A man of many purported talents, a new video has surfaced allegedly showing guitar legend Jimi Hendrix rocking more than a stage.

"The Jimi Hendrix Sex Tape," will be released today (April 29) at hendrixsextape.com and in stores nationwide next week.

The flick was obtained by porn purveyors Vivid Entertainment by a rock 'n' roll memorabilia collector, filmed 40 years ago in a hotel room, according to a press release.

"When the footage starts, Hendrix appears mellow while on the receiving end of bi-racial lovemaking from two girls," the release reads. "In contrast, his enthusiasm to give back pleasure appears to be boundless."

"This new movie shows that Jimi Hendrix could have been as great a porn star as he was a rock star," said Vivid co-chairman Steven Hirsch. "He could clearly play more than just his guitar. It's easy to see that he turned women on with his music and his passion."

Vivid brought in two women who knew Hendrix personally to confirm that it is actually the rock icon in the 8 mm footage and to add commentary to the flick

"No doubt about it, that's Jimi Hendrix's dick and I should know," said Cynthia Plaster Caster who serves as a consultant of the film. Famous for making penis molds of celebrities, she put Hendrix's member in a mold back in 1968 and named the piece "Penis de Milo."

Pamela Des Barres, author of I'm with the Band: Confessions of a Groupie, also serves as a consultant.

"Hendrix liked to be filmed having sex," Des Barres says in her commentary. "He's the ultimate adult film movie star. I understand why everyone wanted to sleep with the guy. He played like an all-encompassing rock orgasm. He reeked of sex. You wanted to strip to keep up with him when he played 'Foxy Lady.'"

Yet an ex-girlfriend of the music icon disputes the identity of the man in the video. Kathy Etchingham told the New York Times, "It is not him," she said. "His face is too broad and nose and nostrils too wide for Jimi. Also the hair is too low on the forehead."

"He would never have allowed anyone to see that," she added. "In private he was very shy and would cover up."

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Minneapolis emcee/producer duo Slug and Ant are an anomaly in this Hip Hop world. Not just because they’re from a state better known for snow, Fargo and a bad basketball team, but because they only do it their way.

Despite being the best-selling act on the indy Hip Hop scene this decade and constantly fending off major label advances, Atmosphere has never given up their right to do what the fuck they want. Would a major ever let someone release an album called When Life Gives You Lemons, You Paint That Shit Gold [click to read]? I think not.

Live from the smokiest hotel room you can possibly imagine, Ant and (mostly) Slug talk about their new album, the 30-something mindstate, and why Murs is smiling so much.

HipHopDX: Lemons has a real live instrument feel to it, can you talk a bit about the production process for this record?
Slug: It wasn’t like they play through, they play bars. Sampled bars, you know what I’m sayin? It’s still chopped and sampled, just not off the record.

DX: Right, like Dr. Dre does.
Slug: Exactly, only there is a whole lot less weed. And guns. Well not a whole lot less.
Ant: As long as I can remember, I’ve always wanted to do one of those kinds of records. I mean he’s been doing that kind of shit since ’86. It’s just knowing the people, having the finances to do these types of things…not anyone can just make a record like this. You know, probably some part of it too is that I’ve already done a lot of the sample shit. I probably exhausted that avenue five years ago. It’s just a growing up thing I guess.

DX: I’ve been to a lot of your shows and you have a pretty young fan base, especially considering the type of music that you make. Does the age of your audience enter your thought process when you are making records?
Slug: No, no. In fact, I think that not so much the making of this album, but the minute we finished it and I knew we had to start the other cycles, I actually started thinking, ‘how do I start translating what I’m doing to a 35 year old soccer mom, single dad.’ Cause you know, I’m going to be 36 this year. Everyone I went to high school with, they don’t even listen to music the same way anymore. They play it in their car on their way to work. When they’re at home, they don’t play records, they watch TV. You know what I mean? So how do I make what I’m doing - because my perspective and my reality is that of a 35 year old – how do I make what I’m doing relevant to a 35 year old also, you know? And without pandering to it, 'cause I don’t want to exclude the kids but I’ve so many issues standing on stage in front of a bunch of kids singing along and I’m wondering mid-song, "How the fuck can they be relating to what I’m saying right now?" Mind you, thank God they do. Thank God anyone does. Realistically, I feel confident enough to believe I’ve got some good things to say that kids maybe could fucking benefit from hearing. You know? But how long before my records turn into, "Wear your seatbelt," "Wear a helmet," "Eat your vegetables," you know? "Brush your teeth."
Ant: Wouldn’t you say that’s the case with a lot of records though? I think about the stuff I was listening to when I was 12 years old, I didn’t know what half of that shit was about.
Slug: When Aerosmith’s Pump came out, was it 35 year olds that made that shit go triple platinum? Probably not. When I was a kid, I was listening to adults that made music, I was listening to Chuck D and I was relating. Even though Chuck was talking from his perspective and he’s got 10 years on me, you know what I mean? So I have to just believe in it, and just believe it is what it is. I wouldn’t even know how to write a song with the 18 year old in mind.

The way I look at it across the board is, when the record is done and we turn it in, it’s no longer our problem. It is somebody else’s problem, you know? Skye, Saddiq, you guys go figure out how you can get this record to do what you want it to do. I’m committed for being who I am 150% of the time, whether it’s on record, in an interview or ordering coffee, eating, sleeping, I’m committed to being me. It’s your issue to make people relate to me or recognize me, or make me their friend, or hate me or think I suck. I can’t put any thought into what can I do to make people think I suck, or make people think I’m cool. The minute I do that I don’t know that I can necessarily do this job. I’d have to go find a new job, and not on some martyr me shit, but on some like, the reason I like this job more than any other job is not because I get to travel, it’s not because I get to smoke as many cigarettes as I want, any time that I want. It’s because it feels purposeful, and I don’t mean that what we do has this higher purpose. I mean like, this, compared to driving a delivery truck is soothing me. This makes me fucking happier than shit. Driving a delivery truck would make me happy too, much more than working a cash register…so it’s just the elements of this job that I love, I try to stick to in order to keep me in check and keep me from taking this for granted. That makes me a loser now, anyone who takes their job for granted is a fucking loser. If you come to terms that you deliver newspapers, and that’s what you do and you take that for granted and fuck that off? Then you’re a loser, cause you’ve got something that someone would kill to have. That’s how I see it, I don’t want to be a loser. I started to feel like a loser a couple of years ago, that’s why I started the live band because I felt like there was no challenge performing. Come out here and make my way through “Modern Man” and “Scapegoat,” I could do it in my sleep. It just wasn’t challenging and I was like ‘man, I’m gonna get fired if I don’t start taking my job more seriously.

DX: So at this point it has been over a decade with enough material for two, are you guys close to saying ,“I’m done making music?” Or is there still plenty left in the tank?
Slug: Nah, just beginning. Whether or not people accept the music, that’s a whole ‘nother story and they might say I’m done. But I’m so in this, I’ve got my girlfriend into this, she is making music now. I’m so in this, if I fucking lose my voice tomorrow I’m either going to go out and buy an ASR-10 and borrow some vinyl from Ant.
Ant: Be a ghostwriter.
Slug: [Laughs] Or I’m gonna start driving the fucking tour bus. I’ll go be a road manager. I’ve learned so much about this game that I’m gonna be up in this bitch forever, even if it’s not as the artist. If I’m the guy helping expose another artist, I’ll take that cause I’ll still feel like I have a purpose. Best believe I’ll go be Brother Ali’s tour manager, best one that dude could ever have. You know what I’m saying? [Laughing] Serious, cause I’ll still be doing something I love and something I believe in.

DX: Ant, we spoke over a year ago at Paid Dues and you told me then that the record was already done. If that is the case, how does it resonate with you guys now?
Slug: Uhh, it was probably close to being done, but not completely.
Ant: Yeah, we were done recording it.
Slug: We still had to mix it and put on the finishing touches and add a little magic here and there. But we had a year to add that magic.
Ant: We also did other recordings, you know? At least three albums worth of shit, and at least one of those was a completely different album than this one. In terms of the sound and all that. But we just kept going.
Slug: We started making the record in October of ’06, by the time you saw us at Paid Dues, we had it done; written, produced. Then we went and made Strictly Leakage [click to listen], instead of even going and mix the album. We just left the album alone and made Strictly Leakage, had some fun and kicked it.
Ant: Then we could go back to it and go, "Oh not bad," or "Jesus, this is terrible."
Slug: Yeah, then go make some Sad Clown shit. You know what I mean? Then go back to it again. 'Cause they told in April was going to be our release date in like fuckin’ June and we were like that’s almost a year. Let’s leave it alone, we don’t have to turn it in till December. We had until December to tweak and make some other adjustments and we kept ourselves occupied with some other stuff so that we could come back to it with something else fresh. Rather than sit there and beat ourselves in the head listening to it and trying to make it perfect.
Ant: Never as an artist should you just be focused on the 10 songs you’re going to put out over two years. That’s just stupid.
Slug: I totally agree. That’s why I’ve always tried to keep myself distracted with either touring or just writing other things, or whatever. Just busying myself in some way so that I can go back to Ant’s house with a fresh pallet and have a new way to look at what we’ve done.

DX: All the Sad Clown albums that have come out over the last year or so, has that all been new material or was some of it leftovers from You Can’t Imagine?
Slug: Oh yeah.
Ant: Shit, some of it was probably newer than the album.
Slug: Yeah most of it was. I think some of the best songs we’ve ever made are on those albums. [Sad Clown, Bad Summer] is one of the best albums we’ve made. The label actually wanted “Sunshine” to be on Lemons and be the single. We just didn’t think it fit in with what we were doing and what we were trying to say.

DX: At this point you guys are easily the biggest artists in the indy Hip Hop scene. Obviously, it isn’t just the good music, because other people are making good music too. Can you talk a bit about what you’ve done to get to this point?
Slug: Hard work, man, we did a lot of fucking shit that other people just weren’t willing to do. Touring was the biggest part of it, we would go anywhere and everywhere. I remember driving from Minnesota to Dallas once for a show for $250, which wouldn’t even cover the gas these days. But we did what we had to do to get our name out and sell records at the shows. Especially in small towns that didn’t get shows. Once we built it up enough to get distribution it was a whole new game.

We hooked up with Fat Beats for Godlovesugly and they were able to get us in some chains. So we’d go play a show in Boise, where they didn’t have an independent record store, just a Target and a Walmart or Best Buy. So we’d go there and these kids actually had access to our records. Boom, no other rappers are going to Boise. So these kids, regardless if they’ve heard of us or if we suck, come to our show because it’s the only rap show that they’ll get to go to this year. You know? We needed that. So, after Fat Beats, we did it with Epitaph. They had distro with ADA, I believe, and it was the same situation only Epitaph was able to get us overseas. Whole new game for us, 'cause before everyone in Europe would have to order imports. We had toured Europe two or three times already, but when we toured that time you could see the fucking difference. Now you guys have access to our records for a reasonable price, now you’re coming out to the show. Europe gets lots of Hip Hop, now I’ve gotta compete with Tame One and the Living Legends and people I’m competing with back home. So this feels right, and feels comfortable. Thank god our record is finally here, we used to come over here before and play in front of 60 people who were either online learning about us or bootlegging with each other, sharing it.

Then You Can’t Imagine was with Navarre, which is a pretty big distribution company only they mostly did DVDs and movies and shit like that, but they still had the ability to get us in all the chain stores and the independent stores just as good as Epitaph. So really, going to Warner is an easy step because we’ve been playing the game with major distro for so long now. The only catch now, is kind of like when Epitaph took us a step up from Fat Beats, there is a brand name that comes along with Epitaph. Even independent stores that weren’t fucking with us before are fucking with us now, "Oh, we’ll take five of those," because of the Epitaph name. Once they took five and sold through, they took 10 more. So when we went to Navarre we had momentum and even though we didn’t have the Epitaph name, they still took our shit. Now with the Warner name its like going to the playground with the biggest of big brothers there, going "Look at my little brother in the sandbox." You know what I mean? So now we’re in the sandbox with all the big names. It doesn’t mean our record is gonna fucking sell, you know it depends, is our video gonna get played? Is the radio gonna pick up any of our shit? No. You heard the record, what are they gonna pick up? Maybe “You”? [It's the] poppiest shit we ever made; nope, we’re not making it a single. So there it goes, our one chance of making radio and me and you [Slug points to Ant], are gonna sabotage that shit. "No, don’t send that one to radio." I don’t think its in our future to become famous unless it is literally in our future like God wants it to happen. 'Cause otherwise me and him fight the shit, we always make the decision that is against common sense. [Laughs] I don’t know why, we’re afraid of being famous. Especially at this point, I’m hitting fucking 37 and all of a sudden I’m going to get fucking recognized when I go buy a sandwich at Subway.

DX: I think that would be horrible, I can’t understand why people want fame.
Slug: People want fame because of the money and the validation. Most of the time people who want to be famous didn’t have good parents.

DX: Yeah, shit I’ll take the money…
Slug: Me too, don’t get me wrong. I wanna buy an island from Willie D. [Writer's note: this was a joke from a previous conversation] But people who want fame, there is something missing from their lives that they’re trying to fucking get. I understand it, I’m not mad it. It’s just not my thing.

DX: With your boy Murs actually being an artist on Warner, do you know how that’s working out for him?
Slug: That dude is the most optimistic person in the world, he knows how to adapt. If a bad situation is coming he might be like, "Fuck, how do I avoid this?" But if he wakes up and finds himself in a bad situation that dude knows how to maintain and still get his job done. So I don’t think I’m ever going to hear Murs complain about anything really, he’s not a complainer, he’s an adaptor. He’s one of those dudes who takes what he’s got and makes the best out of it, you know? But I will say I’ve heard plenty of positive things from Murs about the Warner situation. And honestly, I’m an observer. I’m really going to watch what happens here. Granted, I’m in a totally different situation because I don’t have an artist deal here and I’m not going to have financial backing from Warner. But I want to see how Murs plays this because it is going to make an impact on those following me and him, the ones who are coming up behind us. Because whatever happens with Murs is going to affect their decisions, if they sign or where they sign a deal. So this is really interesting to me and it seems like Murs has got it on his terms so how could you complain about that, you know? You’ve got to be realistic about this, especially when you’ve been in it for a while like Murs has, it’s a job. You want to do the best job that you can possibly do, every time. Now you might get hired by someone…like Nike, lots of kids hate Nike because of the sweatshops and all that.

Me? I’d go get a job with Nike. For starters, I feel like I could go steal from the devil. I could go work at 3M and I’ll do anything I can to bring them down just a little bit. I’ll steal fucking staplers. Murs is in a position to that, not like he is going to go steal Post-It Notes from Warner but he’s in the mix. It isn’t so much bringing them down but he can go in there and affect the next one’s coming up because the dude’s who came in before us didn’t. They didn’t go in there and fix anything, and I’m not saying Murs can fix anything on a large scale but he can make some differences. And Murs is the type of dude who will.

DX: I took the same kind of interest because he is the first big indy artist in a long time to make the jump.
Slug: Dude, he’s such a stubborn individual that its beautiful. We get to watch a stubborn individual go at it with a major label and see him make the best of it. I really do think this will set some precedence for other independent acts to fuck with majors or not. To make majors a little more safe again. You know what I’m saying? 'Cause we all had heroes from the mid to late '90s who were able to finagle a deal with a major and not a damn one of them have done anything to help those following them. They all start to throw the weird little R&B choruses in their songs and they all start to play the game. I wish someone, I wish someone like Saul Williams with his mind state got in there. Doing a record with Trent Reznor? That would have been amazing at a major label because they really could have done something really nuts with that fucking record. And Saul in the mix he could have really done something, so in 10 years the majors aren’t so scary for other people coming up. But I think Murs could, I think Murs could do some things. I’m optimistic.

www.hiphopdx.com
www.rhymesayers.com

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CROOKED I RULES:



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BUSTA RHYMES AND LINKIN PARK... EHHHH:



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NOW THIS IS MORE LIKE IT! LOL:



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ARE YOU SERIOUS? YOU CAN'T BE SERIOUS:



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BLACK THOUGHT DONE ADMITTED THAT HE'S NOT THE FRONT MAN FOR THE GROUP. THEY KNOW WHAT I KNOW... BUT PEEP THIS ANYWAYS:



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GNARLS BARKLEY! ILL!!



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LIL WAYNE WORKS HARD... NOW I MUST:



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I love all my friends and family... I love Diane, and I love Gracie. I love Helene and Sophia and Kelly... I love everyone I see all the time... I love life... I love you!
Keep hope alive,
Mindbender Supreme