humansofnewyork:

"I know you were hoping for a senile man playing with his toys, but I’m putting together a donation for Housing Works."

humansofnewyork:

"I know you were hoping for a senile man playing with his toys, but I’m putting together a donation for Housing Works."

thecontroversydaily:

JESSE JOHNSON
Musical Insights

"MERCIFUL" was recorded with a Minarik Diablo
(I gave it to Dangelo as a birthday gift top of 09 and a physic described guitar to him exactly before he saw it and she was on the phone in NY! It’s his favorite axe “Lucy”)
thru a Vox AC30 Reissue (2x12) using an original red Dallas Arbiter FuzzFace with a Fulltone white Clyde Deluxe. Microphones: Sennhieser, Neumann U47.

Prince used my $179.00 Hondo Strat to play the chords on 777 (that’s why the guitar sounds so nice and dull…cause it was cheap!)
He also used my 1968 Italian made Vox Wah on “1999”! (He would grab my stuff from our rehearsal spot without asking of course, and tell me about it later while laughing his a$$ off)

"Jungle Love"-I used Prince’s Hohner Tele to play the rhythm guitar part on J.L. Did the solo at a later date in LA @ Sunset Sound using the Pink G&L prototype + my fawn colored 1979 Marshall JCM 800 (you see and hear the guitar & amp in footage of The Time in Texas playing 777)

Note:
Foster Sylvers was sitting next to me in the studio (SS) with Peggy M. as I laid the solo. I didn’t put much into it because I knew from how LOW the volume was on my solo on “My Drawers” is wasn’t really going to get heard very well anyway. (Unless you laid on the speakers)

So I left with Foster, shot over to another studio to play guitar on a track for Leon Sylvers. The guitar had only 5 strings on it (little E was missing), but that’s me playing all the rhythm guitar parts on Shalamar’s “Dead Give Away”chords and all, 5 strings y’all. You know you’re from the hood when you can pull that off.
(Howard & Jody were there…didn’t say much me either. Hahaha) Leon (Super Brilliant Dude BTW) wanted me to do the solo too, and I had to pass because we weren’t suppose to be playing on any other recording outside of PRN. I did and you would be shocked on how much stuff I played on. I wouldn’t except pay for any of neither, because I wanted to work with the Leon, Prince, etc, because these cats knew how to make great records and wanted to learn from all the best.

Oh don’t get it twisted, ya boy was broke as HELL! But oh my god, did I love embracing all the knowledge I was exposed to and in such a short amount of time.
All that I learned, all that I hungered for, sacrificed for, went without, was more than worth it and I couldn’t have bought the knowledge or experiences for all the money in the world. That’s why I’m always shocked when folks around me seem bitter. I’m always grateful, thankful, and well aware of the fact that I’m one lucky cat!

I never try to understand it, I just enjoy it!
Sometimes the planets just align, you look around and you’re floating on starrrrrrrrrszzzzzzzzz nite,nite…….It just happens sometimes…honestly.

LovePeace Y’all,
Jesse

thecontroversydaily:

JESSE JOHNSON
Musical Insights

"MERCIFUL" was recorded with a Minarik Diablo
(I gave it to Dangelo as a birthday gift top of 09 and a physic described guitar to him exactly before he saw it and she was on the phone in NY! It’s his favorite axe “Lucy”)
thru a Vox AC30 Reissue (2x12) using an original red Dallas Arbiter FuzzFace with a Fulltone white Clyde Deluxe. Microphones: Sennhieser, Neumann U47.

Prince used my $179.00 Hondo Strat to play the chords on 777 (that’s why the guitar sounds so nice and dull…cause it was cheap!)
He also used my 1968 Italian made Vox Wah on “1999”! (He would grab my stuff from our rehearsal spot without asking of course, and tell me about it later while laughing his a$$ off)

"Jungle Love"-I used Prince’s Hohner Tele to play the rhythm guitar part on J.L. Did the solo at a later date in LA @ Sunset Sound using the Pink G&L prototype + my fawn colored 1979 Marshall JCM 800 (you see and hear the guitar & amp in footage of The Time in Texas playing 777)

Note:
Foster Sylvers was sitting next to me in the studio (SS) with Peggy M. as I laid the solo. I didn’t put much into it because I knew from how LOW the volume was on my solo on “My Drawers” is wasn’t really going to get heard very well anyway. (Unless you laid on the speakers)

So I left with Foster, shot over to another studio to play guitar on a track for Leon Sylvers. The guitar had only 5 strings on it (little E was missing), but that’s me playing all the rhythm guitar parts on Shalamar’s “Dead Give Away”chords and all, 5 strings y’all. You know you’re from the hood when you can pull that off.
(Howard & Jody were there…didn’t say much me either. Hahaha) Leon (Super Brilliant Dude BTW) wanted me to do the solo too, and I had to pass because we weren’t suppose to be playing on any other recording outside of PRN. I did and you would be shocked on how much stuff I played on. I wouldn’t except pay for any of neither, because I wanted to work with the Leon, Prince, etc, because these cats knew how to make great records and wanted to learn from all the best.

Oh don’t get it twisted, ya boy was broke as HELL! But oh my god, did I love embracing all the knowledge I was exposed to and in such a short amount of time.
All that I learned, all that I hungered for, sacrificed for, went without, was more than worth it and I couldn’t have bought the knowledge or experiences for all the money in the world. That’s why I’m always shocked when folks around me seem bitter. I’m always grateful, thankful, and well aware of the fact that I’m one lucky cat!

I never try to understand it, I just enjoy it!
Sometimes the planets just align, you look around and you’re floating on starrrrrrrrrszzzzzzzzz nite,nite…….It just happens sometimes…honestly.

LovePeace Y’all,
Jesse

farewell-kingdom:

Hand-Embroidered Photographs by Diane Meyer

dynamicafrica:

Les st Louisiennes, St Louis du Sénégal, 1915 | The St Louisians, St Louis, Senegal, 1915.

© Sindika Dokolo-Revue Noire (taken from Sindika Dokolo’s collection)

dynamicafrica:

Les st Louisiennes, St Louis du Sénégal, 1915 | The St Louisians, St Louis, Senegal, 1915.

(via darksilenceinsuburbia)

blankonblank:

"It’s an odd beast, fame. It’s got multiple personalities." ~Woody Harrelson

He’s 53 today.

(via darksilenceinsuburbia)

humansofnewyork:

I asked him for his photo. He stared at me for a few seconds, then felt my forehead with the back of his hand, then stared at me for a few more seconds, then said: “What the fuck is wrong with you?”

humansofnewyork:

I asked him for his photo. He stared at me for a few seconds, then felt my forehead with the back of his hand, then stared at me for a few more seconds, then said: “What the fuck is wrong with you?”

Jehad Saftawi, IMEU:

"On July 16, while I was in eastern Gaza City taking photos of the many buildings recently destroyed by Israeli forces, a man approached me and asked if I wanted to enter his home to take photos of the inside.

I accepted his offer and as he showed me around, I learned his name is Khamis Mraish and that his brother, Dr. Riad Mraish, ran a clinic from the home.  As Khamis took me through each corner of the house, he described in detail the damage in every room. Most of the family’s belongings, including Dr. Mraish’s medical equipment, were now ruined, scattered in pieces and covered with debris.

It was horribly sad to witness his pain — and how he so badly wanted to share his story with the world. And the more people I speak with, the more I realize there is this same feeling everywhere. The people in Gaza want, and need, the world to see what they are going through.”

(via farewell-kingdom)