Projects/Works/Ideas Stolen From Me
by Michael Fairchild
During the seven years that I was employed by the official Jimi Hendrix production company in the "1990s" I faxed a proposal to the company director for a Hendrix tribute concert series: "A project I can effectively develop is aimed at college music markets...which can be transformed if it includes live performances of Hendrix interpretations from myself with a bassist and drummer. I think Billy Cox [Jimi's bassist] may participate. He's asked me to get together to make music."
The Hendrix company started to develop this project. I interviewed bass players and drummers and even started rehearsals. Then, Microsoft's Paul Allen intervened, after I had helped Mr. Allen gather one of the world's most extensive collections of Hendrix items for the Experience Music Project (EMP) "Hendrix museum" in Seattle, for which he paid nearly a half million dollars for, he then refused to pay me for that agenting work and set about destroying my career. He made a deal with Jimi's father, paid Mr. Hendrix five million dollars to launch a bogus harassment lawsuit against the Hendrix production company that employed me. The deal stipulated that all of my involvement with the Hendrix legacy during the seven years I worked for the company was to be deleted and concealed. Everyone involved in the settlement signed agreements to refuse any involvement with me "in perpetuity" (aka forever). They threw the baby out with the bathwater, and shoved civilization under the Amtrak in the process - they're the quintessential "devil" afoot among us who've helped conceal Jimi's meaning and facilitate human extinction. All possible "Fair(child)ness" must be administered to these creatures immediately by any conceivable means as we celebrate all news of their horror-misfortunes.
Liberate Jimi Immediately
By Any Conceivable Means
This meritless harrassment law suit was settled out of court, with the then Hendrix company officials each paid tens of millions of dollars to relinquish their contracts with Jimi's father. The settlement terms specifically insisted that:
1) I was to be paid nothing from the settlement, and
2) that each of the beneficiaries from the settlement payments agree to refrain from assisting me in any way with my career in the future.
I was left unemployed, and despite the fact that more than six million people worldwide were familiar with my booklet stories included with 14 official Hendrix CD releases, I was effectively blacklisted as a writer because of the savage hatred thrust upon me by a pathologically jealous billionaire media mogul who co-founded Microsoft. Since "1995" no publication in the world would hire me to write anything at all. That this comprises one of the most bizarre censorship efforts in history is currently the subject of a documentary movie being produced.
In "1995" the next official Hendrix project I was working on was Rock Prophecy - Jimi's asteroid vision. The book explains Hendrix as an evolutionary mutation, a forerunner of human ability to "remote view", a process that I theorize all living planets evolve life forms towards capacity for, as a natural selection defense mechanism against the real threat of impacts from rocks crossing the paths of orbiting planets. This theory has been suppressed, censored, and concealed because of Paul Allen, who, upon learning of my manuscript during his lawsuit against the Hendrix company in "1995," ordered his media empire to immediately hi-jack the "asteroid story" and overexpose all media with reports about space rocks (his effort is recorded on this website's Timeline).
When the Rock Prophecy book was published in "1999" Mr. Allen's cronies launched an immediate smear campaign across the internet to persuade everyone interested that my ideas make no sense. Despite several million people being familiar with my stories included with 14 official Hendrix CDs, no media anywhere in the world would consider the research presented in Rock Prophecy.
Noteworthy is the fact that the Rock Prophecy book describes that this is what would happen. Ninety-something percent of our species reacts as a "herd" to follow examples set for them by unjust moneyed dominators who mold their opinions - a herd of closed minded sheeple.
But I didn't give up on the project to perform recitals of Jimi's music and try to reach people who aren't brainwashed. In "2001" I formed a band and began performing. In "2003" we went on the road and began alerting crowds about what happened.
At the time of Mr. Allen's bogus lawsuit settlement in "1995" - all of the documents housed with the Hendrix production company were transferred to Jimi's father as part of the settlement, including all of my research papers and proposals for future projects.
In "2003" the people who now control/destroy Jimi's legacy saw the progress I was making with my Hendrix tribute tours and they studied my proposal papers from the prior production company archives, which they now have access to. They contacted Billy Cox and hired him to headline their own Hendrix tribute tour - minus me. Today we see these events touring the country with guitarists who perform low quality attempts to interpret Jimi. It doesn't matter that my recitals are much more faithful to Jimi's actual music - a "rich person" has declared "condemn this artist" and the sheeple herd obey, not for anything that I've done, but because some unstable billionaire has paid for a smear campaign against me to mold their opinions.
"The more natural you are with a talent, the more you’ll
be blocked from expressing it. Dominators get maximum satisfaction out of silencing
those who have most to say."
- Rock Prophecy book "1999"
This as What's Instead Presented as
the Experience Hendrix Geriatric Tour Tribute to Jimi
In the midst of this situation there are continual incidents of people stealing my research and claiming credit for work I've done. Below is a list of these incidents:
THE CREDIT RIP-OFFS:
This list isn't complete. There are dozens of incidents, each will be added one by one over the coming months...
- In 1990 the Hendrix company director asked me to select songs to be included on an official Hendrix album that I christened Cornerstones. I wrote the liner notes for this CD and when it was released it reached the Top-5 on Billboard charts. Cornerstones was the first and last Hendrix record in twenty years to break the Top-5 on the charts. It was a hit record, and I was paid $3000 for my consulting which helped make it the highest charting Hendrix release since 1971. But the producer, Alan Douglas, neglected to credit me on the
packaging for my programming work!
- During the planning stages for the EMP I was the agent who arranged Paul Allen's purchase of the museum's main Hendrix collection, after which Mr. Allen refused to pay for the work and instead paid $5 million to destroy my career. To this day the EMP in Seattle conceals the work that I did to build their Hendrix collection, my name appears no where in any of their credits. It took me more than six months and hundreds of hours to make those Hendrix collections availavble for the EMP to purchase.