Hendrix influence on rap is also profound, and not just in the way that boho homeboys like De la Soul and A Tribe Called Quest dress. Hendrix samples on rap records include Digital Underground’s “Who Knows?” the Beastie Boys’ “B-Boy Bouillabaisse,” A Tribe Called Quest’s “Go Ahead in the Rain,” and Monie Love’s “Just Don’t Give a Damn.” Moreover, every rap use of rock comes via Hendrix, from Run-DMC to Schoolly D. Rap’s dissonance is Hendrix’s guitar still reverberating and feeding back.

As SPIN colleague Nathaniel Wice puts it: “He dominates both Yol MTV Raps and Headbanger’s Ball. He fathered both, dominating everything that music has become. Not only won’t he die, but it’s impossible to imagine how to kill him off.”

There’s even a case to be made that Hendrix is responsible for that hideous mutant jazz-rock. But we’ll pass discreetly over that, except to mention Hendrix’s profound influence on Miles Davis’s brilliant late-‘60s and early-'70s work.

Jim Morrison may be the subject of Hollywood mythmaking, but Hendrix is not a corpse to be resurrected. Hendrix is the living, breathing soul of today’s rock'n'roll.

Initially framed within traditional white ideas of what black music meant (black as incarnation of the id, un-repression, instinct, the body, soul, et cetera), Jimi Hendrix was nicknamed the “Wild Man of Pop” and compared to a Borneo savage. As critic Steven Perry has pointed out, such noble savage stereotypes have been used historically to undermine the aesthetic achievements of blacks. Hendrix is interesting because of the damage he did to such racial stereotypes. He wanted to transcend the borders and barriers between races, male and female, and even (at his most mystic) to transcend the human condition all together to become star child, to become male mermaid (as on “1983/A Merman I Should Turn to Be”). Indeed his whole career can be seen as an attempt to reconcile and/or explode such standard oppositions as black versus white, male versus female, the dandy versus the savage, voodoo (the blues) versus Christian salvation (soul), roots versus rootlessness, earthy versus cosmic, tradition versus avant-garde, bohemian art rock versus funk/soul razzmatazz.

Setting himself against the narrow conceptual biases of what constituted “real” black music, Hendrix transformed and transcended the limits of what a black musician could and should be. Among the first, if not the first, African-Americans in pop to lay claim to the status of artist rather than entertainer, he did his apprenticeship in soul review bands (most notably the Isley Brothers, Little Richard, and Curtis Knight and the Squires) on the “chitlin circuit,” but chafed at the strictures, discipline, and show-biz protocols that were expected of him. Hendrix opened up the possibility for black musicians to be — imagewise and soundwise — messy and self-indulgent. In this he was the polar opposite of James Brown, disciplinarian band leader and the professional servant of a popular audience. In contrast, Hendrix was an aural aristocrat with musical laws unto himself — a solar flare with solo flair, a quality that got him kicked out of many soul bands before his eventual success in the U.K. For his efforts, he was branded a psychedelic Uncle Tom. A more unjust accusation in the history of rock criticism is difficult to imagine.

Yet many of his more fervent supporters seem to add fuel to this charge. Alvin Lee from Ten Years After once said, “Hendrix wasn’t black or white. Hendrix was Hendrix.” Hendrix was Hendrix, but Hendrix was black. In his excellent biography of Hendrix, 'Scuse Me While I Kiss the Sky, David Henderson, an award-winning African-American poet, does a convincing job of debunking the misperception that Hendrix was an Uncle Tom who played exclusively to white audiences. Recalling a meeting between a group of blacks and Hendrix at TTG Studios in Hollywood, Henderson tells how the guitarist expressed concern about the lack of any black support for his music. Not so, said his fellow black musicians. Blacks did buy his records and go to his concerts, but they were rendered virtually invisible by the overwhelming popularity of Hendrix among the mass white audience.

What was true was that black radio did not play his records. Since so much of black radio was white-controlled at that time, that’s hardly Hendrix’s fault. Moreover, when he jettisoned his all-white band, the Experience, for the all-black Band of Gypsys, it was met with much resistance from his management. But the suspicion still lingers that Hendrix was a disgrace to the race, especially in his refusal to become too closely aligned with black revolutionary movements. Hendrix was a pacifist who refused to give the Black Panthers the explicit gesture of support that they expected from him and got from other entertainers. But as Robert Wyatt, ex-drummer and vocalist with Soft Machine, says, Hendrix didn’t “have to go around making political statements. … he was living a political life of great importance.”

Hendrix didn’t need to comment on the issues of the times, racial or not, because the times were in his music. For instance, Hendrix was the soundtrack to Vietnam, for soldiers and for civilians alike. Both “Machine Gun” and his version of “The Star-Spangled Banner” are among the most profound works of American art ever made about the war. Vernon Reid once admitted to having mistakenly thought that Hendrix had served in Vietnam. And for the movie version of the real thing (Apocalypse Now), Francis Ford Coppola employed Randy Hansen, a Hendrix impersonator, for the soundtrack.

In 'Scuse Me While I Kiss the Sky, Henderson tells of the time in 1969 that Hendrix played a Harlem street fair. Hosted by a popular local radio DJ Eddie O-Jay (ironically another black DJ who didn’t play Hendrix’s records), Jimi performed “Voodoo Chile,” among other songs, which he referred to onstage as “Harlem’s national anthem.” And of course in a way Hendrix was right. With its explicit evocation and celebration of the supernatural powers and magical transformations at the heart of African religion, “Voodoo Chile” is at least as “black” (if such distinctions are important to you) as James Brown’s “Say It Loud, I’m Black and I’m Proud.” So much for Uncle Tom.

After Hendrix finished his show, he was approached by a black nationalist who said, “Hey brother, you better come home.” Hendrix replied, “You gotta do what you gotta do, and I gotta do what I gotta do now.”

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Baby would like to share with you all the importance of reading! ;)

Photography by: Jenn Rose (find me on Instagram and Twitter @jennrosefx) 

Baby, the crested gecko was bred and raised by GeckoPods.net! 

aph--lietuva  asked:

Hey I'm julia I'd love for you to make me an aesthetic. Can you do a INFJ, Scorpio one? I haven't really seen it around before. (I'm also kind of split between Griffindor and Ravenclaw). I'd love it if you included dinosauars somehow but in a weird melancholy way? (Something about how ancient the earth is and once different creatures looked up at the same stars)

Scorpio/INFJ Aesthetic for Julia ♥️✨💋

Hey! Thanks for your request! It was definitely more of a challenge. Some of the pictures were more difficult to find, (specifically the dinosaur one 💔) I tried though! I hope you like it! Always love to help out a fellow Scorpio. 🦂 💋✨

Happy Les Mis Headcanons!
  1. Courf is the king of patterned skinny jeans. He has everything from roses to dinosaurs on them. Ferre pretends he’s staring at the pattern sometimes even tho he’s looking at something else 
  2. Bossuet and Joly and Chetta ended up together on accident. It was a sitcom-style thing where Grantaire tried to set up Joly and Bossuet, and Cosette tried to set up Musichetta and Bossuet, and Bossuet accidentally had both dates at the same time, so he invited them to the same restaurant and tried to juggle both dates. Eventually Joly and Chetta caught on, so they moved to one table and begged Bossuet to stop running around and just eat dinner with both of them
  3. J/B/M cosplayed Finn, Poe, and Rey the day after the movie came out. No one is sure how they whipped those costumes together so fast. Grantaire somehow ended up as BB-8
  4. Enjolras is a natural blond, but he requires tons of product and special shampoo to keep everything in order; otherwise he’s just a giant poofball
  5. Grantaire likes to help his Punk boyfriend do his eyeliner because as amazing as Enjolras is, he’s awful at doing his own makeup
  6. One Halloween after he started re-reading Harry Potter, Enjolras sent R a package. It had a Gryffindor sweater and tie inside, and the note only read “messy hair and green eyes.” R showed up at Le Musaine that night dressed as Harry, and was greeted extremely enthusiastically by a smol, revolutionary Draco
  7. Eponine is secretly an amazing singer, and she and Cosette duet old jazz standards and holiday songs when they get snowed into their apartment
  8. Jehan is in charge of Les Amis’ hair, and he paid dearly for the heart attacks Courf and R got when he gave Ferre and Enj matching side shaves one summer
  9. Bahorel is very good with plants. He gives them out as gifts for birthdays, holidays, etc. When Feuilly got concerned taht he wouldn’t be home enough to water them consistently, Bahorel offered to house sit. Eventually he stopped going back to his apartment when Feuilly got home.
  10. Grantaire has the softest, cutest cheeks in the world, and blushes a lot. He usually distracts people by making a sarcastic comment, but Enjolras makes sure to kiss and compliment him a lot so he can watch him turn pink

(special thanks to @enjolasshole for contributing)

What Precisely is the Function of a Rubber Duck? An Insight into the Muggle World

Arthur Weasley

I have always had a particular fascination with the Muggle world, which tends to baffle most other wizards. I find their way of life utterly fascinating in comparison with our own, the way that Muggles cope without the aid of magic and our knowledge as wizards is flabbergasting to say the least! Have you ever truly looked at some of the devices that they have created? Just by using their brains, and not a wand? Amazing!

My son-in-law, Harry Potter, and my daughter-in-law, Hermione Granger, who both grew up in the Muggle world, often take me on little trips so I can truly experience and understand muggle culture and how things work in their world. I’m truly blessed for having such wonderful in-laws! But anyway, I have taken to writing about my experiences in the muggle world, and my daughter, Ginny (who you will know as the Senior Quidditch Correspondent, her mother and I are so proud!) came across my journals in my shed in the back garden where I… Where I do some reading and what not and encouraged me to write an article for the Prophet, so here I am!

Very recently, I was taken to a place called a ‘cinema’, to watch a ‘film’. I was profoundly excited. Harry and Hermione have been slowly introducing me to more and more muggle inventions over the years, and they finally agreed to show me a ‘television’ (which is a sort of magic box that shows moving images whilst playing sounds! So it’s kind of like a radio, but you see images matching the sounds being played! TRULY SPECTACULAR. But I’m still not entirely sure as to what other functions it serves, I must remember to investigate) and they informed me that the next step up from this was a ‘cinema’. I had no idea what a cinema was but I was certainly ecstatic.

It turns out a cinema is a huge building that houses several different ‘screens’, on which these ‘films’ are played, and muggles from all walks of life come together, as strangers, and sit and watch these films together! It’s so quaint and quite beautiful, in it’s own way, don’t you think?  (Hermione was telling me about the history of film but I was more interested in this tiny little car that had driven by that Harry later informed me was called a ‘smart car’, how is it smart? Does it have a brain? Don’t let Molly find out about this, she won’t trust it if you can’t see its brain!)

These films are feature length showings of anywhere between one hour and thirty minutes to three hours long. You can get snacks such as a muggle favourite ‘popcorn’ and sit quite comfortably in this kind of darkened indoor theatre in front of this huge screen that covers an entire wall.

We had decided to make a trip out of it, and my grandchildren, James, Lily, Albus, Rose and Hugo came along with us to watch this film called Jurassic World, which is about dinosaurs. Dinosaurs are creatures that are loved by muggles the world over, did you know. They are ancient creatures who once roamed the earth before this thing called an asteroid came from space and wiped them out! FASCINATING STUFF. Think of dragons, if you’re struggling to understand what a dinosaur is. They are quite similar to them. Only they don’t breathe fire and not all of them will eat you where you stand.

If you want to know more about films and dinosaurs and muggle things, please don’t hesitate to write me an owl! Or if you are a little more well versed in the muggle world, I believe you can use your computer contraption? To search… oh what was it… Oh! Search on The Internet, or the World Wide Web! Ha ha! Like a spider! The Youtube also has a lot of very educational videos and some quite hilarious ones too! Harry will often show me videos of cats that he says remind him of Professor McGonnagal, I doubt she would be impressed, but it is quite funny.

I also learnt the exact function of a rubber duck very recently, afteryears of trying to understand it’s function and purpose. I’ve written an extensive essay on it, but apparently 23,000 words is ‘excessive’, and ‘a little bit funny’, according to my grandson James, the cheek of it. But it is merely a muggle toy that is used for company in the bath! Why do we wizards not explore such possibilities? I must remember to ask George to put in a line of bath products at the store… Sorry! Going off on a tangent again! Until next time!