title: Mount Vernon

text: The new crops were less labor-intensive than tobacco; hence, the estate had a surplus of slaves. But Washington refused to break up families for sale. Washington began to hire skilled indentured servants from Europe to train the redundant slaves for service on and off the estate.


title: Mount Vernon

text: Following his service in the war, Washington returned to Mount Vernon and in 1785–1786 spent a great deal of effort improving the landscaping of the estate. It is estimated that during his two terms as President of the United States (1789–1797), Washington spent a total of 434 days in residence at Mount Vernon. After his presidency, Washington tended to repairs to the buildings, socializing, and further gardening.


title: Mount Vernon

text: In his will, written several months before his death in December 1799, George Washington left directions for the emancipation of all the slaves who belonged to him. Of the 317 slaves at Mount Vernon in 1799, a little less than half, 123 individuals, belonged to George Washington. Under the terms of his will, these slaves were to be set free upon Martha Washington's death.


title: Mount Vernon

text: In accordance with state law, George Washington stipulated in his will that elderly slaves or those who were too sick to work were to be supported throughout their lives by his estate. Children without parents, or those whose families were too poor or indifferent to see to their education, were to be bound out (or apprenticed) to masters and mistresses who would teach them reading, writing, and a useful trade, until they were ultimately freed at the age of twenty-five.


title: Mount Vernon

text: When Martha Washington's first husband, Daniel Parke Custis, died without a will, she received a life interest in one-third of his estate, including the slaves. Neither George nor Martha Washington could free these slaves by law. Upon Martha's death, these slaves reverted to the Custis estate and were divided among her grandchildren. By 1799, 153 slaves at Mount Vernon were part of this dower property.


title: Mount Vernon

text: Martha signed a deed of manumission in December 1800. Abstracts of the Fairfax County, Virginia, Court Records record this transaction. The slaves received their freedom on January 1, 1801.


title: Mount Vernon

text: On December 12, 1799, Washington spent several hours riding over the plantation, in snow, hail and freezing rain. He ate his supper later that evening without changing from his wet clothes. The following day, he awoke with a severe sore throat (either quinsy or acute epiglottitis) and became increasingly hoarse as the day progressed. All the available medical treatments failed to improve his condition, and he died at Mount Vernon at around 10 pm on December 14, 1799, aged 67.


title: Mount Vernon

text: On December 18, a funeral was held at Mount Vernon, where his body was interred. Congress passed a joint resolution to construct a marble monument in the United States Capitol for his body, an initiative supported by Martha. In December 1800, the United States House passed an appropriations bill for $200,000 to build the mausoleum, which was to be a pyramid with a base square. Southerners who wanted his body to remain at Mount Vernon defeated the measure.


title: Mount Vernon

text: In accordance with his will, Washington was entombed in a family crypt he had built upon first inheriting the estate. It was in disrepair by 1799, so Washington's will also requested that a new, larger tomb be built. This was not executed until 1831, nearly the centennial of his birth. The need for a new tomb was confirmed when an unsuccessful attempt was made to steal his skull. A joint Congressional committee in early 1832 debated the removal of Washington's body from Mount Vernon to a crypt in the Capitol, built by Charles Bulfinch in the 1820s. Southern opposition was intense, exacerbated by an ever-growing rift between North and South. Congressman Wiley Thompson of Georgia expressed the Southerners' fears when he said:


title: Mount Vernon

text: In 1831, the bodies of George and Martha Washington, along with other members of the family, were moved from the old crypt to the new family tomb. On October 7, 1837, Washington's remains, encased in a lead inner casket, were transferred from the closed tomb to a sarcophagus presented by John Struthers of Philadelphia. It was placed on the right side of the gateway to the tomb. A similar structure was provided for Martha's remains, which was placed on the left. Other members of the Washington family are interred in an inner vault, behind the vestibule containing the sarcophagi.


title: Mount Vernon

text: Following Martha Washington's death in 1802, George Washington's will was carried out in accordance with the terms of his bequests. The largest part of his estate, which included both his papers and Mount Vernon, passed to his nephew, Bushrod Washington, an Associate Justice of the Supreme Court of the United States. The younger Washington and his wife then moved to Mount Vernon.


title: Mount Vernon

text: Bushrod Washington did not inherit much cash and was unable to support the upkeep of the estate's mansion on the proceeds from the property and his Supreme Court salary. He sold some of his own slaves to gain working capital. However, the farms' low revenues left him short, and he was unable to adequately maintain the mansion.


title: Mount Vernon

text: Following Bushrod Washington's death in 1829, ownership of the plantation passed to George Washington's grandnephew, John Augustine Washington II. After he died in 1832, his wife, Jane Charlotte inherited the estate, and her son began managing it. Upon her death in 1855, John Augustine Washington III inherited the property. As his funds dwindled and the wear and tear of hundreds of visitors began to take its toll, Washington could do little to maintain the mansion and its surroundings.


title: Mount Vernon

text: Washington suggested to the United States Congress that the federal government purchase the mansion. However, Congress paid little interest to Washington's offer, as the legislature was focusing on the conditions that shortly led to the American Civil War. Washington then traveled to Richmond, where he was equally unsuccessful in appealing to the Virginia General Assembly for the state to purchase the mansion. The mansion's decline continued.


title: Mount Vernon

text: In 1858, Washington sold the mansion and a portion of the estate's land to the Mount Vernon Ladies' Association, which was under the leadership of Ann Pamela Cunningham. The association paid the final installment of the purchase price of $200,000 ($6.3 million in 2020 dollars) in December 1859, taking possession in February 1860. The estate first opened to the public during that year.


title: Mount Vernon

text: The estate served as a neutral ground for both sides during the Civil War, although fighting raged across the nearby countryside. Troops from both the Union and the Confederacy toured the building. The two women caretakers asked that the soldiers leave their arms behind and either change to civilian clothes or at least cover their uniforms. They usually did as asked.


title: Mount Vernon

text: Harrison Howell Dodge became the third resident superintendent in 1885. During his 52 years' overseeing the estate, he doubled the facility's acreage, improved the grounds, and added many historic artifacts to the collections. Dodge reviewed George Washington's writings about the estate, visited other Colonial-era gardens, and traveled to England to see gardens dating from the Georgian period. Using that knowledge, Dodge oversaw the restoration of the site and put in place a number of improvements that Washington had planned but had never implemented.


title: Mount Vernon

text: Charles Wall was assistant superintendent from 1929 to 1937, then resident superintendent for 39 years. He oversaw restoration of the house and planted greenery consistent with what was used in the 18th century. In 1974, a campaign he organized was successful in preserving as parkland areas in Maryland across the Potomac River from Mount Vernon, as part of an effort to retain the bucolic vista from the house. His office was the same one used in the 18th century by Washington.


title: Mount Vernon

text: Steamboats began to carry tourists to the Mount Vernon estate in 1878. In 1892, the Washington, Alexandria and Mount Vernon Electric Railway opened, providing electric trolley service between Alexandria and the estate. The electric railway and its successors carried tourists and others between Washington, D.C., and Mount Vernon from 1896 to 1932, when the federal government acquired part of its route on which to construct the George Washington Memorial Parkway. The parkway, originally named the Mount Vernon Memorial Parkway, opened in 1932.


title: Mount Vernon

text: In 2007, the estate opened a reconstruction of George Washington's distillery on the site of Washington's original distillery, a short distance from his mansion on the Potomac River. Construction of the distillery cost $2.1 million. The fully functional replica received special legislation from the Virginia General Assembly to produce up to of whiskey annually, for sale only at the Mount Vernon gift shop.


title: Mount Vernon

text: Frank Coleman, spokesman for the Distilled Spirits Council that funded the reconstruction, said the distillery "will become the equivalent of a national distillery museum" and serve as a gateway to the American Whiskey Trail. In 2019, Mount Vernon began an annual whiskey festival.


title: Mount Vernon

text: As of 2020, the estate had received more than 85 million visitors. In addition to the mansion, visitors can see original and reconstructed outbuildings and barns (including slaves' quarters), an operational blacksmith shop, and the Pioneer Farm. Each year on Christmas Day, Aladdin the Christmas Camel recreates Washington's 1787 hiring of a camel for 18 shillings to entertain his guests with an example of the animal that brought the Three Wise Men to Bethlehem to visit the newborn Jesus.


title: Mount Vernon

text: Mount Vernon remains a privately owned property. The non-profit Mount Vernon Ladies' Association has not received any funds from the federal government to support the restoration and maintenance of the mansion and the estate's grounds or its educational programs and activities.


title: Mount Vernon

text: The association derives its income from charitable donations and the sales of tickets, produce and goods to visitors. These enable the Association to continue its mission "to preserve, restore, and manage the estate of George Washington to the highest standards and to educate visitors and people throughout the world about the life and legacies of George Washington, so that his example of character and leadership will continue to inform and inspire future generations." Admission to Mount Vernon is free on Presidents' Day (the third Monday of February) and on George Washington's birthday (February 22).


title: Mount Vernon

text: Mount Vernon was featured in a 1-cent United States postage stamp in 1936 within the Army and Navy Commemorative Series. The green stamp, which was the first in the series, also contained portraits of George Washington and Nathanael Greene, a Major General of the Continental Army during the Revolutionary War.


title: Mount Vernon

text: In 1956, a 1.5-cent stamp within the Liberty Issue of U.S. postage stamps memorialized Mount Vernon as a national shrine. The Liberty Issue was originally planned to honor six presidents, six famous Americans, and six historic national shrines. The Mount Vernon stamp, which featured a view of Washington's home facing the Potomac River, was the issue's first that commemorated a shrine.


title: Mount Vernon

text: Mount Vernon was designated a National Historic Landmark on December 19, 1960, and listed on the National Register of Historic Places on October 15, 1966. Development and improvement of the estate is an ongoing concern. Following a $110 million fundraising campaign, two new buildings that GWWO, Inc./Architects had designed opened in 2006 as venues for additional background on George Washington and the American Revolution. The Ford Orientation Center introduces visitors to George Washington and Mount Vernon with displays and a film. The Donald W. Reynolds Museum and Education Center houses many artefacts related to Washington along with multimedia displays and further films using modern entertainment technology.


title: Mount Vernon

text: Mount Vernon was put on the tentative list for World Heritage Site status in the early 2000s. It was submitted but failed to get approved. In 2014, Mount Vernon awarded its first Cyrus A. Ansary Prize for Courage and Character to former President George H. W. Bush.


title: Mount Vernon

text: The airspace surrounding Mount Vernon is restricted to prevent damage from aircraft vibrations. As a consequence, overhead/aerial photography has been limited and requires unique approaches.


title: Mount Vernon

text: The Fairfax Connector Routes 101, 151 and 152 buses travel daily between the Mount Vernon estate and the Huntington station on Washington Metro's Yellow Line. The Route 11C Metrobus travels between the estate and the Braddock Road station on Metro's Blue and Yellow Lines during weekday peak hours.


title: Mount Vernon

text: The -long Mount Vernon Trail travels along the George Washington Memorial Parkway and the Potomac River between the Mount Vernon estate and Rosslyn in Arlington County, Virginia, where it connects to the Custis Trail. The shared-use path is a part of the Potomac Heritage Trail, the East Coast Greenway and U.S. Bicycle Route 1.


title: Mount Vernon

text: The Mount Vernon Trail connects to shared-use paths that travel on the Francis Scott Key Bridge, the Theodore Roosevelt Bridge, the Arlington Memorial Bridge and the George Mason Memorial Bridge (one of the 14th Street bridges). The bridges cross the river into Washington, D.C., where their shared-use paths connect to the Rock Creek and Potomac Parkway Trail, the Chesapeake and Ohio Canal towpath and the Capital Crescent Trail.


title: Deliver Us from Evil (2014 film)

text: Deliver Us from Evil is a 2014 American supernatural horror film directed by Scott Derrickson and produced by Jerry Bruckheimer. The film claims to be based on a 2001 non-fiction book entitled "Beware the Night" by Ralph Sarchie and Lisa Collier Cool, and its marketing campaign highlighted that it was "inspired by actual accounts", however the plot is an original piece written by director Derrickson. The film stars Eric Bana, Édgar Ramírez, Sean Harris, Olivia Munn, and Joel McHale in the main roles and was released on July 2, 2014. The film grossed $87.9 million against a $30 million budget.


title: Deliver Us from Evil (2014 film)

text: In The Bronx in 2013, veteran NYPD Special Operations Sergeant, Ralph Sarchie, and his partner, Butler, patrol the 46th Precinct. A domestic disturbance call comes in over the radio. Sarchie finds out that the male at the address is a former Marine.


title: Deliver Us from Evil (2014 film)

text: At the site of the complaint, Sarchie and Butler encounter the former Marine, Jimmy Tratner, whose wife has been badly beaten. They also notice deep scratches on the floor. Tratner flees. Sarchie catches up and makes the arrest. The officers assume that Jimmy is mentally ill or high on drugs.


title: Deliver Us from Evil (2014 film)

text: Sarchie and Butler are called to the Bronx Zoo after a woman has thrown her toddler into the moat surrounding the lion enclosure. They find the woman in the lemur pen. She is furiously scraping at the ground and rapidly recites the lyrics to "Break On Through (To the Other Side)". Sarchie notices a commercial painter inside the lion enclosure. He enters to interrogate the man, but is attacked by the lions and barely escapes.


title: Deliver Us from Evil (2014 film)

text: When the deranged woman, Jane Crenna, is transferred to a mental health facility, a Jesuit priest, Mendoza, arrives at the family's request. Another domestic disturbance call comes in; a family of three have been staying in the living room after a series of strange disturbances. There is one area of the house where light bulbs instantly burn out and candles will not remain lit. The family explains that there were two painters working the basement, where most of the disturbances occurred. In the basement, Sarchie discovers the decomposing body of one of the painters, David Griggs. At Griggs' decayed apartment, they find business cards for Alphonsus Painting company as well as a picture of Griggs with Jane Crenna and the child that she threw at the zoo. In another picture, Griggs is pictured in his Marine uniform with Jimmy and a third Marine, Mick Santino. They realize Santino must have been the painter at the zoo.


title: Deliver Us from Evil (2014 film)

text: Mendoza believes that Jane is possessed by demons. He explains that there is secondary evil created by humans and primary evil which comes from demons. Sarchie is skeptical, but when he reviews the surveillance footage, he hears strange noises and sees things that Butler does not. Sarchie returns to Jimmy Tratner's house and finds a wall that was being painted. He scrapes away the paint to find a pictograph of an owl. At Sarchie's home, his daughter is awakened by strange noises. Sarchie scrapes off the paint to find a bizarre mix of Latin and ancient pictographs. He finds hard drives with footage from Tratner's deployments and watches the footage from the palm grove in Diyala. In a cave, the soldiers found a carving of the same message that is on the wall in Tratner's home. Sarchie revisits the basement where he found Griggs' body, scrapes off the paint, and finds the message again. He reviews the zoo surveillance footage and sees the same message was being painted over by Santino in the lion enclosure. With Mendoza, he visits Jane Crenna in the hospital but she savagely bites his already wounded forearm.


title: Deliver Us from Evil (2014 film)

text: Mendoza decodes the message as a kind of bridge between Christian and pagan theology which would allow demons a door to the human world. He explains that certain people are more susceptible to such messages than others. He suggests that the voices and images Sarchie is seeing could be a result of his intuitive "radar", which means that he is also susceptible to the archaic message. Mendoza goes with Sarchie and Butler to an apartment building where they are attacked by Santino and Jimmy Tratner. Tratner is subdued by Mendoza's cross. Santino kills Butler.


title: Deliver Us from Evil (2014 film)

text: At Sarchie's home, his daughter sees her stuffed owl advance towards her bed. As she runs screaming, she sees Santino in the hallway. Sarchie arrives and Santino warns that he has abducted Sarchie's wife and daughter. Santino is brought to the precinct where Mendoza and Sarchie perform an exorcism on him. Sarchie's wife and daughter are located in an Alphonsus Painting van at a storage facility. The film ends with the baptism of the Sarchies' second child.


title: Deliver Us from Evil (2014 film)

text: On September 4, 2012, director Scott Derrickson signed on to direct a paranormal cop thriller film he co-wrote with Paul Harris Boardman, with Screen Gems producing. On November 12, Jerry Bruckheimer signed on to produce the film with his Jerry Bruckheimer Films production company, which had begun developing a treatment of the Sarchie book years earlier. David Ayer, Bryan Bertino and Bruce C. McKenna also worked on the screenplay before Bruckheimer went back to Derrickson. Screen Gems set a January 16, 2015, release date and announced it would start filming on May 20, in The Bronx, New York City. On November 13, 2013, Sony Pictures changed the release date from January 2015 to July 2, 2014. On December 7, the film was retitled from "Beware the Night" to "Deliver Us from Evil".


title: Deliver Us from Evil (2014 film)

text: The film features a completely original plot by Derrickson and co-writer Paul Harris Boardman, while it draws on certain passages of Sarchie's book. Mendoza's explanation of primary and secondary evil is culled from the book's preface. Many of the details from the scene where Sarchie and Butler encounter the family living in one room of a haunted house are taken directly from the first chapter of the book.


title: Deliver Us from Evil (2014 film)

text: Initially, Mark Wahlberg was set to star. On November 9, 2012 "The Wrap" posted that Eric Bana was in talks to join the film, playing the lead role as a New York cop. On April 9, 2013 Bana confirmed his role in the film as a Catholic cop, and Olivia Munn and Édgar Ramírez were set to co-star as the cop's wife and a priest respectively. On May 28, 2013 Joel McHale and Sean Harris also joined the film; McHale played Bana's partner, a tough and experienced cop. Dorian Missick joined cast on June 5 to play the role of the cop Gordon. Other cast members include Chris Coy, Rhona Fox, and Valentina Rendón.


title: Deliver Us from Evil (2014 film)

text: Principal photography began on June 3, 2013 in New York City. After wrapping up filming in New York in the end of July, production moved to Abu Dhabi at the start of August 2013. Production filmed scenes at the Liwa Oasis desert in Abu Dhabi. According to Empire State Development Corporation, "Deliver Us from Evil" spent more than $19 million in New York state over the course of its 34-day shoot in New York City and on Long Island. The production paid $7 million to New York residents, hiring some 700 cast and crew as well as more than 400 extras.


title: Deliver Us from Evil (2014 film)

text: On December 23, 2013, the first photo from the film was released. The film's first trailer was released on YouTube on March 7, 2014, followed by another international trailer on April 10. On May 14 another trailer was released.


title: Deliver Us from Evil (2014 film)

text: The film holds an approval rating of 29% on Rotten Tomatoes based on 122 reviews, with an average rating of 4.7/10. The critical consensus states: "Director Scott Derrickson continues to have a reliably firm grasp on creepy atmosphere, but "Deliver Us from Evil"s lack of original scares is reflected in its shopworn title." On Metacritic, the film has a weighted average score of 40 out of 100 based on 32 critics, indicating "mixed or average reviews".


title: Deliver Us from Evil (2014 film)

text: Writing for "Variety", Andrew Barker's review called it "a professionally assembled genre mashup that's too silly to be scary, and a bit too dull to be a midnight-movie guilty pleasure". Critic Peter Keough of "The Boston Globe" wrote that the film is atmospheric but "the story soon devolves into variations of many movies we have seen before". Bilge Ebiri of "New York Magazine" called it "a thoroughly generic exorcism film" and concluded, "There are some half-decent scares... But the film's real problem is that it's somehow both one-note and convoluted." Ben Sachs wrote in "The Chicago Reader" that Derrickson "demonstrates a knack for atmosphere but little sense of pacing". Of the film's atmosphere, Sachs wrote that "some sequences are effectively spooky" but "just as many feel uninspired". Moira Macdonald of "The Seattle Times" described it as "a pretty routine and occasionally silly demonic-possession flick, which distinguishes itself by making us wait so long for the exorcism that heads may be spinning in the audience as well". Macdonald added, "Some of it's shivery, but a lot of it is familiar from similar movies." Rafer Guzman of "Newsday" wrote, "Thanks to a fine cast, solid direction by Scott Derrickson and an idiosyncratic soundtrack by The Doors, the movie's mandatory cliches – Latin invocations, gurgling demons – are far more tolerable than usual." Bill Stamets in "The Chicago Sun Times" stated, "Director Scott Derrickson and his co-writer, Paul Harris Boardman, deliver a routine procedural with unremarkable frights".


title: Deliver Us from Evil (2014 film)

text: "Deliver Us from Evil" did well at the box office. It had earned $2.8 million on its opening day. In its opening weekend, the film earned $9.5 million ranking at number four at the box office in the United States, behind the box office champion, "".


title: Wembley Stadium (1923)

text: The original Wembley Stadium (; originally known as the Empire Stadium) was a stadium in Wembley, London, best known for hosting important football matches. It stood on the same site now occupied by its successor.


title: Wembley Stadium (1923)

text: Wembley hosted the FA Cup final annually, the first in 1923, which was its inaugural event, the League Cup final annually, five European Cup finals, the 1966 World Cup Final, and the final of Euro 1996. Brazilian footballer Pelé once said of the stadium: "Wembley is the cathedral of football. It is the capital of football and it is the heart of football", in recognition of its status as the world's best-known football stadium.


title: Wembley Stadium (1923)

text: The stadium also hosted many other sports events, including the 1948 Summer Olympics, rugby league's Challenge Cup final, and the 1992 and 1995 Rugby League World Cup Finals. It was also the venue for numerous music events, including the 1985 Live Aid charity concert. In what was the first major WWF (now WWE) pay-per-view to take place outside North America, it hosted the 1992 SummerSlam.


title: Wembley Stadium (1923)

text: The stadium's first turf was cut by King George V, and it was first opened to the public on 28 April 1923. Much of Humphry Repton's original Wembley Park landscape was transformed in 1922–23 during preparations for the British Empire Exhibition of 1924–25. First known as the "British Empire Exhibition Stadium" or simply "Empire Stadium", it was built by Sir Robert McAlpine for the British Empire Exhibition of 1924 (extended to 1925).


title: Wembley Stadium (1923)

text: The stadium cost £750,000 (equivalent to approximately £46 million in 2020) and was constructed on the site of an earlier folly called Watkin's Tower. The architects were Sir John Simpson and Maxwell Ayrton and the head engineer Sir Owen Williams. It was originally intended to demolish the stadium at the end of the Exhibition, but it was saved at the suggestion of Sir James Stevenson, a Scot who was chairman of the organising committee for the Empire Exhibition. The ground had been used for football as early as the 1880s.


title: Wembley Stadium (1923)

text: At the end of the exhibition, which proved to be a financial disappointment, the site at Wembley was considered by many to be a vast 'white elephant'. It was bought by a property speculator, James White, who planned to sell off the buildings for redevelopment, including the stadium which had been the centrepiece of the exhibition. Arthur Elvin, an ex-RFC officer who had worked in a tobacco kiosk at the exhibition and had previous experience working for a scrap metal firm, was employed by White to oversee the selling off of the buildings and the clearance of the Wembley site.


title: Wembley Stadium (1923)

text: The stadium had gone into liquidation after it was pronounced "financially unviable". After nine months, having earned a good sum from selling various buildings on the site, Elvin agreed to buy the stadium from White for a total of £127,000, using a £12,000 downpayment and the balance plus interest payable over ten years.


title: Wembley Stadium (1923)

text: The electric scoreboard and the all-encircling roof, made from aluminium and translucent glass, were added in 1963.


title: Wembley Stadium (1923)

text: The stadium's distinctive Twin Towers became its trademark and nickname. Also well known were the 39 steps needed to be climbed to reach the Royal box and collect a trophy (and winners'/losers' medals). In 1934, the Empire Pool was built nearby. The "Wembley Stadium Collection" is held by the National Football Museum. The stadium closed in October 2000 and demolition commenced in December 2002, completing in 2003 for redevelopment. The top of one of the twin towers was erected as a memorial in the park on the north side of Overton Close in the Saint Raphael's Estate.


title: Wembley Stadium (1923)

text: Wembley is best known for hosting football matches, having hosted the FA Cup Final annually as well as numerous England International fixtures.


title: Wembley Stadium (1923)

text: The Empire Stadium was built in exactly 300 days at the cost of £750,000. Described as the world's greatest sporting arena, it was ready only four days before the "White Horse" Final in 1923. The FA had not considered admission by ticket, grossly underestimating the number of fans who arrived at the 104 gates on match day. However, after the match, every event, apart from the 1982 replay, was ticketed.


title: Wembley Stadium (1923)

text: The first event held at the stadium was the 1923 FA Cup Final on 28 April between Bolton Wanderers and West Ham United. This is known as the White Horse Final. Such was the eagerness of fans and casual observers to attend the final at the new national stadium that vast numbers of people crammed through the 104 turnstiles into the stadium, far exceeding its official 127,000 capacity. The crowds overflowed onto the pitch as there was no room on the terraces. Estimates of the number of fans in attendance range from 240,000 to well over 300,000.


title: Wembley Stadium (1923)

text: It was thought that the match would not be played because of the number of spectators inside the stadium that had spilled onto the pitch. That was until mounted police, including Police Constable George Scorey and his white horse, "Billy", slowly pushed the crowds back to the sides of the field of play for the FA Cup Final to start, just 45 minutes late. In honour of Billy, the footbridge outside the new Wembley Stadium has been named the White Horse Bridge. The official attendance is often quoted as 126,047. The match was a 2–0 victory for Bolton Wanderers, with David Jack scoring the first ever goal at Wembley.


title: Wembley Stadium (1923)

text: The 1953 FA Cup Final between Blackpool and Bolton Wanderers was dubbed the "Matthews Final" after Blackpool's winger Stanley Matthews. At age 38, he was making his third and ultimately his final attempt at winning an FA Cup medal. In the previous six years, he failed to earn a winner's medal against Manchester United in 1948 and Newcastle United in 1951. It featured a hat-trick by Blackpool's Stan Mortensen in his side's 4–3 win, with Matthews almost single-handedly turning the match around for Blackpool, who had trailed 3–1 to Bolton Wanderers before fighting back to win the match. It remained the only hat-trick ever scored in an FA Cup Final at the original Wembley.


title: Wembley Stadium (1923)

text: The FA Cup final was played there in April or May until 2000 (excluding the 1970 replay when Chelsea beat Leeds United at Old Trafford). It was also the venue for finals of the FA Amateur Cup, League Cup (except for the early years when this was settled on a home and away basis) and in later years the Associate Members' Cup and the Football League promotion play-off finals (in the early years of play-offs they were home and away fixtures). The 1988 final of the Middlesex Charity Cup was also played there.


title: Wembley Stadium (1923)

text: Prior to the 1923 Wembley stadium, international football games had been played by England at various stadia. Most early internationals (including the first ever international football match (1870)) were played at The Oval, which opened in 1845 as the home ground of Surrey County Cricket Club and would in 1880 host the first Test match played in England. For the first 27 years, the only International England games played at Wembley were fixtures against Scotland, with other games played elsewhere until 1951. The first team other than Scotland to face England at the venue was Argentina. In 1956 and 1971, it was the venue of the home matches of the Great Britain national football team for the qualification matches to the Summer Olympic Games against Bulgaria.


title: Wembley Stadium (1923)

text: In 1966, it was the leading venue of the FIFA World Cup. It hosted nine matches, including the final, where tournament hosts England won 4–2 after extra time against West Germany. Seven years later, Wembley was the venue for a specially arranged friendly between teams called "The Three" and "The Six" to celebrate the United Kingdom joining the European Economic Community. The match finished 2–0 to "The Three".


title: Wembley Stadium (1923)

text: In 1996, it was the principal venue of UEFA Euro 1996, hosting all of England's matches, as well as the tournament's final, where Germany won the UEFA European Championship for a third time after defeating the Czech Republic 2–1 with the first international golden goal in football history. Germany had earlier defeated England on penalties in the semi-final after a 1–1 draw, with Gareth Southgate missing a penalty for England in the shoot-out.


title: Wembley Stadium (1923)

text: England's final two competitive matches played at the stadium resulted in 0–1 defeats for England to Scotland and Germany respectively. The first defeat was in the play off for the Euro 2000 qualifiers in November 1999, but England still went through as they won the other leg 2–0 at Hampden Park. However, the final match at Wembley was the opening qualifier for the 2002 World Cup, and defeat prompted the resignation of England manager Kevin Keegan at the end of the match after just 18 months in charge.


title: Wembley Stadium (1923)

text: In all, the stadium hosted five European Cup finals, unbeaten record in the continent's top football tournament until the inauguration of the new basin of the same name, which took place in 2007. The first two were 1963 final between Milan and Benfica, and the 1968 final between Manchester United and Benfica. In 1971, it again hosted the final, between Ajax and Panathinaikos, and once more in 1978, this time between Liverpool and Club Brugge, another in 1992, when Barcelona played Sampdoria.


title: Wembley Stadium (1923)

text: Wembley has also hosted two European Cup Winners' Cup finals: in 1965, when West Ham United defeated 1860 Munich, and in 1993, when Parma defeated Royal Antwerp.


title: Wembley Stadium (1923)

text: It was also the venue for Arsenal's home Champions League matches in 1998–99 and 1999–2000. It has hosted an individual club's home matches on two other occasions, in 1930, when Leyton Orient played two home Third Division South matches while their Lea Bridge Stadium was undergoing urgent remedial works; and in 1930–31 for eight matches by non-League Ealing A.F.C. It was also to be the home of the amateur club which made several applications to join the Football League, the Argonauts.


title: Wembley Stadium (1923)

text: In March 1998, Arsenal made a bid to purchase Wembley in hope of gaining a larger stadium to replace their Highbury ground, which had a capacity of less than 40,000 and was unsuitable for expansion. However, the bid was later abandoned in favour of building the 60,000 capacity Emirates Stadium, which was opened in 2006.


title: Wembley Stadium (1923)

text: On 20 May 2000, the last FA Cup final to be played at the old Wembley saw Chelsea defeat Aston Villa with the only goal scored by Roberto Di Matteo. The final competitive club match there was the 2000 First Division play-off final on 29 May, between Ipswich Town and Barnsley, a 4–2 win resulting in promotion to the Premier League for Ipswich.


title: Wembley Stadium (1923)

text: The last club match of all was the 2000 Charity Shield, in which Chelsea defeated Manchester United 2–0. The last international match was on 7 October, in Kevin Keegan's last game as England manager. England were defeated 0–1 by Germany, with Dietmar Hamann scoring the last goal at the original Wembley.


title: Wembley Stadium (1923)

text: On that day, Tony Adams made his 60th Wembley appearance, a record for any player. Adams also claimed England's final goal at the stadium, having scored in the previous home fixture against Ukraine on 31 May.


title: Wembley Stadium (1923)

text: In the sport of rugby league, the RFL held its Challenge Cup Final at Wembley from 1929 onwards. The stadium was also regularly used by the sport for major international matches, such as Great Britain versus Australia. In 1949 the France national rugby league team became the first French national team of any sport to win at Wembley. The largest crowd for a Challenge Cup Final at Wembley was set in 1985 when Wigan beat Hull F.C. 28–24 in front of 99,801 spectators, which as of 2017 remains the second highest rugby league attendance in England behind only the 1954 Challenge Cup Final replay at Bradford's Odsal Stadium when a then world record attendance of 102,575 saw Warrington defeat Halifax 8–4 (the original 1954 cup final at Wembley, drawn 4–4, was played in front of 81,841 fans).


title: Wembley Stadium (1923)

text: The stadium set the international record crowd for a rugby league game when 73,631 turned out for the 1992 Rugby League World Cup Final between Great Britain and Australia (since beaten by the 74,468 attendance for the 2013 RLWC Final at Old Trafford). The Mal Meninga-led Australian team won the game 10–6 on the back of a Steve Renouf try in the north-east corner and Meninga's goal kicking. The 1995 World Cup Final between England and Australia was also played at Wembley with 66,540 spectators watching Australia win 16–8. The final of the 1999 Challenge Cup was the last to be played at the stadium and was attended by 73,242 fans, with the annual fixture moving to other grounds (Murrayfield Stadium, Millennium Stadium and Twickenham) before returning to the new Wembley upon its completion in 2007.


title: Wembley Stadium (1923)

text: Wembley was the main venue for the 1948 Summer Olympics, with Fanny Blankers-Koen and Emil Zátopek among the notable winners in athletics. The Stadium also hosted the semifinals and finals of the Olympic hockey and football tournaments, the Prix des Nations event in the equestrian competition, and a demonstration match of lacrosse.


title: Wembley Stadium (1923)

text: Motorcycle speedway first took place at Wembley in 1929, and operated until the outbreak of World War II in 1939, a few days before the 1939 World Championship Final was due to be held, but it was cancelled as a result of the war. The Wembley Lions returned in 1946 and operated in the top flight until the end of the 1956 season winning a number of League titles. A short lived revival saw the Lions in the British League in the 1970 and 1971 seasons. Lionel Van Praag (1936), Tommy Price (1949), and Freddie Williams (1950 and 1953), all won World Championships whilst riding for Wembley. The ashes for the speedway track were supplied by Richard Biffa Ltd who's operating base at the time was in Wembley Hill Road. Richard Biffa later became Biffa Waste Services. The Lions were formed by the Wembley Stadium chairman Sir Arthur Elvin.


title: Wembley Stadium (1923)

text: Between 1936 and 1960 Wembley hosted all of the first 15 finals of the Speedway World Championship. It hosted another nine World Finals before the last one at Wembley took place in 1981 in front of 92,500 fans, just shy of the venue's record speedway attendance of 95,000 set at the 1938 World Final.


title: Wembley Stadium (1923)

text: Riders who won the World Championship at Wembley include; inaugural champion Lionel Van Praag (Australia), Jack Milne (United States), Bluey Wilkinson (Australia), Tommy Price (England), Freddie Williams (Wales), Jack Young (Australia – the first two-time winner, first back-to-back winner and the first second division rider to win the title), Ronnie Moore (New Zealand), Ove Fundin (Sweden), Barry Briggs (New Zealand), Peter Craven (England), Björn Knutsson (Sweden), Ole Olsen (Denmark), Bruce Penhall (United States – the winner of the 1981 World Final), and legendary New Zealand rider Ivan Mauger. With four wins, Sweden's Ove Fundin won the most World Championships at Wembley, winning in 1956, 1960, 1963 and 1967.


title: Wembley Stadium (1923)

text: Wembley also hosted the Final of the Speedway World Team Cup in 1968, 1970 and 1973 won by Great Britain (1968 and 1973) and Sweden (1970).


title: Wembley Stadium (1923)

text: The speedway track at Wembley Stadium was in length and was notoriously difficult to ride for those not used to it. Despite regularly being used for World Championship and other British championship meetings, Wembley long had a reputation as a track that was difficult to pass on which often led to processional racing. Among those who never performed well there despite their credentials include 1973 World Champion Jerzy Szczakiel (who won his title at home in Poland and two weeks later under difficult circumstances failed to score in the World Team Cup Final at Wembley), while others such as Ivan Mauger and Ole Olsen often seemed to find their best form at the stadium. The track itself was located inside of the greyhound racing track, but intersected the stadium's playing field at the corners. The pits were located in the tunnel at the eastern end of the stadium.


title: Wembley Stadium (1923)

text: The track record at Wembley will forever be held by Denmark's World Champion of 1984, 1985 & 1988 Erik Gundersen. In Heat 6 of the 1981 World Final, Gundersen set the 4-lap record (clutch start) of 66.8 seconds. As this was the last time the stadium was used for speedway racing, it remains the track record.


title: Wembley Stadium (1923)

text: Two meetings were held at Wembley in 1974 promoted by Trevor Redmond. The first meeting held featured BriSCA Formula 1 Stock Cars and National Hot Rods. The second meeting featured the BriSCA Formula 2 Stock Cars World Final with F1's in support. Before the first meeting the Wembley groundsman threatened to resign over possible damage to the hallowed turf. The pitch was surrounded by wooden beams and little damage was caused.


title: Wembley Stadium (1923)

text: Though the venue was not traditionally a regular host of rugby union matches, England played a friendly against Canada on 17 October 1992, as their regular home stadium at Twickenham was undergoing redevelopment. Wales played their Five Nations and autumn international home matches at Wembley (as Twickenham Stadium would not accommodate them) while Cardiff Arms Park was being rebuilt as the Millennium Stadium in the late 1990s (a deal reciprocated for FA Cups during the construction of the new Wembley Stadium). In total there were seven internationals.


title: Wembley Stadium (1923)

text: Wembley was a regular venue for greyhound racing. It was the first sport Sir Arthur Elvin introduced to the stadium. The opening meeting was in 1927. The greyhound racing provided the stadium with its main source of regular income, especially in the early decades, and continued to attract crowds of several thousand up until the early 1960s. The stadium staged its last greyhound race meeting in December 1998 with the owners, the Greyhound Racing Association, citing economic reasons and the lack of plans for a greyhound track in the stadium's redevelopment.


title: Wembley Stadium (1923)

text: Two of the biggest events in the greyhound racing calendar were the St Leger and Trafalgar Cup. Both were originally held at Wembley, the St Leger from 1928 until 1998 after which it moved to Wimbledon Stadium and the Trafalgar Cup from 1929 until 1998 after which it moved to Oxford Stadium. In 1931 the famous greyhound Mick the Miller won the St Leger.


title: Wembley Stadium (1923)

text: Wembley's owners' refusal to cancel the regular greyhound racing meant that the match between Uruguay and France in the 1966 FIFA World Cup was played at White City.


title: Wembley Stadium (1923)

text: The National Football League (NFL) held nine preseason American football games at Wembley between 1983 and 1993. The Minnesota Vikings and the St. Louis Cardinals played the first game on 6 August 1983. The Detroit Lions and the Dallas Cowboys played the last game on 8 August 1993. The United States Football League also played an exhibition game there on 21 July 1984 between the Philadelphia Stars and Tampa Bay Bandits. The London Monarchs of the World League of American Football played at the venue in 1991 and 1992. Wembley hosted World Bowl '91 the inaugural World Bowl where the Monarchs defeated the Barcelona Dragons 21–0.


title: Wembley Stadium (1923)

text: From 1958 until the mid-1970s, hurling and gaelic football tournaments known as the "Wembley Tournaments" were held at Wembley Stadium to bring the Irish sports to expatriates in Britain at the time. Several Gaelic football games were played in Wembley Stadium, most of them exhibition matches, most notably Kerry and Down in 1961.


title: Wembley Stadium (1923)

text: In April 1970 this show jumping event was held at Wembley Stadium. This left the grass turf in poor condition for the FA Cup Final a week later.


title: Wembley Stadium (1923)

text: The stadium also staged women's field hockey matches in which England appeared in their annual match between 1951 and 1969 and then from 1971 to 1991.


title: Wembley Stadium (1923)

text: On 18 June 1963, Wembley hosted a heavyweight boxing match between London native boxer Henry Cooper and American rising star Muhammad Ali in front of 35,000 spectators.


title: Wembley Stadium (1923)

text: On 26 May 1975, in front of 90,000 people, Evel Knievel crashed while trying to land a jump over 13 single decker city buses, an accident which resulted in his initial retirement from his daredevil life.


title: Wembley Stadium (1923)

text: In 1992, the World Wrestling Federation (now known as WWE) drew a sellout of 80,355 when SummerSlam was hosted at Wembley Stadium. In the main event English wrestler Davey Boy Smith won the Intercontinental Championship from Bret Hart. As of April 2016, the WWE considers this to be their fourth largest live gate in history behind only WrestleMania 32 (2016) which drew a reported 101,763, WrestleMania III (1987) which drew a reported 93,173 and WrestleMania 29 (2013) which drew 80,676 fans.


title: Wembley Stadium (1923)

text: The stadium became a musical venue in August 1972 with The London Rock and Roll Show, an all star concert. It later played host to a number of concerts and events, most notably the British leg of Live Aid, which featured such acts as David Bowie, Queen, Paul McCartney, Elton John, The Who, Dire Straits and U2, held at the stadium on 13 July 1985. Phil Collins performed at Wembley, then boarded a helicopter to London Heathrow Airport and took a British Airways Concorde to Philadelphia, Pennsylvania, to perform at the American segment of Live Aid at JFK Stadium on the same day.


title: Wembley Stadium (1923)

text: Other charity concerts which took place in the stadium were the Human Rights Now! concert, The Nelson Mandela 70th Birthday Tribute Concert, , The Freddie Mercury Tribute Concert for AIDS Awareness and the NetAid charity concert.


title: Wembley Stadium (1923)

text: Cecil Freeman Gregg's crime novel "Tragedy at Wembley" (Methuen, 1936) sees his detective character Inspector Cuthbert Higgins investigate a murder at the stadium.


title: Wembley Stadium (1923)

text: The 1948 Olympic Marathon and the 1923 Stadium feature in the South Korean war film "My Way" (2011), though the marathon is clearly filmed in Riga, rather than London, and the stadium standing in for Wembley has an anachronistic electronic scoreboard.


title: Wembley Stadium (1923)

text: In the 2018 Queen biopic "Bohemian Rhapsody" the stadium was digitally recreated for the Live Aid scene.


title: Wembley Stadium (1923)

text: John Betjeman is shown standing in the Stadium in his 1973 BBC film "Metroland", though, as John Bale has pointed out in "Anti-Sport Sentiments in Literature: Batting for the Opposition" (Routledge, 2007), he shows no real interest in Wembley's sporting connections, either here or elsewhere.


title: Wembley Stadium (1923)

text: In Nigel Kneale's 1979 "Quatermass", in which ancient stone circles turn out to be locations designed by aliens to harvest young humans, the Stadium is said to have been built on the site of a stone circle ("the Sacred Turf they call it", says Professor Quatermass, "I wonder what's underneath?")


title: Wembley Stadium (1923)

text: There is a persistent myth that a small locomotive met with a mishap when Watkin's Folly was being demolished, or the Empire Stadium built, and was buried under what became the "sacred turf" (though in some versions it is a carriage filled with rubble). When the stadium was rebuilt no locomotive or carriage (or stone circle...) was found, though the foundations of Watkin's tower were.


title: Are You Experienced

text: Are You Experienced is the debut studio album by the Jimi Hendrix Experience. Released in 1967, the LP was an immediate critical and commercial success, and it is widely regarded as one of the greatest albums of all time. The album features Jimi Hendrix's innovative approach to songwriting and electric guitar playing which soon established a new direction in psychedelic and hard rock music.


title: Are You Experienced

text: After struggling to earn a living on the R&B circuit as a backing guitarist, Hendrix signed a management and production contract in 1966 with former Animals member Chas Chandler and ex-Animals manager Michael Jeffery. Chandler brought Hendrix to London and recruited members for the Jimi Hendrix Experience, a band designed to showcase the guitarist's talents. In late October, after having been rejected by Decca Records, the Experience signed with Track, a new label formed by the Who's managers Kit Lambert and Chris Stamp. "Are You Experienced" and its preceding singles were recorded over a five-month period from late October 1966 through early April 1967. The album was completed in 16 recording sessions at three London locations, including De Lane Lea Studios, CBS Studios, and Olympic Studios.


title: Are You Experienced

text: Released in the UK on May 12, 1967, "Are You Experienced" spent 33 weeks on the charts, peaking at number two. The album was issued in the US on August 23 by Reprise Records, where it reached number five on the US "Billboard" Top LPs, remaining on the chart for 106 weeks, 27 of those in the Top 40. The album also spent 70 weeks on the US "Billboard" Hot R&B LPs chart, where it peaked at number 10. The US version contained some of Hendrix's best known songs, including the Experience's first three singles, which, though omitted from the British edition of the LP, were top ten hits in the UK: "Purple Haze", "Hey Joe", and "The Wind Cries Mary". Hendrix was unhappy with the cover artwork for the UK edition, and solicited photographer Karl Ferris to create a more "psychedelic" cover for the US release.


title: Are You Experienced

text: In 2000, it was voted number 63 in Colin Larkin's "All Time Top 1000 Albums". "Rolling Stone" ranked "Are You Experienced" 30th on its 2020 list of the 500 Greatest Albums of All Time. In 2010, the magazine placed four songs from the US version of the album on their list of the 500 Greatest Songs of All Time: "Purple Haze" (17), "Foxy Lady" (153), "Hey Joe" (201), and "The Wind Cries Mary" (379). In 2005, the record was one of 50 recordings chosen by the Library of Congress in recognition of its cultural significance to be added to the National Recording Registry. Writer and archivist Reuben Jackson of the Smithsonian Institution wrote: "it's still a landmark recording because it is of the rock, R&B, blues ... musical tradition. It altered the syntax of the music ... in a way I compare to James Joyce's "Ulysses"."


title: Are You Experienced

text: By May 1966, Jimi Hendrix was struggling to earn a living playing the R&B circuit as a back-up guitarist. During a performance at one of New York City's most popular nightspots, the Cheetah Club, he was noticed by Linda Keith, the girlfriend of Rolling Stones guitarist Keith Richards. Shortly after, Hendrix relocated to the city's Greenwich Village and began a residency at the Cafe Wha? fronting his own band, Jimmy James and the Blue Flames. Keith recommended Hendrix to Stones manager Andrew Loog Oldham and producer Seymour Stein. They failed to see Hendrix's musical potential, and rejected him. She then referred him to Chas Chandler, who was leaving the Animals and interested in managing and producing artists. Chandler liked the Billy Roberts song "Hey Joe", and was convinced he could create a hit single with the right artist. Impressed with Hendrix's live version of the song with his band, he brought him to London on September 24, 1966, and signed him to a management and production contract with himself and ex-Animals manager Michael Jeffery.


title: Are You Experienced

text: Immediately following Hendrix's arrival in London, Chandler began recruiting members for a band, the Jimi Hendrix Experience, designed to showcase the guitarist's talents. Hendrix met the guitarist Noel Redding at an audition for the New Animals, where Redding's knowledge of blues progressions impressed Hendrix. Chandler asked Redding if he wanted to play bass guitar in Hendrix's band; Redding agreed. Chandler then began looking for a drummer and soon after, he contacted Mitch Mitchell through a mutual friend. Mitchell, who had recently been fired from Georgie Fame and the Blue Flames, participated in a rehearsal with Redding and Hendrix where they bonded over their shared interest in rhythm and blues. When Chandler phoned Mitchell later that day to offer him the position, he readily accepted. In late October, after having been rejected by Decca Records, the Experience signed with Track, a new label formed by the Who's managers Kit Lambert and Chris Stamp.


title: Are You Experienced

text: "Are You Experienced" and its preceding singles were recorded over a five-month period from October 23, 1966 to April 4, 1967. The album was completed in 16 recording sessions at three London locations, including De Lane Lea Studios, CBS, and Olympic. Chandler booked many of the sessions at Olympic because the facility was acoustically superior and equipped with most of the latest technology, though it was still using four-track recorders, whereas American studios were using eight-track.


title: Are You Experienced

text: Chandler's budget was limited, so in an effort to reduce expenditures he and Hendrix completed much of the album's pre-production work at their shared apartment. From the start, Chandler intentionally minimized the creative input of Mitchell and Redding. He later explained: "I wasn't concerned that Mitch or Noel might feel that they weren't having enough—or any—say ... I had been touring and recording in a band for years, and I'd seen everything end as a compromise. Nobody ended up doing what they really wanted to do. I was not going to let that happen with Jimi." When the Experience began studio rehearsals, Hendrix already had the chord sequences and tempos worked out for Mitchell, and Chandler would direct Redding's bass parts.


title: Are You Experienced

text: Chandler and the Experience found time to record between performances in Europe. They began on October 23, recording "Hey Joe" at De Lane Lea Studios, with Chandler as producer and Dave Siddle as engineer. The song featured backing vocals by the Breakaways. Soon after the session began, Chandler asked Hendrix to turn his guitar amplifier down, and an argument ensued. Chandler commented: "Jimi threw a tantrum because I wouldn't let him play guitar loud enough ... He was playing a Marshall twin stack, and it was so loud in the studio that we were picking up various rattles and noises." According to Chandler, Hendrix then threatened to leave England, stating: "If I can't play as loud as I want, I might as well go back to New York." Chandler, who had Hendrix's immigration papers and passport in his back pocket, laid the documents on the mixing console and told Hendrix to "piss off". Hendrix laughed and said: "All right, you called my bluff", and they got back to work. Redding wrote in his diary that they completed two songs during the October 23 session, but the second one has never been positively identified. Author Sean Egan speculated that it might have been Howlin' Wolf's "Killing Floor" or Wilson Pickett's "Land of a Thousand Dances". Chandler decided that they should use an Experience original for the B-side of the single, so he encouraged Hendrix to start writing; he composed his first Experience song, "Stone Free", the following day. Chandler, in an effort to minimize studio expenses, purchased rehearsal time at the Aberbach House in London. He abandoned this practice after realizing how quickly the group could learn songs while warming up in the studio. On November 2, 1966, the Experience returned to De Lane Lea to continue work on their first single. During the session, they recorded "Stone Free" and a demo version of "Can You See Me". This marked the first time that the Experience recorded a song that was eventually included on the original UK release of the album.


title: Are You Experienced

text: Chandler had been dissatisfied with the sound quality at De Lane Lea, so he took the advice of Kit Lambert and booked time at CBS Studios. On December 13, 1966, after taking a five-week break from recording while they performed in Europe, the Experience reconvened at CBS. Assisted by engineer Mike Ross, the band were especially productive during the session, recording instrumentation and vocals for "Foxy Lady" and basic instrumental tracks for "Love or Confusion", "Can You See Me", and "Third Stone from the Sun". Ross recalled the impact of Hendrix's Marshall stacks: "It was so loud you couldn't stand in the studio ... I'd never heard anything like it in my life." When Ross asked Hendrix where he would like the microphone placed Hendrix replied: "Oh, man, just put a mic about twelve feet away on the other side of the studio. It'll sound great." Ross agreed, and with a Neumann condenser mic he recorded Hendrix's guitar playing in a large room that, according to Ross, "was absolutely vital to the uniquely powerful Experience sound." Ross noted that input from Mitchell and Redding was minimized, and he asserted that Chandler was clearly "the one in charge" of the sessions. The band played together live at CBS; the lead and backup vocals were overdubbed. Despite his dwindling finances, Chandler encouraged the Experience to record numerous takes of a song, affording them the luxury of repeated attempts at a satisfactory recording. With a live instrument track as the foundation of the recordings, they eschewed the common practice of piecing together parts of several takes to make one continuous piece. After the December 13 recording session, the band made their television debut, on Britain's "Ready Steady Go!"


title: Are You Experienced

text: On December 15, 1966, finishing touches were made on the four rhythm tracks that were recorded the previous session. Although Chandler enjoyed working at CBS and he appreciated the high quality of the recordings they made there, he ended his professional connection with the studio after a disagreement between him and owner Jake Levy over his failure to make payment. Chandler had planned to pay Levy for the sessions after the album was completed, but Levy demanded payment upfront. Chandler viewed this as an unreasonable expectation, and he vowed that he would never again do business with CBS. The fifth and final song recorded there was "Red House". As stereophonic sound was not yet popular among music fans, these recordings were all monaural mixes; Ross explained: "back then ... mono was "king". All the effort went into the mono." He estimated that they spent no more than 30 minutes mixing any one track.


title: Are You Experienced

text: The first Experience single, with "Hey Joe" as the A-side and "Stone Free" as the B-side, was released in the UK on December 16, 1966. Track Records was not yet operational, so their distributor, Polydor Records, issued the single with their logo. It reached number six on the UK chart in early 1967. On December 21, 1966, Chandler and the Experience returned to De Lane Lea with Dave Siddle as engineer. They recorded two alternate versions of "Red House" and began work on "Remember"; both tracks were significantly re-worked in April 1967 at Olympic Studios.


title: Are You Experienced

text: After a three-week break from recording while they played gigs in England, including a December 29 appearance on "Top of the Pops", the Experience reconvened at De Lane Lea on January 11, 1967. As "Hey Joe" was gaining chart momentum in the UK, they began working on their second single, which featured Hendrix's second songwriting effort, "Purple Haze", as its A-side. The track presented a more complex arrangement than the band's previous recordings, and required four hours of studio time to complete, which Chandler considered extravagant. The session was the first time that he and the group had experimented with guitar effects. Acoustic engineer Roger Mayer introduced Hendrix to the Octavia, an octave-doubling effect pedal, in December 1966, and he first recorded with the effect during the guitar solo of "Purple Haze". When Track Records sent the master tapes for "Purple Haze" to Reprise for remastering, they wrote on the tape box: "Deliberate distortion. Do not correct."


title: Are You Experienced

text: On January 11, 1967, the Experience worked on their third A-side, "The Wind Cries Mary", a song that marked their first use of overdubbing in lieu of retakes as a method of achieving a satisfactory track. Chandler explained: "There were five guitar overdubs all linking in together to sound like one guitar." The song, which Redding and Mitchell had not yet heard before that day, was completed during the session. Chandler had decided that they should discard the rough version of "Third Stone from the Sun" from December 13 and re-record the song; they completed a basic track for the piece, but were unable to achieve a finished master. The group managed to produce an acceptable live recording of the basic track for "Fire" after seven takes. Next, they attempted Hendrix's newly written ballad, "The Wind Cries Mary". Without the benefit of rehearsals, the band recorded the song in one take, to which Hendrix added several guitar overdubs; Chandler estimated that they spent approximately 20 minutes on the completed rhythm track. According to Chandler, by this time Redding and Mitchell had begun to complain about their limited input. Chandler explained that financial considerations influenced the creative dynamic: "[They] were sort of fighting the fact that they had no say during recording sessions ... they were starting to come up with suggestions, but ... We didn't need to be arguing with Noel for ten minutes and Mitch for five ... We just couldn't afford the time."


title: Are You Experienced

text: Between January 12 and February 2, 1967, the Experience took a break from recording while they played 20 dates in England, including a second appearance on "Top of the Pops", on January 18. Chandler was dissatisfied with the sound quality of the January 11 recordings and frustrated by the large number of noise complaints that they had received from people living and working near De Lane Lea. He explained: "There was a bank above the studio ... and it was at the time when computers were just coming in ... we would play so loud that it would foul up the computers upstairs." Brian Jones and Bill Wyman of the Rolling Stones encouraged Chandler to try Olympic Studios, which was considered the top independent London studio. Despite the growing chart success of their first single, Chandler's money problems persisted. Olympic required advance payment for studio time, but Polydor had not yet released any funds to Track for disbursement. When Chandler went to Polydor asking for relief they responded by guaranteeing him a line of credit at Olympic.


title: Are You Experienced

text: With his budget concerns alleviated, Chandler booked time at Olympic, where on February 3, 1967, he and the Experience met sound engineer Eddie Kramer. During Kramer's first session with the group, he deviated from the standard recording method that they had been using at CBS and De Lane Lea, which was to record bass and drums in mono on two tracks. He instead recorded Mitchell's drums on two tracks in stereo, leaving the remaining two tracks available for Redding's bass and rhythm guitar parts played by Hendrix. Kramer's unorthodox approach, which was inspired by Hendrix's complaints regarding the limitations of four-track recordings, captured the live sound of the band using all four available tracks. Kramer and Chandler then pre-mixed and reduced the first four tracks down to two, making two more tracks available for lead guitar overdubs and vocals. This method satisfied both Hendrix's perfectionism and Chandler's desire to reduce the number of takes required for a satisfactory rhythm track, thus minimizing their expenses. Another change instigated by Kramer was the use of a mixture of close and distant microphone placements when recording Hendrix's guitar parts whereas, during previous sessions, the microphones had been placed about twelve feet away from Hendrix's amplifiers. In addition to the usual choices, Kramer used Beyerdynamic M 160 ribbon microphones, which were typically not used to record loud music.


title: Are You Experienced

text: During the February 3, 1967, session at Olympic, the Experience improved the January 11 master tape of "Purple Haze" by re-recording the vocal and lead guitar parts, and adding another Octavia guitar overdub, which was sped-up and panned at the end of the song. The group reconvened at Olympic on February 7, continuing their work on "Purple Haze" by recording Hendrix's rhythm guitar and vocal parts, as well as Redding's background vocals. They spent time overdubbing ambient background sounds by playing tapes through a set of headphones that were held near a microphone, creating an echo effect as the headphones were moved closer; they completed a final mix of "Purple Haze" the following day. During the session, they worked on the De Lane Lea master tape of "Fire", replacing everything except Redding's bass line, which he double-tracked in an effort to accentuate the recording's lower frequencies. Kramer placed the second bass line on a dedicated track and blended Redding's original bass line with Mitchell's newly recorded drum part. They also recorded Mitchell and Redding's backing vocals. "Foxy Lady" was also reworked on February 8; Redding recorded a new bass line and Hendrix and Mitchell added overdubs to their existing parts. After recording backing vocals by Redding and lead vocals from Hendrix, Kramer prepared the song's final mix.


title: Are You Experienced

text: Hendrix was not as confident a singer as he was a guitarist, and because he strongly disliked anyone watching him sing he asked the engineers at Olympic to construct a privacy barrier between him and the control room. This created problems when the studio lights were low, and the engineers were unable to see him, making his visual cues and prompts difficult to communicate. As was the case at De Lane Lea, Hendrix's penchant for using multiple amplifiers at extreme volume drew criticism and complaints from the people living and working near to the studio. Olympic tape operator George Chkiantz recalled: "Sometimes, it got so loud we'd turn the [control booth] monitors off and there was really very little difference." Chkiantz noted that reactions to Hendrix's music were not always positive: "I seem to recall a lot of musicians, a lot of people, saying, 'I can't see what all the fuss is about myself', or 'I don't know how you listen to all that noise; I'd be scared to work with him' ... Chas was convinced that he was on to something. Not everyone was convinced that Chas was right." Another issue that complicated the sessions were the large number of female fans who would show up at the studio wanting to watch the Experience record. As a habit, Hendrix would indiscriminately tell people where they would be on any given day, which led to large groups of fans following him everywhere. Olympic employees were tasked with keeping them under control and at a safe distance so as to not unduly burden the recording process. Chkiantz commented: "It was extraordinary. I worked with the Stones. I worked with the Beatles. I worked with Led Zeppelin. I was not as jumpy; it was not as difficult as with Hendrix. It was something of an open house. Hendrix was not difficult at all, but I personally would have preferred not to have loads of girls lurking in the woodwork."


title: Are You Experienced

text: On February 20, 1967, the Experience continued working on "Are You Experienced", but scheduling conflicts at Olympic led Chandler to book time at De Lane Lea. During the session they recorded "I Don't Live Today", which featured a manual wah effect that predated the pedal unit. They managed to complete a working master by the end of the day, though Hendrix eventually recorded a new lead vocal at Olympic.


title: Are You Experienced

text: The Experience took a week break from recording while playing gigs in England, and returned to De Lane Lea on March 1, 1967, to attempt a studio recording of Bob Dylan's "Like a Rolling Stone". Although the song had long been a staple of the group's live show, they failed to achieve an acceptable basic track, owing mostly to Mitchell's inability to keep consistent time during the session.


title: Are You Experienced

text: The second Experience single, "Purple Haze"/"51st Anniversary", was released on March 1. It entered the UK singles chart on the 23rd, peaking at number three. During that month, the band took another long break from recording while they played gigs in Belgium, Germany, and the UK, including appearances on the UK television show "Dee Time" and the BBC radio show "Saturday Club". Scheduling conflicts at Olympic led Chandler to book a March 29 session at De Lane Lea. On this date the band worked on another newly written Hendrix composition, "Manic Depression"; they finished a rough mix by the end of the session that was later rejected in favor of a re-mix completed at Olympic. On April 3, the Experience returned to Olympic, adding overdubs and completing final mixes on several unfinished masters. During the eight-hour session, the band recorded three new songs, including "Highway Chile", "May This Be Love", and "Are You Experienced?". As the album's title track featured backwards rhythm guitar, bass, and drums, replication of the beat caused Mitchell some consternation when attempting the song live. Chandler completed final mixes for "I Don't Live Today", "Are You Experienced?", and "May This Be Love" before the end of a session that Kramer described as "very organized."


title: Are You Experienced

text: In an effort to free up space for Hendrix's lead vocals, further reduction mixing was completed for "Are You Experienced?" during a session at Olympic on April 4, 1967. With the title track complete, the Experience shifted their focus to the January 11 rough demo of "Third Stone from the Sun". Chandler decided that they should discard the original De Lane Lea tape and record a new version of the song. During the session, Kramer prepared a reduction mix of "Highway Chile", which made two tracks available for Hendrix's lead guitar and vocal overdubs. Though stereo and mono mixes were completed for the song, Chandler preferred the mono version, which he paired with "The Wind Cries Mary" for release as the group's third UK single. A reduction mix was prepared for "Love or Confusion", and Hendrix took advantage of the newly vacant tracks by adding lead guitar and vocals. A final mix was completed before the end of the session. On April 5, Chandler participated in a mastering session at Rye Muse Studios for "Highway Chile" and "The Wind Cries Mary", during which preparations were made so that Track could begin manufacturing records. On the 10th, he and the Experience returned to Olympic, spending the bulk of the session on editing dialogue segments for "Third Stone from the Sun", which were then slowed down and mixed into the song. Kramer concentrated his efforts on the song's complicated mix: "The song was like a watercolor painting ... each track was composed of four, fairly dense composite images."


title: Are You Experienced

text: After the April 10, 1967, recording session, the Experience spent the next two weeks playing shows and attending promotional appearances in England, including a spot on the BBC television program "Monday Monday" and BBC2's "Late Night Line-Up". Chandler, Hendrix, and Kramer completed the final mixing of "Are You Experienced" at Olympic by 3 a.m. on April 25. Chandler had agreed to audition the finished LP for Polydor's head of A&R, Horst Schmaltze, at 11 a.m., so after a few hours of sleep he prepared a suitable acetate demo and traveled to Polydor. Chandler recalled: "As Horst started to put the needle on the record, I broke out in a cold sweat, thinking ... when he hears this, he's going to order the men in white coats to take me away ... Horst played the first side through and didn't say a word. Then he turned the disk over and played the other side. I started thinking about how I was going to talk my way out of this. At the end of the second side, he just sat there. Finally, he said, 'This is brilliant. This is the greatest thing I've ever heard.'" Horst immediately became an ardent supporter of the album and the band, championing the marketing and distribution of their debut LP.


title: Are You Experienced

text: According to Hendrix biographer Harry Shapiro, the music on "Are You Experienced" incorporates a variety of music genres from rhythm and blues to free jazz; author Peter Doggett noted its "wide variety of styles", while journalist Chris Welch said "each track has a different personality". Musicologist Gilbert Chase asserted that the album "marked a high peak in hard rock", and music critic Jim DeRogatis characterized the LP and its preceding singles as "raw, focused psychedelic rock". A contemporary review published in "Newsweek" in October 1967 identified the influence of soul music on the Experience and the album. In 1989, "Hit Parader" magazine ranked it number 35 in a list of the top 100 heavy metal albums. In 2006, writer and archivist Reuben Jackson of the Smithsonian Institution wrote: "it's still a landmark recording because it is of the rock, R&B, blues ... musical tradition. It altered the syntax of the music ... in a way I compare to, say, James Joyce's "Ulysses"."


title: Are You Experienced

text: Included on the UK edition of "Are You Experienced" were two tracks that represented the music Hendrix had played in the US before the formation of the Experience: the blues track "Red House" and the rhythm and blues song "Remember". The album's psychedelic title track, which author Sean Egan described as impressionistic, featured the post-modern soundscapes of backwards guitar and drums that pre-date scratching by 10 years. Musicologist Ritchie Unterberger considers the lyrics to "I Don't Live Today" to be more at home in a gothic rock setting than in psychedelia, however; he describes the music as being "played and sung with an ebullience that belies the darkness of the lyrics." The song's tribal rhythms served as a platform for Hendrix's innovative guitar feedback improvisations. Whereas "Fire" is a funk and soul hybrid driven by Mitchell's drumming, "May This Be Love" and "The Wind Cries Mary" are soft ballads that demonstrate Hendrix's ability to write thoughtful lyrics and subtle melodies. The influence of raga rock can be heard in his sitar-like guitar solo on "Love or Confusion". "Can You See Me" is an uptempo rocker that features Hendrix's double tracked vocals and his use of a one-note bend in the style of Hank Marvin. Although "Hey Joe" is a folk song, and the only cover on the album, it would become one of Hendrix's most requested tracks.


title: Are You Experienced

text: The UK edition of "Are You Experienced" opened with "Foxy Lady", a track that, with the exception of a few overdubs, was recorded in one session at CBS. Hendrix wrote the song about Heather Taylor, a London socialite who later married the Who's Roger Daltrey. It begins with the fade-in of an F note that Hendrix is bending-up to F while applying generous finger vibrato. Using his guitar's control knob, he slowly increases volume until an audio feedback loop develops and he slides into the song's dominant Fm7 chord. Hendrix used a combination of natural amplifier overdrive and fuzz box effects units to create the song's razor-sharp guitar tone. Its blues–inspired solo—his fourth since arriving in England—used pentatonic scales while showcasing his innovative approach to melody; by exploiting the increased sustain created by overdriving his amplifiers, he moved seamlessly between the middle and high registers with a fluid, singing tone. Author Peter Doggett compared its slow beat to Memphis soul; David Stubbs described the track as a prototype for heavy metal bands such as Black Sabbath.


title: Are You Experienced

text: Although the lyrics to "Purple Haze", which opened the US edition of "Are You Experienced", are often misinterpreted as describing an acid trip, Hendrix explained: "[It] was all about a dream I had that I was walking under the sea." He speculated that the dream may have been inspired by a science fiction story about a purple death ray. Redding stated that Hendrix had not yet taken LSD at the time of the song's writing, which was after a gig in London on December 26, 1966. The first draft of the lyrics was exceedingly long, so Chandler and Hendrix reduced its length to something appropriate for mainstream pop music. It opens with a guitar/bass harmony in the interval of a tritone that was known as the "diabolus in musica" during the time of the Spanish Inquisition. The Catholic Church prohibited medieval composers of religious music from using the tritone, or flattened fifth, because as musicologist Dave Whitehill wrote: "to play it was like ringing Satan's doorbell." In the opinion of the author Ritchie Unterberger, the opening riff has "become a permanent part of rock's vocabulary." Whereas "Rolling Stone" described the song as the beginning of late-1960s psychedelia, the authors Harry Shapiro and Caesar Glebbeek identified Hendrix's use of R&B, funk, and soul elements in the track.


title: Are You Experienced

text: In 1967, Hendrix told the journalist Keith Altham that "Third Stone from the Sun" is about a visiting space alien who, upon evaluation of the human species, decides that people are not fit to rule Earth, destroys their civilization, and places the planet in the care of chickens. The song is composed of two contrasting sections, one that features a jazzy guitar melody played in the style of Wes Montgomery over a straightforward rock tempo, and another that showcases Hendrix's free-form mixolydian mode guitar lines with a jazz beat. The track contains no proper vocals, instead using spoken words played at half-speed to invoke images of interstellar space travel. In addition to jazz elements, Unterberger identified Hendrix's use of surf music motifs in the track that are reminiscent of earlier works by the Ventures, a group from the Pacific Northwest that Hendrix would have heard during his childhood.


title: Are You Experienced

text: Hendrix described "Manic Depression" as "ugly times music"; during a live performance he explained the meaning of the lyrics: "It's a story about a cat wishing he could make love to music instead of the same old everyday woman." The song is unusual in that it's written in triple meter, or time, which is the time signature commonly associated with a waltz; most rock music is written in . Although his delivery is rock oriented, Mitchell's drumming on the track is reminiscent of Elvin Jones's fluid jazz patterns. Musicologist Andy Aledort noted Hendrix's "dramatic use of chromaticism" during the song's opening bars and the "heavily vibratoed unison bends" that presage what he described as one of Hendrix's best guitar solos.


title: Are You Experienced

text: "The Wind Cries Mary" is the first ballad recorded by the Experience; Hendrix wrote the lyrics after an argument with his girlfriend, Kathy Etchingham, whose middle name is Mary. She explained: "I smashed plates on the floor, [and] he swept them up. He locked me in the bathroom for absolutely ages and ... eventually Chas's girlfriend Lotta let me out ... I ran out to get a taxi and was standing under the traffic lights, and I had red hair and a red dress. I went back after I'd cooled down and he'd already written it." The song featured a chord progression inspired by Curtis Mayfield and lyrics that reflected Hendrix's admiration of Bob Dylan. "Stone Free" expressed Hendrix's desire to preserve his personal freedom, demurring the concepts of conformity and long-term relationships. He revisited this theme in "51st Anniversary" and "Highway Chile". Omitted from the American version of the album, "Red House" did not see an official release in the US until the 1969 compilation "Smash Hits". An unusual feature of the recording is that it does not include a bass guitar track; Redding instead played rhythm guitar with his equalization set strongly in favor of bass tones. It is Hendrix's only original twelve-bar blues.


title: Are You Experienced

text: Chris Stamp designed the cover of the UK version of "Are You Experienced", which featured a picture of Hendrix, Mitchell, and Redding by Bruce Fleming. The image shows Hendrix wearing a long dark cape while standing over Mitchell and Redding, striking what Egan described as a "Dracula-esque pose". Chandler contacted Fleming based on the photographer's previous work with the Hollies, the Dave Clark Five, and the Animals. The photo shoot took place in February after Fleming had attended several recording sessions and Experience gigs. Chandler made a point of requesting that the band member's faces be clearly visible in the photograph; Fleming explained: "[Album covers] got much more esoteric as time went on, but to establish the artist we had to get their faces across so the kids would recognize them." He took monochrome and color shots of the band; Track selected an image from the latter group. Fleming had indicated which picture he preferred they use, marking the shot with a cross, but after the album's release he realized that they had selected another, less desirable image. According to Fleming, the shot that he chose was "more sinister; more interesting". Stamp hired graphic artist Alan Aldridge to design the sleeve's psychedelic lettering. Track inexplicably put only the album's title on the cover, omitting the band's name; Polydor issued the release throughout Europe with Hendrix's name printed at the top in matching font. The cover art's combination of dull green and brown tones, juxtaposed with the jocular nature of the subject's pose, created a weak overall visual impression; Stamp commented: "It's not a great cover at all. Hopefully, we made up for that in all the other covers."


title: Are You Experienced

text: Hendrix disliked the UK cover of "Are You Experienced", so arrangements were made for a photo shoot with graphic designer Karl Ferris. Hendrix wanted "something psychedelic", so he requested Ferris because he appreciated the photographer's sleeve-work on the Hollies' June 1967 release "Evolution". During a meeting with the band, Ferris told Hendrix that he wanted to hear more of their music from which to draw inspiration. They accommodated his request by allowing him to attend several sessions for their second album, "". Ferris brought home tapes from the sessions, which along with "Are You Experienced" he listened to intently. His first impression of the music was that it was "so far out that it seemed to come from outer space", which inspired him to develop a backstory about a "group travelling through space in a Biosphere on their way to bring their unworldly space music to earth." With this concept in mind, he took color photographs of the band at Kew Gardens in London, using a fisheye lens which was then popular in Mod sub-culture. Ferris used what Egan described as "an infrared technique of his own invention which combined color reversal with heat signature", further enhancing the exotic nature of the image. Ferris was an experienced fashion photographer, and his interest in the finer details of his covers led him to choose the band's wardrobe. After seeing Hendrix with his hair combed away from the scalp, Ferris requested that he wear it that way during the photo shoot. Hendrix's girlfriend, Kathy Etchingham, trimmed his hair to improve its symmetry, forming an afro that became the basis of a homogenized Experience image. Redding and Mitchell liked Hendrix's new hairstyle, so Ferris hired a hairdresser to style their hair in a similar fashion. After purchasing clothing for Redding and Mitchell at the boutiques on King's Road—Hendrix wore clothes from his wardrobe, including a psychedelic jacket with a pair of eyes printed on the front which had been given to him by a fan—the Experience travelled to Kew Gardens. In an effort to focus on Hendrix's hands, Ferris shot the band at a low angle. The daylight faded soon after their arrival at the garden, so they returned the following day for a second shoot, which was not needed; the image selected for the US cover of "Are You Experienced" was the first shot taken the previous day. Ferris chose the cover's yellow background and its surreal lettering, and he intended for a textured gatefold jacket that Reprise, as a cost-saving measure, did not approve.


title: Are You Experienced

text: The third Experience single, "The Wind Cries Mary" backed by "Highway Chile", was released in the UK on May 5, 1967, while "Purple Haze" occupied the number three spot in the charts. The management's decision to release the single while the previous one was still present in the UK charts was unorthodox, as was the choice of "The Wind Cries Mary", which differed greatly from "Purple Haze". Stamp recalled: "We did that on purpose ... We wanted musically to show who this person was." Egan wrote: "It alerted the public to the fact that the so-called Wild Man of Borneo was capable of songs of delicacy and sensitivity." "The Wind Cries Mary" reached number six in the UK in May.


title: Are You Experienced

text: Track Records released "Are You Experienced" in the UK on May 12, 1967. It entered the charts on May 27, where it spent 33 weeks, peaking at number two. It remained in the charts long enough that it was still present when the Experience released their second album, "". The album, which was released in the UK without the first three singles, was prevented from reaching the top spot by the Beatles' "Sgt. Pepper's Lonely Hearts Club Band".


title: Are You Experienced

text: In France and the Benelux countries, Hendrix's recordings were released by Barclay Records in a distribution deal secured by Jeffery.


title: Are You Experienced

text: Although popular in Europe at the time, the Experience's first US single, "Hey Joe", failed to reach the "Billboard" Hot 100 chart upon its release on May 1, 1967. The group's fortunes improved when Paul McCartney recommended them to the organizers of the Monterey Pop Festival. He insisted that the event would be incomplete without Hendrix, whom he called "an absolute ace on the guitar", and he agreed to join the board of organizers on the condition that the Experience perform at the festival in mid-June. During the climax of the festival, which was filmed by D. A. Pennebaker for the documentary "Monterey Pop", Hendrix burned and smashed his guitar on stage for dramatic effect.


title: Are You Experienced

text: After the show-stealing performance, Reprise Records agreed to distribute "Are You Experienced". However, despite the increased awareness that the Experience's performance at Monterey provided, the second Experience single, "Purple Haze" / "The Wind Cries Mary", released in the US on August 16, 1967, stalled at number 65 on the "Billboard" Hot 100. Although the single performed poorly in the US charts, its presence on underground FM radio stations, which were transitioning from easy listening and classical music formats to album cuts, significantly aided sales of the LP. Reprise allocated a $20,000 promotional budget for the LP, which was an unprecedented amount for an unproven artist. Released in the US on August 23 by Reprise, "Are You Experienced" reached number five on the "Billboard" Top LPs chart. The album remained on "Billboard"s album chart for 106 weeks, 27 of those in the Top 40. The North American edition of "Are You Experienced" featured a new cover by Karl Ferris and a new track list, with Reprise omitting "Red House", "Remember", and "Can You See Me", and including the first three A-sides omitted from the UK release: "Hey Joe", "Purple Haze", and "The Wind Cries Mary".


title: Are You Experienced

text: "Are You Experienced" was an immediate commercial success, selling more than one million copies within seven months of its release. Reviewing the album in 1967, "Melody Maker" praised its artistic integrity and the Experience's varied use of tempo. "NME" Keith Altham said it is "a brave effort by Hendrix to produce a musical form which is original and exciting". However, not all contemporary writers gave the LP a favorable review; in November 1967, "Rolling Stone" Jon Landau wrote that although he considered Hendrix a "great guitarist and a brilliant arranger", he disapproved of his singing and songwriting. He criticized the quality of the material and described the lyrics as inane: "Above all this record is unrelentingly violent, and lyrically, inartistically violent at that."


title: Are You Experienced

text: Many music critics have since named "Are You Experienced" as one of the greatest rock and roll debut albums. According to Associated Press writer Hillel Italie, it was among the notable debuts in a year that marked rock music's transition into the album era. Journalist Ritchie Unterberger described it as "one of the definitive albums of the psychedelic era", while author Chris Smith said the release was "a landmark in a summer of landmark albums". Noe Goldwasser, the founding editor of "Guitar World" magazine, called it "a veritable textbook of what a musician can do with his instrument" and "the measure by which everything ... in rock and roll has been compared since." According to music journalist Charles Shaar Murray, the album "completely changed notions of what a guitar could sound like, or indeed, what music could sound like", while "The Miami Herald" credited "Are You Experienced" with introducing acid rock, classic rock, and the guitar aesthetic of heavy metal. Critic Robert Christgau called it a "bombshell debut" in his review for "Blender" and said its songs were innovative for how they utilized three-minute pop structures as a medium for Hendrix's unprecedentedly heavy and turbulent guitar and loud, powerful hooks, which greatly appealed to young listeners.


title: Are You Experienced

text: Additionally, "Mojo" magazine listed "Are You Experienced" as the greatest guitar album of all time in 2013. In 2005, "Are You Experienced" was one of 50 recordings chosen by the Library of Congress to be added to the National Recording Registry, which selects recordings annually that are "culturally, historically, or aesthetically significant". The album was also included in "A Basic Record Library" of 1950s and 1960s recordings—published in "" (1981)—and in the book "1001 Albums You Must Hear Before You Die".


title: Are You Experienced

text: Since the first release of "Are You Experienced" in 1967, there have been six different track listings. Since 1997, compact disc editions in the US and UK feature 17 tracks, including all songs that appeared on either the original UK/international edition of the album or the original North American edition, as well as the Experience's first three singles ("Hey Joe" b/w "Stone Free", "Purple Haze" b/w "51st Anniversary", and "The Wind Cries Mary" b/w "Highway Chile").


title: Are You Experienced

text: The original UK Track album did not list running times for the songs. Instead, they are taken from the original international Polydor edition. All tracks written by Jimi Hendrix.


title: Are You Experienced

text: The listings are taken from the original US Reprise album. All tracks written by Jimi Hendrix, except where noted.


title: Are You Experienced

text: "Are You Experienced" was first issued on the Compact Disc Digital Audio or CD format in 1985 by Polydor Records (Track's successor) in Europe and Reprise in the US. These early CDs essentially copied the original LP record albums and used the same tracks, sequencing, and cover art as their 1967 counterparts. Both were reissued with minor changes in 1989–1991 and the Reprise release CD sleeve included "Digital re-mastering by Joe Gastwirt, assisted by Dave Mitson using the Sonic Solutions NoNoise System, under the supervision of Are You Experienced? Ltd."


title: Are You Experienced

text: In 1993, Alan Douglas, who managed Hendrix's recording catalogue, reached an agreement with MCA Records for the future releases of Hendrix material. He also announced plans for new reissues of the three Experience albums: "Everything in the present catalogue is a budget release... They're all 25-year-old packages. I want to take it high-level... with all these new elements". Along with new artwork and liner notes, the MCA reissue was remastered with only one track selection and order for both the European and America markets. The 17-track CD included the first three Experience British singles (both A-sides and B-sides), followed by the 11 songs as they appeared on the Track/Polydor UK album release.


title: Are You Experienced

text: The 1993 Douglas reissues were short-lived; in 1997, his tenure as the overseer of Hendrix's catalogue was taken over by Experience Hendrix (the Hendrix family-controlled company). By April 1997, a new reissue was released, which restored the original artwork and sequencing for both the US and UK releases. However, both reissues included an additional six tracks, which provided the same 17 tracks (all the original singles and album tracks) in the UK and US, although in a different order. Since 1997, these have been the official authorized CD versions of the original albums. In 2010, Sony's Legacy Recordings became the exclusive distributor for the recordings managed by Experience Hendrix.


title: Samsung Galaxy S9

text: The Samsung Galaxy S9 and S9+ are Android-based smartphones unveiled, manufactured, released and marketed by Samsung Electronics as part of the Samsung Galaxy S series. The devices were revealed at the Mobile World Congress in Barcelona on 25 February 2018, as the successors to the Samsung Galaxy S8 and S8+.


title: Samsung Galaxy S9

text: The Galaxy S9 and S9+ have nearly identical features to the S8 models, with the same display sizes and aspect ratio as their predecessors. One highly regarded change to distinguish between the models is the location of the fingerprint sensor. While the S8's is found beside the camera, the S9's is directly underneath it. Most notably, however, the S9 line is equipped with several camera improvements over the S8.


title: Samsung Galaxy S9

text: The phone received generally favorable reviews, with critics mostly noting the enhanced camera and better positioned fingerprint scanner. Critics, however, still criticize the lack of improvement to other features compared to its predecessor. It is available in seven colours (Lilac Purple, Midnight Black, Titanium Gray, Coral Blue, Sunrise Gold, Burgundy Red, and Polaris Blue). It was succeeded by the Samsung Galaxy S10 in March 2019.


title: Samsung Galaxy S9

text: Many Galaxy S9 features and design changes were leaked weeks before the official launch, and the official launch video was leaked a few hours prior to the unveiling.


title: Samsung Galaxy S9

text: On the front, the Galaxy S9 and S9+ look identical to the S8 and S8+. They both feature 1440p Super AMOLED displays, with an 18.5:9 aspect ratio. The S9 has a 5.8-inch panel, while the S9+ uses a larger 6.2-inch panel. The displays have curved sides that slope over the horizontal edges of the device.


title: Samsung Galaxy S9

text: The cameras on both phones received improvements. The S9+ has a dual-lens camera setup on the back, like on the Galaxy Note 8, while the S9 only has a single camera on the back. The Exynos variants of the phones received Samsung's in-house ISOCELL S5K2L3 camera sensor whereas the Snapdragon variant made use of Sony's Exmor IMX345 counterpart. Both phones have a Dual Aperture rear camera which can switch between 1.5 and 2.4, depending on lighting conditions, making it the first mobile phone since the Nokia N86 (2009) with a variable aperture camera.


title: Samsung Galaxy S9

text: The phones can record video with 4K (2160p) at 60 frames per second (limited to 5 minutes), 1080p at 240 frames per second and 960 frames per second "Super Slo-Motion " video at 720p for 0.2 seconds, all three of which have been featured on any Samsung flagship phone for the first time. The first two frame rates are the first increase in the series since the 2014 Samsung Galaxy S5.


title: Samsung Galaxy S9

text: "AR Emoji", similar to Apple's Animoji feature on the iPhone X, is a new feature that lets the user make emojis based on themselves with the help of augmented reality face recognition. Third-party app support is provided for this feature.


title: Samsung Galaxy S9

text: A software update retrofitted the Galaxy Note 9 feature of warning the user about flaws in photos such as blinking eyes and blur.


title: Samsung Galaxy S9

text: In most countries, the S9 and S9+ both come with a Samsung Exynos 9810 SoC. Versions sold in the United States, Canada, China, Hong Kong, Japan, and Latin America come with the Qualcomm Snapdragon 845 SoC instead.


title: Samsung Galaxy S9

text: The S9 comes with 4 GB of RAM, while the S9+ comes with 6 GB. Both devices came initially only with 64 GB of internal storage; variants with 128 and 256 GB were released in May 2018, after the internal storage of 64 GB was criticized by many as being too low, but they can only be ordered via Samsung's website. Both phones feature the ability to use a microSD card to expand the storage to a maximum of 400 GB.