#Chitlin Circuit
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Ernest "Skillet" Mayhand and Leroy "Sloppy" Daniels were a Chitlin Circuit comedy team that performed as Skillet and Leroy.
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Otis Williams, founder of The Temptations, discusses touring during segragation in the south
There were some important rules for performers back then, when you toured the south. Listen to what Otis has to say about the motown tours through the chitlin circuit in the 60′s
#Otis Williams founder of The Temptations discusses touring during segragation in the south#Chitlin Circuit#Segregation#Motown#Soul#southern touring for northern groups#Black Music#Black History#Black Music Month
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What acts did The Stones work with or saw perform on the Chitlin Circuit ? Who was there and how did they get on that ?
The Rolling Stones, in the early days, toured with a lot Black acts and musicians, including Patti LaBelle and the Bluebelles, the Vibrations, Little Richard, the Ronettes, Inez and Charlie Foxx, and so many more! You gotta understand, they were strictly a blues band at that time, they weren’t a rock & roll band. They did covers of various blues/r&b records and they also frequently recorded at Chess Records in Chicago where people like Muddy Waters and Chuck Berry would record their music as well! Keith Richards talked about this a lot in his book, like when the Stones first got to America in the early 1960s, the hostility they faced was all from white people. The only people who ever looked out for them were Black. I guess because they were so different (they’re English, they wore their hair long, they sang r&b, and didn’t understand race relations/segregation laws in America) so, there was that connection to Black people as being outsiders and also why white people would fuck with them a lot. I guess that’s why during their later tours they kind of paid it forward and had up-and-coming Black performers open for them like the Ike & Tina Turner Revue, Prince and others!
#the rolling stones#music#black music#rock & roll#black artists#the ronettes#little richard#patti labelle & the bluebelles#inez & charlie foxx#the vibrations#chitlin circuit#1960s#old school tea#anon
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Moms Mabley
Loretta Mary Aiken, known by her stage name Jackie "Moms" Mabley, was an American stand-up comedian and actress.She came out as a lesbian in 1921 at the age of twenty-seven, becoming one of the first openly gay comedians.
During the 1920s and 1930s she appeared in androgynous clothing and recorded several "lesbian stand-up" routines. Mabley began her career on the theater stage in the 1920s and became a veteran entertainer of the Chitlin' Circuit of African-American vaudeville. Mabley later recorded comedy albums and appeared in films and on television programs including The Ed Sullivan Show and The Smothers Brothers Comedy Hour.
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Beyoncé divulga tracklist de 'Cowboy Carter'; confira
Beyoncé divulgou a tracklist completa de seu novo álbum, 'Cowboy Carter', que chega no dia 29 de março. Confira as faixas:
Nesta quarta-feira (27), Beyoncé divulgou em suas redes sociais a tracklist completa de seu novo álbum, ‘Cowboy Carter’. Esse será o nono álbum de estúdio da cantora e está com o lançamento marcado para esta sexta-feira, 29 de março. Confira:
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Dentre as músicas reveladas, estão ‘Texas Hold ‘Em‘ e ’16 Carriages’, que foram ao ar…
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Lecture 11: Otis Redding performs “I Can’t Turn You Loose” on the British pop/rock TV program Ready, Steady, Go!, September 16, 1966. Otis Redding was married, had a child, and had already been performing on the Chitlin’ Circuit for about three years before he turned twenty. He signed with Stax Records (Memphis, Tennessee) in 1962 at the age of 21. His early recordings fared well on the R&B charts, but rarely climbed very high on the Top 40. Over time, Redding developed a reputation as a master of soul music, thanks to an unmistakable voice that was brooding, lean and full of pain. After having enjoyed a large, but primarily African American following, Otis Redding broke through to a white audience with his appearance at the huge Monterey Pop festival in June of ’67. Sadly, he would die in a plane crash before the year was out.
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the artistry of cowboy carter is monumental. sampling black bird - a song about the struggles of a black woman during the civil rights movement - and using it to pass the torch to a new generation of black country girlies. a dolly and willie nelson - two elder statesmen of the country genre - feature thereby confirming the genre as country to anyone who would dare argue otherwise. the linda martell show being in reference to linda martell the first successful black woman in the country circuit. the track list design paying homage to chitlin circuit; a series of venues in the Jim Crow south that would host black musicians during segregation. a good vibration by the beach boys sample. and a goddamn jolene sample (and dolly doesn’t just let anyone sample her discography). there are so many layers to cowboy carter i fear i may be analysing for a good while.
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“This ain’t a Country album. This is a “Beyoncé” album.”
I understand why she said this! Because the way it seems she created a completely new genre with ‘Cowboy Carter’! The Country is there (and all the elements) and there’s some Blues, Folk, Soul, Zydeco, Bluegrass, a lil Rock, Gospel and Opera and then some (all genres with Black (Black) American origins). Almost like she opened a new sonic portal while helping to reclaim the genre made by Black Americans.
First off — the album cover art. She pays homage to a long-standing Black American Southern tradition of Houston rodeo and rodeo queens. Carrying our country’s flag…the imagery is signifying to her being a Black American woman. Who she is.
The album cover alone set the tone for what she presented with act ii. [and the photographer is Blair Caldwell, a fellow Black Texan, who has such an eye for capturing beauty. all his photographs are visually pleasing].
[Even the promo - the track list design is a nod & historical reference to Black American culture via The Chitlin Circuit promotional posters. I love it. Made my little graphic art heart smile. The nostalgia of it.]
From the opening track title and lyrics and later on within other songs, she wove her ancestral claiming to America with so much pride. Pride for our country and our flag that we absolutely should have.
Then to have Ms. Linda Martell, the trailblazing Black pioneer & legend in the genre who broke many barriers, be a part of this album was so reverent. (Especially her spoken word throughout that spoke to the way that she and Beyoncé have had to navigate this music industry. When their presence wasn’t well-received, in the very genre we created, they set out to move in a “non-traditional” way). They themselves are the embodiment of unconventional. Ms. Martell rightfully receiving her flowers at the golden age of 82 is harmonious!
Every part of act ii has made people research and discover. The same way act i did. Gotta love a good educational experience through music. (btw—the mention of Zydeco had me hyped).
Having Rhiannon Giddens on instrumentation (along with other background Black musicians and I’m sure Black vocalists) and sharing this musical journey with Tanner Adell, Brittney Spencer, Tiera Kennedy, Reyna Roberts, Willie Jones and Shaboozey — other young Black women and Black men in the genre…all of this Black fellowship made me so happy.
Just sooo much honoring throughout it all. Lots of love poured into it.
Everything is resonate. Connecting. With purpose.
Her voice, her musicality, the note choices, the lyrics, the song titles and the spelling of them, the arrangements.
It’s fun and beautiful.
It sounds amazing.
A beautiful tribute to her roots.
Bravo Beyoncé!
#Beyoncé#Cowboy Carter#Linda Martell#Tanner Adell#Brittney Spencer#Tiera Kennedy#Reyna Roberts#Willie Jones#Shaboozey#Blair Caldwell#Black music#Black culture#Black American culture#Black American music#country music#go stream Cowboy Carter#go buy Cowboy Carter#and go stream and buy all the artists she featured
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On this day in 1970, rock guitarist Jimi Hendrix died at 27 years old.
James Marshall "Jimi" Hendrix ,was a musician, singer, and songwriter. Despite a relatively brief mainstream career spanning four years, he is widely regarded as one of the greatest and most influential electric guitarists in the history of popular music, and one of the most celebrated musicians of the 20th century.
The Rock and Roll Hall of Fame describes him as "arguably the greatest instrumentalist in the history of rock music."
Born in Seattle, Washington, Hendrix began playing guitar at the age of 15. In 1961, he enlisted in the US Army; he was granted an honorable discharge the following year. Soon afterward, he moved to Clarksville, Tennessee, and began playing gigs on the chitlin' circuit, eventually earning a place in the Isley Brothers' backing band and later finding work with Little Richard, with whom he continued to play through mid-1965. He then joined Curtis Knight and the Squires before moving to England in late 1966 after having been discovered by bassist Chas Chandler of the Animals.
Within months, Hendrix had earned three UK top ten hits with the Jimi Hendrix Experience", "Purple Haze", and "The Wind Cries Mary". He achieved fame in the US after his performance at the Monterey Pop Festival in 1967, and in 1968 his third and final studio album, Electric Ladyland, reached number one in the US. The double LP was Hendrix's most commercially successful release and his first and only number one album. He headlined the Woodstock Festival in 1969 and the Isle of Wight Festival in 1970 as the world's highest-paid performer before dying from barbiturate-related asphyxia on September 18, 1970, at the age of 27.
Hendrix was inspired musically by American rock and roll and electric blues. He favored over driven amplifiers with high volume and gain, and was instrumental in developing the previously undesirable technique of guitar amplifier feedback. He helped to popularize the use of a wah-wah pedal in mainstream rock, and was the first artist to use stereophonic phasing effects in music recordings. Holly George-Warren of Rolling Stone commented: "Hendrix pioneered the use of the instrument as an electronic sound source. Players before him had experimented with feedback and distortion, but Hendrix turned those effects and others into a controlled, fluid vocabulary every bit as personal as the blues with which he began."
Hendrix was the recipient of several music awards during his lifetime and posthumously.
In 1967, readers of Melody Maker voted him the Pop Musician of the Year and in 1968, Billboard named him the Artist of the Year and Rolling Stone declared him the Performer of the Year. Disc and Music Echo honored him with the World Top Musician of 1969 and in 1970, Guitar Player named him the Rock Guitarist of the Year.
The Jimi Hendrix Experience was inducted into the Rock and Roll Hall of Fame in 1992 and the UK Music Hall of Fame in 2005.
Rolling Stone ranked their three studio albums, Are You Experienced, Axis: Bold as Love, and Electric Ladyland, among the 100 greatest albums of all time and they ranked Hendrix as the greatest guitarist and the sixth greatest artist of all time.
African archives
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1946.
Comedian Wonderful Smith said he was fired by the Red Skelton Show because he refused to continue speaking in minstrel dialect after World War Two.
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FIRST SUCCESSFUL FEMALE STANDUP COMEDIAN
Loretta Mary Aiken (March 19, 1897 – May 23, 1975), known by her stage name Jackie "Moms" Mabley, was the first successful female standup comedian and had a career that spanned over 50 years. Moms bridged the gap between vaudeville and modern stand up comedy. She was also the first woman comic to be feature at the Apollo theater and Carnegie Hall in 1962.
Moms Mabley was born Loretta Mary Aiken in Brevard, North Carolina, to a large family. She experienced a horrifying, traumatic childhood. Her firefighter father was killed in an explosion when she was 11 and her mother was later hit and killed by a truck on Christmas Day. By the time she was fifteen she had borne two children resulting from sexual assaults: the first by a neighbour when she was twelve, and the second, two years later by a local sheriff. Her stepfather, who had remained her guardian, gave both children up for adoption and then forced Moms to marry a much older man who she despised.
Aiken left home at the age of 14 and pursued a show business career, joining the African-American vaudeville circuit(aka Chitlin' Circuit)as a comedian under the Theatre Owners Booking Association, Fellow performer Jack Mabley became her boyfriend for a short time, and she took on his name, becoming Jackie Mabley, with "Moms" coming from her eventual reputation as a mentoring, mothering spirit.
Moms saw an opportunity to try out her own voice, and discovered that she was a natural at singing, dancing and telling a joke. Especially telling a joke. She realized she had something that many of her contemporaries didn’t - original material. Since her sheltered life had hampered any introduction to current comedy routines, Moms inevitably began to craft authentic pieces based on her own experiences, much of it based on Granny’s pearls of wisdom.
Moms talked to her audience as if they were her children. She delivered superbly solemn routines, original in their time yet amazingly, never bettered. As soon as Moms delivered her opening line “I 'gots' something to tell you...” she immediately captured the attention of everyone in the room - and those rooms were full for over fifty years.
By the early 1920s she had begun to work with the duo Butterbeans & Susie, and eventually became an attraction at the Cotton Club. Mabley entered the world of film and stage as well, working with writer Zora Neale Hurston on the 1931 Broadway show "Fast and Furious: A Colored Revue in 37 Scenes" and taking on a featured role in Paul Robeson's "Emperor Jones" (1933).
Starting in the late 1930s, Mabley became the first woman comedian to be featured at the Apollo, going on to appear on the theater's stage more times than any other performer. She returned to the big screen as well with "The Big Timers" (1945), "Boarding House Blues" (1948), and the musical revue "Killer Diller" (1948), which featured Nat King Cole and Butterfly McQueen.
By the late 1950s Moms Mabley was one of the highest-paid comics in the US, making $10,000 a week. Mabley's standup routines were riotous affairs augmented by the aesthetic she presented as being an older, housedress-clad figure who provided sly commentary on racial bigotry to African-American audiences. Her jokes also pointed towards a lusty zest for younger men.
Mabley began a recording career with her Chess Records debut album "The Funniest Woman Alive," which became gold-certified. Subsequent albums like "Moms Mabley at the Playboy Club," "Moms Mabley at the UN" and "Young Men, Si - Old Men, No" continued to broaden Mabley's reach (she ultimately recorded many albums). She landed spots on some of the top variety shows of the day, including "The Ed Sullivan Show," and graced the stage of Carnegie Hall.
Mabley continued performing in the 1970s. In 1971, she appeared on The Pearl Bailey Show. Later that year, she opened for Ike & Tina Turner at the Greek Theatre and sang a tribute to Louis Armstrong as part of her set.
Mobley had a starring role in the 1974 picture "Amazing Grace," which she was able to complete despite having a heart attack during filming.
Over the course of her life, Mabley had six children: Bonnie, Christine, Charles, and Yvonne Ailey, and two placed for adoption when she was a teenager. She died from heart failure on May 23, 1975, in White Plains, New York.
Actress Clarice Taylor, who portrayed Bill Cosby's mother on "The Cosby Show" and was a major fan of Mabley's work, staged the 1987 play "Moms at the Astor Place Theater, in which she portrayed the trailblazing icon.
Fellow comedian Whoopi Goldberg made her directorial debut with the documentary "Moms Mabley: I Got Somethin' to Tell You, which was presented at the Tribeca Film Festival and aired on HBO in 2013.
#black history month#black history#comdey#comedian#Loretta Mary Aiken#carnegie hall#vaudeville#Jackie Moms Mabley
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If you don’t know the history behind the Chitlin Circuit, do your research. Educate yourself.
Beyoncé puts intention and meaning behind every. single. thing.
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bodyguard is very kitten/jj coded… also pup/john b coded
wait speaking of bodyguard have you listened to cowboy carter yet ? what r ur thoughts
I LOVEDDDDDDDDDD COWBOY CARTER if I said its better than renaissance would yall get mad at me bc....
as a great migration!black it was so fun to listen to because my roots are still very close to the south my dads from there lol
BUT I JUST MADE A POST SAYING JOHN B LIVEDDDDD for bodyguard like that's his and pup's song but you're right about it being jj/kitten coded as well like sonically very pup/jb but lyrically yeah....
the run of ya ya to riverdance is my absolute favorite and yaya is my fav song by far as a lover of rock music like.....and the funky bass in desert eagle? shes insaneeee and her singing in Italian on daughter??? this is by far her weirdest, most creative album imo and the things she was doing with doing with her voice esp on ya ya that we never heard her do before gave me fuckin chills, it was so cinematic start to finish and I love a good concept album and this was recorded BEFORE renaissance?????? we rlly went from the chitlin circuit of older America to the futuristic club renaissance this woman can't be stopped. I hope and pray act iii is a rock album I need another "don't hurt yourself moment"
funilly I see ya ya as a very kitten/jj coded song because I can imagine them dancing their asses off to that song at any given moment and he DOES let her have her little tina turner moment
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Flew too Close to the Sun (part 1)
Pairing: austin!elvis x black fem oc (Faye)
Summary: With a chance of a lifetime on the line, Faye convinces her sisters going Vegas is the right choice. The Williams Sisters meet Elvis. (Wc: 1292)
Warnings: Allusions to cheating, that's basically it
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A/N: Hiiii. I’m so excited to get this series underway. This is my first multi part work. I’m planning on it being 5 parts in total but ideas/changes always come to me so it could more or it could be less. I also have other Elvis ideas that I hope to post while this series goes on. Just some house keeping things: this starts during 1971/1972 and and he’s like 36/37. Also I expect the other parts to be longer, this is just laying ground work. Also this work will be a mixture of my interpretation of the movie plus my interpretation of the real Elvis. As always, please reblog, like, and follow if you see something you enjoy.
The room is eerily quiet, which is not typical for the Williams Sisters when they are together. This is Faye’s fault; she knows that, but frankly she’s trying to find a reason to feel guilty. They’re going to be singing back for Elvis Presley and it’s all because of her. Answering yes to the opportunity on the behalf of the group was a selfish, but Faye is always willing to admit she’s selfish when it comes to their career.
“You’ve done a lot of dumb stuff, but this takes the cake,” Dawn says somberly, getting up from her seat. “I need to go call Joseph.”
Picking up on the anger steaming out of Dawn, Faye doesn’t have the heart to tell her that Joseph, their manager, has already worked out flight details.
Both Faye and Shirley flitch when they hear the door to one of the rooms in their parents’ home slam shut. Thank God mama is not home. She expected Dawn to be upset, she’s never been a fan of surprises. Faye’s brown doe eyes flicker over to meet Shirley’s hazel ones. There are more beats of silence before Shirley breaks the tension.
“She’s not wrong. Not about the dumb thing; it’s just a heads up would’ve been nice.”
Her tone is soft but clearly frustrated, and it makes Faye’s heart sink a bit. She doesn’t know what to say. An apology would probably be a good start, but she’s not sorry.
“This will be good for us,” she says earnestly. “We all said that we want to broaden our sound. Think about all the people we could meet!”
“I’m not saying it isn’t a good opportunity. I’m saying it would have been nice to know about it before you said yes.”
Before the conversation between them can continue, Dawn reemerges glaring as she sits back on the coach next to Shirley. Joseph must have told her it’s a done deal.
“I know how y’all are,” Faye starts, not appreciating the evil eyes she’s getting from Dawn. “It would’ve been this huge back and forth and by the time we came a conclusion, they would’ve gone with some other group.”
“We’ve done the backup singer thing before, and we all hated it. Why would it be different now?” Shirley pipes up with a skeptical glance.
A slight chill runs up Faye’s spine thinking about that. It was right after they signed with Motown Records, and it was rough to say the least.
“I doubt doing the Chitlin’ Circuit with Pastor Buddy and the Holy Choir is gonna be the same as being in a luxury hotel,” she’s getting exasperated now. Plans have been made and they are leaving for Vegas in a couple of days anyway. “Elvis personally asked for us for this. Apparently, he’s a big fan of ours!”
A snort and an eye roll come from Dawn.
“Yeah, I hear he’s a fan of most women under the age of thirty,” she mumbles fiddling with her ring. Shirley lets out an indignant sound from the back of her throat while Faye scoffs.
She knows they’re worried about being out west, being away from mama and papa… being away from the men they love. But what is the point of being in the group if they aren’t going to take good opportunities.
“Look, I should’ve told y’all. But think of the world this could open us up to. We could work with different producers, make connections, and meet other artists. At least that’s what the man with the funny accent said on the phone,” Faye says with a confident smile.
The two other girls share a look before Dawn lets out a deep sigh.
“I have wanted to go out west,” she says slowly, and Faye lets out a squeal and jumps up from the loveseat. “But there are conditions. If we do this, we must do it right. No getting distracted, and we run everything by each other from now.”
Faye nods enthusiastically taking each one their hands.
“I have the best feeling about this!”
The next couple of days were a whirlwind for the girls. Packing, staying goodbye to their parents and loved ones, and preparing for a new chapter. Faye always gets anxiety about going on planes. Or maybe this time it’s the nerves of this opportunity. She doesn’t want her sisters to see her sweat; this was her decision at the end of the day.
“My feet are killing me,” Shirley sighs softly, swaying from foot to foot looking at her heeled boots. They walked in the beautiful theater of The International Hotel with other members of the band and backup.
“I told you not to wear those expensive death traps to begin with,” Dawn pushes her curls over her shoulder. “Would be nice if we could meet him already.”
They had been in Vegas for five days now and have met everyone in the staff but the star himself.
“He’s probably bu-…... oh wow,” Before Faye can finish her sentence, the sound slight commotion, and flashes of red and gold catches everyone’s eye.
It’s a sight to behold, Elvis Presley in the flesh. Adorned in a red pirate shirt, and a flashy belt. The sisters watch him go around and introduce himself to members of the band. Faye’s heart rate rises a bit the closer he gets to them. Despite already enjoying his music, she starts to understand how people can’t get enough him. The fainting, the crying, the fawning; it all makes perfect sense. Being charming will always go far in this business.
“He has quite the presence,” whispers Dawn. Even she sounds a little mystified watching him work a room. “Oh, look alive y’all. He’s coming over here.”
Faye instinctively brings her hand to her hair, trying to make sure each hair is in its proper place.
“There they are. The ladies of the hour!”
Faye wishes she could see their faces because she’s sure they look like deer in headlights. Shirley seems to be the first one to break out of the trance and goes to shake his hand.
“It’s so nice meeting you. Thank you for inviting us out here,” Shirley, thank God, is always levelheaded in situations like this. Dawn follows suit in introducing herself, while Faye on the other hand is a bit blinded by his smile.
“Pleasure is all mine darlins’. Big, big fan,” he replies brightly, dazzling blue eyes shift to Faye. “And you must be Faye, the one who asked about the costume budget.”
Dawn and Shirley both hold in giggles while Faye cringes recounting the conservation she had with Elvis’s manager. She was a bit curious about what they would wear, sue her. She also did not know “the Colonel” would take that note back to his boss.
Sensing her slight embarrassment, he brings her hand up to his lips to kiss it.
“Nothin’ wrong with a woman knowin’ what she wants.”
Oh
“EP! We need to get this show on the road,” a voice from the group of men that came in with him calls out.
While Faye tries to make sense of the interaction she just had, he politely excuses himself to get rehearsals officially started. The girls are silent for a moment, nothing but the sound of instruments tuning and people mingling flowing between them. Faye catches the look that Dawn and Shirley give each other. She hates that, the innate way they can say so much with just glances at each other.
Faye can’t help but wonder what their eyes are saying to each other. Instead of asking, she pushes those feelings aside and reminds herself how great the next couple of weeks will be. How good they must be.
#austin!elvis x oc#austin!elvis x black!oc#austin!elvis x reader#austin butler elvis#elvis 2022#elvis imagine#black!oc#black!reader#elvis x reader#my writing#black authors#flew too close to the sun#elvis presley#austin butler imagine#austin butler fic
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On this day in 1942, rock guitarist Jimi Hendrix was born. James Marshall "Jimi" Hendrix ,was a musician, singer, and songwriter. Despite a relatively brief mainstream career spanning four years, he is widely regarded as one of the greatest and most influential electric guitarists in the history of popular music, and one of the most celebrated musicians of the 20th century. The Rock and Roll Hall of Fame describes him as "arguably the greatest instrumentalist in the history of rock music."
Born in Seattle, Washington, Hendrix began playing guitar at the age of 15. In 1961, he enlisted in the US Army; he was granted an honorable discharge the following year. Soon afterward, he moved to Clarksville, Tennessee, and began playing gigs on the chitlin' circuit, eventually earning a place in the Isley Brothers' backing band and later finding work with Little Richard, with whom he continued to play through mid-1965. He then joined Curtis Knight and the Squires before moving to England in late 1966 after having been discovered by bassist Chas Chandler of the Animals. Within months, Hendrix had earned three UK top ten hits with the Jimi Hendrix Experience",
"Purple Haze", and "The Wind Cries Mary". He achieved fame in the US after his performance at the Monterey Pop Festival in 1967, and in 1968 his third and final studio album, Electric Ladyland, reached number one in the US. The double LP was Hendrix's most commercially successful release and his first and only number one album.
He headlined the Woodstock Festival in 1969 and the Isle of Wight Festival in 1970 as the world's highest-paid performer before dying from barbiturate-related asphyxia on September 18, 1970, at the age of 27. Hendrix was inspired musically by American rock and roll and electric blues. He favored over driven amplifiers with high volume and gain, and was instrumental in developing the previously undesirable technique of guitar amplifier feedback. He helped to popularize the use of a wah-wah pedal in mainstream rock, and was the first artist to use stereophonic phasing effects in music recordings. Holly George-Warren of Rolling Stone commented: "Hendrix pioneered the use of the instrument as an electronic sound source.
Players before him had experimented with feedback and distortion, but Hendrix turned those effects and others into a controlled, fluid vocabulary every bit as personal as the blues with which he began." Hendrix was the recipient of several music awards during his lifetime and posthumously. In 1967, readers of Melody Maker voted him the Pop Musician of the Year and in 1968, Billboard named him the Artist of the Year and Rolling Stone declared him the Performer of the Year.
Disc and Music Echo honored him with the World Top Musician of 1969 and in 1970, Guitar Player named him the Rock Guitarist of the Year. The Jimi Hendrix Experience was inducted into the Rock and Roll Hall of Fame in 1992 and the UK Music Hall of Fame in 2005. Rolling Stone ranked their three studio albums, Are You Experienced, Axis: Bold as Love, and Electric Ladyland, among the 100 greatest albums of all time and they ranked Hendrix as the greatest guitarist and the sixth greatest artist of all time.
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📚In 1928, Eli Reid purchased 400 acres of picturesque property on the banks of the Chowan River in Hertford County, North Carolina. Soon after he acquired the land, Reid began turning the area into a Segregation-era resort for African Americans, and Chowan Beach was born.
As the resort began to take shape in the late 1920s, it was clear that something special had been started. Wide sandy beaches were built, and construction was immediately started on guest cottages, bathhouses, a dance hall, photo studio, restaurant, picnic area and magnificent German-made carousel. Chowan Beach was an immediate success, and throngs of African Americans began to stream in from across North Carolina and the East Coast to relax and enjoy the atmosphere and spectacular views--an oasis of fun in a social desert of limited opportunities and unfair treatment. The water was cool and refreshing, the crowds were friendly, and the music was hot, as the beach was a popular stop for musicians touring on the "Chitlin Circuit," including B.B. King, James Brown, Sam Cooke and The Drifters.
In this nostalgic new book, author Frank Stephenson brings back the glory days of Chowan Beach with an array of vintage photographs and a brief history of the area. Come along as Stephenson revisits the past of this beloved beach and offers a reminder of what it meant to generations of African American visitors.
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