I want people to remember the man I knew.” He could be grumpy, and he could be terrible in the studio, getting exactly what he wanted – but he was fun, he was charming. In a rare interview by telephone, (she has moved abroad), Ms Etchingham explains: “I want him to be remembered for what he was – not this tragic figure he has been turned into by nit-pickers and people who used to stalk us and collect photographs and ‘evidence’ of what we were doing on a certain day. Involved in the discussions is the woman with whom Hendrix furnished the top flat of 23 Brook St, and with whom he lived: the only woman he ever really loved, Kathy Etchingham. The flat will be opened to the public for 12 days in September and there is talk about plans for a joint museum, adding Hendrix’s presence to that already established in the museum devoted to Handel. The 40th anniversary of Hendrix’s death next month will be marked by the opening of an exhibition of curios and memorabilia at the only place he ever called home – a flat diagonally above that once occupied by the composer George Frideric Handel, on Brook Street in central London, in the double building now known as Handel House. Opinion varies only over the effect his music has on people: elation, fear, sexual stimulation, sublimation, disgust – all or none of these – but always drop-jawed amazement. During those three years and 362 days living in London, Hendrix had conjured – with his vision and sense of sound, his personality and genius – the most extraordinary guitar music ever played, the most remarkable sound-scape ever created of that there is little argument.
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