Legado
O Curso de Geologia de 85/90 da Universidade de Coimbra escolheu o nome de Geopedrados quando participou na Queima das Fitas. Ficou a designação, ficaram muitas pessoas com e sobre a capa intemporal deste nome, agora com oportunidade de partilhar as suas ideias, informações e materiais sobre Geologia, Paleontologia, Mineralogia, Vulcanologia/Sismologia, Ambiente, Energia, Biologia, Astronomia, Ensino, Fotografia, Humor, Música, Cultura, Coimbra e AAC, para fins de ensino e educação.
Postado por Fernando Martins às 00:44 0 bocas
Marcadores: clube dos 27, Ian Curtis, Joy Division, Love will tear us apart, música, Pós-punk, suicídio
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Marcadores: blues, clube dos 27, Grateful Dead, Lovelight, música, Rock, Ron Pigpen McKernan
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Marcadores: Brian Jones, clube dos 27, música, Paint It Black, Rock, Rolling Stones, The Rolling Stones
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Marcadores: blues, clube dos 27, country, folk, Janis Joplin, jazz, Me and Bobby McGee, música, Rock, rock psicadélico, soul
Postado por Fernando Martins às 00:08 0 bocas
Marcadores: blues, clube dos 27, country, Cry baby, folk, Janis Joplin, jazz, música, Rock, rock psicadélico, soul
Postado por Fernando Martins às 07:30 0 bocas
Marcadores: Big Star, Chris Bell, clube dos 27, guitarra, música, Power pop, Rock, Thirteen
Postado por Fernando Martins às 00:45 0 bocas
Marcadores: Big Star, Chris Bell, clube dos 27, guitarra, música, Power pop, Rock, Thirteen
Ganhou popularidade primeiro como um grafiteiro na cidade onde nasceu e depois como neo-expressionista. As pinturas de Basquiat ainda são uma influência para muitos artistas e muitas vezes alcançam preços altos em leilões de arte. Em 2017 a sua pintura Untitled (1982) foi vendida por US$ 110,5 milhões, tornando-se uma das pinturas mais caras já compradas. Também estabeleceu um novo recorde para um artista americano em leilão.
Basquiat nasceu em 22 de dezembro de 1960, em Park Slope, Brooklyn, Nova York, filho de Matilde Basquiat e Gérard Basquiat. O seu pai nasceu em Port-au-Prince, Haiti, e sua mãe nasceu no Brooklyn de pais de ascendência porto-riquenha. Desde cedo mostrou uma aptidão incomum para a arte e foi influenciado pela mãe, Matilde, a desenhar, pintar e a participar de atividades relacionadas com o mundo artístico. Depois que os seus pais se separaram, Basquiat e suas duas irmãs mais novas foram criadas pelo pai. A sua mãe foi internada num hospital psiquiátrico quando ele tinha dez anos e depois passou a vida dentro e fora de instituições. Aos onze anos, Basquiat era fluente em francês, espanhol e inglês, e um ávido leitor das três línguas.
Arte de rua e Gray: 1978-1980
Em 1978, aos 17 anos, Basquiat e um amigo, Al Diaz, começaram a escrever grafites em prédios em Manhattan. Eles usaram o pseudónimo SAMO, que significa "mesma velha merda". Isso gerou curiosidade nas pessoas, principalmente pelo conteúdo das mensagens grafitadas. Em dezembro de 1978, o veículo Village Voice publicou um artigo sobre as escrituras.
Em 1978, Basquiat abandonou a escola e saiu de casa, apenas um ano antes de se formar. Mudou-se para a cidade e foi morar com amigos, sobrevivendo vendendo camisetas e cartões postais na rua. Um ano depois, em 1979, no entanto, Basquiat ganhou status de celebridade na cena artística do East Village de Manhattan por suas aparições regulares no programa de televisão de Glenn O'brien, TV Party. Em 1979, Basquiat formou uma banda chamada Gray. Um dos membros da banda era o então desconhecido músico e ator Vincent Gallo. Com o conjunto, tocaram em clubes como Max's Kansas City, CBGB, Hurrahs e o Mudd Club.
Ascensão à fama e sucesso: 1980-1986
O projeto "SAMO" terminou com o epitáfio "SAMO IS DEAD" escrito nas paredes dos prédios do SoHo em Nova York no início de 1980. Em junho de 1980, Basquiat participou do The Times Square Show, uma exposição multiartista patrocinada pela Collaborative Projects Incorporated (Colab) e Fashion Moda. Ele foi notado por vários críticos e curadores, incluindo Jeffrey Deitch, que o mencionou em um artigo na edição de setembro de 1980 da Art in America. Mais tarde naquele ano, Basquiat filmou um filme chamado Downtown 81 (também conhecido como New York Beat). Basquiat vendeu sua primeira pintura, Cadillac Moon (1981), para Debbie Harry por US$ 200 depois de terem filmado o filme. Ele também apareceu como disc jockey no videoclipe de Blondie de 1981 "Rapture", um papel originalmente destinado a Grandmaster Flash.
Em fevereiro de 1981, Basquiat participou da exposição New York/New Wave no P.S.1 de Nova York. O artista italiano Sandro Chia recomendou o trabalho de Basquiat ao negociante italiano Emilio Mazzoli, que imediatamente comprou 10 pinturas para Basquiat fazer uma exposição individual na sua galeria em Modena, Itália, em maio de 1981. Em dezembro de 1981, o crítico de arte Rene Ricard publicou "The Radiant Child" na revista Artforum, o primeiro artigo extenso sobre Basquiat. Nesse período, Basquiat pintou muitas peças em objetos que encontrou nas ruas, como portas descartadas. Na época, Basquiat morava com sua namorada, Suzanne Mallouk, que o sustentava financeiramente como garçonete.
Em setembro de 1981, a marchand Annina Nosei convidou Basquiat para se juntar à sua galeria. Logo depois, ele participou de seu show coletivo Public Address. Nosei forneceu a ele materiais e um espaço para trabalhar no porão de sua galeria. Em 1982, Nosei conseguiu que ele se mudasse para um loft que também servia como estúdio no bairro do SoHo, em Nova York. Basquiat teve a sua primeira exposição individual americana na Galeria Annina Nosei em março de 1982. Ele também pintou em Modena para a sua segunda exposição italiana em março de 1982. Sentindo-se explorado, a exposição foi cancelada porque ele deveria fazer oito pinturas numa semana.
No verão de 1982, Basquiat deixou a Galeria Annina Nosei e o galerista Bruno Bischofberger tornou-se seu negociante de arte mundial. Em junho de 1982, aos 21 anos, Basquiat se tornou o artista mais jovem a participar da documenta em Kassel, na Alemanha. Seus trabalhos foram exibidos ao lado de Joseph Beuys, Anselm Kiefer, Gerhard Richter, Cy Twombly e Andy Warhol. Bischofberger deu a Basquiat uma exposição individual em sua galeria de Zurique em setembro de 1982 e arranjou para ele encontrar Warhol para almoçar em 4 de outubro de 1982. No entanto, eles se conheceram alguns anos antes num restaurante no SoHo, quando Basquiat vendeu a Warhol um cartão postal que ele havia feito com a artista Jennifer Stein. Imediatamente após o encontro em 1982, Basquiat foi para casa e pintou Dos Cabezas (1982), que acendeu uma amizade entre eles. Warhol lembrou: "Eu tirei uma Polaroid e ele foi para casa e dentro de duas horas uma pintura estava de volta, ainda molhada, dele e eu juntos". Em novembro de 1982, a exposição individual de Basquiat abriu na Fun Gallery no East Village. Em dezembro de 1982, Basquiat começou a trabalhar no estúdio que o negociante de arte Larry Gagosian construiu abaixo de sua casa em Venice, Califórnia. Lá ele criou uma série de pinturas para sua segunda exposição na Galeria Gagosian em West Hollywood em março de 1983. Basquiat estava acompanhado de sua namorada, a então desconhecida cantora Madonna. Ele disse a Gagosian que "ela será a maior estrela pop do mundo".
Em março de 1983, aos 22 anos, Basquiat se tornou o artista mais jovem a participar da exposição Whitney Biennial de arte contemporânea. Em agosto de 1983, Basquiat mudou-se para um loft de propriedade de Warhol em 57 Great Jones Street em NoHo, que também servia como estúdio. Basquiat foi profundamente afetado pela morte de Michael Stewart, um aspirante a artista negro na cena do clube do centro da cidade que foi morto pela polícia de trânsito em setembro de 1983. Basquiat pintou Defacement (The Death of Michael Stewart) (1983) em resposta ao incidente. Tendo se juntado à galeria SoHo de Mary Boone em 1983, Basquiat teve uma exposição lá em maio de 1984. Entre 1984 e 1985, ele trabalhou em estreita colaboração com Warhol na Factory. Sua exposição conjunta na Galeria Tony Shafrazi causou uma ruptura em sua amizade depois que foi criticada pelos críticos e Basquiat foi chamado de mascote de Warhol.
Basquiat costumava pintar em ternos Armani caros e aparecia em público com as mesmas roupas respingadas de tinta. Ele adorava ir à boate Area em Nova York e às vezes tocava discos como disc jockey. Ele também pintou murais para a boate Palladium em Nova York. A rápida ascensão de Basquiat à fama foi coberta pelos media. Ele apareceu na capa da edição de 10 de fevereiro de 1985 da The New York Times Magazine em um recurso intitulado "New Art, New Money: The Marketing of an American Artist". O seu trabalho apareceu na GQ e Esquire, e ele foi entrevistado para o segmento "Art Break" da MTV.
Em meados dos anos 1989, Basquiat ganhava U$1.4 milhão por ano e recebia quantias de U$40,000 de negociantes de arte. Apesar do sucesso, sua instabilidade emocional ainda o assombrava. "Quanto mais dinheiro Basquiat fazia, mais paranoico e envolvido com drogas ele ficava," escreveu o jornalista Michael Shnayerson. Muitos de seus colegas especularam que seu uso de drogas era um meio de lidar com as demandas de sua fama recém-descoberta, a natureza exploradora da indústria da arte e as pressões de ser um homem negro no mundo da arte dominado por brancos.
Basquiat continuou a ter exposições individuais internacionalmente em 1986. Em outubro de 1986, Basquiat voou para a Costa do Marfim com a sua namorada Jennifer Goode para uma exposição de seu trabalho no Instituto Cultural Francês em Abidjan. Em novembro de 1986, aos 25 anos, Basquiat tornou-se o artista mais jovem a receber uma exposição individual na Kestner-Gesellschaft em Hannover. Ele desfilou para Rei Kawakubo no show Comme des Garçons Homme Plus em Paris.
Últimos anos e morte: 1986-1988
Durante o relacionamento, Goode começou a cheirar heroína com Basquiat, pois as drogas estavam à sua disposição. "Ele não me empurrou, mas ele estava lá e eu era tão ingénua", disse ela. No final de 1986, ela os matriculou em um programa de metadona em Manhattan, mas Basquiat desistiu depois de três semanas. De acordo com Goode, Basquiat não começou a injetar heroína até depois que ela terminou o relacionamento. Nos últimos 18 meses de sua vida, Basquiat tornou-se um recluso. Acredita-se que o seu uso continuado de drogas tenha sido uma maneira de lidar com a morte de seu amigo Andy Warhol em fevereiro de 1987.
Postado por Fernando Martins às 06:30 0 bocas
Marcadores: clube dos 27, Graffiti, Jean-Michel Basquiat, pintura
Postado por Pedro Luna às 08:00 0 bocas
Marcadores: acid rock, blues-rock, clube dos 27, hard rock, Jim Morrison, música, poesia, Riders on the storm, rock psicadélico, The Doors
Gary Mervin Thain (Christchurch, May 15, 1948 – Norwood Green, London, December 8, 1975) was a New Zealand bassist, best known for his work with British rock band Uriah Heep.
Uriah Heep in 1972 L–R: Ken Hensley, Mick Box, Gary Thain, David Byron and Lee Kerslake
Biography
Thain was born in Christchurch. He had two older brothers, Colin and Arthur. He recorded in Christchurch in the band The Strangers (not to be confused with the Australian band of the same name). He moved to Australia at the age of 17. It was there he became a member of the band The Secrets, which eventually dissolved in 1966. Later, Thain was part of the rock trio The New Nadir, and with the drummer Peter Dawkins, he traveled from New Zealand to London, and once jammed with Jimi Hendrix before the trio split in 1969.
Thain joined the Keef Hartley Band, performing at Woodstock in 1969 and, in 1971, they toured with Uriah Heep; Uriah Heep asked him to join the band (replacing Mark Clarke) in February 1972. He stayed in Uriah Heep until February 1975, playing on four studio albums: Demons & Wizards, The Magician's Birthday, Sweet Freedom and Wonderworld as well as a live album, Uriah Heep Live. Thain was also married twice, but had no children.
During his last tour in the United States with Uriah Heep, Thain suffered an electric shock at the Moody Coliseum in Dallas, Texas, on 15 September 1974, and was seriously injured. Due to his drug addiction he was not able to perform properly, and was fired by the band in early 1975 and replaced by former King Crimson bassist/vocalist, John Wetton. Thain died of respiratory failure due to a heroin overdose, on 8 December 1975, aged 27, at his flat in Norwood Green in London.
Thain, amongst musicians of his time, was considered an excellent bass player. His style of playing was melodic and progressively played compared to other bass players of his time. He rarely played along with the root of the measures, but preferred playing his own jazz, funk, or progressive bass line. Many typical professional rock bass players never attained his ability to break up a song's direction.
Thain primarily used a 1962 Fender Jazz Bass during his stint in Uriah Heep, though he also used a Gibson Thunderbird bass and a modified Fender Precision Bass. Thain's overdriven bass tone was often created using an Acoustic 360 bass amp from Acoustic Control Corporation. Thain also chose to play finger style rather than using a pick.
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Postado por Fernando Martins às 00:48 0 bocas
Marcadores: baixo, clube dos 27, hard rock, heavy metal, overdose, Rock Progressivo, Uriah Heep, You Say Your Together Now
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Marcadores: acid rock, blues-rock, clube dos 27, hard rock, Jim Morrison, Light my Fire, música, poesia, rock psicadélico, The Doors
Postado por Pedro Luna às 08:10 0 bocas
Marcadores: acid rock, All Along The Watchtower, blues, blues-rock, clube dos 27, guitarra, hard rock, Jimi Hendrix, música, rock psicadélico
Postado por Fernando Martins às 00:08 0 bocas
Marcadores: acid rock, blues, blues-rock, clube dos 27, guitarra, hard rock, Hey Joe, Jimi Hendrix, música, rock psicadélico, Voodoo Child
Postado por Pedro Luna às 05:30 0 bocas
Marcadores: acid rock, blues rock, clube dos 27, country, folk, hard rock, Janis Joplin, jazz blues, música, overdose, Piece of my heart, rock psicadélico, soul
Postado por Fernando Martins às 00:53 0 bocas
Marcadores: acid rock, blues rock, clube dos 27, country, folk, hard rock, Janis Joplin, jazz blues, Mercedes Benz, música, overdose, rock psicadélico, soul
Postado por Pedro Luna às 05:30 0 bocas
Marcadores: acid rock, blues, blues-rock, clube dos 27, guitarra, hard rock, Jimi Hendrix, música, rock psicadélico, Voodoo Child
Postado por Fernando Martins às 00:53 0 bocas
Marcadores: acid rock, blues, blues-rock, clube dos 27, guitarra, hard rock, Hey Joe, Jimi Hendrix, música, rock psicadélico
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Marcadores: Amy Winehouse, clube dos 27, jazz, judeus, música, Rehab, Reino Unido, Rhythm and Blues, soul
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Marcadores: Amy Winehouse, Back To Black, clube dos 27, jazz, judeus, música, Reino Unido, Rhythm and Blues, soul
Alan Christie Wilson (Arlington, Massachusetts, July 4, 1943 – Topanga, California, September 3, 1970), nicknamed "Blind Owl", was an American musician, best known as the co-founder, leader, co-lead singer, and primary composer of the blues band Canned Heat. He sang and played harmonica and guitar with the group live and on recordings. Wilson was the lead singer for the group's two biggest U.S. hit singles: "On the Road Again" and "Going Up the Country".
Early years
Alan Christie Wilson was born to John (Jack) Wilson (1914–2000), a bricklayer, and Shirley Bingham (1922–2011), an artist on July 4, 1943, and grew up in the Boston suburb of Arlington, Massachusetts. He had an older sister Darrell and was of English, Scottish, and German descent. His parents divorced when he was 3 and both later remarried. Wilson was highly intelligent, setting him apart from his peers. As a result, he was often bullied by his schoolmates. His father Jack enjoyed ham radio operation. Alan became involved as a child but soon turned his interest to music after his stepmother Barbara bought him a jazz record. Some of Wilson's first efforts at performing music publicly came during his teen years when he learned trombone, teaching himself the instrumental parts from the aforementioned jazz record. Later he formed a jazz ensemble with other musically oriented friends from school called Crescent City Hot Five.
Wilson was into traditional New Orleans music, and later, classical European and Indian music. He was also on the high school tennis team. Eventually, Wilson quit trombone. Around the same time Wilson developed a fascination with blues music after a friend played a Muddy Waters record for him, The Best of Muddy Waters. Inspired by Little Walter, he took up harmonica, and soon after the acoustic guitar after hearing a John Lee Hooker record. Some of Wilson's other major influences included Skip James, Robert Johnson, Son House, Charley Patton, Tommy Johnson, John Lee Hooker, Muddy Waters, and Bukka White. After graduating from Arlington High School in 1961, he majored in music at Boston University. His academics earned him a National Merit Scholarship and the F.E. Thompson Scholarship Fund from the Town of Arlington. Wilson developed into a dedicated student of early blues, writing a number of articles for the Broadside of Boston newspaper and the folk-revival magazine Little Sandy Review, including a piece on bluesman Robert Pete Williams. Anxious to play music rather than study it, Wilson quit school after only a year and a half. To make ends meet, Wilson worked with his father as a bricklayer, and occasionally gave harmonica and guitar lessons.
Career
In 1962, Wilson met Harvard student and fellow blues enthusiast David Evans in a record store, and the two began playing as a team around the Cambridge coffeehouse folk-blues circuit, with Evans on vocals and guitar, Wilson on harmonica and occasionally second guitar. The two played a repertoire of mostly classic-era blues covers. Heavily influenced by Skip James, eventually Wilson began singing in a way similar way to James' high pitch. In high school, Wilson studied James' 1931 recordings with great ardor. Some of his first singing attempts took place behind a closed bedroom door; and when a family member overheard him, he was embarrassed. Wilson eventually perfected the high tenor for which he would become known.
The early 1960s saw a "rediscovery" of pre-war blues artists by young, white blues enthusiasts, including Mississippi John Hurt, Booker White, Skip James and Son House. In 1964, blues enthusiast Tom Hoskins located John Hurt, who at the time had been working on a local farm in his native Mississippi. Hoskins persuaded Hurt to come north to Cambridge for a gig. Wilson was invited to accompany Hurt on harmonica. Said Hoskins, "He was brilliant."
Son House, considered by Wilson to be one of the most impressive harmonica players in blues history, was located in Rochester, NY in 1964, but it was evident that House had forgotten his songs due to his long absence from music. Wilson played House's old recordings from 1930 and 1943 for him. and demonstrated them on guitar to revive House's memory. House recorded Father of Folk Blues for Columbia Records in 1965. Two of the selections on the set featured Wilson on harmonica and guitar. In a letter to Jazz Journal published in the September 1965 issue, Son House's manager Dick Waterman remarked the following about the project, and Wilson:
Canned Heat
During his time performing in Cambridge, Wilson met American guitarist John Fahey, the "Father of American Primitive Guitar." With Fahey's encouragement, Wilson moved with Fahey to Los Angeles in 1965 with the aim of having Wilson assist with his UCLA master's thesis on Charley Patton. Because Wilson forgot his glasses during the trip, Fahey gave him the nickname "Blind Owl" owing to his extreme nearsightedness, roundish facial features and scholarly nature. In one instance when he was playing at a wedding, he laid his guitar on the wedding cake because he did not see it. As Canned Heat's drummer Fito de la Parra wrote in his book: "Without the glasses, Alan literally could not recognize the people he played with at two feet, that's how blind the 'Blind Owl' was."
Once in Los Angeles, Fahey released The Transfiguration of Blind Joe Death. Wilson provided the liner notes under the pseudonym Charles Holloway, Esq. In 1966, Wilson recorded a series of traditional Indian ragas on Fahey's Takoma label but was never issued. Four of Wilson's ragas later appeared as the nine-part soundscape "Pathenogenesis" on Canned Heat's third album, Living the Blues. A portion of "Raga Kafi" is performed on the chromatic harmonica. Fahey's 1992 album Old Girlfriends and Other Horrible Memories features more of "Raga Kafi" in "Fear & Loathing at 4th & Butternut," although Wilson was not credited.[11] In Los Angeles Wilson met fellow blues enthusiast and record collector, Bob "The Bear" Hite at a record store. Together they founded Canned Heat in 1965. The band's name was taken from Tommy Johnson's 1928 song "Canned Heat Blues," about an alcoholic who turned to drinking the cooking fuel Sterno. Originally beginning as a jug band, Canned Heat initially consisted of Hite on vocals, Wilson on bottleneck guitar, Mike Perlowin on lead guitar, Stu Brotman on bass and Keith Sawyer on drums. The group landed gigs at the Ash Grove in Hollywood, and after Perlowin dropped out, Hite invited his friend Henry "The Sunflower" Vestine, from Frank Zappa's Mothers of Invention to join on guitar. Johnny Otis produced the group's first full-length album in 1966. It featured Hite, Wilson, Vestine, Brotman, and new drummer Frank Cook in his studio just off Vine Street in Los Angeles. The record was not released until 1970; and Vintage, as it was titled, has since become the most re-packaged and bootlegged record in Canned Heat's discography. Over a Summer hiatus, Brotman left Canned Heat and was replaced by Larry "The Mole" Taylor, an experienced session musician who played with Jerry Lee Lewis and The Monkees.
Canned Heat's first year was marked by infrequent gigs and public indifference. Wilson later told Melody Maker, “The first year we were together, we worked for three weeks. We’d get a gig, play three days and get fired … because we refused to be a human jukebox.” After a particularly disastrous engagement the group disbanded in August 1966. During this period, Wilson and Vestine moved on to join the Electric Beavers, an ensemble featuring a full horn section. The band lasted for a short time on a rehearsal basis only. Eventually, Canned Heat re-formed in November 1966. During a gig at the Ash Grove, Canned Heat earned the attention of singer/songwriter Jackie DeShannon, who was married to the head of A&R at Liberty Records, Bud Dain.
The band released their first album, Canned Heat, featuring reworkings of older blues songs for Liberty Records in July 1967. Their first big live performance was at the Monterey Pop Festival on June 17, 1967, where they performed renditions of "Rollin and Tumblin," "Bullfrog Blues," and "Dust My Broom." Downbeat Magazine praised the band's performance: “Technically, Vestine and Wilson are quite possibly the best two-guitar team in the world and Wilson has certainly become our finest white blues harmonica man." Wilson wrote and sang the band's break out hit "On the Road Again," an updated version of a 1950s composition by Floyd Jones, on the band's second release, Boogie with Canned Heat. In an interview with Downbeat Magazine he remarked, "...on 'On the Road Again' I appear in six different capacities – three tamboura parts, harmonica, vocal, and guitar, all recorded at different times." "On the Road Again" peaked at number 16 on the Billboard Hot 100, and at number 8 on the Uk singles charts earning the band immense popularity in Europe. Drummer Frank Cook left the band in December 1967 and was replaced by Adolfo "Fito" de la Parra. Canned Heat's third album included the band's best-known song, also sung by Wilson, "Going Up the Country." The song, an incarnation of Henry Thomas' "Bull-Doze Blues" was rewritten by Wilson and caught the "back to nature" attitude of the late 1960s. The tune was a hit in numerous countries around the world, peaking at number 11 in the US. The "rural hippie anthem" became the unofficial theme song for the Woodstock Festival where Canned Heat performed at sunset on August 16, 1969. Although Canned Heat's live performance was cut from the original theatrical release of the Woodstock film, they were featured in the 25th anniversary "Director's Cut." The studio version of "Going Up the Country" was featured in the Woodstock film; and in recent years has been heard in television commercials for Geico Insurance, Subaru, and Pepsi. Around this time, Wilson became disillusioned with Canned Heat and considered quitting on several occasions. Upset over Vestine's departure and becoming more averse to touring, Wilson expressed the possibility of still recording but not touring with the band. Wilson arranged to join Vestine's new band Sunn, and Frank Cook's group Pacific Gas and Electric, however both options fell through. Eventually Wilson ended up quitting Canned Heat for about 2 weeks in late 1969, and again shortly before his death in 1970. But each time, he felt guilty and decided to go on tour again. His increasing isolation became obvious, as footage of the band at this time showed Wilson standing apart from his bandmates, and often hiding behind rows of amps.[16]
Canned Heat's fifth album, Future Blues was released in August 1970 and featured the Wilbert Harrison cover of "Let's Work Together." It became their biggest hit in the UK, reaching number 2 on the Singles Chart for 15 weeks. The cover features the band dressed as astronauts on the Moon, mocking the flag raising at Iwo Jima. The upside-down American flag was Wilson's idea in response to the country's social distress at the time, and his concern over the Moon landing a year before. However, retailers like Sears and K-Mart found the cover offensive and refused to stock the album.
In May 1970, Canned Heat teamed up with John Lee Hooker, fulfilling a dream for Wilson of recording with one of his musical idols. It would be his last recording. The resulting double album Hooker 'N' Heat was the first in Hooker's career to make the charts. On the album, Hooker is heard wondering how Wilson was capable of following his guitar playing so well. Hooker was known to be a difficult performer to accompany, partly because of his disregard of song form, yet Wilson seemed to have no trouble at all following him on this album. Hooker states that "you [Wilson] musta been listenin' to my records all your life" and also stated that Wilson was the "greatest harmonica player ever." Released after Wilson's death, the album cover features a framed photo of Wilson on the wall behind the rest of Canned Heat.
On a night off in Britain on June 30, 1970, Wilson went to see his old friend Son House, who was performing at the 100 Club in London. He sat in for “Between Midnight and Day” and “I Want to Go Home on the Morning Train." The show was recorded and originally released as John The Revelator on Liberty in 1970. The session was a concept album with House narrating through his last European performance in a biblical format. It was reissued in 1995 with extensive liner notes by David Evans as Delta Blues and Spirituals on Capitol Records and was posthumously dedicated to Wilson.
The last live footage of Wilson was taken at Canned Heat's performance at the Kralingen Music Festival, Rotterdam, Netherlands on June 26, 1970.
Wilson appeared with Canned Heat performing "One Kind Favor" during a party scene in the drama The Naked Zoo released in 1971.
Personal life
Wilson suffered from anxiety and depression, rooted in his personal issues and in his despair over the environment. According to some, he had a couple of suicide attempts. Some sources say he never actually said he tried to commit suicide and these were simply assumptions some who knew him made after his death. As a child, Wilson experienced sleep paralysis, but later suffered from insomnia as an adult. To resolve his insomnia, Wilson started using the barbiturates Secobarbital, or "reds" as they were known on the street. He had a nervous habit of pulling and twisting his hair. In the summer of 1969, Wilson was hospitalized for depression. During this time, he wrote the song "Poor Moon," expressing his concern for pollution from the Moon landing that same year. In order to be released, however, Wilson was placed under Bob Hite's care in a legal custody agreement. Wilson was hospitalized again in the spring of 1970, as Canned Heat was scheduled to record an album with John Lee Hooker. Wilson reportedly attempted to drive his car off a freeway in Los Angeles, sustaining an injury to the top of his head. There are conflicting stories of this as some say it was an accident due to his poor eyesight and lack of driving experience. Wilson was permitted to attend recording sessions, but would return to the hospital at the conclusion of each session. His song "Human Condition," reflects an encounter with his psychiatrist at one of his hospital stays. Because Wilson was highly sensitive, introverted and struggled with social situations, some believe he was on the autism spectrum. With his talent and intellect, most dismissed him as brilliant but a little odd, as autism was not well understood at the time. There are no actual diagnoses indicating he was autistic. Others who knew him disagree that he was autistic. Some who knew him also say that he was not introverted but introspective. Despite his success, he was not very successful with women, failing to relate to them or maintain long-term relationships. However, he did have some girlfriends over the years, though these relationships did not last long.
Due to his poor vision, Wilson did not learn how to drive until 1969, when Bob Hite gave him a camper van which doubled as a home. He had no interest in purchasing a home, and whenever Canned Heat was not on tour, Wilson would go camping to Yosemite or Sequoia National Park in his van at every opportunity.
Death
On September 2, 1970, Canned Heat was scheduled to leave for Germany to begin a European tour. Partly due to the inconveniences preventing him from spending time outdoors, Wilson despised touring and travelling by plane. He often missed flights and the band would fly without him while he caught a later flight. When he missed his September 2 flight, this did not raise any alarms, and Bob Hite assumed he was doing laundry to prepare for the tour. On September 3, 1970, Wilson was found dead in his sleeping bag on the hillside behind Hite's Topanga Canyon home where he often slept. He was 27 years old. An autopsy identified his manner and cause of death as accidental acute barbiturate intoxication. Although his death is sometimes reported as a suicide, this is not clearly established as he left no note, and there were four pills left in his pants found next to his body.
Wilson's death came fourteen months after the death of Brian Jones, just two weeks before the death of Jimi Hendrix, four weeks before the death of Janis Joplin, and ten months before the death of Jim Morrison, four artists who also died at the same age. Wilson was cremated, and on September 13, 1970, a memorial service was held at Menotomy Rocks Park in his hometown of Arlington. The service was led by Reverend Wilbur Canaday who said, "We are using the sky as a roof, and the ground as a floor, because he himself used nature’s great wonders as his home.” Wilson's ashes were later scattered in Sequoia National Park amongst the redwoods he deeply loved.
Conservationism
Wilson was a passionate conservationist who loved reading books on botany and ecology. He often slept outdoors to be closer to nature, and amassed a large collection of pinecones. Wilson communicated with trees and plants better than he did with people. He believed that trees were sentient beings that could experience pain. In 1969, he wrote and recorded a song, "Poor Moon", which expressed concern over potential pollution of the Moon. His clothes were often dirty and disheveled from collecting leaf and soil samples outdoors. For this reason, Wilson avoided arrest in a drug sting in 1967, when authorities raided Canned Heat's hotel room. In 1970 Wilson established a conservation fund called Music Mountain Foundation in the Skunk Cabbage Creek area of California to purchase a grove to be added to Redwood National Park. The purpose of this organization was to raise money for the preservation of the coastal redwood, which Wilson saw increasingly endangered by pollution, and urban sprawl. Canned Heat along with their manager agreed to donate proceeds from major concerts after Wilson's death, however the donations were later misappropriated. He wrote an essay called 'Grim Harvest', expressing his concern for the logging of redwoods, which was printed as the liner notes to Future Blues. It begins, "The redwoods of California are the tallest living things on Earth, nearly the oldest, and among the most beautiful to boot." It ends with a plea to "prevent Future Blues" by making a donation to his organization.
Wilson briefly worked as an ecological consultant for the United States Forest Service in 1969. He was appointed to perform a study on how rising levels of pollution would affect plant life on Earth, and then to determine which species could survive if pollution levels continued to rise at the rates at the time. During his studies, Wilson was even credited as discovering two new species of trees in the Pacific Northwest. When Wilson finished the study, he concluded that nothing could survive.
In order to support his dream, Wilson's family purchased a "grove naming" in his memory through the Save the Redwoods League of California. The money donated to create this memorial would be used by the League to support redwood reforestation, research, education, and land acquisition of both new and old growth redwoods.
Wilson is widely remembered as a pioneer of blues-rock during its crucial development period of the 1960s who also promoted the revival of early Delta Blues. Wilson was considered by many of his musical peers to be an expert on the blues musicians who came before him; many considered him as possessing an exceptional ability for connecting musically with the elder bluesmen. He was a gifted slide guitarist, harmonica player, songwriter and vocalist. His recording career spanned only three years. Despite this, he left behind a rich legacy of inspiration to fellow artists, music scholars, and listeners alike. Mike Bloomfield of the Paul Butterfield Blues Band introduced him to Charlie Musselwhite as “the best goddamn harp player there is. He can do things that you’ve never heard before.” Wilson's friend John Fahey has said that he was "among the most significant influences on my musicianship," and that his work "must be appreciated for its immortal, spellbinding beauty." Wilson is also noteworthy for being one of the first environmentalists during the rise of the 1960s "New Environmentalism" Movement and was highly dedicated to protecting and preserving the California redwoods.
Stephen Stills' song "Blues Man" from the album Manassas is dedicated to Wilson, along with Jimi Hendrix and Duane Allman.
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Postado por Fernando Martins às 05:30 0 bocas
Marcadores: Alan Wilson, Blind Ow, blues, blues rock, Boogie, Canned Heat, clube dos 27, Electric blues, música, On The Road Again, Rock