Today I had lunch with 2 of my unmarried friends. One is engaged, one is a mistress, and I have
been married for 20+ years. We were chatting about our relationships and came up with the idea to amaze our men by greeting them at the door wearing a black bra, stiletto heels and a mask over our eyes and little if anything else.
We all agreed to meet in a few days afterward to exchange notes, and Here’s how it all went.
My engaged friend: The other night when my boyfriend came over he found me with a black leather bodice, tall stilettos and a mask. He saw me and said, ‘You are the woman of my dreams. I love you.’ Then we made passionate love all night long.
The mistress: Me too! The other night I met my lover at his office and I was wearing a raincoat, under it only the black bra, heels and Mask over my eyes. When I opened the raincoat he didn’t say a word, but he started to tremble and we had wild sex all night.
Then I share my not so lucky story: When my husband came home I was wearing the black bra, Black stockings, stilettos and a mask over my eyes. When he came in the door and saw me he said, “What’s for dinner, Zorro?” I file for divorce the next day for Emotional & Mental Abuse
“Reggae Wellness Expo & Music Festival Mission Focus Is Honoring And Recognizing Unsung Jamaican Music Pioneers & Providing Exposing For Jamaica’s Next Generation Of Music Stars Each Year At The Annual Event. “RW” Mission Is To Always Be A Beacon And Champion Of Encouragement For Reggae Music Workers.”
The 2017 Honor Goes To Legendary High Symbol’s Band Leader Basses, Ludlow “Bingie” Lloyd Mckenzie.
Jamaica is commonly known as the Reggae Capital of the world and home to many great well known reggae bands and even more great reggae singers. Behind every great reggae vocalist’s live show, there was always a great bandleader that help bring their music to life.
“Bingie” has been bandleader for hundreds of these act over the last 20 years, unlike the stars he played behind, many outside the reggae arena have no knowledge of his achievements over that time.
In 1987 Mckenzie form the band “FM Force Band” with Sanchez as lead singer, Sanchez left the band in 1988 to pursue a solo career. Afterward He decided to changed the name of the band to (High Symbol Band).High Symbol Band with original members consisting of members: Ludlow “Bingie” Lloyd’ Mckenzie-(bandleader/bass), Bernard’ Powell-(drums), Elana Lewis-(guitar), Noel Davy-(keyboards),Garth Gray-(keyboards).
Current band member are Ludlow “Bingie” Lloyd Mckenzie (bandleader/bass player), Bernard Powell(Drummer), Philip Porter(Guitarist), Everton “Bubbler” Bryan(keyboardist1), Theodore Bernard(Keyboardist2) Duhaney ‘Singing Green’ Green(Led Singer) and Kenton Boyd(Engineer)
“Bingie” has toured extensively in the Caribbean, Mexico, where he is revered as an icon in Cancun, US, Central America, Europe and beyond.
Sure he was the bandleader for acts that performed before Nelson and Winnie Mandela in Kingston National Stadium, or at the Bob Marley Song Celebration in Australia and if you ever saw any of the acts listed below performing live, its a good chance “Bingie” was the bandleader.
Ladies First: Marcia Griffith * Cindy Breakspear *JC Lounge * Pam Hall * Claudine Davis Dacia *Sister Charmaine * Sister Nancy * Lady G * Lady June * Michael Irie * Lady EQ * Isha Bel *Jennifer Barrett Sofia Brown * Sofia Squires * Sofia George Tchiya Amet * Margaret Young * Angie Angel * Moeish * Empress Reggae Tasha T * Cherry Nature Iquela Empress Sativa * Keida *
Men: Dennis Walks * Ernie Smith * Half Pint * Horace Andy * Fred locks * Errol Dunkley Pad Anthony * Utan Green * The Abyssinians * Michael Rose * Junior Reid Luciano * Dennis Brown * Gregory Isaacs * Eddie Fitzroy * Frankie Paul Stranger Cole * The Silvertones * Earth Disciple * Ken Boothe * Yami Bolo * Bunny Brown * Sizzla Courtney John * Aaron Silk * Hezron * Courtney Melody Mikey General * Natty King * Chuck Fender * Ras Shiloh * Mark Wonder Dub Core * Leroy Sibbles * George Nooks * Admiral Tibet * Richie Spice Spanner Banner * Paul Elliott * Tony Rebel * Capleton Welton Irie * Junior Cat Daddy Shark * Quench Aid * Saba Tooth * Super Black * Junior Vibes * Junior Demus * Wappa Demus * Yellow Man * Delroy Wilson * Torch * Hopton James * Lt Stichie Purple Man * Ninja Man * Torch * Ninja Ford * Jah Mason Fantan Mojah Turbulance Abijah *Jah Cure * I Wayne * Bescenta Nesbeth * Assassin * Ghost * Natural Black * Prince Allah * Jah Mali * Captain Barkie Wicker Man * Tapa Zukie * Bunny General * Elephant Man * Beenie Man * Bounty Killer * Icho Candy Yasus Afari * Everton Blender * Alton Ellis Pinchers * Leroy Gibbons * Andrew Tosh * Bobby Burnse * Terry Fabulous * Mr Vegas * Nitty Kuchie Peter Metro * Ronnie Twaites * Prof Nuts * Louie Culture * Ras Takura * Robert Mystic * Wasp Goddy Goddy * Bobby Tenna * Michael Fabulous
“Bengie” has also been writing and recording for a number of years but never release them, he and the band are currently preparing to release many of that music on an up coming CD.
Reggae Wellness Clinic, Expo And Festival
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Phone: Main 415-373-1075 * 707-972-6831
Reggae Wellness Clinic, Expo And Festival
HousTone Records Announces The Release Of Timeless Classics Volume III Reggae/World January 15th, 2014
Vol. III Reggae/World is a collection of Gold and Platinum songs recorded, by reggae stars and undiscovered artist from around the world. There are many people around the world that enjoy and listen to reggae; but many others that have not really listen to reggae music, mostly because they cannot understand the music and what the artist is singing. That is no longer a problem as Reggae/World features all well-known songs performed by Reggae and World artist from around the world. This CD is great for theme pool parties or just enjoying the great vibes and feeling that Reggae and World music offers from songs you know.
For more than 25 years HousTone Records has released LP/CDs, from the fields of Rock, Jazz, Classical, Blues, Country, New Age, Reggae, World Beat and R & B. One of the key elements in HousTone Records signing, processing, selecting and distributing artist’s products is, the artist must agreed to record for the CD two well known cover songs. This allows the artist music to be judge by fans for the talent they have, from the music they know.
UB40, Bunny Wailer, Big Mountain, Shaggy, Little Kirk, Aswad, Dennis Brown, Sammy Levi, Fauzi & Tribo De Jah, Johnny Dread, Tony Tribe, Fugees, Mikey Spice are just some of the artist on the Timeless Classics Vol. III Reggae/World compilation.
Hear their versions of some of your all time favorite songs like No Woman No Cry, Man In The Mirror, Me And Mrs. Jones, Ribbon In The Sky, What A Wonderful World, Now That We’ve Found Love, Girl From Ipanema, Wings Of Love, Killing Me Softly, Roxanne and many other million selling hits featured, on Timeless Classics Vol. III Reggae/World CD.
HousTone Records does not except unsolicited material. Artist can submit a request to have, 3 songs reviewed and one of the three must be a well-known cover song. Submit request by E-mail only but hard copy promo package must be sent by regular mail only.
HousTone Records: Making a difference by Marketing, Recording and Distributing One Act at a Time!
HousTone Records Announces The Releases Of Now I Am Singing The Blues 2013 on November 5th, 2013
Now I Am Singing The Blues 2013 (originally released as a six song CD in1994), will feature 10 previously Un-released songs, No Skull, No Bone, I’M The Blue’s Dog Baby, Blues Dog Boogie, Born To Be Wild Part II and six other extended versions from the original released CD. If you are into Roadhouse Blues, Blues Rock, and Jump Blues or just enjoy the Blues, then you must add this new CD to your collection.
To play and perform the Blues you have to understand and appreciate the origin of the Blues genre. Today, Aubrey “Bluesdog ” Dunham, one of the best Blues acts of his time, has that understanding. After working for more than two decade around the World including his home town’s of Houston, Texas and Baton Rouge, Louisiana with some of the best known Legends in the field of Blues music, “The Texas Tenors” “Johnny Clyde Copeland” and others, Aubrey elected to go out on his own.
His CD’s, “Now I am singing the Blues 1994 Release” and “I Feel your Love Tribute to Johnny Clyde Copeland” has been on the top of the Blues charts in Europe, Japan and across the US for twenty years.
His hits, “I used to be a Dog” and “Catch up with the Blues” solidifies that, His Saxophone playing style dazzles audiences with full gritty, bouncy sounds that is fun and funky inspiring fans to jump and dance. “The Bluesdog ” Is the Saxophone playing dog, of the Blues!
HousTone Records does not except unsolicited material. Artist can submit a request to have, 3 songs reviewed and one of the three must be a well-known cover song. Submit request by E-mail only.
HousTone Records: Making a difference by Marketing, Recording and Distributing One Act at a Time!
HousTone Records Announces The Release Of Timeless Classics Volume II On October 15th, 2013
Featuring 22 Gold and Platinum songs recorded by both stars and undiscovered artist from around the world.
For more than 25 years HousTone Records has released LP/CDs, from the fields of Rock, Jazz, Classical, Blues, Country, New Age, Reggae, Worldbeat and R & B.
Timeless Classics VOL II Continue, features many of the worlds greatest songs performed by stars and virtually unknown artist. “The real reason that some artist become stars and others with the same talent do not make it is Luck”! If you Love music you owe it to yourself to check out these artists many who have not been as lucky; yet!
One of the key elements in HousTone Records signing, processing, selecting and distributing artist’s products is, the artist must agreed to record for the CD two well known cover songs. This allows the artist music to be judge by fans for the talent they have, from the music they know.
Some of the artist on the Timeless Classics Continue Volume II compilation, or Air Supply, Lonnie Gordon, Pretty Lights, Small Faces, Betty Wright, Blaque, Céu, Herbie Hancock, Malik Adouane, Shirley Horn, Half Pint and other great artist.
The Continue CD features Jazz, Rock-a Billy, Dance, Ballads, Blues, Classical, World Beat, Latin, Reggae and is just some of the styles that or well represented on the CD.
You will find it enjoyable to hear other version of some of your favorite songs like Purple Rain, Concrete Jungle, Time After Time, Theme From Shaft, Blowin In The Wind, It’s a Man’s World, Slippin Into Darkness, Hey Jude, Unchained Melody and a host of other all time great hits featured, on Timeless Classics Volume II Continue CD.
HousTone Records does not except unsolicited material. Artist can submit a request to have, 3 songs reviewed and one of the three must be a well-known cover song. Submit request by E-mail only.
HousTone Records: Making a difference by Marketing, Recording and Distributing One Act at a Time!
Federal government fails when it comes to enforcing United States race classification laws (Changing the majority)
Pass research proves little has been done in enforcing the US race classification laws. The law is not are has been a high priority on the government’s list of laws to enforce. With DNA test now available it should make it easer to have specific knowledge of your races and not have to rely on tall tales from grand parents are coded messages left in religious cannons. In most cases those reference only proves what country they were born in or from. To understand why the law is so difficult to enforce, we must understand what the law is, how the law was enacted and when enacted by congress. The mere fact that the government now has the DNA scientific means of verifying race must bring fear to many Americans who believe that they are one race and because of science, now realize that US law could declares them another race.
The Jim Crow law The “One Drop Law” 1927 to 1930 was enacted across the US but mainly in the south. Until the law was enacted it was common that many white-identified ancestors with African blood, including a large percentage of white slave owners. What do you believe the percentages of whites Americans that are aware of African ancestors in their family tree? In 1997mixed Americans were being prostituted under this law in America. Google, Renegade South, Histories of unconventional southerners, The Long Shadow of the Civil War, by Vikki Bynum has some very good information about the “One Drop Law”
“It is also known as the “one black ancestor rule,” some courts have called it the “traceable amount rule,” and anthropologists call it the “hypo-descent rule,” meaning that racially mixed persons are assigned the status of the subordinate group. This definition emerged from the American South to become the nation’s definition, generally accepted by whites and blacks. Blacks had no other choice”. F. James Davis is a retired professor of sociology at Illinois State University. He is the author of numerous books, including “Who is Black? The One Nation’s Definition” (1991)
Will the powers (big money) allow a law declaring everyone to take a DNA test as part of their one all inclusive ID card system? There are lots reasons for passing the law and many objections to it as well.
Now that we have the focus on correcting the racial lines, reclassify all people with African blood as black and only then will justice occur. There is a positive outcome if a DNA law does go into effect, for whites that are reclassified; they will still be in the majority and therefore need to catch up on their African history by reviewing books like, Dr. Chancellor James Williams an African American sociologist, historian and writer and the author of “The Destruction of Black Civilization” (1971).
This is just the start; you will have to read a lot more to find out about your other ancestors. Take a look at the pictures included in the article of Lena Horn and Wentwort Miller; both have back and white ancestors. Ask yourself, if you pass them on the street not knowing who they are, would you know if they were black are white?
Music has always been and always will be an essential part of human existence. People of Stone Age sang and danced around their fires, traveling minstrels entertained the people of Middle Ages, and operas and concerts were extremely popular during Baroque and Classical Eras. Today, as never before in human history, we are constantly surrounded by music in our everyday life. Starting with the invention of gramophone in 1887 by Emil Berliner, it became possible to enjoy music without actually going to the musical performance. The last 20 years brought an even bigger change to our ability to access any music at any given moment. Since 1992, with all technological innovations and developments, the world we live in became dramatically new place. How did music change?
The greatest thing, which influenced the music industry during the last 20 years, was the move from analog to digital technology. People can download thousands of songs on their multiple devices – be it computer, phone, iPad, iPod, MP3 player, etc. – in a matter of seconds. Access to any type of music – be it rock, bluegrass, hip-hop, DJ remixes, pop, religious, country, or ethnic of any kind – is easily available. Moreover, one of the most extraordinary developments during the period from 1992 to 2012 was the extent to which digital technology has become entrenched in every part of our culture and every strata of our society, especially among young adults and teens. How exactly is music industry affected by all these changes?
First of all, music industry is thriving. The number of albums and songs released each year is growing and new artists appear seemingly on a daily basis. Consequently, musical environment of 2012 is substantially different from that of 1992, at least quantitatively if not qualitatively (in opinions of many people, our two biggest pop stars of today, Lady Gaga and Adele, are somewhat reminiscent of Madonna and Mariah Carey). So, it seems to be good news that all technological innovations led to the positive development of music industry. However, it is not exactly so. While music industry is in good shape, record industry is negatively affected by the ease with which people can access music nowadays.
First of all, with the introduction of digital technology, the sales of music albums and CDs have drastically fallen. Also, many record stores were closed due to insufficient sales. Nowadays, record companies prefer to distribute their products through such national chains as Wal-Mart and Target to achieve bigger profits. However, one of the biggest challenges faced by the record industry today is online piracy. Record companies against such sites initiated various lawsuits as LimeWire and Pirate Bay in an attempt to prevent illegal downloads. Still, such sites as Amazon and iTunes which offer legal downloads are seeing profits. In fact, digital sales grew an astonishing 1000% from 2004 to 2010. As such, the main question today is to what future holds for music industry? While music will always be an integral part of our lives, we live in a capitalist society, in which the main mantra is, “It’s the economy, stupid!”
Entertainment may be defined as an activity in which an individual is passively involved in the act of amusement in leisure time. However, the definition of entertainment seems to have changed and is merely an act of amusement with passive involvement of the individual. Inception of entertainment as a profession can not be pointed back to a date in the history. Entertainment has been a crucial part of life for centuries, but last few decades have seen a major drift towards entertainment being set up as an industry and being taken up by people as a profession.
In those days, the entertainment sources used to provide laughter, fun and enjoyment and were limited to social dance, theatre, sports, music, puppets and acts of pantomimes. It was a profession opted by only a handful of people with not much money or fame attached to it.
While, this new and revived form of entertainment industry has a lot of wealth and fame on offer. This is the main reason for more and more people taking it up as a profession. This large scale involvement of people in this industry with the upbringing of television and the other new sources of taking entertainment to the people differently, has made it more of a necessity. Earlier, people used to connect with it in their leisure time, but now, with all the cleverly designed acts of entertainment there is a rising desire in people to stay connected and come back to it more and more often.
People are getting addicted to entertainment industry as a whole and also to its various sources. The most popular and most addicting form of these sources include television series, cartoons, movies and video games. Entertainment sources are though not as addictive as liquor or drugs but still have a substantial effect on the individual and his capabilities. This overuse or overdose of entertainment is affecting the thinking and reasoning ability of people, making them lazy, aggressive and irritable at the same time.
People need to realise the urgency and need to move away from these sources of entertainment, that are acting as a hurdle in their goals. Especially, this large dependency on electronic sources must be reduced and alternative sources of entertainment, that involve active participation must be preferred. They are also helpful in improving your skills and abilities. Some of the active sources include playing a musical instrument, outdoor sports, dramatics or plays and dance. Entertainment makes a worthwhile industry, but complete dependence on anything must be avoided, and it holds true for all other sources as well.
Entertainment industry also has its pros in the form of media, that acts as a bridge between us and the world. It updates us on various day to day activities around the world. With a number of informative programs it makes us well informed, technically sound and responsible citizens. But, these days its cons seem to have overpowered its pros for most of the people.
It is the responsibility of the individual to select what is good and what not, which must be avoided in all circumstances.
Okay, let’s start with defining what we mean by the terms soccer’ and football’. Soccer is fairly straightforward as it is the sport of Association Football. Soccer is known, however, throughout most of the world simply as football. For the purposes of this article, however, we will use the term soccer to differentiate it from its American cousin, American Football.
In fact, if we’re to use family terminology to describe the relationship between soccer and American football, then grandfather/grandchild would be more appropriate. The sport that was to become soccer was born’ in 1848, which is when the first formal set of rules were drawn up. A breakaway group then created a separate sport (where handling the ball was allowed) and this would become known as rugby. In turn, rugby would cross the Atlantic and spawn the creation of the sport of Gridiron or American football.
The most obvious difference that a sports fan will discern between soccer and American football is that soccer is played mainly by kicking the ball and it is only the goalkeeper who can handle the ball. American football, in contrast, is played by throwing the ball. Here, though, is a list of the main differences (and similarities) between the two sports:
Soccer balls are round. American football uses an oval-shaped ball; Soccer is played by kicking the ball whereas American football involves throwing the ball; a goal is scored in soccer by putting the ball into a net that is made up of two posts and a crossbar; a touch down is scored in American football by touching the ball down over a touch-line. Both soccer and American football have eleven players per side.
Soccer is played over 90 minutes and is split into two halves; American football is played over just 60 minutes that are split into four quarters. Time outs are allowed in American football but not in soccer
Soccer matches can end in a draw/tie. However, in some cup competitions, 30 minutes of extra time are played to try to determine a winner and a penalty shoot-out may result if teams still can’t be separated.
American football matches are decided by 15 minutes overtime if they are tied after normal time.
American footballers wear extensive body armour. Soccer players don’t although they must wear shin pads. Pre-planned moves are more prevalent in American football than in soccer.
Soccer matches are usually played on grass pitches although occasionally they are played on artificial pitches. In contrast, American football matches tend to be played on artificial pitches.
There is also a big difference in terms of international popularity and distribution. Soccer is the dominant team sport across South America, Africa, Europe, and large tracts of Asia. American football is dominant in North America. One of the reasons why soccer is more popular in world terms is that it is played competitively at international level. There is a World Cup which takes place every four years and that has played a huge role in spreading the soccer gospel. American Football has its World Series but it’s a misnomer as it just involves North American club teams.
Another reason why soccer is so prevalent across the globe is that you don’t need much equipment to play it. As long as you have a ball, then you can use jumpers for goalposts and play. American football is more physical and therefore protective equipment is required which makes it less suited for young children and less accessible to people in poorer countries.
Soccer is principally a sport that is dominated at professional level by men. However, female professional leagues have started to appear. As far as I’m aware, American football has not obtained the same level of participation from women.
Hopefully this article has demonstrated that the sports of soccer and American football are worlds apart. Indeed, American football is much more akin to the sports of Rugby Union or Rugby League, which is not surprising since it was from that branch of football’ that American football evolved from.
Grunge, which is a subgenre of alternative rock, got its start in the Seattle area in the mid-1980s and is also known as the Seattle sound. Getting its name partly from the generally sloppy, thrift-store appearance of its band members, the genre was short lived lasting only to the early 2000s, but continues to influence the music made by rock bands today. Described by some as “noise”, the style of music is derived from a combination of heavy metal, punk rock, and indie rock characterized by a mushy distorted guitar sound typically speaking to social hostility and a depressive mood.
Some of the well known earlier grunge bands include The Melvins, Soundgarden, and Green River being among the first to introduce this new mode of music to the Seattle area making it a sound of their own. Bands from across the country soon began to move to the Seattle area to emulate the style and join in the sub-pop culture of grunge. By the late 1980s, grunge had reached mainstream audiences when Soundgarden signed the first major record deal followed by Alice in Chains and Screaming Trees. Nirvana, however, was the first to actually expand the attractiveness of the subgenre in the mainstream causing a decline in the following of the “big-hair” bands. By the early 2000s, grunge had lost its appeal and was replaced by what is called post-grunge as well as Britpop. Only a few groups from the grunge period are still together and performing including Pearl Jam, but Nirvana, even though they had broken up after the death of Kurt Cobain, are more popular than ever before.
Forty years after his untimely death at 27, Jimi Hendrix’s musical legacy continues to be appreciated by his fans while attracting new followers, and transcending generational boundaries.
According to sources, Hendrix’s catalog sells some 500,000 albums annually in the United States, while worldwide sales average about 1.2 million units per year. His songs have been covered by everyone from Eric Clapton to John Mayer
While Hendrix’s catalog has been continuously repackaged over the years we will now hear more–much more–from the legendary singer/guitarist who passed away Sept. 18, 1970 in London.
Last year, Seattle-based Experience Hendrix, the Hendrix family-owned company founded by Al Hendrix, Jimi’s father–and now headed by Jimi’s stepsister Janie Hendrix as its president/CEO–struck an 8 year worldwide licensing deal with Sony Music Entertainment.
The deal took effect Jan. 1, 2010. Universal Music Group had previously held the master licenses for the bulk of the Hendrix catalog since 1997.
This year Sony will launch an extensive reissue program that includes deluxe CD/DVD versions of “Are You Experienced?,” “Axis: Bold As Love,” “Electric Ladyland” by the Jimi Hendrix Experience; the Dagger Records officially-sanctioned “bootleg” line; and previously unreleased archival recordings and filmed concerts.
Last year, Experience Hendrix shifted administration of the Hendrix publishing catalog from Sony/ATV Music Publishing to Universal Music Publishing Group. Sony/ATV had administered the Hendrix catalog outside the U.S. since 1998. The U.S. publishing rights continue to be handled by Experience Hendrix.
The first issue under the Sony Music Entertainment deal is “Valleys of Neptune” on March 9th. It is an album, produced by Janie Hendrix, John McDermott and Hendrix’s longtime engineer Eddie Kramer, of 12 previously unreleased studio recordings primarily from 1969.
Among the album’s highlights are the title track—being released globally ahead of the album; covers of Elmore James’ blues classic “Bleeding Heart” and Cream’s “Sunshine of Your Love”; and Hendrix original songs “Ships Passing Through The Night,” and “Lullaby For The Summer.” Also included is “Mr. Bad Luck,” a track recorded from “ Axis: Bold as Love” sessions in 1967.
Also being released on March 9th are CD/DVD versions of the albums “Are You Experienced?,” “Axis: Bold As Love,” “Electric Ladyland,” and “First Rays of the New Rising Sun.” Each features documentaries directed by the Bob Smeaton with interviews with former Experience members Noel Redding, Mitch Mitchell, and Billy Cox; former producer/co-manager Chas Chandler; and Kramer.
In addition, the 1969 Experience compilation “Smash Hits” is being reintroduced, and “Live At Woodstock” will now be available, both as a DVD, and as a Blu-ray Disc.
At some point, Hendrix’s core recording catalog will be issued as a box set for the first time.
Meanwhile, Experience Hendrix Tour 2010, a 17-date national tour presented by Experience Hendrix, kicks off March 4th. It will include Joe Satriani, Jonny Lang, Eric Johnson, Kenny Wayne Shepherd, Brad Whitford, Doyle Bramhall II, and Ernie Isley, along with Cox.
Al Hendrix died in 2002 at the age of 82. By this time, Experience Hendrix, the company he founded and entrusted with preserving and protecting the legacy of Jimi Hendrix, had gained control of his master recordings.
In 1993, Al Hendrix had filed suited in federal court in Seattle against the Bella Godiva, Inherit, Elber, and Are You Experienced companies, as well as his former attorney Leo Branton Jr. Al Hendrix charged that Branton had wrongly transferred Jimi Hendrix’s assets to the co-defendant companies. In July, 1995 a settlement was reached that effectively transferred ownership of all Hendrix musical works to Al Hendrix.
Since then, there’s been a steady flow of officially-sanctioned Jimi Hendrix titles.
His prodigious studio and stage work have afforded Dagger an abundant amount of raw, if uneven, material from which to draw, Meanwhile, the Experience Hendrix imprint has issued such mainstream packages as “Experience Hendrix: The Best of Jimi Hendrix” (1998), the two-disc “BBC Sessions,” (1998), “Live at Woodstock” (1999), and “Live at the Fillmore East” (1999).
Under Janie Hendrix, adopted by Al Hendrix in 1968 when he married her mother, Experience Hendrix today makes every effort to safeguard Jimi Hendrix’s legacy for an estate that has grown to be worth over $80 million.
This, as you probably guess, has not been easy.
Last year, for example, a Seattle judge ordered the makers of Electric Hendrix Vodka to pay the estate $3.2 million in damages and cease selling the spirit.
In 2008, Experience Hendrix obtained summary judgment against the London Times. The UK court awarded Experience Hendrix recoupment of its legal costs while rejecting the legal arguments and related factual contentions advanced by the London Times over its alleged right to distribute a CD recording of the Jimi Hendrix Experience performing at the Albert Hall in London in 1969. The court will soon consider the amount of a damage award in a further proceeding.
In 2005, the High Court of Justice in London held that the U.K. indie label Purple Haze Records and Lawrence Miller were liable for infringing the rights of Experience Hendrix in their recordings of the Jimi Hendrix Experience’s 1969 Konserthuset performance in Stockholm.
In 1969, a Swedish broadcasting organization had filmed and recorded the Hendrix concert with permission. In 2004, Purple Haze released CDs of the concert, claiming rights through an assignment from attorney John Hillman, who claimed rights from Yameta, a Bahamas-based off shore company.
Many of the estate’s legal wrangles can be traced back to 1966 when Jimi Hendrix appointed Yameta, operated by nightclub owner Michael Jeffery and bassist/producer Chas Chandler, to be his manager; and he granted the company exclusive rights to his performances.
The company was entitled to a 40% share of gross payments made to Hendrix, but was excluded from receiving royalties from recordings or publishing under the manager’s control.
Jeffery, however, was killed in 1973 in a mid-air collision over Nantes, France, while aboard an Iberia Airlines DC-9, and legal tangles ensued. Former Hendrix co-manager/producer Chandler, also bassist with the Animals, died in 1996.
Two years ago, Janie was sued by Jimi’s younger brother, Leon Hendrix, Leon’s children and seven other members of the Hendrix family over the estate.
They claimed Janie schemed for years to have Leon cut from Al Hendrix’s will, and exploited his dependence on her and his legal naiveté to get her way.
During her time on the stand, Janie described how she had worked to help her father win back the legal rights to Jimi’s music.
In his 35-page decision, Judge Jeffrey Ramsdell said that Leon Hendrix didn’t prove that Janie Hendrix unlawfully coerced Al Hendrix into denying Leon and his children a place in the estate. Ramsdell added that Al Hendrix, while not healthy, appeared to know exactly what he was doing when he signed his 1998 will.
Does it get tiring dealing with Jimi Hendrix matters?
You’ve never heard “Purple Haze” and sighed?
Never. In fact, we have been listening to the VON (“Valleys of Neptune”) album. I’ve let my kids hear it. My youngest is a techie. He asked, “Mom can I download it on my computer.” I said, “No.” “Mom, you don’t trust me.” “It’s not that I don’t trust you but, if you want to listen to it, you ride with me in my car, and we will listen to it.”
Why so long for this album to be issued?
Well, after we started Experience Hendrix (in 1995) we knew that we had 10 years of recordings. This (album) was going to be part of the first phase. Then, when we found the Chas Chandler tapes for a box set, that took precedent. Then, along with some of the other releases, we pushed it back to the second phase. Knowing that we would have another 10 more years of music really makes us more valuable to Jimi, and to the record company.
The estimated annual sale in America for the Hendrix catalog is 500,000 units and 1.2 million units a year internationally.
So they say. I don’t know. I think it varies. I saw something in Forbes (business magazine) about us, and I thought, “Really?” A lot of times, they are guessing (about revenue).
Have you waited too long for this release of unheard tracks given the downward spiral of physical sales, and illegal downloading online?
Here it is four decades later (after Jimi’s passing). In two years, Jimi would have been 70. Hard to imagine. I don’t think we have waited too long because record sales are still doing well. Four months after any given release of an album (by Jimi) it goes “gold,” and it increases the catalog.
The fans that love Jimi’s music are not only loyal, but the older ones have followed him. They have seen Jimi in concert. They are now teaching the younger generation about him. We have fans as young as pre-teens wanting Jimi’s music. As every generation goes by, the kids are getting more and more excited about his music.
This “Valleys of Neptune” is an incredible album. It sounds as if it was recorded this year. It’s fresh. It’s new. It’s exciting. It doesn’t sound as if it was recorded in the ‘60s. It sounds as if Jimi here with us today and creating music still.
There’s continuity with Jimi’s original engineer Eddie Kramer still being involved in his music.
Absolutely. It is really amazing working with Eddie. Being in the zoo with him is like going on an excursion in the country; and he can teach you what he has learned. It is like being with a professor that actually lived it; been there; and can share his experiences. Listening to a lot of the songs–if he’s at The Record Plant–also sparks conversations about some other things that might have happened; especially if he hears a portion of a song. Or, if we are working on a certain project, he will go, “Oh, you know, earlier that night or later on that night, this happened” or “this is what was happening here” or “we were in this studio, and these (people) happened to come by.” It really is great to have someone who was there, and who Jimi trusted.
You, Eddie and John McDermott have worked on several reissues. When was the first time you really got down and dirty on a project?
I would say the box set (“The Jimi Hendrix Experience” in 2000) was when we got really down and dirty. We were able to transfer all of those tapes in London at Abbey Road Studios, and hear everything that the (previous estate) administration had their hands on. Just to be able to hear songs in different versions was amazing. (Listening) was never-ending. It was just constant music for four days, 18 hours a day. That was incredible.
There’s another box set coming?
Yes. We are going to do a box set of the core albums. That has never been done for Jimi.
Will the box set be released this year?
You might not see it until the early part of 2011.
“Are You Experienced?,” “Axis: Bold As Love,” and “Electric Ladyland by the Jimi Hendrix Experience” are coming out with extra tracks, and on vinyl.
When we first started (releasing) vinyl, we got laughed at. It was like “Why do you want to vinyl? Nobody buys vinyl.” Even my dad told me, “”People are getting rid of their record players Janie, why are you putting out vinyl?” I told him, “Dad, it’s Economics 101. It’s supply and demand. People love it. Put a number on the back (of the album), and they love it ever more.” He said, “Well, that’s crazy.” But, it’s a nice way to give the fans a “blast from the past” as Jimi would say.
How about the Royal Albert Hall CD/DVD ?
Oh, gawd, you would bring up the Royal Albert Hall show. You know who our partner is on that, right? It’s Jerry Goldstein who started Avenue Records.
[Experience Hendrix has been planning a CD/DVD release of Jimi Hendrix and the Experience performing Feb. 18, and Feb. 24, 1969 at Royal Albert Hall. A camera crew followed Hendrix for a month, yielding candid footage of him at home, about town, and backstage.
Meanwhile, it was announced this week (Jan. 28, 2010) that Sly Stone, front man of the 1970s group Sly and The Family Stone, has sued Jerry Goldstein, his former manager, and several companies in Los Angeles, alleging that they set up several companies to divert royalty payments and leveraged Stone’s work and rights to accumulate as much as $80 million in assets.]
How did Jerry Goldstein get these rights?
Jerry Goldstein was doing Jimi’s merchandise at the time. He and Jimi had a 50/50 split (deal) on the video.
There’s a lot of video footage from, and around that show.
Yeah. We put it together, and it’s over 106 minutes long. It’s wonderful. But, we had a little situation with the London Times in 2006. They decided to throw the Roy Albert Hall (CD) into their Sunday circular, and give away over a million copies without asking us. They got (the master tapes) from Charly Records, So we sued the London Times and we won. We go to trial next month for a settlement.
[On September 10, 2006 the London Times released a CD recording of the Jimi Hendrix Experience performing at the Albert Hall in London as a “covermount” with its Sunday edition. Despite warnings from Experience Hendrix prior to the CD’s release, the London Times proceeded, citing a purported license of the material from an affiliate of Charly Records, whose claims to this material have long been disputed by Experience Hendrix. During the proceedings, the London Times attempted to validate the Charly Records claim, but the UK court rejected it.]
Why the deal with Sony Music Entertainment when you worked with Universal Music Group for 12 years?
When we knew that our contract was getting to be up, we talked to several record companies including Universal. As wonderful as Universal was to us, in many respects, as in any marriage nothing is perfect. There were a lot of changes that had happened over those 12 years.
In the beginning, we had the perfect marketing team and we had a wonderful (distribution) team that we really enjoyed working with. Over the years, many of these people were let go. When we started talking to Sony, talking to their marketing people, and expressing to them what we would like to see, and how we felt that Jimi should be marketed, Sony got it. They really understood. They also had a plethora of ideas as how to add onto that. We spent hours and hours in meetings with them, and we went to Portugal (for meetings) and met with their overseas affiliates.
This is an ambitious year for the Hendrix catalog. Did you conclude that the Hendrix catalog had been previously under marketed?
I don’t want to say necessarily that the catalog was under marketed, but I do think that it could have been marketed differently. There are avenues where we really wanted to take it, and we realized that Universal really couldn’t get us there, and Sony could. Some of the people in Sony’s marketing (department) are younger and more excited. They are hungry. They are really inspired (about Jimi) and they have a huge amount of ideas. Not just ideas but they have the knowledge, the capabilities, and the accessibility to the technology that they actually get it.
I remember when MP3s were coming out. We told Universal, “Let’s pay attention here. Downloading is going to be huge. Where is that revenue going? How are we going to make sure that we get the revenue that we need and that we deserve from these sales?” And, maybe like some other record companies, there was a real arrogance there. Like, “Well, we’re the record company.”
Meanwhile, you have shifted administration of the Hendrix publishing catalog from Sony/ATV Music Publishing to Universal Music Publishing Group.
We did that before we signed with Sony. We knew that we were going to go that route. Although Sony/ATV Music Publishing did nothing wrong with our publishing—they did an excellent job— our thinking is that we don’t want all our eggs in one basket.
Starting with the deal with Yameta, the Bahamas-based offshore company operated by nightclub owner Michael Jeffery and Chas Chandler, and with releases by Ed Chaplin’s PPX Industries, the Jimi Hendrix estate has been involved in conflicts for decades.
Yes. It is kind of like the Kennedy family curse. This is the Hendrix curse.
[In 2009 the UK media reported claims that Michael Jeffery had murdered Jimi Hendrix. James “Tappy” Wright, who was a roadie for Hendrix and the Animals in the 1960s, claimed he met Michael Jeffery one year after Hendrix’s death and that Jeffery confessed to the murder by plying Hendrix with pills and a bottle of wine. At the time of Hendrix’s death, a coroner recorded an open verdict, stating that the cause was “barbiturate intoxication and inhalation of vomit.”]
Was Jimi murdered?
I remember hearing about all of these conspiracy theories when I was a kid. They were really heartbreaking for my father. A lot of my understanding about things that happened about Jimi growing up has been through my father. It was very painful for him. My dad was 50 and he loses his 27 year old child. One thing my dad said to someone who asked him if he thought Jimi was murdered, “Whether he was or wasn’t, we can’t bring him back.”
Do I know if he was murdered? Do I want to point fingers today? Well, (most) every person that was involved with Jimi is dead now. There’s no way of us proving if it is true or not. I do know that he didn’t commit suicide. While it was asphyxiation, if something happened before, I honestly don’t know.
Overseeing the Jimi’s legacy is a massive task. You hear people saying, “What would Jimi Hendrix do” You are often painted as another Yoko Ono.
The evil one, right? Without me, my dad would have signed away everything.
Well, Jimi wasn’t a business person.
Jimi made music. I talked with Bootsy Collins not too long ago because I’m working on a project that he’s helping us out on. He said, “You know. I’m a musician. The moment I have to start handling the business part is the moment I lose focus on the music part.”
You have to have someone that takes care of business.
Well, that you trust. His wife Patti handles everything (as a business manager), and she does a good job.
Did the 1995 court case against your former attorney Leo Branton Jr. and others clear the air about the catalog?
Yes it did. It showed clear title and ownership. And, it unearthed a lot of information about these offshore companies–more than we had understood. There was Bella Godiva Music, for example. One of the reasons my dad ended up suing was that our attorney (Leo Branton) had told us Bella Godiva Music didn’t exist anymore. My dad had realized that our attorney had lied to him. Bella Godiva was Jimi’s publishing company. He created that name. He owned that publishing company.
Who owned the master rights of his recordings?
Jimi had control of his masters. So all of the masters ended up being signed over as a sale to these off shore companies. However, my dad was told it was a licensing agreement. We didn’t get the rights back until 1995. In 1993, we discovered that these offshore companies had ownership.
My dad and I were buying our own (Jimi Hendrix) CDs because the old administration wouldn’t give us any CDs. Clerks were like, “You are charging this and your last name is Hendrix? Are you any relation? Why aren’t you getting this stuff for free.” Well, because we had to buy it.
The estate didn’t have signed copies of the original agreements that Jimi had signed.
No. In fact, that’s how the Ed Chalpin’s PPX Industries (dispute) happened. Jimi didn’t have a copy of that contract, and that ended up biting everybody in the butt later. It is still biting us.
[After Jimi Hendrix had signed a management and production deal with Yameta in 1966, Mike Jeffery spent a year clearing up Hendrix’s outstanding contract obligations in the U.S.
However, Hendrix had signed a three-year contract in 1965 with Ed Chalpin, who ran Studio 76 in New York, and his PPX Industries while working with Kansas-born singer/guitarist Curtis Knight. With Hendrix’s breakout from the UK, Chalpin filed lawsuits claiming exclusive rights to all Hendrix’s music. For some reason, Hendrix also participated in two recorded jam sessions in New York in 1967 with Chalpin.
The battle between PPX and Yameta came to court in 1968. Lawyers hammered out a settlement that gave PPX a percentage of all Hendrix’s revenues until 1972, and gave Yameta control of any Hendrix material released by PPX. However, the legal dispute with Chalpin has continued to the present day.]
With all your court appearances, you should be accepted at the bar.
I think I am an honorary attorney.
You have a B.A. in education.
I did take a year of law classes, and I contemplated being a lawyer. But treating people in a mean way or twisting around things that they say to make them look bad just isn’t for me. Or having to memorize all of these laws.
You are up on copyright law, however, now?
Absolutely. The last deposition I did for another frivolous (case), my attorney asked, “Do you know how many depositions you’ve taken?” I said, “Maybe 20.” He said, “Over 100.” We have all of the documents in our legal library. I remember seeing the judges and barristers in London in their wigs. We were suing Chalpin there because he was putting out (releases) through (reissue label) Charly Records. Nobody had warned me (about what they wore). I had my head down, and when (the judges and barristers) came out, I almost burst out laughing, but I didn’t.
At one point did your dad realize the estate had troubles?
I will paint the picture for you. Jimi dies in 1970. He’s 27. At that time, my dad is 50, still pretty young. I’ll be 50 in two years. My dad was an eighth grade graduate. He had his own gardening business — he had a great clientele and he was a great gardener. His son dies with this massive estate. But, the music business, my dad didn’t know anything about. A friend of ours knew Sterling Branton, and said that his brother Leo was an entertainment lawyer and practiced civil rights and all that. So on a hand shake, my dad had a deal. If Leo could get anything for my dad—because it seemed like it was a huge mess—than he would be his lawyer for life. It was “You don’t have to pay me anything if I can’t get you anything.” It seemed like a great deal for my dad. So he shook his hand.
[Branton was well known both as a litigator and as an entertainment attorney. Among his first clients in the entertainment industry were Nat King Cole and Dorothy Dandridge. He represented Cole from 1958 until his death in 1965.
A celebrated American civil rights activist, Branton also defended 13 members of the Los Angeles chapter of the Black Panther Party against an unlawful attack by the Los Angeles Police Department during the ‘60s. His most celebrated case was the successful defense and acquittal of civil rights activist Angela Davis in 1972.]
Let me paint the rest of this picture.
My parents lived very simply. My mother was a tailor; my dad was a gardener. We didn’t have a lot of money. Our house cost $36,000, and the bank really owned it. My parents were making payments. So we had to ship Jimi’s body back (from London). Jimi had a studio in New York (Electric Ladyland) but it still owed (overhead payments). Jimi wrecked two cars, and they were in the auto shop. Now dad has got to fly back from London to New York to gather his things up. He’s distraught. His son died. It was just a very hard time.
It took four years for Leo to entangle everything (with the Yameta contracts) because Michael Jeffrey was doing whatever he was doing. Then he dies (in 1973). The “mysterious” plane crash.
Finally, everything seems to be sorted out. Now my parents are going to receive $50,000 a year from the licensing deal. So $50,000 to a gardener that is charging $6 to $10 to do a yard, that’s big money in 1974. We were able to move into a bigger place. By the time this is happening, I am 13 years old.
Was the conflict with the family over the estate two years ago painful for you?
Absolutely. When you divide a family, and people are pointing fingers and, of course, there is money involved and all of that, I’m not one to retaliate on someone else. When my sister was saying whatever she was saying, I didn’t turn around and say, “But you….” They had so many witnesses who were just lying. There were several people who got up and said, “I was at Al’s house and Janie came over, and had Al sign all these documents.”
Any truth to that at all?
First, I’d never seen some of these people in my life. Secondly, I didn’t just go to my dad’s house and say, “Here, sign these documents.” I was very diligent about reading everything to my father, helping him to understand whatever it was that needed to be signed. In times when things needed to be signed, it was always just me and him. There wasn’t a roomful of people or anybody else.
Who was left in the house after Jimi left?
It was just me and Leon. A lot of times Leon was in jail. My dad just kind of threw his hands up with Leon. He couldn’t do much with him. So I think I got the brunt of everybody. My siblings on my mom side, they continued to be raised by their father so they didn’t move in.
Are things better with the family now?
I think they are better in some ways but, sadly with some relatives, we still don’t speak.
Obviously, Leon is angry that his father decided to not give him an inheritance.
Yes. I learned this later. I really did not know that my dad did not include Leon in the will. I did realize, of course, that he wasn’t a beneficiary, but that didn’t mean that he wasn’t going to get money awarded or something. I was shocked that my dad didn’t give him anything.
You went to inner city schools in Seattle. Was it tough being Jimi’s sister?
In elementary school, when Jimi was still alive, I used to get, “Oh wow did you see Jimi Hendrix on TV? He was on Dick Cavett.” My friends would say, “Yeah, that’s Janie, Jimi’s sister.” The older kids would think that was cool but I got teased a lot by kids my age.. Kids would be tough, and I had to stand up for myself.
It is a blessing and a curse having such a famous relationship?
It’s not a curse, but it definitely has its challenges at times. There are jealousies, and misunderstandings. There are always questions of,” What was it like to grow up that way?” Truthfully, and I try to do it with my kids, my dad kept us very grounded.
Was your dad strict?
Strict isn’t even the word. He would look at you, and he wouldn’t say a word. He would just look at you. You knew what that look meant. You’d better knock off what you were doing or you were going to get it. Then he would say something, usually your name. That was usually enough, but if you still continued, you’d get slapped or hit. If mom said, “Wait until your dad gets home” then it was a beat-down with a belt like you were a runaway slave.
Jimi was quite shy and quiet. Was Al like that?
My dad was pretty quiet. He did a lot of deep thinking. He had a lot of wisdom. I could see the same in Jimi. Dad was a person of very few words but when he did say something it was very profound. And Jimi was the same way. He didn’t really talk a lot
I remember when I was a kid and Jimi came back home. He told me that he was sorry (about my father’s strict discipline) because he got whuppings too, when he was young. Later, I found out after my dad wrote his book (“My Son Jimi”), that Jimi never got any whuppings. I never understood why we got so many whuppings if he didn’t.
While Jimi didn’t seem to have a driver’s license, he could never resist taking the wheel of a Corvette, of which he bought several. In one incident, he was almost killed.
I don’t remember seeing a driver license. He was a horrible driver. Do you know why? He needed glasses. When I was a kid I had to wear glasses and I used to tell him that I hated wearing glasses. He tried them on, and he said, “Actually, I need to be wearing your glasses so I can see.”
Unlike Elvis and other late icons, Jimi wrote almost all of his songs including classics like “Foxy Lady,” “Purple Haze” and “Voodoo Child.” How many songs are in the catalog?
There are over 110 songs.
Have there been many covers? It’s hard to beat a Jimi Hendrix performance.
Yeah, but John Mayer does Jimi. Sheryl Crow has recorded Jimi. Paul McCartney and, obviously Bob Dylan and Eric Clapton have recorded his songs. There’s been Robert Randolph (and the Family Band). There was a tribute album (“Stone Free: A Tribute to Jimi Hendrix” in 1993). Prince wanted to do a full album on Jimi.
You don’t allow sampling of his music.
We think it dilutes the catalog. We think it dilutes the ownership of the song. If an artist samples your song, now the ownership is split. Chuck D did a sample of our song, and now we own it (the overall song).
[Rapper Chuck D sampled Jimi Hendrix’s 1971 song “Freedom” as a backdrop for “Free at the Edge of an Answer”, an angry meditation, ironically, on free speech. Last year, the song, as well as “Angel” and a live version of “Foxy Lady” was released as downloadable content for “Guitar Hero: World Tour.”]
Will the Experience Hendrix Tour 2010 help market Jimi’s legacy and his catalog?
It is definitely a marketing tool. It also brings Jimi’s music to younger people who never experienced Jimi onstage. To actually be experienced. That’s what Jimi was talking about. Feeling his music in your bones and experiencing in your body and out of body through your mind. That is how we are trying to bring the music to people.
By launching Dagger Records in the ‘90s, you shut down many of the bootleggers.
I think that it did. It didn’t completely shut (bootlegging down) but it is, at least, giving fans what they were looking for, and lets them see that if something doesn’t have our logo on it than it’s not ours.
Meanwhile, the Experience Hendrix label has also put out Jimi releases over the years. What’s the difference between the two labels?
We have a virtual store where, a lot of the time, its family members who are answering the calls. We try to discourage buyers, if they have never bought any of Jimi’s music, to buy Dagger. If they are a 17-year-old kid, and they have heard about him but have never heard his music, and they pick up a Dagger release they may be disappointed. That’s its not front line. That it’s not stereo. We ask if they have ordered or bought anything else before. If not, then we would encourage them to buy something from the core catalog first. And, once they begin to whet their palette with his music, then they might order a Dagger release. They are really for the hard core fans. They may be mono. They may have been recorded with a (cheap) microphone. Jimi used to carry around a little cassette recorder; and a 4-track recorder.
It has been a few years since you operated the Red House Tour museum on wheels. It was interactive with duplicates of the outfits that Jimi wore onstage.
Sony is very interested in continuing the Red House Tour. We are looking at transforming one of their Sony Playstation buses into our Red House Tour (vehicle) and taking it back on the tour. It has been about 6 or 7 years since we last did that.
In Seattle, there’s the Experience Music Project inspired by Jimi.
We have EMP, and there’s the North West African American Museum that displays his hat. It’s a very small museum. Next to it is the Jimi Hendrix Park. We will have a grand opening for it in 2012.
Will there be another fashion line like the Jimi Hendrix Collection—a collaboration between designer Gina Alexander, and photographer Robert M. Knight which premiered in 2006?
We are still working with Gina. She did another launch of different purses that are inspired by Jimi which are cool. We have a deal with Converse for some really cool tennis shoes inspired by Jimi. They are not out yet. They are coming. I am working with Brand Sense (a Los Angeles firm that specializes in building brands around celebrities) and they will be launching a branding opportunity with Jimi. They work with Sheryl Crow. We hope to do some really cool things that that won’t necessarily have Jimi’s image but will definitely be inspired by Jimi.
All things Jimi?
All things Jimi.
Larry LeBlanc was the Canadian bureau chief of Billboard from 1991-2007 and Canadian editor of Record World from 1970-89. He was also a co-founder of the late Canadian music trade, The Record. He has been quoted on music industry issues in hundreds of publications including Time, Forbes, the London Times and the New York Times.
NFL: How Breakout and Breakdown Seasons Affect Future Performance
To say that Seahawks quarterback Matt Hasselbeck was a bust last year is an understatement.
Hasselbeck had finished in the top six in quarterback fantasy points three of five years from 2003 to 2007; fantasy owners were expecting another good season, as he was drafted as the No. 9 quarterback in standard leagues.
Injuries and poor performance plagued Hasselbeck. Just one year after throwing for career-highs in yards and touchdowns, he set career-worsts in passer rating (57.8), completion percentage (52.2), interception percentage (4.8), and yards per attempt (5.8).
This year, despite his team’s acquiring former Pro Bowl receiver T.J. Houshmandzadeh, Hasselbeck’s average draft position puts him as the No. 15 quarterback.
Should his regression affect his 2009 performance that much? Or is he the top-10 quarterback we saw in previous years?
Naturally, this question applies to breakthrough performances, too. Panther’s running back DeAngelo Williams finished as the No. 1 back in fantasy with 1,515 yards and 18 touchdowns last year.
He increased his yards per carry by 11.5 percent and his rushing touchdown percentage by 137 percent from his 2007 stats.
Drafted on average as the No. 9 running back, the consensus is that Williams will fall back some from his 2008 numbers.
Regression to the mean should obviously kick in for Williams, but it’s unseen as to whether his two good-not-great seasons will have any value in our 2009 ranking for him.
Before any analysis, we must first define a breakout. My criterion for a breakout season is a 15 percent increase in fantasy points per attempt or reception—or quarterback rating—over their highest value in the previous two years, and a breakdown season is one in which there is a 15 percent decrease from the minimum value in the previous two years, while staying on the same team each year.
For instance, there have been 37 running backs since 1980 to have a breakout season after two good-not-great seasons, as was the case for Williams; they saw a 19 percent drop in their fantasy points per carry (FPPC) the year after their breakout, regressing almost 75 percent back to their pre-breakout performance.
Yet there’s a selection bias in that sample. Those 37 running backs’ fantasy points per carry was almost 30 percent higher than average in their breakout season, and we’d expect regression to the mean to kick in regardless of whether they broke out.
So, I compared those 37 backs’ performance in the year after their breakout to a baseline performance: The next-year performance of all running backs with a similar FPPC average.
That is, the next-year performance among all running backs since 1980 with a FPPC within 0.015 points of the FPPC average in the 37 rushers’ breakout season was nearly equal to the breakout-backs’ next-year performance—less than one-tenth of one percent higher.
In other words, the fact that there was a breakout—as well as the fact that those 37 backs had almost league-average production in the two years before the breakout—made no difference in their next-year production.
They would have regressed to the mean just as much if they had performed at their breakout level for three straight seasons.
Let’s see how those numbers compare to other positions.
To clarify my criteria, I looked at all quarterbacks with 150 attempts in three straight seasons and found all passers who had a breakout or breakdown season in either their first or third years.
Players who fall under the “in the first year” status include Jim Kelly as a “breakout” (97.6 rating in 1991, followed by two near-80 ratings) and Ken Anderson as a “breakdown” (66.9 passer rating in 1980, followed by two above-90 ratings).
The first table below shows QBs who had a breakout or breakdown season—compared to the two seasons prior—as well as their post-breakout or breakdown passer rating, and the baseline performance (the average next-season rating of all QBs with a passer rating within five points of the breakout- or breakdown-season rating).
What the table means: The 43 passers who broke out had a 74.5 rating two years before their breakout, a 75.4 rating one year prior to the breakout, and a 92.3 rating in their breakout season.
The 43 passers had an 83.8 rating the year after the breakout, while the baseline performance was an 86.8 passer rating.
That means that the 92.3 rating they had in their breakout season had no effect on their next-season rating; they regressed more than normal, since they had had two mundane passer ratings the two years before the breakout.
The same occurs for breakdowns, though the difference isn’t as pronounced; because of the two good seasons prior to their breakdown, broken-down passers tend to bounce back more than a quarterback with similar stats.
Let’s see how these stats compare to the quarterbacks whose breakouts or breakdowns came in the first year of a three-year stretch.
There were 26 passers who posted a passer rating that was 15 percent greater than either of their next two seasons’ ratings. One season later, their collective ratings were six points higher than the baseline rating we expected.
The 10 percent increase in passer rating from year three to year four is astonishing. The baseline performance is almost equal to the 26 quarterbacks’ weighted rating in those three years (weighting each season as half as significant as the next returns a 79.4 rating).
Instead, it rises to 84.8, but that rise isn’t all credited to their breakout in the first year. The two years prior to that “breakout,” the 26 quarterbacks had ratings above or just below 90.
That suggests that the passers were slightly lucky when their ratings were in the 90s for three years, unlucky the next two years, and finally regressed back to their true talent level of 84. (Indeed, the following year, their passer rating held steady at 83.7.)
As for the 47 passers in the other group, their breakdown in the first year was a factor in their year-four passer rating.
They had a weighted passer rating average of 83.9 in the first three seasons, which would have risen to 86.2 had they put up a rating of 84 in the first year.
That’s a difference of 2.3 points—also the discrepancy between the baseline performance and their year-four passer rating.
On the other hand, there’s no effect if I look at quarterbacks with a breakout or breakdown season in the first season of a four-year stretch (despite the small sample size).
There were only seven quarterbacks who fit the breakout requirement; they had a decline in passer rating each year after their 100.1 rating.
The 27 passers who had a first-year breakdown produced a year-five rating that was just fractions below their expected performance.
The more attempts they racked up (in years two through four), the more we were certain that their true talent level was in the mid-80’s.
Quarterbacks whose breakout or breakdown occurs in the final year of a three-year stretch regress more to the mean compared to a baseline expectation.
The difference is equal to about two points of quarterback rating, with a larger regression for breakouts than breakdown performances.
The 26 quarterbacks whose breakout came in year one had their rating drop 15 points, stay in the high 70’s, then regress back to the low-to-mid 80’s.
Their up-and-down performance leads to a valuable notice: We always expect that a player’s true talent level is equal to his sample performance plus a regression to the mean.
Quarterbacks who have a breakdown season in the first year of a three-year stretch have a more dramatic decline after the third season than their baseline, owing to the breakdown performance; if those passers had a passer rating of 84 instead of 67.8 in the first season, we would expect their fourth-year production to be equal to that of the baseline.
2009 cases: Matt Hasselbeck, third-year breakdown.
Let’s see how the quarterback data compare to running backs. Only running backs that had 100 carries in three straight seasons are included. Fantasy points per attempt are prorated to 250 attempts in the tables below.
While it seems surprising that breakout rushers performed to their expectation the next year, the 37 backs had such a large increase in fantasy points per 250 attempts (FP/250) in their breakout season (29 percent) that their weighted FP/250 is 174, enough to suggest that the remaining 13-point decrease is from regression to the mean.
Running backs that broke down performed eight percent better than their baseline expectations the year after their breakdown, jumping from 135 to 150 FP/250. Although their FP/250 fell two straight years, their weighted FP/250 (154) predicted otherwise.
Now, what about backs whose breakout or breakdown came in the first year?
The first year of the three-year stretch affected both groups of running backs, though it wasn’t as profound for the breakdown group.
The 52 breakout backs had a five-point increase from the third to the fourth year, while the baseline suggested a five-point drop was in store.
Again, the weighted average (157) predicted their next-season performance better than the breakout itself.
Running backs whose breakdown occurred in the first year of a three-year stretch had a 13 percent drop in production from the third to the fourth years.
That, however, isn’t such a large decrease, since the baseline was an 11 percent drop. That said, the three-point difference in FP/250 is hardly significant.
When we look at four-year stretches with a first-year breakdown, the final-year FP/250 is equal to the baseline performance, at 163 FP/250.
The 16 backs that apply had 133 in their down year, followed by three years of FP/250’s in the 170’s, and then 163 a season later, as shown below.
A breakout or breakdown in the final year of a three-year stretch has no extra effect on a running back’s future production, compared to a baseline expectation.
Breakout backs performed to their baseline, and breakdown backs had 11 more FP/250 than expected.
When the breakout occurs in the first year, however, there’s a 10-point difference that is clearly influenced by the first-year 199 FP/250 rate. There’s no evidence that a breakdown in the first year has any effect on the year-four FP/250.
2009 cases: DeAngelo Williams (third-year breakout); LaDainian Tomlinson, Marion Barber, Joseph Addai, and Fred Taylor (third-year breakdown); Maurice Jones-Drew, Barber, Frank Gore, Steven Jackson, Clinton Portis, Larry Johnson, and Willie Parker (first-year breakout); Williams, Ronnie Brown, and Chester Taylor (first-year breakdown).
How do the receivers stack up? I looked at wide receivers and tight ends with 30 receptions in three straight seasons, and the results aren’t shocking.
Here are the data for breakouts and breakdowns in year one. Fantasy points per catch is prorated to 70 receptions (FP/70).
Breakouts and breakdowns for receivers aren’t much different from quarterbacks and running backs, and the disparity between actual and expected performance is much greater for wideouts.
The 89 breakout receivers were 13 points worse than their expectation, which was also nearly equal to their weighted average FP/70 of 149.
Those 89 receivers had a 17.5 percent drop in production from their breakout season to the next, compared to their expected drop of 9.6 percent.
The breakdown group reminds us that a weighted average of past performance is always more accurate for future forecasts than one year alone. Their 117 FP/70 in their low year was expected to be followed up by 125 FP/70, but their three-year weighted average of 133 FP/70 was right on the dot.
There’s an interesting contradiction when we look at first-year breakouts and breakdowns. One table gives one conclusion, but the other says otherwise. The first table shows data for three-year stretches…
And the next table shows data for four-year stretches.
Both tables tend to agree on first-year breakouts; each suggests a three- or seven-point difference in FP/70 between actual and the baseline performance.
But it’s the breakdowns that are fascinating. One table—the three-year stretch—says that receivers with a first-year breakdown perform five points worse than the baseline.
The other, though—looking at four-year stretches—says that the same receivers produce four points better than expected.
We’re arguing semantics, however. Both tables are most likely correct, considering the samples they use: If a receiver has three good seasons after a bad year, the down year (which is four years ago) is outnumbered by the good years and has so little weight in determining the player’s true talent level.
Chances are his true talent lies closer to the three stellar years as opposed to the poor season.
Third-year breakouts and breakdowns for receivers have much less weight compared to other positions in their future production.
As always, a weighted average of past production is better at predicted next year’s stats than on season (the breakout or breakdown) alone.
Wideouts with first-year breakouts perform about three points better than expected. Those with first-year breakdowns, though, tend to play better or worse than expected, based on which group you’re looking at.
With just two seasons of data after a breakdown, receivers perform five points worse than the baseline, but they are four points better than expected with three years of stats after their breakdown.
2009 cases: Derrick Mason, Deion Branch, Steve Smith (NYG), Mark Clayton (third-year breakout); T.J. Houshmandzadeh, Chad Ochocinco, Plaxico Burress, Dallas Clark, Chris Cooley, Heath Miller, Desmond Clark (third-year breakdown); Santana Moss, Josh Reed, Clayton, De. Clark, Owen Daniels (first-year breakout); Andre Johnson, Greg Jennings, Kellen Winslow (first-year breakdown, three-year stretch); Ike Hilliard (first-year breakdown, four-year stretch).
Think you can dance? Want to join the best? Auditions are set for the hottest dance team in the NBA… Pre-Register now to receive monthly updates on RPD auditions and insider tips & techniques from RPD coaches and captains.
2009-2010 RPD auditions will take place Saturday, July 11, 2009, at Toyota Center, with registration beginning at 9:00 a.m. Two to three rounds will take place July 11, and finalists are required to take part in a one to two week training camp (includes dance practice, conditioning, a professional interview, and drug/background screen), which concludes with a formal final audition.
Applicants must be at least 18 years of age and high school graduates. No formal dance experience is required, although training in dance, cheer, drill team, and/or gymnastics is strongly encouraged. Audition routines will include a mix of hip-hop, jazz, pom, and dance technique choreography. Power Dancers must be full-time students or hold full-time employment. Applicants will need to bring a non-returnable photograph (head shot or full-length), Texas Driver’s License, and a one page professional resume including dance experience to auditions. Proper attire is a two-piece top and shorts dance ensemble with tights or hose and non-marking dance/tennis shoes.
Sign up now for Power Dancer Prep Classes! They’re the hottest dance class in town, a great way to get in shape, and the best way to learn more about the RPD! And new this year, we’re offering two additional classes to give interested dancers more options to attend, for a total of 5 classes! Prep classes give attendees a chance to learn real Power Dancer hip hop, thrashy jazz, and stylized dance choreography as performed on the Toyota Center court. Along with the latest in choreography, each class will include a warm-up, dance technique session, and Q&A geared toward audition specific topics (different choreography and Q&A topic each class – topics include audition attire, application/resume tips, hair/make-up tips, interview/audition etiquette, and what to expect the day of auditions). Classes are taught by Power Dancer coaches and captains. Prep classes are not mandatory to audition, but definitely give those attending an idea of what to expect at auditions.
Classes will take place Friday, June 19, Monday, June 22, Friday, June 26, Monday, June 29, and Monday, July 6. All classes will take place from 7:30-9:30 p.m., with registration beginning at 7:00 p.m. at the Memorial Hermann Wellness Center located at 7731 Southwest Freeway. Classes are $45 each, and discounts are available if you sign up for 3 or more classes. Register now to save your spot!
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How the Rockets fit into this year’s draft Jason Friedman
Rockets.com Staff Writer
Aaron Brooks’ speed and finishing ability caught the Rockets’ attention during his pre-draft workout.
Houston – 12 prospects. 2 days. An infinite number of possibilities. That’s the vibe permeating Toyota Center right now after the Rockets sent a dozen draft eligible prospects through their paces Monday and Tuesday.
The team is keeping its cards carefully hidden, so don’t even ask for the players’ names – the Rockets aren’t sharing. Knowledge is power and Houston’s brain trust has no desire to divulge even the tiniest of secrets which might tip their hand in any way.
That there would be such mystery and intrigue seems appropriate given the draft position the Rockets currently occupy; which is to say, they don’t – not in the traditional sense, anyway. With selection day approximately two weeks away, Houston is preparing for a draft in which it owns exactly zero picks, putting the Rockets in the perhaps enviable position of a lurker at a garage sale, free to examine all the possibilities until they find a deal upon which they want to pounce.
“People say, ‘You don’t have any draft picks, so you don’t have as much to do. It’s going to be a slow offseason,’” laughs Gersson Rosas, the Rockets’ Director of Player Personnel. “But it’s actually going to be the exact opposite for us because you just don’t know if you’re going to get in the draft and you have to be prepared for any and every scenario that might present itself.”
Indeed, the rumors involving the Rockets have already started flying. Tuesday morning a report surfaced saying Houston had “approached” Memphis to express its interest in possibly obtaining the No. 2 pick in this year’s draft. Such wild speculation is commonplace this time of the year and there’s no denying the fact 99 percent of these rumors end up being much ado about nothing.
But reports like those do serve to illustrate the anything-is-possible nature of this draft from Houston’s standpoint. The Rockets have been up front from the beginning about their desire to buy a pick on June 25th and the most likely scenario still involves them doing so either late in the first round or at some point in the second. But… the club has also stated its intent to be opportunistic, so if something bigger happens to come along, Houston will be ready.
All of which brings us back to this week’s workouts. Knowing that a plethora of potential scenarios could come knocking at the door over the course of the coming weeks, the Rockets know they must do their due diligence in order to ensure they’re ready for absolutely anything. So they invite players in – bigs and smalls, well-known and unknown – to get a closer look. It’s the same process the team has undertaken around the world – be it Chicago, Illinois for the NBA’s official pre-draft camp or Treviso, Italy for the Reebok Eurocamp –in an effort to make sure no stone, or diamond in the rough if you will, is left unturned.
“We put players in situations where we can evaluate whether or not what they do translates,” says Rosas. “With point guards – can they play pick-and-roll in some of our offensive sets? Can they defend and operate in some of our defensive schemes? With wings – how are they getting their shots? Can they come off screens? What position are they most comfortable defending? And bigs – evaluating offensively and defensively what their technique and fundamentals are like in the post.
“The biggest evaluation question for us is: What part of their game translates? Additionally, how does what they do fit in with us? The answer to that is primarily based on physical, athletic, fundamental and intangible attributes. There have been a lot of very productive college players whose games have not translated because of a number of factors; a very common one is that they’re just not athletic enough to impact this level, or they’re a bad fit as their system in college has been set up entirely to help them be productive.”
Also important is the effort and competitiveness displayed by the players involved. A classic example of this came at the tail end of Tuesday’s intense two-hour workout, when the Rockets were putting the bigs through their “Superman” drill – a grueling, repetitive dunking exercise designed to test each player’s athleticism, endurance and ability to push through the pain and exhaustion.
Just to repeat: This is a drill the Rockets typically only run with the big men on hand. But after having heard the top score on record, one of the wings boldly declared he could top it and the assembled coaches and staff were only too happy to let him try. Sixty seconds later, the record still stood but that sort of competitiveness and confidence catches one’s attention; which is exactly what this process is all about.
“We want to see what kind of kids they are,” says Rosas. “How they take instruction, how competitive they are and how much they care about winning and losing. Can they be a good teammate? Do they have any natural leadership abilities? There’s a lot that we get from it. There’s nothing like being on the floor with these guys as they go through the drills. You can sit on the side and get a sense for what they can and can’t do, but getting on the floor with them on the floor and running them through drills, the feedback you obtain is invaluable.
“We try to get as much as we can from the process but we realize not every player coming through here is going to ace the process. We’ve had some players, who have come in and struggled, but they show enough fundamentally and in technique that you see there’s something there, an indicator that this is someone who could be a diamond in the rough you should continue to track.
“One of the biggest benefits for us in terms of the draft workout is that it helps identify what guys can and can’t do, and sometimes the result is that they’re not good enough to play in this league at this point in their career but it doesn’t mean that we close the door. It just means that if we don’t draft them or sign them, we’re going to evaluate their development even closer either overseas or in the D-League. We know this guy can’t go left, or we know that he doesn’t have a mid-range game, or we know that he can’t defend the one, but if we see that there’s good development overseas or in the D-League, then that’s something we’re going to track and see if there’s potential for growth in those areas.”
These workouts are not the end-all and be-all of player evaluation, of course. It’s only one piece of the puzzle with the player’s body of work either overseas or in college serving as the most significant piece by far. But just as in any job interview, there’s nothing quite like wowing your would-be employer in a face-to-face setting which is something recent Rockets’ draft choices have taken advantage of in the past.
“We come into these workouts specifically targeting players and specifically targeting points of emphasis to analyze them,” Rosas says. “But I will tell you: It’s the prospect’s total body of work that gets them here. It’s been refreshing that you do the work as a staff and you bring them in for a workout and they confirm a lot of your thoughts in terms of the strengths and weaknesses in their game. A guy like Aaron Brooks, he had a very competitive workout with us. Seeing his speed firsthand in a workout with us was special. His ability to finish and shoot, we’d seen it in games and we’d done our homework, but it’s still nice to get into a scenario like a workout where you can see just how special it is and how he uses it to his advantage.
“Maarty Leunen was another guy who had a little bit more game than he showed at the college level – it wasn’t the team’s fault, it was just he played with a lot of good talent – but we felt like more of his game translated to the next level. He’s a guy who’s had a solid year in Europe because he’s a big who can pick-and-pop, shoot and defends and rebounds better than you would think. He needs experience and that’s why he’s in Europe, but he’s a guy who we liked and to get him in a situation where you can confirm some of those strengths and weaknesses in his game is key.
“But as many guys who have come in and done well in our process, there are many more who have come in and struggled, which then forces us to step back and reanalyze the body of work and make an informed decision on the prospect. The workout itself will not make or break the player; it’s just another piece of the puzzle.”
That’s the process the Rockets are sorting through right now after spending the last year scouring the globe and digesting countless hours of tape. The fruits of their labor are about to be revealed though no one, not even upper management, knows what the end result will be. Still, you get the feeling the Rockets are feeling right at home in their current position.
“We’ve got a lot of flexibility with our roster,” says Rosas. “And, in terms of being out of the draft at this point, we’ve evaluated a large pool just to be thorough and look to see what might be high value opportunities at certain points in the draft. We’ve got a great owner who gives us the resources to do our job and a General Manager who believes in the draft and a coach who’s very open to playing and developing young players, which isn’t always the case. As scouts, you can’t ask for anything better – you’ve got a reason to do your job and you’ve got people supporting you. Our work is not in vain.
“Not having any picks, it’s harder to get guys in for workouts but we’ve got a great staff in place that is very resourceful. All we want to do is be thoroughly prepared to make the best decision for our team in case the opportunity presents itself. You go into the draft not knowing where you’re going to be, but you can know, study and evaluate all the players. Whether it’s a prospect that’s best available, a player we feel can help us at a position of need or a future bet, we will be well-prepared to make those decisions moving forward.”