By Lydie Salvayre
Le 18 août 1969 à l’aube, devant le parterre dévasté de Woodstock, Jimi Hendrix déchire le silence au son sauvage de sa guitare pour jouer l’hymne américain.
C’est un cri. Et ce cri, telle est l. a. conviction de Lydie Salvayre, seul Jimi Hendrix pouvait lui donner toute sa puissance. Parce qu’il est noir, de cette minorité qu’on envoie volontiers mourir au Vietnam.
Parce qu’il est aussi Cherokee, de cette minorité peau-rouge niée dans ses droits et dans sa dignité. Parce que sa mère a sombré dans l’alcool et a dérivé vers l. a. mort. Et parce qu’enfin los angeles musique a été sa seule balise, cette musique dont il fut un explorateur trop génial pour être tout à fait compris par son époque. Mais son supervisor le poussait à des tournées exténuantes et répétitives. Face au cynisme du exhibit company, le génial guitariste et chanteur s’adonne à une consommation frénétique et désespérée de femmes et de drogues, dans une fuite autodestructrice qui le conduira à mourir dans son vomi.
Ressassant de façon litanique ce second historique du 18 août 1969, Lydie Salvayre tire les fils de los angeles biographie, mais affirme aussi los angeles puissance suicidaire de tout véritable créateur. Elle écrit, avec sa strength visionnaire, l. a. légende dorée de Jimi Hendrix.
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She became the last woman to fall for Bodenheim’s charms. He quickly dragged her down to his level, and they slept on park benches or in abandoned buildings. He mocked her and sometimes beat her, but she remained doggedly by his side. They married in 1952. Ruth was friends with an unbalanced ex-convict named Harold Weinberg. On a bitterly cold evening in February 1954, she and Bodenheim took refuge in Weinberg’s room in a cheap hotel near the Bowery. Weinberg passed a bottle of whisky round, then started to make love to Ruth.
In 1779, having completed his apprenticeship, he was accepted into the recently established Royal Academy Schools, where he consolidated his artistic skills but railed against the fashionable oil painters of the day like Sir Joshua Reynolds (then the Royal Academy’s president), preferring the strong, clean lines of classical and Renaissance artists. He also set himself up as a commercial engraver, a trade he would practice for the rest of his life. In 1782, he married Catherine Boucher. She was illiterate, but he taught her how to read and write, and she became an assistant in his work and devoted companion to the end.
He kept it in an old grandfather clock case in an upper room of his house, along with other natural curiosities including a stuffed hedgehog and a starfish hanging from the ceiling. He was diligent about carrying out Hannah’s final request, and sometimes showed his unusual patient off to visitors (among them the young Thomas de Quincy). White would lead them to the clock case, which was kept upright, open a door at the top of it, lift a little curtain of cloth and reveal Hannah’s face, which was said to look perfectly lifelike.