A laughing gull with its wings extended in the gull wing profile

Several aircraft wing planform shapes: a swept wing KC-10 Extender (top) refuels a trapezoidal-wing F-22 Raptor fighter plane

The wing of a landing BMI Airbus A319-100. The slats at its leading edge and the flaps at its trailing edge are extended.

The low pressure region over the wing of this A340 is clearly shown by the condensation it causes in the humid air

Flaps (green) are used in various configurations to increase the wing area and to increase the lift. In conjunction with spoilers (red), flaps maximize drag and minimize lift during the landing roll.

Internal mechanical construction of a generic monospar wing. Black = solid, red = tube used for the spar, green = foam, wood, honeycomb, or sheet metal used for the ribs. The leading edge gives torsional stiffness. The trailing edge can either have a flexible skin, which does not break under wing bending (birdlike,) or have a stiff skin (made of carbon fiber, aluminum alloy, or titanium, aircraft-like), which is prevented from buckling by span-wise "stringers."

Various trees such as maples have winged seeds that enable them to disperse, some autorotating as they fall, often catching the autumn wind as they do so.

A wing is an appendage with a surface that produces lift for flight or propulsion through the atmosphere, or through another gaseous or liquid fluid. A wing is an airfoil, which has a streamlined cross-sectional shape producing a useful lift to drag ratio.

The word "wing" from the Old Norse vængr ^[1] for many centuries referred mainly to the foremost limbs of birds (in addition to the architectural aisle.) But in recent centuries the word's meaning has extended to include lift producing appendages of insects, bats, pterosaurs, boomerangs, some sail boats and aircraft.

"Wing" can also mean an inverted airfoil on a race car that generates a downward force to increase traction.

Various species of penguins and other flighted or flightless water birds such as auks, cormorants, guillemots, shearwaters, eider and scoter ducks and diving petrels are avid swimmers, and use their wings to propel through water.^[2]

A wing's aerodynamic quality is expressed as its lift-to-drag ratio. The lift a wing generates at a given speed and angle of attack can be one to two orders of magnitude greater than the total drag on the wing. A high lift-to-drag ratio requires a significantly smaller thrust to propel the wings through the air at sufficient lift.

The aerodynamics of wings[link]

The design and analysis of the wings of aircraft is one of the principal applications of the science of aerodynamics, which is a branch of fluid mechanics. The properties of the airflow around any moving object can - in principle - be found by solving the Navier-Stokes equations of fluid dynamics. However, except for simple geometries these equations are notoriously difficult to solve.^[3] Fortunately, simpler explanations can be described.

For a wing to produce "lift", it must be oriented at a suitable angle of attack relative to the flow of air past the wing. When this occurs the wing deflects the airflow downwards, "turning" the air as it passes the wing. Since the wing exerts a force on the air to change its direction, the air must exert a force on the wing, equal in size but opposite in direction. This force manifests itself as differing air pressures at different points on the surface of the wing.^[4][5][6]

A region of lower-than-normal air pressure is generated over the top surface of the wing, with a higher pressure existing on the bottom of the wing. (See: airfoil) These air pressure differences can be either measured directly using instrumentation or they can be calculated from the airspeed distribution using basic physical principles, including Bernoulli's Principle which relates changes in air speed to changes in air pressure.

The lower air pressure on the top of the wing generates a smaller downward force on the top of the wing than the upward force generated by the higher air pressure on the bottom of the wing. Hence, a net upward force acts on the wing. This force is called the "lift" generated by the wing.

The different velocities of the air passing by the wing, the air pressure differences, the change in direction of the airflow, and the lift on the wing are intrinsically one phenomenon. It is, therefore, possible to calculate lift from any of the other three. For example, the lift can be calculated from the pressure differences, or from different velocities of the air above and below the wing, or from the total momentum change of the deflected air. There are other approaches in fluid dynamics to solving these problems. All of these approaches will result in the same answers if done correctly. Given a particular wing and its velocity through the air, debates over which mathematical approach is the most convenient to use can be misperceived by novices as differences of opinion about the basic principles of flight.

For a more detailed coverage see lift (force).

Devices to change the shape of a wing[link]

Usually, aircraft wings have various devices, such as flaps or slats that the pilot uses to modify the shape and surface area of the wing to change its operating characteristics in flight. In 1948, Francis Rogallo invented the fully limp flexible wing, which ushered new possibilities for aircraft. Near in time, Domina Jalbert invented flexible un-sparred ram-air airfoiled thick wings. These two new branches of wings have been since extensively studied and applied in new branches of aircraft, especially altering the personal recreational aviation landscape.

A common misconception[link]

A common misconception is that in order to generate lift it is essential for the wing to have a longer path on the topside compared with the underside. Wings with this shape are the norm in subsonic flight, but symmetrically shaped wings (above and below) can generate lift by using a positive angle of attack to deflect air downward. Symmetrical aerofoils are, in general, less efficient and lack the lift provided by cambered wings at the zero angle of attack^[7] but are used in aerobatics, as they provide practical performance both upright and inverted. Another example comes from sailboats, where the sail is merely a thin membrane and there is no path-length difference between one side and the other.^[8]

For flight speeds near the speed of sound (transonic flight) or above the speed of sound (supersonic flight), airfoils with complex asymmetrical shapes are used to minimize the drastic increase in drag associated with airflow near the speed of sound.^[9] Such airfoils are called supercritical airfoils.

Other examples[link]

The science of wings applies in other areas beyond conventional fixed-wing aircraft, including:

• Hang gliders, which use wings from fully flexible (paragliders, gliding parachutes) wings, flexible wings (framed sail wings), to rigid wings
• Kites, which use a vast variety of wings.
• Flying model airplanes
• Helicopters, which use a rotating wing with a variable pitch or angle to provide directional forces
• The NASA Space Shuttle, which uses its wings only to glide during its descent to a runway. These types of aircraft are called spaceplanes.
• Some racing cars, especially Formula One cars, which use upside-down wings (or airfoils) to provide greater traction at high speeds
• Sailboats, which use sails as vertical wings with variable fullness and direction to move across water

Structures with the same purpose as wings, but designed for use in liquid media, are generally called fins or hydroplanes, with hydrodynamics as the governing science, rather than aerodynamics. Applications of these arise in craft such as hydrofoils and submarines. Sailboats and sailing ships use both fins and wings.

Design features[link]

Aircraft wings may feature some of the following:

• A rounded leading edge cross-section
• A sharp trailing edge cross-section
• Leading-edge devices such as slats, slots, or extensions
• Trailing-edge devices such as flaps or flaperons (combination of flaps and ailerons)
• Ailerons (usually near the wingtips) to roll the aircraft clockwise or counterclockwise about its long axis
• Spoilers on the upper surface to disrupt the lift and to provide additional traction to an aircraft that has just landed but is still moving.
• Vortex generators to help prevent flow separation in transonic flow
• Wing fences to keep flow attached to the wing by stopping boundary layer separation from spreading
• Winglets to keep wingtip vortices from increasing drag and decreasing lift
• Dihedral, or a positive wing angle to the horizontal. This gives inherent stability in the roll direction. Anhedral, or a negative wing angle to the horizontal, has a destabilizing effect
• Folding wings allow more aircraft storage in the confined space of the hangar deck of an aircraft carrier
• Variable-sweep wing or "swing wings" that allow outstretched wings during low-speed flight (i.e., take-off and landing) and swept back wings for high-speed flight (including supersonic flight), such as in the F-111 Aardvark, the F-14 Tomcat, the Panavia Tornado, the MiG-23 the MiG-27, and the B-1B Lancer warplanes

See also[link]

• Flight

Natural world:

• Bird flight
• Flight feather
• Flying and gliding animals
• Insect flight
• List of soaring birds
• Samara (winged seeds of trees)

Aviation:

• FanWing and Flettner airplane (experimental wing types)
• Kite types
• Ornithopter - Flapping-wing aircraft (research prototypes, simple toys and models)
• Otto Lilienthal
• Planform
• Wing configuration
• Wing suit

Sailing:

• Sails
• Forces on sails

References[link]

1. ^ "Online Etymology Dictionary". Etymonline.com. http://www.etymonline.com/index.php?term=wing. Retrieved 2012-04-25. 
2. ^ "Swimming". Stanford.edu. http://www.stanford.edu/group/stanfordbirds/text/essays/Swimming.html. Retrieved 2012-04-25. 
3. ^ ">"Navier-Stokes Equations". Grc.nasa.gov. 2012-04-16. http://www.grc.nasa.gov/WWW/K-12/airplane/nseqs.html. Retrieved 2012-04-25. 
4. ^ "...the effect of the wing is to give the air stream a downward velocity component. The reaction force of the deflected air mass must then act on the wing to give it an equal and opposite upward component." In: Halliday, David; Resnick, Robert, Fundamentals of Physics 3rd Edition, John Wiley & Sons, p. 378 
5. ^ "If the body is shaped, moved, or inclined in such a way as to produce a net deflection or turning of the flow, the local velocity is changed in magnitude, direction, or both. Changing the velocity creates a net force on the body" "Lift from Flow Turning". NASA Glenn Research Center. http://www.grc.nasa.gov/WWW/K-12/airplane/right2.html. Retrieved 2011-06-29. 
6. ^ "The cause of the aerodynamic lifting force is the downward acceleration of air by the airfoil..." Weltner, Klaus; Ingelman-Sundberg, Martin, Physics of Flight - reviewed, http://user.uni-frankfurt.de/~weltner/Flight/PHYSIC4.htm 
7. ^ E. V. Laitone, Wind tunnel tests of wings at Reynolds numbers below 70 000, Experiments in Fluids 23, 405 (1997). doi:10.1007/s003480050128
8. ^ "...consider a sail that is nothing but a vertical wing (generating side-force to propel a yacht). ...it is obvious that the distance between the stagnation point and the trailing edge is more or less the same on both sides. This becomes exactly true in the absence of a mast—and clearly the presence of the mast is of no consequence in the generation of lift. Thus, the generation of lift does not require different distances around the upper and lower surfaces." Holger Babinsky How do Wings Work? Physics Education November 2003, PDF
9. ^ John D. Anderson, Jr. Introduction to Flight 4th ed page 271.

External links[link]

• How Wings Work - Holger Babinsky Physics Education 2003
• "Physics of flight - revisited" Weltner and Ingelman-Sundberg
• How Airplanes Fly: A Physical Description of Lift
• Demystifying the Science of Flight - Audio segment on NPR's Talk of the Nation Science Friday
• NASA's explanations and simulations
• Flight of the StyroHawk wing
• See How It Flies

Wikimedia Commons has media related to: Wing

Ryan Lewis
Ryan Lewis (back) performing with Macklemore (front) at Sasquatch! Music Festival
Background information
Born	(1988-03-25) March 25, 1988 (age 24) Spokane, Washington, U.S.
Origin	Seattle, Washington, U.S.
Genres	Hip hop
Occupations	Producer, DJ
Years active	2006–present
Associated acts	Macklemore
Website	rlewis.com

Ryan Lewis (born March 25, 1988) is an American music producer, musician, music video director, photographer, graphic designer, rapper and DJ currently based in Seattle. He is best known for his collaboration with American rapper Macklemore (Ben Haggerty) producing Macklemore & Ryan Lewis — The VS. EP (2009), The Heist (2012) and a handful of other singles. Since the beginning of their collaboration in late 2008, Ryan has produced, recorded, engineered and mixed all of the music, directed music videos ("Same Love", "Thrift Shop", "And We Danced", "Otherside (Remix)"), designed visuals (album art, web design, posters) and DJed the live show.

In a recent mini-documentary, Lewis recalled meeting Macklemore for the first time. "When I met him, it was a really different time. It was less than a year after [2005's] Language of My World had come out. So he had buzz. For me being a young kid, it was very exciting to link with him. The bulk of our original relationship was photo shoots. I became kind of his photographer."^[1]

[edit] The Heist

On October 9, 2012, Macklemore & Ryan Lewis released The Heist. The album debuted at #2 on the Billboard charts and #1 on the Top R&B/Hip-Hop Albums and Top Rap Albums, selling 78,000 copies in the first week.^[2] The album also debuted at #1 on iTunes Digital Albums chart.^[3] The duo's album has received more than 1 million plays on SoundCloud, 70 million YouTube views and was accompanied by a sold-out 50-date U.S. and Canadian tour.^[4]

Discography[link]

(All credited to Macklemore & Ryan Lewis)

Studio albums[link]

EPs

Singles[link]

Notes[link]

• A ^ "Wing$" did not enter the R&B/Hip-Hop Songs chart, but peaked at number 7 on the Bubbling Under R&B/Hip-Hop Songs chart, which acts as an extension to the R&B/Hip-Hop Songs chart.^[27]
• B ^ "Same Love" did not enter the Billboard Hot 100, but peaked at number 25 on the Bubbling Under Hot 100 Singles chart, which acts as an extension to the Hot 100.^[28]

References[link]

External links[link]

• Official website

de:Ryan Lewis

This article is about the guitarist. For the band, see The Jimi Hendrix Experience. "James Hendrix" redirects here. For the American soldier, see James R. Hendrix.

Jimi Hendrix
Jimi Hendrix performing for Dutch television in 1967
Background information
Birth name	Johnny Allen Hendrix
Born	(1942-11-27)November 27, 1942 Seattle, Washington, US
Died	September 18, 1970(1970-09-18) (aged 27) Kensington, London, England
Genres	Psychedelic rock, hard rock, heavy metal, blues rock, acid rock
Occupations	Singer-songwriter, musician, producer, recording studio entrepreneur
Instruments	Guitar, vocals, bass, keyboards, percussion
Years active	1963–1970
Labels	RSVP, Track, Barclay, Polydor, Reprise, Capitol, MCA
Associated acts	Little Richard, The Isley Brothers, The Blue Flame, The Jimi Hendrix Experience, Gypsy Sun and Rainbows, Band of Gypsys, Curtis Knight
Website	www.jimihendrix.com
Notable instruments
Fender Stratocaster Jimi Hendrix's Signature

James Marshall "Jimi" Hendrix (born Johnny Allen Hendrix; November 27, 1942^[1][2] – September 18, 1970) was an American musician and singer-songwriter. He is widely considered to be the greatest electric guitarist in music history,^[3][4][5] and one of the most influential musicians of his era despite mainstream exposure limited to just three years.^[6][7][8] 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, he 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.^[9]

Hendrix helped to popularize use of the wah-wah pedal in mainstream rock, which he often used to deliver tonal exaggerations in his solos, particularly with high bends, complex guitar playing, and use of legato. As a record producer, he 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.^{[citation needed]} He was influenced by blues artists such as B.B. King, Muddy Waters, Howlin' Wolf, Albert King and Elmore James,^{[10][11][12][13]} rhythm and blues and soul guitarists Curtis Mayfield and Steve Cropper, and the jazz guitarist Wes Montgomery. Hendrix 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.^[14][15][16] In 1966, he stated, "I want to do with my guitar what Little Richard does with his voice".^[17]

Hendrix won several prestigious rock music awards during his lifetime, and many more posthumously. He was 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 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.^[18]

Early life[link]

He was born Johnny Allen Hendrix on November 27, 1942, in Seattle, Washington, the first of five children to James Allen "Al" Hendrix^[19] (June 10, 1919, Vancouver, British Columbia – April 17, 2002, Renton, Washington) and Lucille Jeter (October 12, 1925, Seattle, Washington – February 2, 1958, Renton, Washington).^[20]

Hendrix's ancestry was of mixed African American, European, and Native American origin. His paternal great grandfather was Bertran Philander Ross, a wealthy white grain dealer from Urbana, Ohio, who was of Irish, German, and English descent. Out of wedlock, Bertran Philander Ross and his slave Fanny Hendricks produced Jimi's paternal grandfather Ross Hendricks (Hendrix).^[21] Jimi Hendrix was part Cherokee,^[22] his paternal great-great grandmother being a Cherokee from Georgia.^[23] 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.^[24][25] 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.^[26] The baby that would grow up to become the guitarist Jimi Hendrix was born to a father who had six fingers on each hand.^[27] Al Hendrix spent the war in the South Pacific Theater mostly in Fiji.^[28] During the three years that he was away, Lucille struggled with raising her infant son who was neglected in favor of the nightlife scene.^[29] 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.^[30][31] He was known as "Buster" to friends and family, from birth.^[32] 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.^[33]

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.^[33] 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.^[34] In addition to the instability of his home life, Hendrix in later years confided to two different girlfriends that he had been the victim of sexual abuse, 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.^[35]

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.^[36] 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.^[37] 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.^[38]

First guitar[link]

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.^[39][40][41] 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.^[42] 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.^[43]

Hendrix was particularly fond of Elvis Presley, whom he saw perform in Seattle in 1957.^[44] 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.^[30] 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.^[45] 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 due to poor grades and attendance problems.^[46]

In the Army[link]

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 at Fort Ord near Monterey in California, 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.^[47] 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 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.^[48] 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.^[49]

Career[link]

Early career[link]

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.^[50] 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..."^[51] 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.^[52] 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".^[53] 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.^[54] Hendrix and Cox shared a flat above Joyce's House of Glamor.^[55] 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.^[56]

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).^[57] Chong, however, disputes this ever happened and that any such appearance is a product of Taylor's "imagination".^[58] 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,^[59] 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,^[60] where he soon befriended Lithofayne Pridgeon (known as "Faye",^[61] 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[link]

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,^{[62][63][64][65][66][67]} 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.^[16] Hendrix would later (1966) say, "I want to do with my guitar what Little Richard does with his voice".^[68] 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.^[69][70] 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".^[71] 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".^[72] Hendrix clashed with Richard, over tardiness, wardrobe, and, above all, Hendrix's stage antics.^[71] On tour they shared billing a couple of times with Ike & Tina Turner. It has been suggested that Hendrix left Richard and played with the Turners briefly before returning to Richard, but there is no firm evidence to support this. Hendrix mentioned playing with them, and Ike Turner shortly before his death claimed that he did, but this is emphatically denied by Tina. Months later, he was either fired or he left after missing the tour bus in Washington, D.C.^[73] 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.^[74] He performed on and off with them for eight months.^[75] 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.^[76] (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.)^[77] 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).^[78] 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.^[79] (Many Youngblood tracks without any Hendrix involvement would later be marketed as "Jimi Hendrix" recordings).^[80] 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).^[81]

Hendrix, now going by the name Jimmy James, formed his own band, The Blue Flame, composed of Randy Palmer (bass), Danny Casey (drums), and a 15-year-old guitarist who played slide and rhythm named Randy Wolfe in June 1966.^[82]

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.^[83]

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 Baxter also claim to have briefly worked with Hendrix in this period.^[84]

The Jimi Hendrix Experience[link]

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.

The Jimi Hendrix Experience performing on Dutch television in 1967

Impressed with Hendrix's version, Chandler brought him to London in September 1966 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".^[85] 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.^[86] Shortly before the Experience was formed, Chandler introduced Hendrix to Brian Auger, Eric Burdon, 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. Hendrix performed two songs, one of which was the song "Killing Floor". Hendrix and Clapton remained friends up until Hendrix's death. The first night Hendrix 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.^[87]

Hendrix sometimes had a camp sense of humour, 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.^[88] In the Woodstock DVD he deliberately points to the sky at this point,^[89] 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[link]

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".

[edit] 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.^{[clarification needed]} 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.^[90] 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.^[91]

Hendrix on stage in Stockholm, Sweden, in 1967

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.^[92] 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.^[93] 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.^[94]

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[link]

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 May 1, 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,^[95] 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.^[96] 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.^[97]

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,^[98] 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,^[99] 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.

[edit] 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.^[100] 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.^[101]

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.^[102] The rest of the tour was uneventful, though Hendrix had to spend some time in Sweden waiting for his trial and eventual large fine.^[103]

[edit] 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".^[86]

Throughout the four years of his fame, Hendrix often appeared at impromptu jams with various musicians, such as B.B. King.^[104] 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.^[105]

Breakup of Jimi Hendrix Experience[link]

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 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".^[106]

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").^{[citation needed]} 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.^[107]