The Sea Peoples were a confederacy of seafaring raiders of the second millennium BC who sailed into the eastern Mediterranean, caused political unrest, and attempted to enter or control Egyptian territory during the late 19th dynasty and especially during Year 8 of Ramesses III of the 20th Dynasty. The Egyptian Pharaoh Merneptah explicitly refers to them by the term "the foreign-countries (or 'peoples') of the sea" (Egyptian '''') in his Great Karnak Inscription. Although some scholars believe that they invaded Cyprus, Hatti and the Levant, this hypothesis is disputed.

Historical context

The Late Bronze Age in the Aegean was characterized by the raiding of migratory peoples and their subsequent resettlement. The identity of the Sea Peoples has remained enigmatic to modern scholars, who have only the scattered records of ancient civilizations and archaeological analysis to inform them. Evidence shows that the identities and motives of these peoples were not unknown to the Egyptians. In fact, many had been subordinate to the Egyptians or in a diplomatic relationship with them for at least as long as the few centuries covered by the records.

Some groups were not included in the Egyptian list of Sea Peoples, as they operated primarily on land. Among them were the 'prw (Habiru) of Egyptian inscriptions, or 'apiru of cuneiform ("bandits"). Sandars uses the analogous name "land peoples." Some people, such as the Lukka, were included in both categories. It has been suggested that one of the groups of Habiru were the Hebrews., but the modern scholarly conclusion is that "the plethora of attempts to relate ''apiru'' (Habiru) to the gentilic (i.e. biblical word) ''ibri'' are all nothing but wishful thinking." Select groups, or members of groups, were used as mercenaries by the Egyptians.

Documentary records

Byblos obelisk

The earliest ethnic group later considered among the Sea Peoples is believed to be attested in Egyptian hieroglyphics on the Byblos obelisk found in the Obelisk Temple at Byblos in modern day Lebanon. The inscription mentions kwkwn son of rwqq-( or kukun son of luqq), transliterated as Kukunnis, son of Lukka, "the Lycian". The date is given variously as 2000 or 1700 BC.

Early Amarna age

The Lukka appear much later and also the Sherden in the Amarna Letters, perhaps of Amenhotep III or his son Akhenaten, around the mid-14th century BC. A Sherden man is an apparent renegade mercenary, and three more are slain by an Egyptian overseer. The Danuna are mentioned in another letter but only in a passing reference to the death of their king. The Lukka are being accused of attacking the Egyptians in conjunction with the Alashiyans, or Cypriotes, with the latter having stated that the Lukka were seizing their villages.

Reign of Ramesses II

Records or possible records of sea peoples generally or in particular date to two campaigns of Ramesses II, a pharaoh of the militant 19th Dynasty: operations in or near the delta in Year 2 of his reign and the major confrontation with the Hittite Empire and allies at the Battle of Kadesh in his Year 5. The dates of this long-lived pharaoh's reign are not known for certain, but they must have comprised nearly all of the first half of the 13th century BC.

In his Second Year, an attack of the Sherden, or Shardana, on the Nile Delta was repulsed and defeated by Ramesses, who captured some of the pirates. The event is recorded on Tanis Stele II. An inscription by Ramesses II on the stela from Tanis which recorded the Sherden raider's raid and subsequent capture speaks of the continuous threat they posed to Egypt's Mediterranean coasts: : "the unruly Sherden whom no one had ever known how to combat, they came boldly sailing in their warships from the midst of the sea, none being able to withstand them."

The Sherden prisoners were subsequently incorporated into the Egyptian army for service on the Hittite frontier by Ramesses. Another stele usually cited in conjunction with this one is the "Aswan Stele" (there were other stelae at Aswan), which mentions the king's operations to defeat a number of peoples including those of the "Great Green". It is plausible to assume that the Tanis and Aswan Stelae refer to the same event, in which case they reinforce each other.

The Battle of Kadesh was the outcome of a campaign against the Syrians and allies in the Levant in the pharaoh's Year 5. The imminent collision of the Egyptian and Hittite empires became obvious to both, and they both prepared campaigns against the strategic mid-point of Kadesh for the next year. Ramesses divided his Egyptian forces, which were then ambushed piecemeal by the Hittite army and nearly defeated. However, some Egyptian forces made it through to Kadesh, and the arrival of the last of the Egyptians provided enough military cover to allow the pharaoh to escape and his army to withdraw in defeat; leaving Kadesh in Hittite hands.

At home, Ramesses had his scribes formulate an official description, which has been called "the Bulletin" because it was widely published by inscription. Ten copies survive today on the temples at Abydos, Karnak, Luxor and Abu Simbel, with reliefs depicting the battle. A poem, the "Poem of Pentaur", describing the battle survives also.

The poem relates that the previously captured Sherden were not only working for his majesty, but were also formulating a plan of battle for him; i.e., it was their idea to divide Egyptian forces into four columns. There is no evidence of any collaboration with the Hittites or malicious intent on their part, and if Ramesses considered it, he never left any record of that consideration.

The poem lists the peoples which went to Kadesh as allies of the Hittites. Amongst them are some of the sea peoples spoken of in the Egyptian inscriptions previously mentioned, and many of the peoples who would later take part in the great migrations of the 12th century BC.

Reign of Merneptah

The major event of the reign of the Pharaoh Merneptah (1213 BC–1203 BC), 4th king of the 19th Dynasty, was his battle against a confederacy termed "the Nine Bows" at Perire in the western delta in the 5th and 6th years of his reign. Depredations of this confederacy had been so severe that the region was "forsaken as pasturage for cattle, it was left waste from the time of the ancestors."

The pharaoh's action against them is attested in four inscriptions: the Great Karnak Inscription, describing the battle, the Cairo Column, the Athribis Stele (the last two of which are shorter versions of the Great Karnak), and a stele found at Thebes, called variously the Hymn of Victory, the Merneptah Stele or the Israel Stele. It describes the reign of peace resulting from the victory.

The Nine Bows were acting under the leadership of the king of Libya and an associated near-concurrent revolt in Canaan involving Gaza, Ashkelon, Yenoam and Israel. Exactly which peoples were consistently in the Nine Bows is not clear, but present at the battle were the Libyans, some neighboring Meshwesh, and possibly a separate revolt in the following year involving peoples from the eastern Mediterranean, including the Kheta (or Hittites), or Syrians, and (in the Israel Stele) for the first time in history, the Israelites. In addition to them, the first lines of the Karnak inscription include some sea peoples, which must have arrived in the Western Delta or from Cyrene by ship:

Later in the inscription Merneptah receives news of the attack:

"His majesty was enraged at their report, like a lion," assembled his court and gave a rousing speech. Later, he dreamed he saw Ptah handing him a sword and saying, "Take thou (it) and banish thou the fearful heart from thee." When the bowmen went forth, says the inscription, "Amun was with them as a shield." After six hours, the surviving Nine Bows threw down their weapons, abandoned their baggage and dependents, and ran for their lives. Merneptah states that he defeated the invasion, killing 6,000 soldiers and taking 9,000 prisoners. To be sure of the numbers, among other things, he took the penises of all uncircumcised enemy dead and the hands of all the circumcised, from which history learns that the Ekwesh were circumcised, a fact causing some to doubt they were Greek.

Letters at Ugarit

Some Sea Peoples appear in four letters found at Ugarit, the last three of which seem to foreshadow the destruction of the city around 1180 BC. The letters are therefore dated to the early twelfth century. The last king of Ugarit was Ammurapi, or Hammurabi (c. 1191–1182 BC), who, throughout this correspondence, is quite a young man.

The earliest is letter RS 34.129, found on the south side of the city, from "the Great King", presumably Suppiluliuma II of the Hittites, to the prefect of the city. He says that he ordered the king of Ugarit to send him Ibnadushu for questioning, but the king was too immature to respond. He therefore wants the prefect to send the man, whom he promises to return.

What this language implies about the relationship of the Hittite empire to Ugarit is a matter for interpretation. Ibnadushu had been kidnapped by and had resided among a people of Shikala, probably the Shekelesh, "who lived on ships." The letter is generally interpreted as an interest in military intelligence by the king.

The last three letters, RS L 1, RS 20.238 and RS 20.18, are a set from the Rap'anu Archive between a slightly older Ammurapi, now handling his own affairs, and Eshuwara, the grand supervisor of Alasiya. Evidently, Ammurapi had informed Eshuwara, that an enemy fleet of 20 ships had been spotted at sea.

Eshuwara wrote back and inquired about the location of Ammurapi's own forces. Eshuwara also noted that he would like to know where the enemy fleet of 20 ships are now located. Unfortunately for both Ugarit and Alasiya, neither kingdom was able to fend off the Sea People's onslaught, and both were ultimately destroyed. A letter by Amurapi (RS 18.147) to the king of Alasiya—which was in fact a response to an appeal for assistance by the latter—has been found by archaeologists. In it, Ammurapi describes the desperate plight facing Ugarit:

{{bquote|My father, behold, the enemy's ships came (here); my cities(?) were burned, and they did evil things in my country. Does not my father know that all my troops and chariots(?) are in the Land of Hatti, and all my ships are in the Land of Lukka?...Thus, the country is abandoned to itself. May my father know it: the seven ships of the enemy that came here inflicted much damage upon us. }}

Ammurapi, in turn, appealed for aid from the viceroy of Carchemish—a state which actually survived the Sea People's onslaught—but its viceroy could only offer some words of advice for Ammurapi:

Reign of Ramesses III

Pharaoh Ramesses III, the second king of the 20th Dynasty, who reigned for most of the first half of the 12th century BC, was forced to deal with a later wave of invasions of the Sea Peoples—the best recorded in his eighth year. The pharaoh records the Sea People's activities in several long inscriptions from his Medinet Habu mortuary temple:

No land could stand before their arms

The ends of several civilizations around 1175 BC have instigated a theory that the Sea Peoples may have caused the collapse of the Hittite, Mycenaean and Mitanni kingdoms. The American Hittitologist, Gary Beckman, writes on page 23 of ''Akkadica 120'' (2000):

Ramesses' comments about the scale of the Sea Peoples' onslaught in the eastern Mediterranean are confirmed by the destruction of the states of Hatti, Ugarit, Ashkelon and Hazor around this time. As the Hittitologist Trevor Bryce observes:

This situation is confirmed by the Medinet Habu temple reliefs of Ramesses III which show that:

Checking the onslaught

The inscriptions of Ramesses III at his Medinet Habu mortuary temple in Thebes record three victorious campaigns against the Sea Peoples considered bona fide, in Years 5, 8 and 12, as well as three considered spurious, against the Nubians and Libyans in Year 5 and the Libyans with Asiatics in Year 11. During Year 8 some Hittites were operating with the Sea Peoples.

The inner west wall of the second court describes the invasion of Year 5. Only the Peleset and Tjeker are mentioned, but the list is lost in a lacuna. The attack was two-pronged, one by sea and one by land; that is, the Sea Peoples divided their forces. His majesty was waiting in the Nile mouths and trapped the enemy fleet there. The land forces were defeated separately.

The Sea Peoples did not learn any lessons from this defeat, as they repeated their mistake in Year 8 with a similar result. The campaign is recorded more extensively on the inner northwest panel of the first court. It is possible, but not generally believed, that the dates are only those of the inscriptions and both refer to the same campaign.

In Ramesses' Year 8, the Nine Bows appear again as a "conspiracy in their isles". This time, they are revealed unquestionably as Sea Peoples: the Peleset, Tjeker, Shekelesh, Denyen and Weshesh, which are classified as "foreign countries" in the inscription. They camped in Amor and sent a fleet to the Nile.

The pharaoh was once more waiting for them. He had built a fleet especially for the occasion, hid it in the Nile mouths and posted coast watchers. The enemy fleet was ambushed there, their ships overturned, and the men dragged up on shore and executed ad hoc.

The land army was also routed within Egyptian controlled territory. Additional information is given in the relief on the outer side of the east wall. The land battle occurred in the vicinity of Zahi against "the northern countries". When it was over, several chiefs were captive: of Hatti, Amor and Shasu among the "land peoples" and the Tjeker, "Sherden of the sea", "Teresh of the sea" and Peleset (ancient Greek name for sea people; Pelasgians).

The campaign of Year 12 is attested by the Südstele found on the south side of the temple. It mentions the Tjeker, Peleset, Denyen, Weshesh and Shekelesh.

Papyrus Harris I of the period, found behind the temple, suggests a wider campaign against the Sea Peoples but does not mention the date. In it, the persona of Ramses III says, "I slew the Denyen (D'-yn-yw-n) in their isles" and "burned" the Tjeker and Peleset, implying a maritime raid of his own. He also captured some Sherden and Weshesh "of the sea" and settled them in Egypt. As he is called the "Ruler of Nine Bows" in the relief of the east side, these events probably happened in Year 8; i.e., his majesty would have used the victorious fleet for some punitive expeditions elsewhere in the Mediterranean.

The Onomasticon of Amenope, or Amenemipit (amen-em-apt), gives a slight credence to the idea that the Ramesside kings settled the Sea Peoples in Canaan. Dated to about 1100 BC, at the end of the 21st dynasty (which had numerous short-reigned pharaohs), this document simply lists names. After six place names, four of which were in Philistia, the scribe lists the Sherden (Line 268), the Tjeker (Line 269) and the Peleset (Line 270), who might be presumed to occupy those cities. The Story of Wenamun on a papyrus of the same cache also places the Tjeker in Dor at that time.

Survivors

A few states, such as Byblos and Sidon, survived the Sea Peoples' migrations. Despite Ramesses III's pessimism, Carchemish also survived the Sea Peoples' onslaught. King Kuzi-Teshub I, who was the son of Talmi-Teshub—a direct contemporary of the last ruling Hittite king, Suppiluliuma II—is attested in power there. Kuzi-Tesup and his successors ruled a mini-empire from Carchemish which stretched from "Southeast Asia Minor, North Syria...[to] the west bend of the Euphrates" from c. 1175 BC to 990 BC.

Hypotheses about the Sea Peoples

A number of hypotheses concerning the identities and motives of the Sea Peoples described in the records have been formulated. They are not necessarily alternative or contradictory hypotheses; any or all might be mainly or partly true.

Philistine hypothesis

The archaeological evidence from the southern coastal plain of ancient Palestine, termed Philistia in the Hebrew Bible, indicates a disruption of the Canaanite culture that existed during the Late Bronze Age and its replacement (with some integration) by a culture with a possibly foreign (mainly Aegean) origin. This includes distinct pottery, which at first belongs to the Mycenaean IIIC tradition (albeit of local manufacture) and gradually transforms into a uniquely Philistine pottery. Mazar says:

Sandars, however, does not take this point of view, but says:

Artifacts of the Philistine culture are found at numerous sites, in particular in the excavations of the five main cities of the Philistines: the Pentapolis of Ashkelon, Ashdod, Ekron, Gath, and Gaza. Some scholars (e.g. S. Sherratt, Drews, etc.) have challenged the theory that the Philistine culture is an immigrant culture, claiming instead that they are an ''in situ'' development of the Canaanite culture, but others argue for the immigrant hypothesis; for example, T. Dothan and Barako.

Minoan hypothesis

Two of the peoples who settled in the Levant had traditions that may connect them to Crete: the Tjeker and the Peleset (Philistines). The Tjeker may have left Crete to settle in Anatolia, and left there to settle Dor. According to the Old Testament, the Israelite God brought the Philistines out of Caphtor. The mainstream of Biblical and classical scholarship accepts ''Caphtor'' to refer to Crete, but there are alternative minority theories. Crete at the time was populated by peoples speaking many languages, among which were Mycenaean Greek and Eteocretan, the descendant of the language of the Minoans. It is possible, but by no means certain, that these two peoples spoke Eteocretan.

Recent examinations of the eruption of the Santorini volcano suggest that it occurred very close (estimated between 1660-1613 BC) to the first appearances of the Sea People in Egypt. The eruption and its aftermath (fires, tsunami, weather changes and famines) would have had wide-ranging effects across the Mediterranean, the Levant and particularly Greece, and could have provided the impetus for invasions of other regions of the Mediterranean.

Greek migrational hypothesis

The identifications of Denyen with the Greek Danaans and Ekwesh with the Greek Achaeans are long-standing issues in Bronze Age scholarship, whether Greek, Hittite or Biblical, especially as they lived "in the isles". If the Greeks do appear as Sea Peoples, what were they doing? Michael Wood gives a good summary of the question and the hypothetical role of the Greeks (who have already been proposed as the identity of the Philistines above):

Wood would also include the Sherden and Shekelesh, pointing out that "there were migrations of Greek-speaking peoples to the same place [Sardinia and Sicily] at this time." He is careful to point out that the Greeks must only have been an element among the peoples, and that their numbers must have been relatively small. His major hypothesis, however, is that the Trojan War was fought against Troy VI and that Troy VIIa, the candidate of Carl Blegen, was sacked by essentially Greek Sea Peoples. He suggests that Odysseus' assumed identity of a wandering Cretan coming home from the Trojan War who fights in Egypt and serves there after being captured "remembers" the campaign of Year 8 of Ramses III, described above. He points out also that places destroyed on Cyprus at the time (such as Kition) were rebuilt by a new Greek-speaking population.

Trojan hypothesis

The possibility that the Teresh were connected on the one hand with the Tyrrhenians, believed to be an Etruscan-related culture, and on the other with Taruissa, a Hittite name possibly referring to Troy, had been considered by the ancient Romans. The Roman poet Virgil refers to this belief when he depicts Aeneas as escaping the fall of Troy by coming to Latium to found a line descending to Romulus, first king of Rome. Considering that Anatolian connections have been identified for other Sea Peoples, such as the Tjeker and the Lukka, Eberhard Zangger puts together an Anatolian hypothesis:

Mycenaean warfare hypothesis

This theory suggests that the Sea Peoples were populations from the city states of the Greek Mycenaean civilization, who destroyed each other in a disastrous series of conflicts lasting several decades. There would have been few or no external invaders and just a few excursions outside the Greek-speaking part of the Aegean civilization.

Archaeological evidence indicates that many fortified sites of the Greek domain were destroyed in the late 13th and early 12th century BC, which was understood in the mid 20th century to have been simultaneous or nearly so and was attributed to the Dorian Invasion championed by Carl Blegen of the University of Cincinnati. He believed Mycenaean Pylos was burned during an amphibious raid by warriors from the north (Dorians).

Subsequent critical analysis focused on the facts that the destructions were not simultaneous and all the evidence of Dorians came from later times. John Chadwick championed a Sea Peoples hypothesis, which asserted that as the Pylians had retreated to the northeast, the attack must have come from the southwest, the Sea Peoples being, in his view, the most likely candidates. He states that they were based in Anatolia and, although doubting that Mycenaeans called themselves "Achaeans", speculates that "... it is very tempting to bring them into connexion." He does not assign the Greek identity to all of the Sea Peoples.

Considering the turbulence between and within the great families of the Mycenaean city-states in Greek mythology, the hypothesis that the Mycenaeans destroyed themselves is long-standing and finds support by the reputable Greek historian Thucydides, who theorized:

The connection of these predations to the fall of Mycenaean Greece and, more widely, to the Sea Peoples is a logical outcome. Although some advocates of the Philistine or Greek migration hypotheses (above) identify all the Mycenaeans or Sea Peoples as ethnically Greek, the cautious Chadwick (founder, with Michael Ventris, of Linear B studies) rather adopts the multiple ethnicity view.

Italian peoples hypotheses

Theories of the possible connections between the Sherden to Sardinia, Shekelesh to Sicily, and Teresh to Tyrrhenians, even though long-standing, are based mainly on onomastic similarities.

The Sardinian architecture produced by the Nuragic civilization was the most advanced of any civilization in the western Mediterranean during the Sea Peoples epoch, including those in the regions of Magna Graecia.

The pre-Roman Sicels are known from a number of locations, including Sicily, presumed named after them. The Tyrrhenian Sea gives some credence to the story of Tyrrhenus mentioned above.

No evidence has been uncovered yet to settle the enigmatic Italian connections of these Sea Peoples. The self-name of the Etruscans, ''Rasna'', does not lend itself to the Tyrrhenian derivation, although linguist Glen Glordon has suggested an earlier form T'Rasena or even T'Lasena which would explain Greek and later Roman names. He has further suggested that T'Lasena contains the pre-Greek Thalassa (Sea) etymology. Assertions in various articles and books that the Sherdens definitely were or were not from Sardis or some ancestor state have no foundation in the evidence. The Etruscan civilization has been studied, and the language partly deciphered. It has variants and representatives in Aegean inscriptions, but these may well be from travellers or colonists of Etruscans during their seafaring period before Rome destroyed their power. The entire Etruscan civilization can scarcely be explained by a few ships of Teresh or even a whole fleet.

Archaeology is equally enigmatic. About all that can be said for certain is that Mycenaean pottery was widespread around the Mediterranean and its introduction at various places, including Sardinia, is often associated with cultural change, violent or gradual. These circumstances appear to be enough for archaeological theorizers. The prevalent speculation is that the Sherden and Shekelesh brought those names with them to Sardinia and Sicily, "perhaps not operating from those great islands but moving toward them." More recent genetic evidence indicates that the populations in those regions are more related to the people of Anatolia than to anywhere else, but this evidence is not event- or period-specific.

Anatolian famine hypothesis

A famous passage from Herodotus portrays the wandering and migration of Lydians from Anatolia because of famine:

Connections to the Teresh of the Merneptah Stele, which also mentions shipments of grain to the Hittite Empire to relieve famine, are logically unavoidable. Many have made them, generally proposing a coalition of seagoing migrants from Anatolia and the islands seeking relief from scarcity. Tablet RS 18.38 from Ugarit also mentions grain to the Hittites, suggesting a long period of famine, connected further, in the full theory, to drought. Barry Weiss, using the Palmer Drought Index for 35 Greek, Turkish, and Middle Eastern weather stations, showed that a drought of the kinds that persisted from January 1972 would have affected all of the sites associated with the Late Bronze Age collapse. Drought could have easily precipitated or hastened socio-economic problems and led to wars. More recently, Brian Fagan has shown how mid-winter storms from the Atlantic were diverted to travel north of the Pyrenees and the Alps, bringing wetter conditions to Central Europe, but drought to the Eastern Mediterranean.

Invader hypothesis

The term invasion is used generally in the literature concerning the period to mean the documented attacks implying a local or unspecified origin. An origin outside the Aegean also has been proposed, as in this example by Michael Grant: "There was a gigantic series of migratory waves, extending all the way from the Danube valley to the plains of China."

Such a comprehensive movement is associated with more than one people or culture; instead, a "disturbance" happens, according to Finley:

If different times are allowed on the Danube, they are not in the Aegean: "all this destruction must be dated to the same period about 1200."

The following movements are compressed by Finley into the 1200 BC window: the Dorian Invasion, the attacks of the Sea Peoples, the formation of Philistine kingdoms in the Levant and the fall of the Hittite Empire, when in fact, those events required at least a few hundred years.

The archaeological evidence is treated in the same way. Robert Drews presents a map showing the destruction sites of 47 fortified major settlements, which he terms "Major Sites Destroyed in the Catastrophe". They are concentrated in the Levant, with some in Greece and Anatolia. The questions of dates and agents of destruction remain for the most part unanswered in detail, without which no single catastrophe or related catastrophes can be postulated beyond the level of pure speculation.

The invaders, that is, the replacement cultures at those sites, apparently made no attempt to retain the cities' wealth but instead built new settlements of a materially simpler cultural and less complex economic level atop the ruins. For example, no one appropriated the palace and rich stores at Pylos, but all were burned up, and the successors (whomever they were) moved in over the ruins with plain pottery and simple goods. This demonstrates a cultural discontinuity.

Whether all the discontinuities were sufficiently contemporaneous to warrant a theory of great waves of invasion another question. Ethnic identities from the Danube and beyond are in short supply in the records.

Serbonian Bog

The name of the Serbonian Bog () applied to the lake of Serbonis (''Sirbonis'' or ''Serbon'') in Egypt relates to the Sea Peoples. When sand blew onto it, the Serbonian Bog appeared to be solid land, but was in fact a bog. The term is now applied metaphorically to any situation in which one is entangled from which extrication is difficult.

The Serbonian Bog has been identified as ''Sabkhat al Bardawil'', one of the string of "Bitter Lakes" to the east of the Nile's right branch. It was described in ancient times as a quagmire, in which armies were fabled to be swallowed up and lost.

The term ''Serbonian'' came from the name of the Sherden (also known as Serden or Shardana) sea pirates, one of several groups of Sea Peoples who appear in fragmentary Egyptian records in the 2nd millennium BC.

Notes

Sources

External links

Philistine Kin Found in Early Israel, Adam Zertal, BAR 28:03, May/Jun 2002.

The Sea Peoples and the Philistines: a course at Penn State

''Egyptians, Canaanites, and Philistines in the Period of the Emergence of Early Israel'', paper by Itamar Singer at the UCLA Near Eastern Languages & Culture site

"Who Were the Sea People?", article by Eberhard Zangger in ''Saudi Aramco World'', Volume 46, Number 3, May/June 1995

PlosOne dating the Sea People destruction of the Levant to 1192-90 BC

''The Origins of the Sea Peoples'', undergraduate paper by Joseph Morris published by Florida State University Classic Department

''The Sea Peoples and Annales: A Contextual Study of the Late Bronze Age'', Master's Thesis of Daniel Jacobus Krüger, published at the University of South Africa site

"The Battle of the Nile - Circa 1190 B.C.", article by I Cornelius in ''Military History Journal'', Vol. 7., No. 4 of the South African Military History Society

Category:Ancient peoples Category:Ancient pirates Category:Ancient Egypt Category:Ancient Levant Category:Iron Age Greece Category:Iron Age Anatolia Category:Ancient Italian history Category:History of the Mediterranean

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Coordinates	34°03′″N118°15′″N
Name	Jimi Hendrix
Background	solo_singer
Birth name	Johnny Allen Hendrix, renamed James Marshall Hendrix
Born	November 27, 1942Seattle, Washington, US
Died	September 18, 1970Kensington, London, England
Instrument	Guitar, vocals, bass, keyboards, percussion, flute
Genre	Psychedelic rock, hard rock, blues rock, acid rock, funk rock
Occupation	Singer, songwriter, guitarist, record producer, recording studio owner
Years active	1963–1970
Label	RSVP, Track, Barclay, Polydor, Repsrise, Capitol, MCA
Associated acts	Little Richard, The Isley Brothers, The Blue Flames, The Jimi Hendrix Experience, Gypsy Sun and Rainbows, Band of Gypsys, Curtis Knight
Website	www.jimihendrix.com
Notable instruments	Fender StratocasterGibson Flying VGibson SG }}

James Marshall "Jimi" Hendrix (born Johnny Allen Hendrix; November 27, 1942 – September 18, 1970) was an American guitarist and singer-songwriter. He is widely considered to be the greatest guitarist in musical history, and one of the most influential musicians of his era across a range of genres.

After initial success in Europe with his group The Jimi Hendrix Experience, he achieved fame in the United States following his 1967 performance at the Monterey Pop Festival. Later, Hendrix headlined the iconic 1969 Woodstock Festival and the 1970 Isle of Wight Festival. He often favored raw overdriven amplifiers with high gain and treble and helped develop the previously undesirable technique of guitar amplifier feedback.

Hendrix, as well as his friend Eric Clapton, popularized use of the wah-wah pedal in mainstream rock which he often used to deliver an exaggerated sense of pitch in his solos, particularly with high bends, complex guitar playing, and use of legato. As a record producer, Hendrix also broke new ground in using the recording studio as an extension of his musical ideas. He was one of the first to experiment with stereophonic phasing effects for rock recording.

Hendrix was influenced by blues artists such as B.B. King, Muddy Waters, Howlin' Wolf, Albert King and Elmore James, rhythm and blues and soul guitarists Curtis Mayfield and Steve Cropper, and the jazz guitarist Wes Montgomery. Hendrix (who was then known as 'Maurice James') began dressing and wearing a moustache like Little Richard when he performed and recorded in his band from March 1, 1964 through to the spring of 1965. In 1966, Hendrix stated, "I want to do with my guitar what Little Richard does with his voice".

Hendrix won many of the most prestigious rock music awards in his lifetime, and has been posthumously awarded many more, including being inducted into the US Rock and Roll Hall of Fame in 1992 and the UK Music Hall of Fame in 2005. An English Heritage blue plaque was erected in his name on his former residence at Brook Street, London, in September 1997. A star on the Hollywood Walk of Fame (at 6627 Hollywood Blvd.) was dedicated in 1994. In 2006, his debut US album, ''Are You Experienced'', was inducted into the United States National Recording Registry, and ''Rolling Stone'' named Hendrix the top guitarist on its list of the 100 greatest guitarists of all-time in 2003.

Biography

Early life

Born Johnny Allen Hendrix on November 27, 1942, in Seattle, Washington, the first of five children to James Allen "Al" Hendrix (10 June 1919, Vancouver, British Columbia – 17 April 2002, Renton, Washington) and Lucille Jeter (12 October 1925, Seattle, Washington – 2 February 1958, Renton, Washington).

Hendrix's ancestry was mostly African American, although he was part Cherokee, his paternal great-great grandmother being a full-blooded Cherokee from Georgia. His parents met at a dance in Seattle in 1941 when Lucille Jeter was 16. When she married Al Hendrix the next year, on March 13, 1942, she was pregnant. Since Al had been drafted into the United States Army due to World War II, he was shipped out three days later. Al Hendrix completed his basic training at Fort Sill, Oklahoma, but was stationed in Alabama when his son was born. Because the commanding officer believed that he would go AWOL to Seattle in order to visit his new son, he was locked up in the stockade as a preventative measure, where he remained to receive the telegram informing him of his son's birth. The baby that would grow up to become the guitarist Jimi Hendrix was born to a father who had six fingers on each hand. Al Hendrix spent the war in the South Pacific Theater mostly in Fiji. During the three years that he was away, Lucille struggled with raising her infant son who was neglected in favor of the nightlife scene. Thus Hendrix was mostly cared for by family members and others during this period.

His father received an honorable discharge from the U.S. Army on September 1, 1945, and retrieved his son from a woman who was caring for him in Berkeley. Al legally changed his son’s name to James Marshall Hendrix in memory of his late brother, Leon Marshall Hendrix. He was known as "Buster" to friends and family, from birth. After his return, Al reunited with Lucille. He found it difficult to gain steady employment after the Second World War, and the family was impoverished. Like Lucille, Al also struggled with alcohol and the couple had frequent fights. At one point a pimp named John Page who had a history with Lucille even tried to commandeer her out of a movie theater while she was with Al. Al objected and a fight ensued, spilling out into the street. Al had been an amateur boxer and stunned the pimp with a first punch, eventually winning the brawl and they never saw the pimp again.

During the early years of Hendrix’s life, the turmoil caused by his parent's fighting would sometimes cause him to withdraw and hide in a closet in their home. They moved often, staying in cheap hotels and apartments around Seattle. Throughout his childhood Hendrix would periodically be dropped off to be cared for by relatives. This all left an imprint on him as a small child which would remain with him the rest of his life. In addition to the instability of his home life, Hendrix in later years confided to two different girlfriends that as a youth he had been sexually assaulted by a man, although he never elaborated. In one instance while he was living in Harlem, Hendrix broke down crying as his girlfriend related the sexual abuse she had suffered as a child, telling her that the same thing had happened to him.

Hendrix had two brothers, Leon and Joseph, and two sisters, Kathy and Pamela. Joseph was born with physical difficulties and was placed in foster care at age three. His two sisters were also both placed in foster care at a young age. Kathy was born blind and Pamela suffered lesser physical difficulties.

On December 17, 1951, when Hendrix was nine years old, his parents divorced. His mother developed cirrhosis of the liver and died on February 2, 1958, when the state of her liver caused her spleen to rupture. On occasion, he was placed in the care of his paternal grandmother in Vancouver, British Columbia because of the unstable household, and his brother Leon was placed in foster care temporarily. Hendrix was a shy and sensitive boy, deeply affected by the poverty and family disruption he experienced at a young age. Unusual for his era, Hendrix's high school had a relatively even ethnic mix of African, European, and Asian Americans.

First guitar

At age 15, around the time his mother died, he acquired his first acoustic guitar for US$5 from an acquaintance of his father. This guitar replaced both the broomstick he had been strumming in imitation, and a ukulele which his father had found while cleaning a garage. Hendrix learned to play by practicing for several hours a day, watching others play, getting tips from more experienced players, and listening to records. In mid-1959, his father bought Hendrix a white Supro Ozark, his first electric guitar, but there was no available amplifier. According to fellow Seattle bandmates, he learned most of his acrobatic stage moves, a major part of the blues/R&B; tradition, including playing with his teeth and behind his back, from a fellow young musician, Raleigh "Butch" Snipes, guitarist with local band The Sharps. Hendrix himself performed Chuck Berry's trademark "duck walk" on occasion. Hendrix played in a couple of local bands, occasionally playing outlying gigs in Washington State and at least once over the border in Vancouver, British Columbia.

Hendrix was particularly fond of Elvis Presley, whom he saw perform in Seattle, in 1957. Leon Hendrix claimed in an early interview that Little Richard appeared in his Central District neighborhood and shook hands with his brother, Jimi. This is unattested elsewhere and vehemently denied by his father. He also claimed that Richard was visiting his mother there at the time, when Richard's mother actually lived in Los Angeles. Hendrix's early exposure to blues music came from listening to records by Muddy Waters and B.B. King which his father owned. Another early impression came from the 1954 western ''Johnny Guitar'', in which the hero carries no gun but instead wears a guitar slung behind his back.

Hendrix's first gig was with an unnamed band in the basement of a synagogue, Seattle's Temple De Hirsch. After too much wild playing and showing off, he was fired between sets. The first formal band he played in was The Velvetones, who performed regularly at the Yesler Terrace Neighborhood House without pay. He later joined the Rocking Kings, who played professionally at such venues as the Birdland. When his guitar was stolen (after he left it backstage overnight), Al bought him a white Silvertone Danelectro. He painted it red and had "Betty Jean" emblazoned on it—the name of his high school girlfriend.

Hendrix completed junior high at Washington Junior High School with little trouble but did not graduate from Garfield High School. Later he was awarded an honorary diploma, and in the 1990s a bust of him was placed in the school library. After he became famous in the late 1960s, Hendrix told reporters that he had been expelled from Garfield by racist faculty for holding hands with a white girlfriend in study hall. Principal Frank Hanawalt says that it was simply due to poor grades and attendance problems.

In the Army

Hendrix got into trouble with the law twice for riding in stolen cars. He was given a choice between spending two years in prison or joining the Army. Hendrix chose the latter and enlisted on May 31, 1961. After completing basic training, he was assigned to the 101st Airborne Division and stationed in Fort Campbell, Kentucky. His commanding officers and fellow soldiers considered him to be a subpar soldier: he slept while on duty, had little regard for regulations, required constant supervision, and showed no skill as a marksman. For these reasons, his commanding officers submitted a request that Hendrix be discharged from the military after he had served only one year. Hendrix did not object when the opportunity to leave arose. He would later tell reporters that he received a medical discharge after breaking his ankle during his 26th parachute jump. The rock music journalist Charles Cross contended in his biography of Hendrix, ''Room Full of Mirrors'' (2005) that Hendrix feigned being homosexual—claiming to have fallen in love with a fellow soldier—in order to be discharged, but did not produce credible evidence to support this contention.

At the base recreation center, Hendrix met fellow soldier and bass player Billy Cox, and the two forged a loyal friendship that Hendrix would call upon from April 1969 until Billy's breakdown shortly before Hendrix's death. The two would often perform with other musicians at venues both on and off the base as a loosely organized band there named the Casuals. As a celebrity in the UK, Hendrix mentioned his military service in three published interviews; one in 1967 for the film ''See My Music Talking'' (much later released under the title ''Experience''), which was intended for TV to promote his recently released ''Axis: Bold as Love'' LP, in which he spoke very briefly of his first parachuting experience: "...once you get out there everything is so quiet, all you hear is the breezes-s-s-s..." This comment has later been used to claim that he was saying that this was one of the sources of his "spacy" guitar sound. The second and third mentions of his military experience were in interviews for ''Melody Maker'' in 1967 and 1969, where he spoke of his dislike of the army. In interviews in the US, Hendrix almost never mentioned it, and when Dick Cavett brought it up in his TV interview, Hendrix's only response was to verify that he had been based at Fort Campbell.

Early career

After his Army discharge, Hendrix and Army friend Billy Cox moved to nearby Clarksville, Tennessee and undertook in earnest to earn a living with their existing band. Hendrix had already seen Butch Snipes play with his teeth in Seattle and now Alphonso 'Baby Boo' Young the other guitarist in the band, was featuring this gimmick. Not to be upstaged, it was then that Hendrix learned to play with his teeth properly, according to Hendrix himself: "... the idea of doing that came to me in a town in Tennessee. Down there you have to play with your teeth or else you get shot. There’s a trail of broken teeth all over the stage..." They played mainly in low-paying gigs at obscure venues. The band eventually moved to Nashville's Jefferson Street, the traditional heart of Nashville's black community and home to a lively rhythm and blues scene. After they moved to Nashville, upon learning there was already an established band by the name "The Casuals", they amended their name to the "King Kasuals". While in Nashville, according to Cox and Larry Lee—who replaced Alphonso Young on guitar—they were basically the house band at Club del Morocco. Hendrix and Cox shared a flat above Joyce's House of Glamor. Hendrix's girlfriend at this time was Joyce Lucas. Bill 'Hoss' Allen's memory of Hendrix's supposed participation in a session with Billy Cox in November 1962, in which he cut Hendrix's contribution due to his over-the-top playing, has now been called into question; a suggestion has been made that he may have confused this with a later 1965 session by Frank Howard and the Commanders in which Hendrix participated.

In December 1962, Hendrix visited his relatives in Vancouver, Canada, where as a child he had sometimes lived with his grandmother. It has been claimed that while there, he performed with future members of the Motown band Bobby Taylor & the Vancouvers, including Tommy Chong (of later Cheech & Chong fame). Chong, however, disputes this ever happened and that any such appearance is a product of Taylor's "imagination". In early 1963, Hendrix returned to the South. For the next two years, Hendrix made a living performing on a circuit of venues throughout the South catering to black audiences. These were venues affiliated with the Theater Owners' Booking Association (TOBA), sarcastically known as "Tough on Black Asses" because the audiences were very demanding. The TOBA circuit was also widely known as the Chitlin' Circuit. In addition to performing in his own band, Hendrix performed with Bob Fisher and the Bonnevilles, and in backing bands for various soul, R&B;, and blues musicians, including Chuck Jackson, Slim Harpo, Tommy Tucker, Sam Cooke, and Jackie Wilson. The Chitlin' Circuit was where Hendrix refined his style.

Feeling he had artistically outgrown the circuit and frustrated at following the rules of bandleaders, Hendrix decided to try his luck in New York City and in January 1964 moved into the Hotel Theresa in Harlem, where he soon befriended Lithofayne Pridgeon (known as "Faye", who became his girlfriend) and the Allen twins, Arthur and Albert (now known as Taharqa and Tunde-Ra Aleem). The Allen twins became friends and kept Hendrix out of trouble in New York. The twins also performed as backup singers (under the name Ghetto Fighters) on some of his recordings, most notably the song "Freedom". Pridgeon, a Harlem native with connections throughout the area's music scene, provided Hendrix with shelter, support, and encouragement. In February 1964, Hendrix won first prize in the Apollo Theater amateur contest. Hoping to land a gig, Hendrix made the club circuit and sat in with various bands. Eventually, Hendrix was offered the guitarist position with The Isley Brothers' back-up band and he readily accepted.

First recordings

Hendrix' first studio recording occurred in March 1964, when the Isley Brothers, with Hendrix as a member of the band, recorded the two-part single "Testify". Hendrix then went on tour with the Isley Brothers. "Testify" was released in June 1964, but did not make an impact on the charts. After touring as a member of the Isley Brothers until mid-late 1964, Hendrix grew dissatisfied and left the band in Nashville. There, he found work with the tour's MC "Gorgeous" George Odell.

On March 1, 1964, Hendrix (then calling himself Maurice James) began recording and performing with Little Richard. Hendrix would later (1966) say, "I want to do with my guitar what Little Richard does with his voice". During a stop in Los Angeles while touring with Little Richard in 1965, Hendrix played a session for Rosa Lee Brooks on her single "My Diary". This was his first recorded involvement with Arthur Lee of the band Love. While in L.A., he also played on the session for Little Richard's final single for Vee-Jay, "I Don't Know What You've Got, But It's Got Me". He later made his first recorded TV appearance on Nashville's Channel 5 ''Night Train'' with "The Royal Company" backing up "Buddy and Stacy" on "Shotgun". Hendrix clashed with Richard, over tardiness, wardrobe, and, above all, Hendrix's stage antics. He then rejoined the Isley Brothers in the summer of 1965 and recorded a second single with them, "Move Over and Let Me Dance" backed with "Have You Ever Been Disappointed" (1965 Atlantic 45-2303).

Later in 1965, Hendrix joined a New York–based R&B; band, Curtis Knight and the Squires, after meeting Knight in the lobby of the Hotel America, off Times Square, where both men were living at the time. He performed on and off with them for eight months. In October 1965, Hendrix recorded a single with Curtis Knight, "How Would You Feel" backed with "Welcome Home" (1966 RSVP 1120) and on October 15 he signed a three-year recording contract with entrepreneur Ed Chalpin, receiving 1% royalty. While the relationship with Chalpin was short-lived, his contract remained in force, which caused considerable problems for Hendrix later on in his career. The legal dispute has continued to the present day. (Several songs (and demos) from the 1965–1966 Curtis Knight recording sessions, deemed not worth releasing at the time, were marketed as "Jimi Hendrix" recordings after he became famous.) Aside from Curtis Knight and the Squires, Hendrix then toured for two months with Joey Dee and the Starliters.

In between performing with Curtis Knight in 1966, Hendrix toured and recorded with King Curtis. Hendrix recorded the two-part single "Help Me (Get the Feeling)" with Ray Sharpe and the King Curtis Orchestra (1966 Atco 45-6402) (the backing track was subsequently overdubbed by other vocalists with different lyrics and released as new songs). Later in 1966, Hendrix also recorded with Lonnie Youngblood, a saxophone player who occasionally performed with Curtis Knight. The sessions produced two singles for Youngblood: "Go Go Shoes"/"Go Go Place" (Fairmount F-1002) and "Soul Food (That's What I Like)"/"Goodbye Bessie Mae" (Fairmount F-1022). Additionally, singles for other artists came out of the sessions: The Icemen's "(My Girl) She's a Fox"/ "(I Wonder) What It Takes" (1966 SAMAR S-111) and Jimmy Norman's "You're Only Hurting Yourself"/"That Little Old Groove Maker" (1966 SAMAR S-112). As with the King Curtis recordings, backing tracks and alternate takes for the Youngblood sessions would be overdubbed and otherwise manipulated to create many "new" tracks. (Many Youngblood tracks without any Hendrix involvement would later be marketed as "Jimi Hendrix" recordings). Also around this time in 1966, Hendrix got his first composer credits for two instrumentals "Hornets Nest" and "Knock Yourself Out", released as a Curtis Knight and the Squires single (1966 RSVP 1124).

Hendrix, now going by the name Jimmy James, formed his own band, The Blue Flame, composed of Randy Palmer (bass), Danny Casey (drums), a 15-year-old guitarist who played slide and rhythm named Randy Wolfe, and the occasional stand in June 1966.

Since there were two musicians named "Randy" in the group, Hendrix dubbed Wolfe "Randy California" (as he had recently moved from there to New York City) and Palmer (a Tejano) "Randy Texas". Randy California would later co-found the band Spirit with his stepfather, drummer Ed Cassidy. It was around this time that Hendrix's only daughter Tamika was conceived with Diana Carpenter (also known as Regina Jackson), a teenage runaway and prostitute that he briefly stayed with. Her claim has not been recognized by the US courts where, after death, she may not have a claim on his estate even if she could legally prove he was her father, unless recognized previously as such by him or the courts.

Hendrix and his new band played at several places in New York, but their primary venue was a residency at the Cafe Wha? on MacDougal Street in Greenwich Village. The street runs along "Washington (Square) Park" which appeared in at least two of Hendrix's songs. Their last concerts were at the Cafe au Go Go, as John Hammond Jr.'s backing group, billed as "The Blue Flame". Singer-guitarist Ellen McIlwaine and guitarist Jeff "Skunk" Baxter also claim to have briefly worked with Hendrix in this period.

The Jimi Hendrix Experience

Early in 1966 at the Cheetah Club on Broadway at 53rd Street, Linda Keith, the girlfriend of Rolling Stones guitarist Keith Richards, befriended Hendrix and recommended him to Stones' manager Andrew Loog Oldham and later, producer Seymour Stein. Neither man took a liking to Hendrix's music, and they both passed. She then referred Hendrix to Chas Chandler, who was ending his tenure as bassist in The Animals and looking for talent to manage and produce. Chandler liked the song "Hey Joe" and was convinced he could create a hit single with the right artist.

Impressed with Hendrix's version, Chandler brought him to London and signed him to a management and production contract with himself and ex-Animals manager Michael Jeffery. It was Chandler who came up with the spelling change of "Jimmy" to "Jimi". Chandler then helped Hendrix form a new band, The Jimi Hendrix Experience, with guitarist-turned-bassist Noel Redding and drummer Mitch Mitchell, both English musicians. Shortly before the Experience was formed, Chandler introduced Hendrix to Pete Townshend and to Eric Clapton, who had only recently helped put together Cream. At Chandler's request, Cream let Hendrix join them on stage for a jam on the song "Killing Floor". Hendrix and Clapton remained friends up until Hendrix's death. The first night he arrived in London, he began a relationship with Kathy Etchingham that lasted until February 1969. She later wrote an autobiographical book about their relationship and the sixties London scene in general.

Hendrix sometimes had a camp sense of humor, specifically with the song "Purple Haze". A mondegreen had appeared, in which the line "'Scuse me while I kiss the sky" was misheard as "'Scuse me while I kiss this guy". In a few performances, Hendrix humorously used this, deliberately singing "kiss this guy" while pointing to Mitch or Noel, as he did at Monterey. In the Woodstock DVD he deliberately points to the sky at this point, to make it clear. A volume of misheard lyrics has been published, using this mondegreen itself as the title, with Hendrix on the cover.

UK success

After his enthusiastically received performance at France's No. 1 venue, the Olympia theatre in Paris on the Johnny Hallyday tour, an on-stage jam with Cream, a showcase gig at the newly opened, pop-celebrity oriented nightclub Bag O'Nails and the all important appearances on the top UK TV pop shows ''Ready Steady Go!'' and the BBC's ''Top of the Pops'', word of Hendrix spread throughout the London music community in late 1966. His showmanship and virtuosity made instant fans of reigning guitar heroes Eric Clapton and Jeff Beck, as well as Brian Jones and members of The Beatles and The Who, whose managers signed Hendrix to their new record label, Track Records.

Hendrix's first single was a cover of "Hey Joe", using Tim Rose's slower arrangement of the song including his addition of a female backing chorus. Backing this first 1966 "Experience" single was Hendrix's first songwriting effort, "Stone Free". Further success came in early 1967 with "Purple Haze" which featured the "Hendrix chord" and "The Wind Cries Mary". The three singles were all UK Top 10 hits and were also popular internationally including Europe, Australia, New Zealand and Japan (though failed to sell when released later in the US).

Onstage, Hendrix was also making an impression with sped up renderings of the B.B. King hit "Rock Me Baby" and Howlin' Wolf's hit "Killing Floor".

''Are You Experienced''

The first Jimi Hendrix Experience album, ''Are You Experienced'', was released in the United Kingdom on May 12, 1967, and shortly thereafter internationally, outside of the United States and Canada. It contained none of the previously released (outside the United States and Canada) singles or their B sides ("Hey Joe"/"Stone Free", "Purple Haze"/"51st Anniversary" and "The Wind Cries Mary"/"Highway Chile"). Only The Beatles' ''Sgt. Pepper's Lonely Hearts Club Band'' prevented ''Are You Experienced'' from reaching No. 1 on the UK charts.

At this time, the Experience extensively toured the United Kingdom and parts of Europe. This allowed Hendrix to develop his stage presence, which reached a high point on March 31, 1967, when, booked to appear as one of the opening acts on the Walker Brothers farewell tour, he set his guitar on fire at the end of his first performance, as a publicity stunt. This guitar has now been identified as the "Zappa guitar" (previously thought to have been from Miami), which has been partly refurbished. Later, as part of this press promotion campaign, there were articles about Rank Theatre management warning him to "tone down" his "suggestive" stage act, with Chandler stating that the group would not compromise regardless. On June 4, 1967, the Experience played their last show in England, at London's Saville Theatre, before heading off to America. The Beatles' ''Sgt. Pepper'' album had just been released on June 1 and two Beatles (Paul McCartney and George Harrison) were in attendance, along with a roll call of other UK rock stardom, including: Brian Epstein, Eric Clapton, Spencer Davis, Jack Bruce, and pop singer Lulu. Hendrix opened the show with his own rendering of "Sgt. Pepper's Lonely Hearts Club Band", rehearsed only minutes before taking the stage, much to McCartney's astonishment and delight.

While on tour in Sweden in 1967, Hendrix jammed with the duo ''Hansson & Karlsson'', and later opened several concerts with their song "Tax Free", also recording a cover of it during the Electric Ladyland sessions. He played there frequently throughout his career, and his only son James Daniel Sundquist was born there in 1969 to a Swede, Eva Sundquist, recognized as such by the Swedish courts and paid a settlement by Experience Hendrix LLC. He wrote a poem to a woman there (probably Sundquist). Sundquist had sent Hendrix roses on each of his opening nights in Stockholm, and began – according to the Swedish courts – a sexual relationship from then until conceiving Daniel with him, after his third visit in January 1969. Hendrix also dedicated songs to the Swedish-based Vietnam deserters organization in 1969.

Months later, Reprise Records released the US and Canadian version of ''Are You Experienced'' with a new cover by Karl Ferris, removing "Red House", "Remember" and "Can You See Me" to make room for the first three single A-sides. Where the (Rest of the World) album kicked off with "Foxy Lady", the US and Canadian one started with "Purple Haze". Both versions offered a startling introduction to the Jimi Hendrix Experience, and the album was a blueprint for what had become possible on an electric guitar, basically recorded on four tracks, mixed into mono and only modified at this point by a "fuzz" pedal, reverb and a small bit of the experimental "Octavia" pedal on "Purple Haze", produced by Roger Mayer in consultation with Hendrix. A remix using the mostly mono backing tracks with the guitar and vocal overdubs separated and occasionally panned to create a stereo mix was also released, only in the US and Canada.

US success

Although very popular in Europe at this time, The Jimi Hendrix Experience had yet to crack the United States.c Their first single there, "Hey Joe" c/w "51st Anniversary" (Reprise 0572, released 1 May 1967), failed to reach the Billboard chart.

Their chance came when Paul McCartney recommended the group to the organizers of the Monterey International Pop Festival. This proved to be a great opportunity for Hendrix, not only because of the large audience present at the event, but also because of the many journalists covering the event who wrote about him. The performances were filmed by D. A. Pennebaker and later shown in some movie theaters around the country in early 1969 as the concert documentary Monterey Pop, which immortalized Hendrix's iconic burning and smashing of his guitar at the finale of his performance.

The opening song was Hendrix's very fast arrangement of Howlin' Wolf's 1965 R&B; hit "Killing Floor". He played this frequently from late 1965 through 1968, usually as the opener to his shows. The Monterey performance included an equally lively rendering of B.B. King's 1964 R&B; hit "Rock Me Baby", Tim Rose's arrangement of "Hey Joe" and Bob Dylan's 1965 pop hit "Like a Rolling Stone". The set ended with The Troggs' "Wild Thing" and Hendrix repeating the act that had boosted his profile in the UK (and internationally) with him burning his guitar on stage, then smashing it to bits and tossing pieces out to the audience. This show finally brought Hendrix to the notice of the US public. A large chunk of this guitar was on display at the Experience Music Project in Seattle, along with the other psychedelically painted Stratocaster that Hendrix smashed (but did not burn) at his farewell concert in England before he left for the US and Monterey.

At the time Hendrix was playing sets in the Scene club in NYC in July 1967, he met Frank Zappa, whose Mothers of Invention were playing the adjacent Garrick Theater, and he was reportedly fascinated by Zappa's recently purchased wah-wah pedal. Hendrix immediately bought one from Manny's and starting using it right away on the sessions for both sides of his new single, and slightly later, on several jams recorded at Ed Chalpin's studio.

Following the festival, the Experience played a series of concerts at Bill Graham's Fillmore replacing the original headliners Jefferson Airplane at the top of the bill. It was at this time that Hendrix became acquainted with future musical collaborator Stephen Stills, and reacquainted himself with Buddy Miles who introduced Hendrix to his future partner, Devon Wilson. She had a turbulent on/off relationship with him, right up to the night of his death, and was the only one of his partners to record with him. She died only six months after Hendrix under mysterious circumstances, apparently falling from an upper window in the Chelsea Hotel.

Following this very successful West Coast introduction, which also included two open air concerts (one of them a free concert in the "panhandle" of Golden Gate Park) and a concert at the Whisky a Go Go, they were booked as one of the opening acts for pop group The Monkees on their first American tour. The Monkees asked for Hendrix because they were fans, but their (mostly early teens) audience sometimes did not warm to their act, and he quit the tour after a few dates. Chas Chandler later admitted that being thrown off the Monkees tour was engineered to gain maximum media impact and publicity for Hendrix, similar to that gained from the manufactured Rank Theatre's indecency dispute on the earlier UK Walker Brothers tour. At the time, a story circulated claiming that Hendrix was removed from the tour because of complaints made by the Daughters of the American Revolution that his stage conduct was "lewd and indecent". This report was concocted by a journalist accompanying the tour, the Australian Lillian Roxon.

Meanwhile in Western Europe, where Hendrix was appreciated for his authentic blues as well as his hit singles and recognized for his avant-garde musical ideas, his wild-man image and musical gimmickry (such as playing the guitar with his teeth and behind his back) had faded; but they later plagued him in the US following Monterey. He became frustrated by the US media and audience when they concentrated on his stage tricks and best known songs.

''Axis: Bold as Love''

The Jimi Hendrix Experience's second 1967 album, ''Axis: Bold as Love'' was his first recording made for stereo release and used panning and other stereo effects. It continued the style established by ''Are You Experienced''. The opening track, "EXP", featured a stereo effect in which a sound emanating from Hendrix's guitar appeared to revolve around the listener, fading out into the distance from the right channel, then returning in on the left. This album marked the first time Hendrix recorded the whole album with his guitar tuned down one half-step, to E, which he used exclusively thereafter and was his first to feature the wah-wah pedal. A mishap almost delayed the album's pre-Christmas release: Hendrix lost the master tape of side one of the LP, leaving it in the back seat of a London taxi. With the release deadline looming, Hendrix, Chas Chandler and engineer Eddie Kramer had to remix most of side one in an overnight session, but they could not match the lost mix of "If 6 Was 9". They soon learned that bassist Noel Redding had a tape recording of this mix. The tape had to be smoothed out as it had gotten wrinkled. Hendrix was disappointed that the album had to be finished so quickly and felt it could have been better, given more time. He was also somewhat disappointed in the album cover art work, which depicts Hendrix and his Experience bandmates as the various forms of Vishnu, incorporating a painting of them by Roger Law (from a photo-portrait by Karl Ferris). Hendrix remarked that it would have been more appropriate if the cover had highlighted his American Indian heritage.

The album was released in the UK near the end of their first headlining tour there, after which the pace slowed briefly during the Christmas holidays. In January 1968 the group went to Sweden for a short tour, and after the first show Hendrix, reportedly after drinking and according to Hendrix his drink being spiked, went berserk and smashed up his hotel room in a rage, injuring his hand and culminating in his arrest. Then on the 6th in Denmark his famous hat was stolen. The rest of the tour was uneventful, though Hendrix had to spend some time in Sweden waiting for his trial and eventual large fine.

''Electric Ladyland''

Hendrix's third recording, the double album ''Electric Ladyland'' (1968), was a departure from previous efforts. Following his third and penultimate French concert at the Paris Olympia, Hendrix flew to the US to start his first tour there, and after two months returned to his Electric Ladyland project at the newly opened Record Plant Studios with engineers Eddie Kramer and Gary Kellgren and initially Chas Chandler as producer.

As the album's recording progressed, Chas Chandler became so frustrated with Hendrix's perfectionism and with various friends and guests milling about the studio that he decided to sever his professional relationship with Hendrix. Chandler's departure had a clear impact on the artistic direction that the recording took.

Hendrix began experimenting with different combinations of musicians and instruments, and modern electronic effects. For example, Dave Mason, Chris Wood, and Steve Winwood from the band Traffic, drummer Buddy Miles and former Bob Dylan organist Al Kooper, among others, were involved in the recording sessions. He described how Hendrix went from a disciplined recording regimen to an erratic schedule, which often saw him beginning recording sessions in the middle of the night and with any number of guests.

Chandler also expressed exasperation at the number of times Hendrix would insist on rerecording particular tracks; the song "Gypsy Eyes" was reportedly recorded 43 times. This was also frustrating for bassist Noel Redding, who would often leave the studio to calm himself, only to return and find that Hendrix had recorded the bass parts himself during Redding's absence.

''Electric Ladyland'' includes "Voodoo Chile (Slight Return)" as well as Hendrix's rendering of Bob Dylan's "All Along the Watchtower".

Throughout the four years of his fame, Hendrix often appeared at impromptu jams with various musicians, such as B.B. King. In March 1968, Jim Morrison of The Doors joined Hendrix onstage at New York's Scene Club. Albums of this ''Electric Ladyland''-era bootleg recording were released under various titles, some falsely claiming the presence of Johnny Winter, who has denied, several times, being a participant at that jam session, and to ever having met Morrison.

Breakup of Jimi Hendrix Experience

After a year based in the US, Hendrix temporarily moved back to London and into his girlfriend Kathy Etchingham's rented Brook Street flat, next door to the Handel House Museum, in the West End of London. During this time The Jimi Hendrix Experience toured Scandinavia, Germany, and included a final French concert. They later performed two sold-out concerts at London's Royal Albert Hall on February 18 and February 24, 1969, which were the last European appearances of this line-up of the Jimi Hendrix Experience. A Gold and Goldstein-produced film titled ''Experience'' was also recorded at these two shows, which, according to Experience Hendrix LLC, "Elements of these recordings are sure to be utilized when the official release of this material is finally made".

Noel Redding felt increasingly frustrated by the fact that he was not playing his original and favored instrument, the guitar. In 1968, he decided to form his own band, Fat Mattress, which would sometimes open for the Experience (Hendrix would jokingly refer to them as "Thin Pillow"). Redding and Hendrix would begin seeing less and less of each other, which also had an effect in the studio, with Hendrix playing many of the bass parts on ''Electric Ladyland''.

Fruitless recording sessions at Olympic in London; Olmstead and the Record Plant in New York that ended on April 9, which only produced a remake of "Stone Free" for a possible single release, were the last to feature Redding. Hendrix then flew Billy Cox to New York and started recording and rehearsing with him on April 21 as a replacement for Noel.

In a recorded interview by Nancy Carter on June 15 at his hotel in Los Angeles, Hendrix announced that he had been recording with Cox and that he would be replacing Noel as bass player in The Jimi Hendrix Experience.

The last Experience concert took place on June 29, 1969 at Barry Fey's Denver Pop Festival, a three-day event held at Denver's Mile High Stadium that was marked by police firing tear gas into the audience as they played "Voodoo Chile (Slight Return)". The band escaped from the venue in the back of a rental truck which was partly crushed by fans trying to escape the tear gas. The next day, Noel Redding announced that he had quit the Experience.

Gypsy Sun and Rainbows

After the departure of Noel Redding from the group, Hendrix rented the eight-bedroom 'Ashokan House' in the hamlet of Boiceville near Woodstock in upstate New York, where he spent some time in mid-1969. Manager Michael Jeffery, who had a house in Woodstock, arranged the stay, with hopes that the respite would produce a new album. To replace Redding as bassist, Hendrix had been rehearsing and recording with Billy Cox, his old and trusted Army buddy, since at least April 21. Mitchell was unavailable to help fulfill Hendrix's commitments at this time, which include his first appearance on US TV – on the Dick Cavett show – where he was backed by the studio orchestra, and an appearance on ''The Tonight Show'' where he appeared with his new bass player Billy Cox, and session drummer Ed Shaughnessy sitting in for Mitchell.

Woodstock

Hendrix was advertised to play the Woodstock Music Festival, along with many of the other biggest rock groups of the time. It was to take place on rented farmland in Upper State New York from August 15–18, 1969. Although Hendrix's music had been written for a power trio of guitar, bass, and drums, he wanted to expand his sound so he added rhythm guitarist Larry Lee (another old friend from his R&B; days), and Juma Sultan and Jerry Velez to play congas. After drummer Mitch Mitchell arrived, this new lineup rehearsed for less than two weeks before the festival and according to Mitchell never really meshed. In addition, although Woodstock would become famous and mythologized through the documentary film of the same name, by the time of his performance, Hendrix had been up for three days, and his band was short on sleep as well, contributing a rawness to their filmed performance.

Before Hendrix even arrived at the festival he started to hear media reports that the crowds of kids showing up for the festival were swelling to biblical proportions, in addition to the emerging logistical problems being reported at the site. This gave Hendrix pause for concern since he did not like performing in front of very large crowds. Since he was considered an important draw for the festival, and because of his manager's negotiations, Hendrix was getting paid more than the other performers, (US$18,000, plus US$12,000 for rights to film him). As the scheduled time slot of Sunday night at midnight drew closer, Hendrix indicated that he would rather wait and close the show. A substantial rainstorm that day had delayed the schedule of performers, so when Hendrix insisted on being the closing headliner, it pushed back the time when they finally hit the stage - which ended up being 8:30am Monday morning. The audience which had peaked at an estimated 400,000 people during the festival, was now reduced to about 30-40,000 by that point; many of whom merely waited to catch a glimpse of Hendrix before leaving during his show. This reflected the reality that by the third day attendees had been sleeping in muddy conditions with limited food.

Hendrix and his band were introduced by the festival MC, Chip Monck, as "The Jimi Hendrix Experience", but once on stage Hendrix clarified saying, "We decided to change the whole thing around and call it 'Gypsy Sun and Rainbows'. For short, it's nothin but a 'Band of Gypsys'" He then launched into a two hour set, the longest of his career. Hendrix started off with a new song, “Message to Love". (His Woodstock set consisting of new material, along with his well-known hits).

Hendrix's psychedelic rendition of the U.S. national anthem, "The Star-Spangled Banner" occurred about 3/4 into their set (after which he morphed into "Purple Haze"). The song had actually been part of his set for a year and he had already performed it on at least three different occasions. During the number, Hendrix used feedback and sustain on his guitar to recreate the sound of wails and falling rockets. Although pundits quickly branded the song as a political manifesto against the Vietnam War, Hendrix himself never explained its meaning other than to say at a press conference three weeks later, "We're all Americans. . .it was like 'Go America!'. . .We play it the way the air is in America today. The air is slightly static, see". The song would become "part of the sixties Zeitgeist" as it was captured forever in the Woodstock film; Hendrix's image performing this number during the day wearing a blue-beaded white leather jacket with fringe and a red head scarf, has since been regarded as a defining moment of the 1960s.

Hendrix performed "Hey Joe" as the encore to finish off their set which concluded the 3½ day Woodstock Music Festival. Upon leaving the stage, Hendrix collapsed from exhaustion.

After Woodstock, this particular lineup of the band appeared on only two more occasions. The first was a street benefit in Harlem where, in a scenario similar to the festival, most of the audience had left and only a fraction remained by the time Hendrix took the stage. Within seconds of Hendrix arriving at the site two youths had stolen his guitar from the back seat of his car, although it was later recovered. The band's only other appearance was at the Salvation club in Greenwich Village, New York. After some studio recordings, Hendrix disbanded the group. Some of this band's recordings can be heard on the MCA Records box set ''The Jimi Hendrix Experience'' and on ''South Saturn Delta''. Their final work together was a session on September 6. Hendrix's September 9 appearance on TV's ''The Dick Cavett Show'', backed by Cox, Mitchell and Juma Sultan, was credited as the "Jimi Hendrix Experience".

Band of Gypsys

In 1967, a contractual dispute arose in relation to an agreement Hendrix had entered into with producer Ed Chalpin in 1965. The resolution for the dispute included Hendrix having to record an LP of new material for Chalpin company, which would not feature the Experience band, and would not be associated with the Experience band name. In addition, Chalpin was granted 2% of profits from Hendrix's back catalog sold in US. For the agreed upon album, Hendrix chose to record ''Band of Gypsys'', a live album.

Along with Billy Cox and drummer Buddy Miles (formerly with Wilson Pickett and The Electric Flag) with whom he had been jamming together since September, Hendrix wrote and rehearsed material which they then performed at a series of four concerts over two nights, New Year's Eve and New Year's Day at Fillmore East. The second night produced the material for the ''Band Of Gypsys'' LP, which was produced by Hendrix (under the name "Heaven Research").

The ''Band of Gypsys'' LP was the only official completely live LP released in Hendrix's lifetime. The band also released a single "Stepping Stone" which failed to sell, and recorded several studio songs slated for Hendrix's future LP. In 1999, the tapes from the four Fillmore concerts were remastered and additional tracks and edits were released as ''Live at the Fillmore East''. Litigation with Chalpin ended in 2007 after the "singularly uncredible witness" was fined nearly US$900,000 for failure to abide by contractual limitations and failure to pay ''Experience Hendrix L.L.C.'' its court ordered royalties.

On January 26 and 27, 1970, Mitch Mitchell and Noel Redding flew into New York and signed contracts with Jeffery for the upcoming Jimi Hendrix Experience tour. The next day, a second and final Band of Gypsys appearance occurred at a twelve-act show in Madison Square Garden which was a benefit for the anti-Vietnam War Moratorium Committee, titled the "Winter Festival for Peace". Similar to Woodstock, set delays forced Hendrix to take the stage at an inopportune 3 a.m., only this time he was obviously in no shape to play. He played "Who Knows" before snapping a vulgar response at a woman who shouted a request for "Foxy Lady". He played a second song, "Earth Blues", he then told the audience: "That's what happens when earth fucks with space—never forget that". He then sat down on the drum riser for a minute and then walked off stage. Various unverifiable assertions have been proffered to explain this bizarre scene. Buddy Miles claimed that manager Michael Jeffery dosed Hendrix with LSD in an effort to sabotage the current band and bring about the return of the Experience lineup, but none of Hendrix's other close associates verifies his statement.

Cry of Love tour

A week after the botched Band of Gypsys show, Hendrix, Mitch Mitchell and Noel Redding gave an interview to ''Rolling Stone'' for the upcoming tour dates as a reunited Jimi Hendrix Experience. But Redding never even got to rehearse, as Hendrix just continued to work with Billy Cox. Noel was not told he was not going to be playing until the pretour rehearsals. Fans refer to this final "Jimi Hendrix Experience" lineup as the "Cry of Love" band, named after The Cry of Love Tour to distinguish it from the original. Billy Cox has countered on several occasions that this lineup considered themselves "The Jimi Hendrix Experience" before they even went on tour and that any other title is bogus. All billing, adverts, tickets etc. on the tour used "Jimi Hendrix Experience" or occasionally, as previously, just "Jimi Hendrix".

Two of Hendrix's later recordings were the lead guitar parts on "Old Times Good Times" from Stephen Stills hit eponymous album (1970), and on "The Everlasting First" from Arthur Lee's new incarnation of Love, not so successful and aptly named LP ''False Start'' both tracks were recorded with these old friends on a fleeting and unexplained visit to London in March 1970, following Kathy Etchingham's marriage.

He spent the next four months of 1970 working on his next LP tentatively titled ''First Rays of the New Rising Sun'', recording during the week and playing live on the weekends. The Cry of Love tour, launched that April at the L.A. Forum, was partly undertaken to earn money to repay the Warner Bros. loan for completing his Electric Lady Studios. Performances on this tour featured Hendrix, Cox, and Mitchell playing new material alongside older audience favorites. The American leg of the tour included 30 performances and ended at Honolulu, Hawaii on August 1, 1970. A number of these shows were recorded and produced some of Hendrix's most memorable live performances.

Electric Lady Studios

In 1968, Hendrix and Jeffery had invested jointly in the purchase of the Generation Club in Greenwich Village. Their initial plans to reopen the club were scrapped when the pair decided that the investment would serve them much better as a recording studio. The studio fees for the lengthy ''Electric Ladyland'' sessions were astronomical, and Hendrix was constantly in search of a recording environment that suited him. In August 1970, Electric Lady Studios was opened in New York.

Designed by architect and acoustician John Storyk, the studio was made specifically for Hendrix, with round windows and a machine capable of generating ambient lighting in a myriad of colors. It was designed to have a relaxing feel to encourage Hendrix's creativity, but at the same time provide a professional recording atmosphere. Engineer Eddie Kramer upheld this by refusing to allow any drug use during session work.

Hendrix spent only two and a half months recording in Electric Lady, most of which took place while the final phases of construction were still ongoing. Following a recording/dubbing session on August 26, an opening party was held later that day. He then boarded an Air India flight for London with Billy Cox, joining Mitch Mitchell to perform at the Isle of Wight Festival.

European tour

The group then commenced the European leg of the tour. Longing for his new studio and creative outlets, the tour was a commitment that Hendrix was not eager to perform. In Aarhus, Hendrix abandoned his show after only two songs, remarking: "I've been dead a long time". In the months before Hendrix's death, a British music paper alleged that Hendrix had plans to join the band Emerson, Lake & Palmer. On September 6, 1970, his final concert performance, Hendrix was greeted with some booing and jeering by fans at the Isle of Fehmarn Festival in Germany, due to his non-appearance at the end of the previous night's bill (due to the torrential rain and risk of electrocution). Several acts played after he left the stage; later, part of the stage was burnt during the first stage appearance of Ton Steine Scherben. Billy Cox quit the tour and headed home to Memphis, Tennessee, reportedly suffering paranoia after taking LSD or being given it unknowingly, earlier in the tour. A live recording of the concert was later released as ''Live at the Isle of Fehmarn''.

Hendrix returned to London, where he reportedly spoke to Chas Chandler, Eric Burdon, and others about leaving his manager, Michael Jeffery. Hendrix's last public performance was an informal jam at Ronnie Scott's Jazz Club in Soho with Burdon and his latest band, War. Much of this was recorded on a Sony cassette recorder by Bill Baker, of Shepherds Bush, London, then aged 20, who was present throughout the entire performance. Two Hendrix tracks from this recording, "Mother Earth" and "Tobacco Road", were later included, without permission from Baker, on a bootleg LP, ''Can You Please Crawl Out Your Window?'', produced in the mid-to-late 1970s, and on an audio tape of poor quality that went into circulation some years later. It was not until 2009, however, that the entire recording entered general circulation within the collecting community. This was remastered in California in December 2010 and includes tracks from the same night's performance by Eric Burdon's War. This is the last known recording of Jimi Hendrix, who died approximately 24 hours later.

Death

Early on September 18, 1970, Jimi Hendrix died in London. He had spent the latter part of the previous evening at a party and was picked up at close to 3:00 by girlfriend Monika Dannemann and driven to her flat at the Samarkand Hotel, 22 Lansdowne Crescent, Notting Hill. From autopsy data and statements by friends about the evening of September 17, it has been estimated that he died sometime after 3:00, possibly before 4:00, but also possibly later, though no estimate was made at the autopsy, or inquest.

Dannemann claimed in her original testimony that after they returned to her lodgings the evening before, Hendrix, unknown to her, had taken nine of her prescribed Vesparax sleeping pills. The normal medical dose was a half to one tablet as stated in the literature, but Hendrix was unfamiliar with this very strong Belgian brand. According to surgeon John Bannister, the doctor who initially attended to him, Hendrix had asphyxiated in his own vomit, mainly red wine which had filled his airways. Bannister's statement was made in January 1992 to Harry Shapiro, co-author of ''Electric Gypsy'', a book which also featured accusations of malpractice by Monika Dannemann in regards to Bannister's not performing a tracheotomy on Hendrix. He appears to have been using the amount of wine in his system as a reason for not performing a tracheotomy. He was reprimanded for two counts of medical malpractice, and struck off the medical register on 28 April 1992 for fraud. No one else at the time, the other two doctors, the ambulance men, or the police mentioned wine. The only mention of wine was by Monika much earlier, in ''Electric Gypsy'' (which Bannister had read), and that Hendrix had drunk some with food earlier that evening and also by Harvey at his, again, much earlier party, which were both several hours prior to death. The autopsy found very little alcohol in his system. The autopsy never mentioned wine, only vomited matter.

Until her death, Dannemann publicly claimed that she had only discovered that her lover had been sick at 11:00 a.m., but he was breathing, though unconscious and unresponsive (The ambulance was called at 11:18 and arrived 11:27). And that Hendrix was alive when placed in the back of the ambulance at approximately 11:30, and that she rode with him on the way to the hospital.

The ambulance crew later denied she was even there; additionally, Dannemann's comments about the timing of some events that morning often differed in places, varying from interview to interview.

Police and ambulance statements reveal that there was no one but Hendrix in the flat when they arrived at 11:27 a.m., and not only was he dead when they arrived on the scene, but was fully clothed and had been dead for some time.

Later, Dannemen claimed that former road managers Gerry Stickels and Eric Barrett had been present before the ambulance was called. and had removed some of Hendrix's possessions, including some of his most recent messages. Lyrics written by Hendrix, which were found in the apartment, led Eric Burdon to make a premature announcement on the BBC-TV program ''24 Hours'' that he believed Hendrix had committed suicide. Burdon often claimed he had been telephoned by Dannemann after she discovered that Hendrix failed to wake up.

In 1996, Monika Dannemann committed suicide shortly after being found guilty of contempt of court for repeating a libel against Kathy Etchingham, who had been a girlfriend of Hendrix in the 1960s.

Allegations of murder

A former Animals "roadie", James "Tappy" Wright, published a book in May 2009 claiming Hendrix's manager, Mike Jeffery, admitted to him that he had Hendrix killed because the rock star wanted to end his management contract. John Bannister, one of the doctors who attended to him in 1970 stated in 2009 that it "sounded plausible". Bannister was struck off the Medical register in 1992 for fraud. In 2011 Bob Levine, Wright's long term business associate and Mike Jeffery's assistant manager in N.Y., said he knows that Wright made up these stories to sell his book, that Jeffery didn't have insurance on Hendrix, but that he merely countersigned the Warner Bros. policy that Warner's had taken out as standard practice.

"There was a freak storm across Mallorca and all the phone lines were down. Somebody told Mike that Jimi had been trying to phone him. The first call that got through was to say Jimi was dead. Mike was terribly upset at the thought of Jimi not being able to get through to him." – Trixie Sullivan, secretary/assistant for Mike Jeffery

Fashion

Hendrix was well known for his unique sense of fashion and wardrobe and his Dylan-esque (c. 1966) hairstyle. A set of hair curlers was one of the few possessions that traveled with him to England when he was first discovered in 1966. When his first advance check arrived, Hendrix immediately took to the streets of London in search of clothing at famous boutiques like I Was Lord Kitchener's Valet and Granny Takes a Trip, both of which specialized in vintage fashion. He purchased at least two army dress uniform jackets including a (possibly antique) jacket styled in imitation of a Hussar's pelisse, adorned with tasseled ropes. A group of policemen once ordered him to remove the other, a Royal Veterinary Corps dress jacket, saying it was an offense to the men who had worn it.

Many photographs of Hendrix show him wearing various scarves, rings, medallions, and brooches, and in the early days occasionally badges (pins or buttons) that professed his support for the hippie movement or his fascination with Bob Dylan. He initially wore a dark suit and plain silk shirts that progressively became "louder" and more psychedelically patterned. He later favored a bright blue velvet suit, then a bright red one, antique military dress jackets, a very broadly striped suit, psychedelically patterned silk jackets, various exotic waistcoats and brightly colored flared trousers. At Monterey, he wore a hand-painted silk jacket by Chris Jagger (Mick Jagger's brother) and a bright pink feather boa. In late 1967 he started to wear a wide-brimmed Western style hat (brand name "The Westerner"). It was adorned with a narrow purple band and various brooches, as shown in the original ''Jimi Plays Monterey'' film. This hat was stolen in 1968, and replaced later with another, crowned variously with a longer purple scarf, a star-like brooch in front and a set of silver bangles, sometimes with an angled feather, though he went hatless for protracted periods after this.

From late 1968 he began tying scarves to one leg and one arm, and in mid-1969 he gave up the hat for bandanas. He started wearing increasingly fantastic custom-made stage costume with long trailing sleeves, culminating in his African-styled "Fire Angel" outfit that he wore throughout most of his final "Cry Of Love" tour, until it began to come apart during the Isle of Wight concert. He appeared in this outfit only once more (in just the jacket) at the disastrous concert in Aarhus, Denmark. His only non-work-related vacation was a two-week trip to Morocco in July 1969 with friends Colette Mimram, Stella Benabou (the then-wife of producer Alan Douglas), and Deering Howe. Upon his return Hendrix decorated his Greenwich Village apartment with Moroccan ''objets d'art'' and fabrics. Mimram and Benabou created some of Hendrix's most memorable later attire, the shortened blue kimono-style jacket that he wore in three TV appearances and the white fringed jacket, ornamented with blue glass beads, he wore at the Woodstock Festival.

Drug use and women

Hendrix is widely known for and associated with the use of psychedelic drugs, most notably lysergic acid diethylamide (LSD), as were many other famous musicians and celebrities of that time. He supposedly had never taken psychedelic drugs until the night he met Linda Keith, but had smoked cannabis and drank alcohol previously. Amphetamines are also recorded as being used by Hendrix during tours. Hendrix was notorious among friends and bandmates for sometimes becoming angry and violent when he drank too much alcohol. Kathy Etchingham spoke of an incident that took place in a London pub in which an intoxicated Hendrix beat her with a public telephone handset because he thought she was calling another man on the pay phone. Carmen Borrero, another girlfriend, says she required stitches after he hit her with a bottle after drinking and becoming jealous. Alcohol was also cited as the cause of Hendrix's 1968 rampage that badly damaged a Stockholm hotel room and led to his arrest. Paul Caruso's friendship with Hendrix ended in 1970 when Hendrix, while under the influence, punched him and accused him of stealing from him.

On May 3, 1969, while checking through Canadian customs at Toronto Pearson International Airport, Hendrix was arrested when small amounts of heroin and hashish were found in his luggage. After being released on a CAN$10,000 cash bail the same day, only four hours before his show was to begin, (and being required to appear in court at a later date), the Experience were able to play their concert at Maple Leaf Gardens. In his trial defense, Hendrix claimed that the drugs were slipped into his bag by a fan without his knowledge. He was acquitted.

He was by all accounts promiscuous, having casual sex with many women.

Gravesite

Hendrix's body was returned to Seattle and he was interred in Greenwood Memorial Park, Renton, Washington. As the popularity of Hendrix and his music grew over the decades following his death, concerns began to mount over fans damaging the adjoining graves at Greenwood, and the growing, extended Hendrix family further prompted his father to create an expanded memorial site separate from other burial sites in the park. The memorial was announced in late 1999, but Al Hendrix's deteriorating health led to delays and he died two months before its scheduled completion in 2002. Later that year, the remains of Jimi Hendrix, his father Al Hendrix, and grandmother Nora Rose Moore Hendrix were moved to the new site. The headstone contains a depiction of a Fender Stratocaster guitar, the instrument he was most famous for using —– although the guitar is shown right-side up, rather than the way Hendrix played it, upside down (left-handed).

The memorial is a granite dome supported by three pillars under which Jimi Hendrix and other family members are interred. Hendrix's autograph is inscribed at the base of each pillar, while two stepped entrances and one ramped entrance provide access to the dome's center where the original Stratocaster adorned headstone has been incorporated into a statue pedestal. A granite sundial complete with brass gnomon adjoins the dome, along with over 50 family plots that surround the central structure, half of which are currently adorned with raised granite headstones.

To date, the memorial remains incomplete: brass accents for the dome and a large brass statue of Hendrix were announced as being under construction in Italy, but since 2002 no information as to the status of the project has been revealed to the public. A memorial statue of Jimi playing a Stratocaster stands near the corner of Broadway and Pine Streets in Seattle.

In May 2006, the city of Seattle honored Hendrix with the re-naming of a park near Seattle's Colman School in the Central District.

Recordings

Hendrix's recordings were originally released in North America on Reprise Records (a division of Warner Communications) from 1967 until 1993 and were released internationally (outside of US and Canada) on Polydor Records. (Because it was recorded to settle a legal dispute, the ''Band of Gypsys'' album was released on Capitol Records in US and Canada.) British releases of all his albums up to and including ''The Cry Of Love'' were first issued on the independent label Track Records, which was originally created by the managers of The Who. The label was later absorbed by Polydor.

In 1994, the Hendrix family prevailed in its long standing legal attempt to gain control of Jimi's music, and subsequently licensed the recordings to MCA Records (later Universal Music) through the family-run company Experience Hendrix. In August 2009, Experience Hendrix announced that it had entered a new licensing agreement with Sony Music Entertainment's Legacy Recordings division which would take effect in 2010.

Unfinished work and posthumous releases

Reports that Hendrix's tapes for a concept album ''Black Gold'' had been stolen and lost from the London flat, are incorrect. Hendrix gave those tapes to Mitch Mitchell at the Isle of Wight Festival three weeks prior to his death. They are now in the possession of Experience Hendrix LLC.

Hendrix's unfinished album was partly released as the 1971 title ''The Cry of Love''. The album was well received and charted in several countries. However, the album's producers, Mitchell and Kramer, would later complain that they were unable to make use of all the tracks they wanted. This was due to some tracks being used for 1971's ''Rainbow Bridge'' and 1972's ''War Heroes'' for contractual reasons.

Material from ''The Cry of Love'' was rereleased in 1997 as ''First Rays of the New Rising Sun'', along with the rest of the tracks that Mitchell and Kramer wanted to include.

Many of Hendrix's personal items, tapes, and many pages of lyrics and poems are now in the hands of private collectors and have attracted considerable sums at the occasional auctions. These materials surfaced after two employees, under the instructions of Mike Jeffery, removed items from Hendrix's Greenwich Village apartment following his death.

In 2010, Legacy Recordings and Experience Hendrix LLC launched the 2010 Jimi Hendrix Catalog Project, starting with the release of ''Valleys of Neptune'' in March. Legacy has also released deluxe CD/DVD editions of the Hendrix albums ''Are You Experienced'', ''Axis: Bold As Love'', ''Electric Ladyland'' and ''First Rays of the New Rising Sun'', as well as the 1968 compilation album ''Smash Hits''.

Legacy

Musical

Hendrix synthesized many styles in creating his musical voice and his guitar style was unique, later to be abundantly imitated by others. Despite his hectic touring schedule and notorious perfectionism, he was a prolific recording artist and left behind more than 300 unreleased recordings.

His career and death grouped him with Janis Joplin, Jim Morrison and Brian Jones as one of the 27 Club, a group including iconic 1960s rock stars who suffered drug-related deaths at the age of 27 within a two year period, leaving legacies in death that have eclipsed the popularity and influence they experienced during their lifetimes. Kurt Cobain and Amy Winehouse were later added to this list, also dying at the age of 27.

Musically, Hendrix did much to further the development of the electric guitar's repertoire, establishing it as a unique sonic source, rather than merely an amplified version of the acoustic guitar. Likewise, his feedback, wah-wah and fuzz-laden soloing moved guitar distortion well beyond mere novelty, incorporating other effects pedals and units specifically designed for him by his sound technician Roger Mayer (such as the Octavia and Uni-Vibe) with dramatic results.

Hendrix affected popular music with similar profundity; along with earlier bands such as The Who and Cream, he established a sonically heavy yet technically proficient bent to rock music as a whole, significantly furthering the development of hard rock and paving the way for heavy metal. He took blues to another level. His music has also had a great influence on funk and the development of funk rock especially through the guitarists Ernie Isley of The Isley Brothers and Eddie Hazel of Funkadelic, Prince, John Frusciante former member of the Red Hot Chili Peppers and Jesse Johnson of The Time. His influence even extends to many hip hop artists, including Questlove, Chuck D of Public Enemy, Ice-T (who covered "Hey Joe" with his heavy metal band Body Count), El-P and Wyclef Jean. Miles Davis was also deeply impressed by Hendrix and compared his improvisational skills with those of saxophonist John Coltrane, and Davis would later want guitarists in his bands to emulate Hendrix. Hendrix was ranked number 3 on VH1's ''100 Greatest Artists of Hard Rock'' behind Black Sabbath and Led Zeppelin.

Hendrix's guitar style also had significant influence upon ZZ Top guitarist Billy Gibbons, fellow Texas guitar legend Stevie Ray Vaughan, and later on Metallica guitarist Kirk Hammett and Pearl Jam's Mike McCready, among others.

Hendrix was ranked number 3 on VH1's list of the 100 Greatest Artists of Rock N' Roll, behind the Rolling Stones and the Beatles. He has been voted by ''Rolling Stone'', ''Guitar World'', and a number of other magazines and polls as the best electric guitarist of all time. Conversely and with some modesty, Hendrix when asked in a Rolling Stone interview, "How does it feel to be the greatest guitarist in the world?", Hendrix replied, "I don't know, go ask Rory Gallagher."

In 2004, ''Rolling Stone'' ranked him number 6 on their list of the 100 greatest artists of all time.

''Guitar World'''s readers voted six of Hendrix's solos among the top "100 Greatest" of all time: "Purple Haze" (70), "The Star-Spangled Banner" (52), "Machine Gun" (32), "Little Wing" (18), "Voodoo Child (Slight Return)" (11) and "All Along the Watchtower" (5).

In 1992, Hendrix was posthumously awarded the Grammy Lifetime Achievement Award.

Financial and legal

When Al Hendrix died of congestive heart failure in 2002, his will stipulated that Experience Hendrix, LLC was to exist as a trust designed to distribute profits to a list of Hendrix family beneficiaries. Upon his death, it was revealed that Al had signed a revision to his will which removed Hendrix's brother Leon Hendrix as a beneficiary. A 2004 probate lawsuit merged Leon's challenge to the will with charges from other Hendrix family beneficiaries that Janie Hendrix, Al's adopted daughter, was improperly handling the company finances. The suit argued that Janie and a cousin of Jimi Hendrix (Robert Hendrix) paid themselves exorbitant salaries and covered their own mortgages and personal expenses from the company's coffers while the beneficiaries went without payment and the Hendrix gravesite in Renton went uncompleted.

Janie and Robert's defense was that the company was not profitable yet, and that their salary and benefits were justified given the work that they put into running the company. Leon charged that Janie bilked Al Hendrix, then old and frail, into signing the revised will, and sought to have the previous will reinstated. The defense argued that Al willingly removed Leon from his will because of Leon's problems with alcohol and gambling. In early 2005, presiding judge Jeffrey Ramsdell handed down a ruling that left the final will intact, but replaced Janie and Robert's role at the financial helm of Experience Hendrix with an independent trustee.

On October 5, 2011 the U.S. Supreme Court heard arguments in a case ''Golan v. Holder'' concerning the 1994 U.S. federal law that protected foreign copyrights. At stake in the outcome of this case is whether previously unprotected foreign works could be suddenly copyrighted and withdrawn from public domain. In a hypothetical argument Justice John Roberts asked "what about Jimi Hendrix?" and if Hendrix's rendition of the "Star Spangled Banner" at Woodstock violated copyright protection or was protected under public domain. Solicitor General Donald Verrilli, who defended the 1994 law, stated "maybe Jimi Hendrix could claim fair use". The music of the "Star Spangled Banner" was composed by an English musician, John Stafford Smith in the mid 1760s. The lyrics of the "Star Spangled Banner" were written by American Francis Scott Key in 1814 and the song became America's National anthem in 1931.

The Jimi Hendrix Foundation

In 1987, Leon Hendrix commissioned the James (Jimi) Marshall Hendrix Foundation. This foundation is based in Renton, Washington. Though run for some time by Jimi's brother Leon Hendrix, in August 2006 Leon asked a childhood friend of Jimi Hendrix – James (Jimmy) Williams, to take control of the Foundation.

Guitar

Fender Stratocaster

Hendrix owned and used a variety of guitars during his career. However, his guitar of choice (and the instrument that became most associated with him), was the Fender Stratocaster. He started playing the model in 1966 and thereafter used it prevalently in his stage performances and recordings.

Hendrix bought many Stratocasters and gave some away as gifts. The original sunburst Stratocaster that Hendrix burnt at the Astoria in 1967, and that he kept as a souvenir, was given to Frank Zappa by a Hendrix roadie at the 1968 Miami Pop Festival; Zappa assumed it was the one Hendrix had played there.

Hendrix used right-handed guitars, turned upside down and restrung for left-hand playing. This had an important effect on his guitar sound: because of the slant of the Strat's bridge pickup, his lowest string had a bright sound while his highest string had a mellow sound, the opposite of the Stratocaster's intended design. Heavy use of the tremolo bar necessitated frequent tuning; Hendrix often asked the audience for a "minute to tune up", as heard on many live bootlegs of his performances.

In addition to Stratocasters, Hendrix was also photographed playing Fender Jazzmasters, Duosonics, two different Gibson Flying Vs, a Gibson Les Paul, three Gibson SGs, a Gretsch Corvette he used at the 1967 Curtis Knight sessions and miming with a right-strung Fender Jaguar on the ''Top of the Pops'' TV show, as well as several other brands. Hendrix borrowed a Fender Telecaster from Noel Redding to record "Hey Joe" and "Purple Haze", used a white Gibson SG Custom for his performances on ''The Dick Cavett Show'' in the summer of 1969, and the Isle of Wight film shows him playing his second Gibson Flying V. While Jimi had previously owned a Flying V that he had painted with a psychedelic design, the Flying V used at the Isle of Wight was a unique custom left-handed guitar with gold plated hardware, a bound fingerboard and "split-diamond" fret markers that were not found on other 1960s-era Flying Vs.

On December 4, 2006, one of Hendrix's 1968 Fender Stratocaster guitars with a sunburst design was sold at a Christie's auction for US$168,000.

Other instruments

Hendrix owned a Coral electric sitar that later wound up in the possession of Peter Frampton, who used it on tour during David Bowie's 1987 world tour.

Amplifiers and effects

Hendrix was a catalyst in the development of modern guitar effects pedals. His high volume and use of feedback required robust and powerful amplifiers. For the first few rehearsals he used Vox and Fender amplifiers. Sitting in with Cream, Hendrix played through a new range of high-powered guitar amps being made by London drummer turned audio engineer Jim Marshall, and they proved perfect for his needs. Along with the Stratocaster, the Marshall stack and amplifiers were crucial in shaping his heavily overdriven sound, enabling him to master the use of feedback as a musical effect, and he created a "definitive vocabulary for rock guitar".

While his mainstays were the Arbiter Fuzz Face and a Vox wah-wah pedal, Hendrix experimented with guitar effects as well. He had a fruitful association with engineer Roger Mayer who later went on to make the Axis fuzz unit, the Octavia octave doubler and several other devices based on units Mayer had created or tweaked for Hendrix. The Japanese-made Uni-Vibe, designed to simulate the modulation effects of the rotating Leslie speaker, provided a rich phasing sound with a speed control pedal, and is heard on the Band of Gypsys track "Machine Gun", which highlights use of the Uni-Vibe, Octavia and Fuzz Face.

The Hendrix sound combined high volume and high power, feedback manipulation, and a range of cutting-edge guitar effects. He was also known for his trick playing, which included playing with only his right (fretting) hand and using his teeth or playing behind his back and between his legs. Hendrix had large hands and characteristically used his thumb to fret bass notes, leaving his fingers free to play melodic lines on top. A clear demonstration of this thumb technique can be witnessed in the Woodstock video; during the song "Red House" there are closeups of Hendrix's fretting hand.

Discography

The Jimi Hendrix Experience

''Are You Experienced'' (1967)

''Axis: Bold as Love'' (1967)

''Electric Ladyland'' (1968)

Jimi Hendrix/Band of Gypsys

''Band of Gypsys'' (1970) [recorded live]

Posthumous studio albums

''The Cry of Love'' (1971)

''Rainbow Bridge'' (1971)

''War Heroes'' (1972)

''Loose Ends'' (1974)

''Crash Landing'' (1975)

''Midnight Lightning'' (1975)

''Nine to the Universe'' (1980)

''Radio One'' (1988)

''First Rays of the New Rising Sun'' (1997)

''Valleys of Neptune'' (2010)

See also

Eire Apparent

Electric Church

Rainbow Bridge (film) Maui, Hawaii, 1970

Citations

Further reading

Charles R. Cross, ''Room Full Of Mirrors: A Biography Of Jimi Hendrix, 2005: ISBN 1401300286

Gary Geldeart & Steve Rodham, "From The Benjamin Franklin Studios 3rd Edition Parts 1, 2 & 3" 2008

Curtis Knight, ''Jimi: An Intimate Biography of Jimi Hendrix'', Praegar Publishers, New York, 1974. The book includes ''A Jimi Hendrix Discography'', compiled by John McKellar.

John Kruth, ''Bright Moments: The Life & Legacy of Rahsaan Roland Kirk'', 2004: ISBN 1566491053

Mark Lewisohn, ''The Complete Beatles Recording Sessions'', Hamlyn 1988: ISBN 0600612074. See pp. 164–5 re Apple recording studio.

Ken Matesich, ''Jimi Hendrix: A Discography'', 1982

David Stubbs, ''Jimi Hendrix: Voodoo Child: The Stories Behind Every Song'', 2003

Brad Tolinski and Ross Halfin, ''Classic Hendrix: The Ultimate Hendrix Experience'', Genesis Publications 2004

External links

The Jimi Hendrix Foundation

Jimi Hendrix at MySpace

Jimi Hendrix Exhibition – slideshow by ''The First Post''

"Jimi Hendrix: 'You never told me he was that good'" Ed Vulliamy, ''The Guardian''

Category:1942 births Category:1970 deaths Category:African American guitarists Category:African American rock musicians Category:African American rock singers Category:African American singer-songwriters Category:Alcohol-related deaths Category:Alcohol-related deaths in England Category:American baritones Category:American expatriates in the United Kingdom Category:American people of Cherokee descent Category:Drug-related deaths Category:Grammy Lifetime Achievement Award winners Category:Lead guitarists Category:Musicians from Seattle, Washington Category:Rock and Roll Hall of Fame inductees Category:The Jimi Hendrix Experience members Category:United States Army soldiers Category:People from Renton, Washington Category:Psychedelic rock musicians Category:American rock guitarists Category:American record producers Category:American funk guitarists

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Coordinates	34°03′″N118°15′″N
Group	Chukchiԓыгъоравэтԓьэт, о'равэтԓьэт
Poptime	15,767 (2002 Census)
Popplace	Russia
Rels	Shamanism, Russian Orthodoxy
Langs	Russian, Chukchi
Related-c	other Chukotko-Kamchatkan peoples }}

The Chukchi, or Chukchee ( (''plural''), (''singular'')) are an indigenous people inhabiting the Chukchi Peninsula and the shores of the Chukchi Sea and the Bering Sea region of the Arctic Ocean within the Russian Federation. They speak the Chukchi language. The Chukchi originated from the people living around the Okhotsk Sea.

Genetic history

In his book The Journey of Man: A Genetic Odyssey, American geneticist Spencer Wells shows how the Chukchi migrated northeast from Central Asia, following reindeer. An even smaller group, estimated at no more than 20 Chukchi, crossed what is now the Bering Sea approximately 13,000 years ago during the last glacial period, and migrated into North America. They are the ancestors of Native Americans, and 800 hundred years later, they had reached as far as South America.

Cultural history

The majority of Chukchi reside within Chukotka Autonomous Okrug, but some also reside in the neighboring Sakha Republic to the west, Magadan Oblast to the southwest, and Koryak Autonomous Okrug to the south. Some Chukchi also reside in other parts of Russia, as well as in Europe and North America. The total number of Chukchi in the world slightly exceeds 15,000.

The Chukchi are traditionally divided into the ''Maritime Chukchi'', who had settled homes on the coast and lived primarily from sea mammal hunting, and the ''Reindeer Chukchi'', who nomadised in the inland tundra region with their herds of reindeer. The Russian name "Chukchi" is derived from the Chukchi word ''Chauchu'' ("rich in reindeer"), which was used by the 'Reindeer Chukchi' to distinguish themselves from the 'Maritime Chukchi,' called ''Anqallyt'' ("the sea people"). The indigenous name for a member of the Chukchi ethnic group as a whole is ''Luoravetlan'' (literally 'true person').

In Chukchi religion, every object, whether animate or inanimate, is assigned a spirit. This spirit can be either harmful or beneficial. Some of Chukchi myths reveal a dualistic cosmology. Chukchi religious practices were prohibited by the Soviet Union in the 1920s.

After the collapse of the Soviet Union, the state-run farms were reorganized and nominally privatized. This process was ultimately destructive to the village-based economy in Chukotka, and the region has still not fully recovered. Many rural Chukchi, as well as Russians in Chukotka's villages, have survived in recent years only with the help of direct humanitarian aid. Some Chukchi have attained university degrees, becoming poets, writers, politicians, teachers, and doctors.

Subsistence

In prehistoric times the Chukchi engaged in nomadic hunter gatherer modes of existence. In current times there continue to be some elements of subsistence hunting, including that of polar bears, marine mammals and reindeer. Beginning in the 1920s, the Soviets organized the economic activities of both coastal and inland Chukchi and eventually established 28 collectively run, state-owned enterprises in Chukotka. All of these were based on reindeer herding, with the addition of sea mammal hunting and walrus ivory carving in the coastal areas. Chukchi were educated in Soviet schools and today are almost 100% literate and fluent in the Russian language. Only a portion of them today work directly in reindeer herding or sea mammal hunting, and continue to live a nomadic lifestyle in yaranga tents.

Relations with Russians

Russians first began contacting the Chukchis when they reached the Kolyma river (1643) and the Anadyr River (1649). The route from Nizhnekolymsk to the fort at Anadyrsk along the southwest of the main Chukchi area became a major trade route. The overland journey from Yakutsk to Anadyrsk took about six months.

The Chukchis were generally ignored for the next 50 years because they were warlike and had few furs. Fighting flared up around 1700 when the Russians began operating in the Kamchatka Peninsula and needed to protect their communications from the Chukchis and Koryaks. The first attempt to conquer them was made in 1701. Other expeditions were sent out in 1708, 1709 and 1711 with considerable bloodshed but little success. War was renewed in 1729, when the Chukchis defeated an expedition from Okhotsk and its commander was killed. Command passed to Major Dmitry Pavlutsky who adopted very destructive tactics, burning, killing, driving off reindeer and capturing women and children. In 1742, Saint Petersburg ordered another war in which the Chukchis and Koryaks were to be "totally extirpated". The war (1744–7) was conducted with similar brutality and ended when Pavlutsky was killed in March 1747. It is said that the Chukchis kept his head as a trophy for a number of years. There was more war in the 1750s.

In 1762, Saint Petersburg adopted a different policy. Maintaining the fort at Anadyrsk had cost some 1,380,000 rubles, but the area had returned only 29,150 rubles in taxes. Anadyrsk was abandoned in 1764. The Chukchis, no longer provoked, began to trade peacefully with the Russians. From 1788, there was an annual trade fair on the lower Kolyma. Another was established on the Angarka, a tributary of the Bolshoy Anyuy River in 1775. This trade declined in the late 19th century when American whalers and others began landing goods on the coast. The first Orthodox missionaries entered Chukchi territory some time after 1815.

Soviet Period

Apart from four Orthodox schools, there were no schools in the Chukchi land until the late 1920s. In 1926, there were 72 literate Chukchis. A Latin alphabet was introduced in 1932 and replaced with Cyrillic in 1937. In 1934, 71% of the Chukchis were still nomadic. By 1939, 95% of the coastal Chukchis were collectivized, but only 11% of the reindeer nomads. In the late 1930s, several "reindeer kings" had very large herds and employed hired labor. In 1941, 90% of the reindeer were still privately owned. So-called kulaks still roamed with their private herds up into the 1950s. After 1990, there was a major exodus of Russians.

Population estimates from Forsyth: 1700: 6,000, 1800: 8-9,000, 1926: 13,100, 1930s:12,000, 1939: 13,900, 1959: 11,700, 1979: at least 13,169.

See also

Kutkh

Russian Jokes: Chukchi

Notes

References

Forsyth, James, 'A History of the Peoples of Siberia', 1992.

Title means: “The spiritual life of primitive society”. The book is composed out of the translations of the following two originals: The other one:

C. Michael Hogan (2008) ''Polar Bear: Ursus maritimus'', Globaltwitcher.com, ed. Nicklas Stromberg

Chapter means: “Social structure and dualistic creation myths in Siberia”; title means: “The sons of Milky Way. Studies on the belief systems of Finno-Ugric peoples”.

External links

Chukchee Mythology by Waldemar Bogoras

Category:Ethnic groups in Russia Category:Indigenous peoples of North Asia Category:Eurasian nomads Category:Chukotka Autonomous Okrug Category:Chukchi Sea Category:Aboriginal peoples in the Arctic Category:Modern nomads

az:Çukçalar be:Чукчы bg:Чукчи ca:Txuktxis de:Tschuktschen et:Tšuktšid el:Τσούκτσι es:Chukchi eo:Ĉukĉoj fr:Tchouktches gag:Çukçiler gl:Chukchis ko:축치인 ik:Qułłiq it:Ciukci he:צ'וקצ'ים ka:ჩუქჩები lv:Čukči lt:Čiukčiai lmo:Čukči nl:Tsjoektsjen ja:チュクチ no:Tsjuktsjere nds:Tschuktschen pl:Czukcze pt:Chukchis ro:Ciukci ru:Чукчи sl:Čukči sr:Чукчи sh:Čukči fi:Tšuktšit sv:Tjuktjer tr:Çukçiler uk:Чукчі zh:楚科奇人

Demetri Martin (born May 25, 1973) is an American comedian, actor, artist, musician, writer and humorist. Martin is best known for his work as a stand-up comedian, contributor on ''The Daily Show'' and for his Comedy Central show ''Important Things with Demetri Martin''.

Early life

Demetri Martin was born to a Greek American family in New York City, New York, and grew up in Toms River, New Jersey. He is the son of Lillian, a nutritionist, and Dean C. Martin, a Greek Orthodox priest. Martin graduated from Yale University in 1995. Although he was accepted into Harvard Law School, he went to New York University School of Law after he received a full scholarship. In 1996 Martin interned for the Domestic Policy Council at the Clinton White House, then after completing his second year of law school he dropped out.

Career

In 2001, Martin caught his first big break in stand-up comedy when he appeared on Comedy Central's stand-up showcase ''Premium Blend''. At the 2003 Edinburgh Festival Fringe he won the Perrier award with his show ''If I...''. The show was turned into a British television special in 2004. From 2003 to 2004, Martin wrote for ''Late Night with Conan O'Brien''. In 2004, Martin had his own ''Comedy Central Presents'' stand-up special. His special was divided into three parts. In the first, he performed in traditional stand-up comedy fashion. In the second segment, he used humorous drawings as visual aids, which would serve either as the punchline or a background. During the third segment, he played a guitar and put on a pseudo-play where he would strum his guitar while talking; some of his comedian friends dressed as fairies and dragons acted according to the story he was telling, detailing the magical land where his jokes came from. Martin's mother and grandmother also appeared.

Since late 2005, he has been credited as a contributor on ''The Daily Show'', on which he has appeared as the named "Senior Youth Correspondent" and on which he hosts a segment called "Trendspotting". He has used this segment to talk about so-called hip trends among youth such as hookahs, wine, guerilla marketing and Xbox 360. A piece about social networking featured his profile on MySpace. On March 22, 2007, Demetri made another appearance on ''The Daily Show'', talking about the Viacom lawsuit against Google and YouTube.

He has recorded a comedy CD/DVD titled ''These Are Jokes'', which was released on September 26, 2006. This album also features ''Saturday Night Live'' member Will Forte and stand-up comedian Leo Allen.

Martin returned to ''The Daily Show'' on March 22, 2006, as the new Youth Correspondent, calling his segment "Professional Important News with Demetri Martin". In 2007, he starred in a Fountains of Wayne music video for "Someone to Love" as Seth Shapiro, a character in the song. He also starred in the video for the new Travis single "Selfish Jean", in which he wears multiple t-shirts with lyrics written on them.

On September 2, 2007, Martin appeared on the season finale of the HBO series ''Flight of the Conchords''. He appeared as a keytar player named Demetri.

He also had a part in the movie ''The Rocker'' (2008) starring Rainn Wilson. Martin played the part of the videographer when the band in the movie was making their first music video.

In 2009, he hosted and starred in his own television show called ''Important Things With Demetri Martin'' on Comedy Central. Later in June, it was announced his show had been renewed for a second season. The second season premiered, again on Comedy Central, on February 4, 2010. Martin has stated that ''Important Things'' will not return for a third season.

Prior to completing work on his second season, Martin starred in the comedy-drama film ''Taking Woodstock'' (2009), directed by Ang Lee, which premiered at the 2009 Cannes Film Festival. In the film Martin plays Elliot Tiber, a closeted gay artist who has given up his ambitions in the city to move upstate and help his old-world Jewish family run their Catskill Mountains motel. The film is based on the book written by Tiber.

On April 25, 2011, Martin released his first book, titled ''This Is a Book''.

Future plans

Martin sold his movie concept ''Will'' to DreamWorks; he is expected to play a key supporting role. He will play the lead in the film ''Moon People'', a pitch that he sold to Columbia Pictures.

Martin also signed a blind script deal with CBS in October 2010 to produce, write, and star in his own television series.

After CBS was shown the pilot for the series, they decided not to air it.

On August 11, 2011, Fox ordered a presentation of a new animated show they might air.

''If I''

''If I'' is a Perrier Comedy Award-winning comedy one-man show written and performed by Demetri Martin at the 2003 Edinburgh Festival Fringe. It was also aired on British television as a special. The show is an autobiographical examination of Martin's life, as seen through various definitions of the word "if."

The title of the special comes from a lengthy palindromic poem that Martin wrote; the words "if I" are at the center of the poem.

Comedic style

Martin is known for being an unconventional stand-up comic. He uses extensive wordplay (particularly paraprosdokians), one-liners, and drawings on a "large pad", as well as accompanying his jokes with music on either guitar, harmonica, piano, keyboard, glockenspiel, toy bells, ukulele, or tambourine, sometimes all at once. He has cited comedian Steven Wright as an important influence (both use deadpan one-liners in their acts) and he is also a fan of Bill Cosby.

Personal life

According to a July 2011 interview on the WTF with Marc Maron podcast , Demetri had a short-lived marriage to a girl he knew from high school. They began dating after high school and got married when he was in NYU Law School and she was attending NYU Medical School. He was aged 25 and in the end of his marriage/going through divorce when his stand-up career began .

Martin moved to Santa Monica, California in 2009.

Discography

''Invite Them Up'' (2005)

''These Are Jokes'' (2006)

''Demetri Martin. Person.'' (2007)

Filmography and television work

''If I'' ''12:21'' ''Late Night with Conan O'Brien'' "''Someone to Love (Fountains of Wayne song) ''Flight of the Conchords (TV series) ''The Rocker (film) ''Paper Heart'' ''Post Grad'' ''Moon People'' ''Taking Woodstock'' ''Important Things with Demetri Martin'' ''Take Me Home Tonight (film) ''Contagion (film) ''Conan''

Year	! Title	! Role	Notes
2002	''Analyze That''	Personal Assistant
2003	|	Himself	British television special, also writer
2004	|	Himself	short film, also writer
2004	|	Himself	1 episode, series writer
2007	Someone to Love''" ||	Seth Shapiro	''Fountains of Wayne'' music video
2007	Flight of the Conchords'' ||	Demetri	Season 1, Episode 12
2008	The Rocker'' ||	Kip (a music video producer)
2009	|	Himself
2009	|	Ad Exec
2009	|		lead role and writer
2009	|	Elliot Tiber	lead role
2009–2010	|	Himself / Various	lead role, writer, series creator, executive producer, and composer
2011	Take Me Home Tonight'' ||	Goldman Sachs Employee	supporting role
2011	Contagion'' ||
2011	|	Himself	guest

Written works

''This Is a Book'', April 2011, .

Awards and nominations

AwardPerrier Comedy AwardEmmy Awards Shared with Mike Sweeney (writer)Writers Guild of America Award Shared with Mike Sweeney (writer)Barry Award (for comedy)

Year	|	For	Category	Result	Other notes
2003	|	''If I''		Won	At the Edinburgh Festival Fringe
2004	|	''Late Night with Conan O'Brien''	Outstanding Writing for a Variety, Music, or Comedy Program	Nominated	Mike Sweeney (head writer), Chris Albers, Jose Arroyo, Andy Blitz, Kevin Dorff, Daniel J. Goor, Michael Gordon, Brian Kiley, Michael Koman, Brian McCann, Guy Nicolucci, Conan O'Brien, Allison Silverman, Robert Smigel, Brian Stack, Andrew Weinberg
2005	|	''Late Night with Conan O'Brien''	Comedy/Variety (Including Talk) - Series	Won	Mike Sweeney (head writer), Chris Albers, Jose Arroyo, Andy Blitz, Kevin Dorff, Daniel J. Goor, Michael Gordon, Brian Kiley, Michael Koman, Brian McCann, Guy Nicolucci, Conan O'Brien, Allison Silverman, Robert Smigel, Brian Stack, Andrew Weinberg
2006	Barry Award ||	''Dr. Earnest Parrot Presents Demetri Martin''		Won	Award for best show at the Melbourne International Comedy Festival

References

External links

Interview from November, 2006, in Onion AV Club

Interview from October 2006, in The DePaulia

Article, in ''The Scotsman''

Article, in ''Gelf Magazine''

Interview by Brian M. Palmer

MP3 Audio Interview on ''The Sound of Young America'' public radio show and podcast

Interview Believer Mag

New Jersey Monthly Magazine

Fresh Air, NPR.org

Category:1973 births Category:Actors from New Jersey Category:Actors from New York City Category:American comedians Category:American comedy musicians Category:American comedy writers Category:American film actors Category:American humorists Category:American people of Greek descent Category:American stand-up comedians Category:American television actors Category:American television writers Category:Living people Category:New York University alumni Category:Writers from New Jersey Category:Writers from New York City Category:Writers Guild of America Award winners Category:Yale University alumni

cs:Demetri Martin da:Demetri Martin de:Demetri Martin fr:Demetri Martin gl:Demetri Martin it:Demetri Martin simple:Demitri Martin fi:Demetri Martin sv:Demetri Martin