Updated: Feb 11
The recent death of Prince has prompted us here at The Fissure to think about giftedness in celebrities, particularly in the arts. In this era of selfies and news scandals, we sometimes equate celebrity with a shallow narcissism, and we can forget that many highly successful artists and performers reach the pinnacle of their craft as a result of extraordinary ability and resilience.
As more stories and anecdotes come out about Prince as a young passion-driven musician, we can’t help but draw a keen comparison between Prince and another gifted artist: Jimi Hendrix. Like Prince, Hendrix was able to redraw the cultural lines of racial, ethnic, and gender expectations. Both developed their gifts against the odds, in an often hostile world, and produced a legacy of beloved music in the process.
In this post, we present Jimi Hendrix as a case study of our need to identify and develop the talents of young, gifted students from diverse backgrounds. Using Dabrowski’s overexcitabilities as a framework, and drawing on the research of Reva C. Friedman concerning giftedness in low-income families, educators can learn important lessons from his journey.
In the summer of 1966, a virtually unknown and self-taught musician named Jimi Hendrix walked into a New York club to audition for a show. In a typical and all-too-common scenario, his guitar had been stolen the previous night, so when he got on stage another musician handed him a right-handed guitar. For most musicians in Jimi’s situation this would have been the end of it, and he would have needed to forfeit his audition—Jimi was left-handed. Yet, without a second’s hesitation, Jimi took the guitar that had been handed to him, flipped it over, and, to the astonishment of all present began jamming on it upside down as effortlessly and seamlessly as if he were playing his own lefty guitar. This display of uncanny, virtuosic talent was typical of Jimi Hendrix’s meteoric rise to fame, and within a year of this event he was enjoying the success of nearly worldwide renown. In the end, however, the rags-to-riches story of Jimi Hendrix is the tragic tale of a gifted human being whose unique needs were never met. Just like a meteor, his life came crashing to a fiery end, leaving us to wonder what spectacular displays his creative mind might have given us. The life story of this gifted musician and performer holds many insights and lessons for educators and researchers interested in the identification and development of gifted children—in particular those under-identified students from a low SES background, like Jimi. Through his lens we can examine gifted identification and mentoring, the importance of developing an internal locus of control, and the consequences when gifted individuals are unable to achieve the positive disintegration that Dabrowski described as essential to healthy growth and human development.
The life story of this gifted musician and performer holds many insights and lessons for educators and researchers interested in the identification and development of gifted children—in particular those under identified students that come from a low SES background, like Jimi.
Using traditional achievement-based methods of identification, it is doubtful that Jimi would have been identified as “gifted” in most programs. Growing up in Seattle in the 1950’s, he displayed the classic symptoms of underachievement: there was a gross inconsistency between his perceived potential and his academic performance. Adults in his life considered him bright, polite, and even insightful, yet in elementary school his grades were never better than mediocre. He did show enough enthusiasm for a very high attendance record during elementary school, and he displayed talent and interest in art. He had a notebook that he filled with drawings of “flying saucers and drag racers” (Cross, 2005, p. 46) and he liked drawing cars so much that at one point he mailed several car designs to Ford Motor Company. As Jimi progressed through middle and high school, however, both his grades and attendance gradually declined, and at the ultimate low point, during his senior year, he flunked out of Garfield High School.
From a purely academic, achievement-based viewpoint, the case for Jimi’s giftedness seems dismal. There are no records of any conducted IQ tests, yet several aspects of his childhood show early suggestions that he was indeed the very gifted diamond in the rough who would later stun the world with his creative talents.
The fact that Jimi made it to his senior year is, in fact, a great testament to his resiliency, and a trait recognized in gifted students from culturally diverse backgrounds (Werner as cited by Davis & Rimm, 2004). Growing up in a severely broken home, his exposure to abuse, poverty, and alcoholism, the death of his mother, and his nearly daily battle with hunger would have led most in Jimi’s situation down a path of violence or escape. It’s easy to believe there were many such invitations extended to Jimi—to sell drugs, to join gangs, to use drugs and alcohol—yet time and again, Jimi carried on as if enveloped by a protection from such threats.
This bombardment of struggles and challenges would provide the potential for positive disintegration under Dabrowski’s theory, yet amid it all, it wasn’t innocence or naivete so much as a hypersensitive sense of destiny which seems to have helped Jimi sidestep dangerous fates at an early age. This hypersensitivity is related to a very high imaginational overexcitability, and it is exhibited in many aspects of Jimi’s childhood, particularly as it relates to music.
If anyone—a teacher, a relative, a well-meaning adult—could have recognized and acknowledged the power of Jimi’s focused obsession on becoming a musician, that early energy could have been effectively channeled into helping him become a well-rounded and successful individual in addition to a musician.
Many stories of Jimi’s special sensitivity come through extended community members: though Jimi and his brother were essentially left to fend for themselves, even to the point of stealing food to survive, they had many unofficial foster families throughout their Seattle neighborhood. One story involves Jimi’s sudden interest in music at about age 11. Having never so much as touched a real guitar, he procured a broom and transformed it into his imaginary instrument. Nearly every day after school he would turn on the radio and strum along with his broom as if he were playing. One man in the neighborhood observed that he would “play that broom so hard, he would lose all the straw” (Cross, 2004, p. 52). Later, Jimi was able to upgrade his broom to a beaten-up acoustic guitar with one string. To most, this would have been a useless instrument, but to the now-obsessed Jimi it became more of a science project: “He experimented with every fret, rattle, buzz and sound-making property the guitar had” (Cross, 2004, p. 52). He was now displaying incredible aptitude and creativity as an engineer, if you will, or even a scientist in the sense that he was solving authentic problems. This singular obsession, driven by his intense imagination, totally overtook Jimi.
When he saw the movie “Johnny Guitar,” in which one of the actors walks around with his guitar hung on his back, he began to carry his one-string guitar around like that, even at school. He would wander the neighborhood and whenever he heard music coming from a garage or home, he would wander in and ask if he could play along. This same one-pointed focus would drive him throughout his career. As an older musician, he would bring his guitar to clubs and shows and pester musicians to teach him tricks, or beg them to let him plug into their amplifiers during breaks. Though generally an extremely shy and understated person, when it came to anything related to advancing his music career, Jimi was a fearless risk-taker.
If anyone—a teacher, a relative, a well-meaning adult—could have recognized and acknowledged the power of Jimi’s focused obsession on becoming a musician, that early energy could have been effectively channeled into helping him become a well-rounded and successful individual in addition to a musician. Yet as it was, no one, not even other musicians, would begin to recognize Jimi’s special gift until years later. Though in nearly all other areas of his life he lacked confidence and self-esteem, for this one passion, his music, he seemed to possess the internal locus of control so typical of many gifted individuals. This allowed him to carry on despite the criticism and harsh reactions of those around him. In all aspects of the concept, he was a “self-made” talent. It is not a surprise, however, that Jimi’s teachers were not armed with the knowledge to properly identify culturally diverse gifted students in the forties and fifties – it is a struggle educating teachers even today. If teachers weren’t even properly equipped to assist Jimi’s development, then how could we expect his parents or other relatives—just struggling to stay alive—to understand the subtleties and special developmental needs of gifted children? Reva C. Friedman (1994) points out several traits of low-income families which show resiliency despite the stressors which challenge the success of gifted children: they establish a “supportive climate for development” (Friedman, 1994, p. 326) and are “organized in ways that promote predictability of functioning and reliability” (Snow et al. as cited by Friedman, 1994, p. 326). Yet Jimi had even these two strikes against him! He lived most of his childhood in transitory homes with a father who thought his interest in music was a waste of time, and his family’s few resources were hardly “supportive.” The most predictable aspect of Jimi’s family life that when somebody drank, somebody would get hit (Cross 2005).
How was it, then, that against so many odds, and with no encouragement whatsoever, Jimi persisted in the development of his special talent? Evidence suggests that his imaginational OE and vision were strong enough to overcome even these odds. One surrogate mother who described Jimi as “introverted, downcast…[and] extremely sensitive” tells of an evening when young Jimi uttered an “otherworldy” statement to her whole family. She recalls how he told them all that he was going to become rich and famous, and leave the country and never come back. (Cross, 2004, p. 47). For a poverty-stricken, nearly homeless boy to make such a statement in the early fifties must have seemed incredible, and his announcement was, in fact, met with laughter. It would, however, turn out to be an eerily prophetic statement.
In Dabrowski’s concept of positive disintegration, heredity, environment, and autonomy are the three driving factors that determine how one will overcome the suffering and struggles of life. In many ways, Jimi did resist and overcome the trappings of his heredity and environment. During his maturation he became fixated on his desire to be a musician, and doing so, he discovered a need to develop personal goals and to acquire the tools to realize them. As was mentioned above, his internal locus of control in this area of his life seemed to indicate the “strong instinct to development that leads to the individual’s higher level of being.”
Yet unfortunately there were many events and circumstances of struggle in Jimi’s childhood that he never was able to positively disintegrate. The authoritarian shadow of his father, for example, seemed to haunt him even after he was a famous rock star. The unresolved theme of his mother’s early death due to alcohol was one that came up again and again both in his music and in personal conversations. The fact that his father had prevented him and his brother from attending their mother’s funeral seemed to only add to the unresolved nature of the experience.
The fact that no mentor appeared in Jimi’s life who understood the special developmental needs that his sensitivity and giftedness demanded is the great tragedy of his story. On stage, he was a genius in complete control and command, displaying a spontaneous virtuosity that was unparalleled. Yet in many ways “the same trait that made him such a talented musician—the ability to be lost in the moment of performance—also caused Jimi to act on his immediate desires of urges, with a recklessness at times” (Cross, 2005, p. 179). Offstage, the internal locus of control he seemed to possess in relation to his talent seemed less influential, and he was often manipulated by those around him with ulterior motives. Eventually this lack of a compass in his off-stage life led him into the dangerous waters of drugs and groupies, and these would prove to be influences that would lead to his early death.
The great lesson in Jimi’s story for educators is the importance of expanding the net we cast in our search for the gifted, and searching very carefully through what we find. Using the multiple criteria approach outlined by Davis and Rimm (2004) would certainly be a big step forward by overcoming many of the limitations of using standardized tests as the sole identification method. However, Jimi’s story takes us one realization further—there may be many whom our current system of gifted education simply isn’t ready to support. Until that time, educators need to be vigilant in watching for students who display a special talent, sensitivity, or single-minded passion. These kids may not find a home in a gifted program, but they do need a special mentor. They need a guiding hand that can lead them to develop a well-rounded confidence in life, and to develop an internal locus of control to help them navigate their passion to maximum success and fulfillment.
Cross, C. R. (2005). Room full of mirrors: A biography of Jimi Hendrix. New York: Hyperion.
Davis, G. A. and Rimm, S. B. (2004). Education of the gifted and talented (5th ed.). Boston: Pearson Education, Inc.
Friedman, R. C. (1994). Upstream helping for low-income families of gifted students: Challenges and opportunities. Journal of Educational and Psychological Consultation, 5(4), 321-338.