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Paul Allen = RED / Michael Fairchild = BLUE

PBS 2003: There was probably a feeling, in the early days of English blues, of wanting to bring this music to people's attention, to show them what an interesting, wonderful form it was.

RP 1999: "Jimi Hendrix in Britain" is an image filled with symbolism. A bluesman of African decent, Hendrix was also of Cherokee and Irish lineage. It is his Irish ancestry that links Jimi uniquely to the history of blues and positions him as a seminal point of reference. This is because the British Isles are key to a chain of blues history leading back through the music's Voodoo origins in the American South and even further back to the African slave trade in the West Indies.

RP 1999: Eighteen days before he died, Hendrix returned to the British stage for the last time. His appearance at the August 1970 Isle of Wight festival climaxed Spiritual Blues symbolism when he opened the show with God Save the Queen, the British anthem. As an African-American of part-Irish decent, Jimi channeled this music's deepest roots when The Queen came bleeding from his speakers: Cromwell's purge of Irish pagans brought slaves to the West Indies, and a new music brewed in the Caribbean. Rock 'n' roll Voodoo soon conquered America. For his last British gig, Jimi brought body music blues back to the last bastion of paganism, because the Isle of Wight is known as the last county in Britain to be converted to Christianity. Its sleepy town of Freshwater, which hosted the festival, is said to be the last part of the Island to receive the religion.

Isle of Wight

[NOTE: This statement from Paul Allen's movie about "bringing to people's attention what an interesting form" blues music is, really sums up this PBS program, because, not only have the interesting aspects of blues been removed from the program, but millions of dollars from Mr. Allen have been spent to keep my writings removed from view too. The "Emperor Has No Clothes" means the EMPeror Has No Insight, and like a rotten little brat he acts to ensure that the mass audience won't be able to consider mine. Regarding the above passage about the Isle of Wight, one of my writings that Paul Allen had suppressed when he arranged for my job as director of the Hendrix company to end, was to conceal the manuscript I'd written for the Isle of Wight CD and movie. In it's place, the people who now run (and destroy) the Hendrix company, put out a DVD about the Isle of Wight that, instead of making the connections with Blues history and religion surrounding Jimi's appearance at Wight, they dwell on idiotic goof-humor interviews about how Hendrix's stage pants had a split going up his ass while he was on stage.]

PBS 2003: A lot of the guys in the British invasion actually took the blues and, in their own way, brought it to the forefront. Well, Hendrix said OK, I'm going to take it from the forefront and put it on steroids.

[NOTE: These are the type of comments and "insights" that Paul Allen's movie is filled with. Only uninteresting and irrelevant comments are included, while simultaneously removing my insights from the Hendrix :Blues release so that better connections remain unmade for those who don't find this website.

What comes to mind is the theme we see in movies like Twister and The Color of Money where a "natural" in some profession is pitted against the dumb rich guy who has no talent, but has the money to get his name known, while trying to cheat and conceal the guy who has natural ability, like Bill Paxton as the tornado expert in Twister, or Tom Cruise as the billiards prodigy in Color of Money (this theme is also familiar to us from the two leading man roles in the movie Titanic.) Some readers might say, too bad, that's your sob story, but in this case, everything we have is at stake, because there is an asteroid prediction through Jimi's writings and it's being concealed by media thugs who refuse to report it. The only hope we had to survive is described in Rock Prophecy, but media everywhere follows the Microsoft mogul's orders to suppress the story.]


PBS 2003: Hendrix was able to take the blues and put it on steroids. Now, if you're a musician looking at Jimi Hendrix, do you copy his technique, no! But you copy his mindset. That's something that's always helped me into making rap music. OK, yeah it's rap, it's rap over music that's already been defined, but can you understand the definition and can you redefine where it can go?

PBS 2003: It's summed up in a way by what Eric Clapton said, that it was almost like a mission to kind of respect this music, not to adulterate it, not to convert it into heavy metal or something like that, but to really play it in an original way, at the same time retaining a deep respect for where it came from and also verbally talking about where it came from and giving the credit in interviews and in any kind of media straight back to the source…

RP 1999: In the 1980s, I performed Jimi Hendrix music in a hometown band called EXP. For years nightclub owners refused to book us. "People don't want to hear Hendrix," insisted the guys who ran the clubs. But I kept trying to get gigs and one day a band that was booked at a club cancelled their date. I was in the club at the time and the owner let EXP have the gig because it was convenient for him, being a weekday when no other group was available on short notice. A radio ad mentioned that a "Hendrix band" would be performing that night. Five hundred people showed up to hear us, a sizable crowd for Thursday night in Rochester. EXP played well. People were enthused.

Michael Fairchild

The next day I went back to the club to line up another gig, but the owner refused. He resented the fact that we'd drawn so many people to his club to hear that kind of music. Even though we were able to earn profits for his business, he didn't want crowds to enjoy "Hendrix music." He dismissed us all, as a class. From then on I saw a meaning in the inverted Strat that Jimi played (Hendrix was left handed and used a right-handed guitar flipped upside down): to me it represents something I call the Inversion. Inversion describes negative rejection of someone when helping that person is beneficial to you. In other words, the Inversion is an irrational urge to silence or annihilate something that can do you some good.

RP 1999: "…a system of violent persecutions and vandalism begins with the destruction of shrines, and the more sacred the shrine the more violent the destruction."

- Joseph Campbell

RP 1999: Any attempt to express insight into issues beyond the music is met with vicious derision from men obsessed with appearing non-obsessed about Hendrix. Passion in the attraction of many people to Jimi's music brings unreasonably extreme competition in a race to possess anything exclusive about him, even if it's just an exclusive idea. But collectors of memorabilia are usually concerned with just a narrow range of information. And the more well known anyone becomes for presenting ideas about Jimi, the more they resent it.

Michael Fairchild & Noel Redding

RP 1999: "After Jimi died I resented people liking Hendrix, because I felt so possessive about him. It was like, 'You're talking about my mother and you know what color her underwear is.'"

- Eric Clapton

RP 1999: "Michael Fairchild? Oh yeah, he can tell me what color underwear we wore!"

- Noel Redding (Jimi's bassist)

RP 1999: There exists tremendous resistance to portrayals of Hendrix as a centerpiece symbol for our culture. A brutal bondage of the mind forces us to fixate solely on the music as an end in itself.

[NOTE: Future generations will not have this handicap. Does anyone get hostile when a pianist comes along who can recite Chopin better than anyone else? No, that musician is celebrated. The same circumstances will apply to recitalists who perform Hendrix music for future generations. As time goes by, the next generation arrives unaware of who Jimi is, because of the uninteresting "releases" that Paul Allen's lapdogs today force onto the markets, with Mr. Allen paying graft to have awards lavished on this crap, and buying media for them, he actually even buys up the CDs in bulk to make it appear someone is interested. The Hendrix legacy today is entirely hidden behind artificial smoke and mirrors, and we're supposed to "pay no attention to that man behind the curtain," as the Wizard of Oz said, the man who pulls the strings for the dumb puppet sheeple to follow. We'll see these brutes blown away by the Rock, "Jacks back in their boxes," as Jimi said, and flip the lid shut for good on dominatorland.]

RP 1999: "It's the other folks, you know, the people that are dyin' off slowly but surely. Anybody as evil as that dies one day or another. Not too many people know about it, you know, but it's good like that - not too many people know, because then we can sneak in through the back door and the next thing you know, you know..."

- Jimi


[My description about how the world came to know the legend of Robert Johnson at the Crossroads had never before been published as a step-by-step explanation. This is a unique feature of my booklet for the 1994 MCA release of Jimi Hendrix :Blues, which climbed into the Top-10 on Billboard charts. And there are other breakthrough connections in that booklet, but they were presented to the "Hendrix network" of collector idiots who have no capacity for comprehending concepts. The only thing that crosses their mind when they encounter interesting ideas about Jimi is "How can I challenge/dominate this and discredit the author?" The head collector among them, Paul Allen, used his media empire and army of lawyers to stage a bogus lawsuit against the Hendrix company I was about to become director of, and after they exiled me, they replaced all of my writings, including this :Blues booklet, with uninteresting junk. World media lost interest in Jimi, and Hendrix was cast back into that "guitar greaser clown" category where dominators gleefully dismiss him. In the meantime, the asteroid he was fighting to warn us about is closing in on us, and all media everywhere is ordered to obey Paul Allen and keep my insights secret.]

Noel Redding discusses Michael Fairchild w/Fairchild "In From the Storm"

[NOTE: Please be aware that for years the owners and staff at the Yahoo search engine have artificially/surgically removed this rockprophecy.com website from all listings under the words "jimi hendrix." Following the example of Paul Allen, the owners of Yahoo are intent on concealing the insights and research of Hendrix scholar Michael Fairchild, out of sheer pathological jealousy.
- James Sedgwick]