I'm the one that's got to die when it's time for me to die, so let me live my life the way I want to.
Jimi HendrixRead
I wouldn't say that I'm the greatest guitarist ever. I'd say probably that I'm the greatest guitarist sitting in this chair.
Interpretation
Jimi Hendrix modestly claims his unique excellence while acknowledging the context of his situation.
In this quote, Jimi Hendrix reflects on his skills as a guitarist. He expresses humility by not claiming to be the absolute best, but rather the best in the specific context of where he is at that moment. This perspective highlights the importance of context and one's own environment in evaluating talent and success.
In practice
In a music interview discussing his favorite musicians.
I'm the one that's got to die when it's time for me to die, so let me live my life the way I want to.
Technically, I'm not a guitar player, all I play is truth and emotion.
I try all night to play a pretty note.
The story of life is quicker then the blink of an eye, the story of love is hello, goodbye.
It's time for a new National Anthem. America is divided into two definite divisions. The easy thing to cop out with is sayin' black and white. You can see a black person. But now to get down to the nitty-gritty, it's getting' to be old and young - not the age, but the way of thinking. Old and new, actually... because there's so many even older people that took half their lives to reach a certain point that little kids understand now.
... with Voodoo Child somebody was filming when we started doing that. We did that about three times because they wanted to film us in the studio, to make us (imitates a pompous voice) 'make it look like you're recording boys' - one of them scenes, you know, so okey, let's play this and then we went into Voodoo Child
I've never tried to achieve anything. I achieved everything I wanted to achieve by being in the Rolling Stones and making records.
Some kids went to the movies for escape. We found it with jazz. This is where we got religion. It was a kind of raw spiritual anarchy.
It's not about battling the original artists when I record these songs, it's about paying tribute to them.
You ask for your audience's investment in your music; you're in a relationship with them. And their relationship with the E Street Band is separate from whatever else I might do. I like the idea of us being something that people rely on.
Our songs did not transcend being R&B hits. They were R&B hits that white kids were attracted to. And if people bought it, it became rock & roll. That's marketing. Why couldn't it still be R&B? The bass pattern didn't change. The song didn't change. It was still 'Yakety Yak' and 'Searchin'.'
I've been getting interested in reimagining folk songs and writing songs that should have existed but didn't, particularly around the Civil War when black voices were muted and only allowed particular channels.
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