WEIRDLAND: jim morrison
Showing posts with label jim morrison. Show all posts
Showing posts with label jim morrison. Show all posts

Saturday, June 16, 2018

Too High Price: Jim Morrison, Edie Sedgwick

“Against the exceptional individual are the great numbers of men, trained in a vice that ensnares them.” —Jim Morrison

It was with slight curiosity that I received from Jim Morrison's own hand a film magazine edited in New York by Jonas Mekas which contained an article: Notes on the Auteur Theory. I read every line of it and handed it back to him with a great deal of amusement. “Listen, Jimbo, what Andrew Sarris doesn't understand is that he's not the only one who watched films on television between 1950 and 1959. I saw them, too, in that period when I was in Pasadena, California. And I have a very different reaction to them.” “A lot of those directors had been short changed by Establishment Film Critics,” said Jim. But what I'm getting at is that Sarris didn't write about these obscure directors back in the early Fifties because he didn't have a theory for them. It's the French that provided him with one called the auteur theory. And when he got it, he very conveniently discarded what didn't fit it. Once he thought that Odd Man Out (1947) was the greatest film ever made. Then he dumped on it because the French didn't like it. “Odd Man Out actually is one of the greatest pictures ever made,” Morrison asserted. “But what's this theory all about, Jimbo?” I ticked it off on my fingers, “the myth of individualism. At bottom, all this French stuff is actually Cartesianism, formal non-contradictory logic.”
At the start of modern feminism, 1968 or ’69, Morrison may have read Germaine Greer’s or Kate Millet’s books. “You gotta understand,” he said, “the women around here seem cheerleaders and the men voyeurs.” “Venice West?” I asked. “No. I mean the West in general. What we got in California is the remains of a frontier experience.” Jim continued: “In America, women like to preen, like in the film Duel In The Sun. Consequently the Jennifer Jones character is a kind of exhibitionist. Men, on the other hand, recede into the darkness. The relationship between the sexes in this Golden State is that of a peep show. Think about it. It’s the beginning of a Matriarchy.” Jim grew silent and moody again. At that point he wanted to find his Ariadne. 

“Phosphenes!” said Jim in wonder. “Miniaturize a cathode ray camera into the 'magical spectacles' of Tales of Hoffman and with the simple expedient of inserting fiber optic wires into the man's brain these phosphenes could illuminate the three dimensional coordinates of objects and energies in the so-called 'real' world.” Jim then added: “Ever read Lewis Thomas? There's a book called The Lives Of A Cell; it says, in effect, that we live by light; snatching electrons at the precise moment of excitation by the attraction/repulsion of solar photons, snatching off the energy released at each leap and storing it up like a living battery. Quite a job to sustain this work for, say, a couple of billion years without being prone to chaotic drift and randomness. He claims it is nearly a mathematical impossibility. They say God is dead, so how did this happen?” I was silent at this barrage of facts. His face was deep in thought. “Do you know when education ended in this Country? Some say it was in 1912. That's when the American Educational Association formally renounced the teaching of the Classics as the mainspring in Secondary Schools. I guess John Dewey took over. And then behaviorism. John Watson, the first behaviorist, went into Advertising,” Jim explained, nodding in the direction of the Film School beyond Westwood Village. “Somebody said, 'This isn't a film school, it’s a division of neuropsychiatric.' Trouble with that place is nobody was crazy enough. You go through a realm of despondency, darkness and madness, and it builds to an unendurable climax.” “Most of people gets bought and paid-for in the end,” I finally admitted. “Think so?,” countered Jim after a while: “If that is true, my price is way too high.” —"Summer with Morrison: The Early Life and Times of James Douglas Morrison, A Memoir" (2011) by Dennis C. Jakob

Danny Fields had connections to Andy Warhol’s crowd (Edie Sedgwick crashed with him for a while), which helped him get into the back room of the Max’s Kansas City. Fields brought Jim Morrison there, in 1968, an occasion that did not go well. Sedgwick intuited that Warhol’s gayness was incidental. More fundamental was Warhol’s frustrated narcissism, in a permanent state of unfulfilled desire. Warhol invited Jim Morrison a few times to the Factory, but Morrison was not too interested in joining his insane coterie. Warhol looked at Edie Sedgwick and saw Marilyn Monroe. The physical resemblance between Marilyn and Edie was striking, can’t-miss: the eyes that went wide, wider, widest; the smiles that gushed; the skin that glowed palely, pearly. Marilyn and Edie shared, too, an ability to elicit a response from practically anything with a Y chromosome. Marilyn, in words of Pauline Kael “turned on even homosexual men.” Danny Fields, a close friend of Edie’s, testifies, “Being gay was never an impediment to being in love with Edie Sedgwick. She made everybody feel hairy-chested. It was clear that she was the female and you were the male.”

“Edie was incredible on camera—just the way she moved. The great stars are the ones who are doing something you can watch every second, even if it’s just a movement inside their eye.” Andy was a cold man, a man whose fondest dream was automaton-dom (“I’d like to be a machine, wouldn’t you?”), yet, you can hear how infatuated he was, how far gone. The deadpan mask had slipped, exposing the human face—warm, eager, heartbreakingly boyish—underneath. Andy loved to watch, and he loved watching Edie best of all. You can feel the pleasure he takes in her most casual gestures and expressions. He adored her.

In Beauty #2 his inquisition is an attempt to strip her bare emotionally, get inside her, penetrate her secret, private place. In other words, it’s a violation, but it’s also an attempt at intimacy, and thus an expression of love. Just as her submission to the violation is an expression of her return of that love. Edie's romance hit its peak during a madcap trip to Paris in April of ‘65. She  lost faith in what she and Andy were doing (“These movies are making a complete fool out of me!”) and she’d had her head turned by another guy, Bob Dylan. Andy was actually heartbroken. He was the odd man out in a love triangle, a bad situation for a normal person, hell for one so terrified of feeling. It’s unclear if Edie and Dylan’s relationship developed into a romance. Allegedly, Edie Sedgwick and Jim Morrison shared hugs and kisses at the Castle in July 1967. Edie would end where she began: Santa Barbara, California. On November 16, 1971, Edie Sedgwick overdosed on barbiturates, same as Marilyn Monroe. Source:

Thursday, June 14, 2018

LSD Doses, Jim, Pam, and The Abyss

Psychedelic drugs like LSD and ecstasy ingredient MDMA have been shown to stimulate the growth of new branches and connections between brain cells which could help address conditions like depression and addiction. Researchers in California have demonstrated a single dose of Dimethyltryptamine (DMT) increases the number of branch-like dendrites sprouting from nerve cells. These dendrites end at synapses where their electrical impulses are passed on to other nerve cells and underpin all brain activity. But they can atrophy and draw back in people with mental health conditions. “One of the hallmarks of depression is that the neurites in the prefrontal cortex – a key brain region that regulates emotion, mood, and anxiety – those neurites tend to shrivel up,” says Dr David Olson, who lead the research team. The research, published in the journal Cell Reports today, looked at drugs in several classes including tryptamines, DMT and magic mushrooms; amphetamines, including MDMA; and ergolines, like LSD. Source:

Penny Courson: “Corky and I went up to LA, and there was this restaurant called the Matador that Jim had arranged for dinner, and the captain at the restaurant was like, ‘How are you, Mr Morrison!’ Then after the dinner, the four of us went to see 2001, A Space Odyssey.” Jim and Pam would also come over to the Coursons’ for dinner. “Beautiful, Jim’s manners were just phenomenal”, Penny (Pam's mom) says. “He would take whatever food was being passed around, and he would serve her first,  then put some on his plate. I was very impressed.” Pamela Courson was also impressed about Jim's transformation in the summer of 1971: “I woke up one morning and saw this handsome man by the pool, talking to two young American girls. I fell instantly in love with him. Then I realized it was Jim. I hadn't recognized him. He had got up early and shaved his beard, and he was so lean from losing so much weight, he seemed a new man. It was so nice to fall in love again with the man I was already in love with.” —"Angels Dance and Angels Die: The Tragic Romance of Pamela and Jim Morrison" (2010) by Patricia Butler

“Acid can cause long-lasting or even permanent changes in a user’s psychology, and personality. Jim Morrison was one of the people that took a lot of doses. He would take four or five hits at a time. He indeed changed.” Back in New York for more shows in July 1967, Jim Morrison, the self-anointed prophet of the Summer Of Love and LSD-induced Rock, began an impossible affair with his psychic and spiritual opposite – Nico, Teutonic blonde ice-queen and co-vocalist of New York’s most celebrated yet least famous band, The Velvet Underground. According to Rock orthodoxy, The Velvet Underground and in particular Lou Reed (previous lover of Nico) seemed to despise everything The Doors stood for. When just four years later Lou Reed heard of Morrison’s death, he sneered (maybe not joking): “He died in a bathtub? How fabulous…” —Classic Rock Magazine #132 (July 2009)

On the the orbit of Jim Morrison's camp, what worthy angle is really left, at least book wise? I can think of about three: 1. Robby Krieger autobio on the saga. He doesnt have an axe to grind like John Densmore or Manzarek's psychobabble. He's the most neutral of all three Doors. 2. Babe Hill's take. Post '68, Jim more and more distanced himself day to day from The doors, yet, got much closer to Babe. His book could fill in some holes. 3. Mary Werbelow. Absolutely no one knew Jim closer from '62-'66 than Mary. It would probably be the most important book written on Jim if she decided to really go deep with it. One could argue, much of his dark side came from their break up. Interestingly enough, they were in communication even post '68. Her interview about 10 years ago may have been one of the most important sources. Pamela Courson: she has always been a mysterious figure. Central to the Morrison myth but very little real biographical information on her. I'm sure Pam had many adventures that we will probably never hear about. Pam was LA's Edie Sedgwick in some sense. She was in Mick Jagger's lap at the Hollywood Bowl show. Her friends all talk about how crazy and unpredictable she was. Jim was very chivalrous with her. In down times those demons of what was lost with Mary seemed to be a hard ghost to shake and this possibly points to why his relationship with Pam was so stormy. Even some of the peripheral characters could give some great insights into the inner workings of the group, but probably not enough for a full book unless the stories were gathered into one volume, like in Frank Lisciandro's Friends Gathered Together book. People like Lynn Krieger, who dated Morrison before she married Robby. She must have a few good Morrison stories. I'd like to read a bio on Jim done by someone who rejects all the previous forms and templates for The Doors coverage. NOHGOA (with help from an uncredited Ray Manzarek) is not good, it set up the image of Morrison as a madman (which was further "explored" in the movie). Then we have Densmore's whining about Morrison (which he conveniently revises in Unhinged), and Patricia Kennealy's farcical book (blech), and then Stephen Davis thinking if Jim was bisexual? Come on. —Kelvin Kloud from The Doors Forum

A Cosmic Mating: As his cue came up, Jim Morrison caught her eye. Pamela raised her sight from her Vanilla Coke, sipping it intertmitently. As Jim walked off the stage at the end of the set, she was waiting for him with a beer at the club stairs. "I think I love you," Morrison said. She asked "what happened here?" touching the side of his face where he still had some cuts from the debacle of the biker bar. "Critics," he joked: "What's your name?" "Pam," she replied. She was aching for a way out and shared with Jim a baggie of mushrooms. They woke up the next morning feeling raw and vulnerable. "Do you think I like being promiscuous? I love you!" Pam blurted out. Jim knew she meant it and realized she wasn't interested in looking back to her Orange County adventures. Jim caressed her hair with his trembling hands while she laid enthralled with closed eyes. Pamela laughed, amused at Jim's declaration 'I'll give you a fancy place, silk clothes and diamonds!' and kissed his half-open mouth. Jim knew he had found his cosmic mate, and didn't want to lose her. 'You are not my groupie,' said Jim in a sudden serious tone, 'you are my girl. I'd lose myself completely in your mouth, baby, your mouth is so pure.' Her body shook up at hearing all his poetic words. Her fingers, so softly tactile, explored his body, making his brain explode with an unknown, inviolable pleasure. He kissed her possesively. She tasted like Vanilla Coke and candy. 'I wanted to hold you in my arms since you laid your eyes on me at the London Fog,' she confessed, transfixed at the memory. 'Some idiots told me you were a floozy... I didn't believe them, they could never see through you,' he gently revealed. She sighed: 'Did you ask for my dating historial, Jim?' He tilted his head galllantly: 'I didn't ask anyone, you know how those guys are, braggarts or losers... you are an angel, you smell like Paradise and your eyes are lavender flowers.' She smiled, submerged in a new placidity, marveled at his poetic declamations. Her eyes were glazing over and he made love to her like an eternal promise. Her frantic strawberry tongue provoked his flowing of sweat, thick drops burning her hair and dampening her petal-rose breasts. Jim became Pamela's protector, drowning in a sea of interminable desire. As all the true love stories, Jim Morrison's unique relationship with Pam Courson was utterly misunderstood. Some insiders thought Morrison was lost, at the mercy of the mentally depressed Pam, but they were dead wrong. Jim chose Love and married Pam. Jim Morrison said that Love was the answer. —Jim, Pam and The Abyss by Sue Angeles Source:

Tuesday, June 12, 2018

Jim Morrison's mythology, The Flynn effect

Jim Morrison’s voice on the early Doors’ records is haunting. It conjures an earlier self and the need to achieve a spiritual autonomy above all else. This evolution was also reflected in Morrison’s writing, which became more concrete, and in his singing voice, which slowly degraded as the toll of his suicidal lifestyle began to show. “Blood in the streets it’s up to my ankles/Blood in the streets it’s up to my knee,” he sings on the 1970 “Peace Frog,” one of their best late songs. “Blood on the rise it’s following me.” The song, which shows off all the band members’ muscles, is tough to beat as a testament to late sixties dread. On the group’s last album, L.A. Woman, the blues orientation becomes most explicit, as does Morrison’s sense of isolation. Rock’s best long song, “L.A. Woman” has served as accompaniment for countless ecstatic road trips, but it’s more desolate than it sounds, while “Riders on the Storm,” though ostensibly about a serial killer, sounds almost hopeful by the end. The emotional core of “L.A. Woman” comes from its famous bridge, in which the last remnants of the Lizard King dissolve into Morrison’s final incarnation, Mr. Mojo Risin’.

In the Morrison mythology, his admiral father plays the part of the standard 1950s dad, too invested in his career and too repressed to understand his artistic son, whose middle name, Douglas, was for Douglas MacArthur. George S. Morrison’s life was every bit as eventful as his son’s. At 22, he was serving aboard the minelayer Pruitt in Pearl Harbor on December 7, 1941, when the Japanese attacked. He became the youngest admiral in the navy in 1966, just as the Doors were astounding audiences at the Whiskey a-Go Go on the Sunset Strip and preparing to record their first album. By then, the admiral and Jim had fallen out, polarized by years of mutual incomprehension and by the father’s harsh dismissal of the son’s career plans. When the Doors made it, Jim told reporters that his parents were dead. Though he had seemed on a career fast track, George S. Morrison never became a 4-star Admiral, and Doors drummer John Densmore believes that Jim’s notorious reputation was a key reason why. The navy, Densmore suggests, was reluctant to give the father of the Doors’ lead singer a higher profile. During Jim’s Miami obscenity trial, his defense team admitted a supportive letter from the admiral in which he vouched for his son’s good character while acknowledging that he had barely spoken with him for years. He had followed Jim’s career, he wrote, “with a mixture of amazement and in the case of Miami, great concern and sorrow.”  Source:

Earrings owned by Pamela Courson. "Personally given to my aunt by Pamela Morrison during the last year of Pam's life. Pamela was lonely, troubled and severely addicted to heroin. Unfortunately, my aunt was also addicted to heroin, which is how they became friends. Fortunately, she survived to a much older age than Pam. I met Pam only one time during a vacation to visit my aunt. She was pretty, although she looked older than her true age. I only got to spend not much longer than an hour with her, but I cherish the memory. Pamela was a sweet and engaging person, even with the cursing. As curious as I was, I didn't ask any questions about Jim. My aunt warned me not to. Pamela confided to her that she and Jim had been using heroin the night he died and he probably overdosed. I have never worn the earrings since inheriting them, they are an irreplaceable piece of history and were kept in a safety deposit box." Source:

According to Tone McGuire (from TonĂ© McGuire Media Productions), it was really a testament to Pamela Courson that, despite the difficulty of her relationship with Jim being a musician, she was always going to be the centerpiece in his heart. I think that Jim at the end (in Paris) had done the wild thing and that he was ready to just wind down with Pamela.  Jim allowed Pamela to use his last name as she saw fit. She used both names, Courson and Morrison, and sometimes wore a ring on the ring finger, one that she chose for herself as a symbol of her taken status. Jim gave her whatever she wanted, and happily, because if Pamela was happy, it meant that he could relax too. 

Pamela lived how she wanted to live (she traveled and stayed in nice hotels and flew first class impulsively), and it was because Jim wanted her to. Tone McGuire had a lot of candid conversations with Jim about Pamela, and Jim really expressed to him that Pamela was his one true half, they just struggled a lot with the scene's lifestyle they experimented. Pam had two brief relationships after Jim's death, with Randy Ralston, whom she met at a restaurant in 1972, and Phil Barnett, a friend of hers and Jim's who she lived with for about six months. Phil Barnett took the last known photo of Pamela before she died.  —Pamela Courson-She Dances In a Ring of Fire 

The surviving Doors must have felt resentment toward Jim Morrison (and probably a fair amount of jealousy) to stand idly by and allow for this "image" to get so out of control, or maybe this was their stupid way of staying on the radar. But "No One Here Gets Out Alive" backfired. Since Jim's camp was more than willing to throw him under the bus it has been open season on him ever since. I truly feel that the problem stems from  "No One Here Gets Out Alive". People who were interviewed for the book, from Jim's family members to Doors producer Paul Rothchild, were very angry about how Jim Morrison came across in what, to me, is Rock's answer to "Mommie Dearest". As Paul Rothchild put it, "The best parts of Jim Morrison are not in there." The book was clearly marketed to appeal to a young audience and it took the story of an unhealthy, deeply unhappy, self-destructive young man and tried to coat it with a gloss of "mystique," and people resent that. Morrison did not have a lot of friends in the industry and was probably the object of a lot of jealousy and resentment. 

Maybe if they had put him in a more accurate context - that he was also a painfully shy, self-conscious, lonely, sensitive, perceptive, intelligent young man who battled depression and other emotional problems on top of alcoholism. They also left out the side of Jim Morrison that has been described as sweet, funny, generous, kind and loving. The part about him standing outside his girlfriend Tandy Martin's window before his family moved. "The dark figure got in the car and disappeared" or something to that effect. They angled everything to make him sound creepy. Jim Morrison was sad about leaving his friends again and was taking one last look at Tandy Martin's window.

The Doors producer Paul Rothchild had this to say about "No One Here Gets Out Alive" and Danny Sugerman: "Danny Sugerman took Jerry Hopkins' original manuscript and destroyed it. Danny didn't interview me, Jerry did. Danny then changed a lot of my interview to HEARSAY that other people did. I am furious about the book, and so is everyone else I've talked to who is quoted in it. It's a great piece of sensationalism, very little of which holds to historical fact. Jim is sensationalized rather spectacularly, and the best parts of Morrison are not there. The only people who come off well in my opinion are the groupies and sycophants who were hanging around the band and close to Danny Sugerman - who was a groupie himself." Also, Sugerman insisted on giving credibility to some nasty, self-professed Pagan witch who basically stalked Jim Morrison and claimed to have had a long term relationship with him and that claim has been proven false many times over. Its hard to find a book that is fair and truthful when it comes to Jim Morrison. —Am I the only one who feels like the Doors have been forgotten by most people? by RiderOntheStorm1969

Researchers find IQ scores dropping since the 1970s: Population intelligence quotients increased throughout the 20th century—a phenomenon known as the Flynn effect—although recent years have seen a slowdown or reversal of this trend in several countries. A pair of researchers with the Ragnar Frisch Centre for Economic Research in Norway has found that IQ test scores have been slowly dropping over the past several decades. In their paper published in Proceedings of the National Academy of Sciences, Bernt Bratsberg and Ole Rogeberg describe their study and the results they found. They also offer some possible explanations for their findings. Prior studies have shown that people grew smarter over the first part of last century, as measured by the intelligence quotient—a trend that was dubbed the Flynn effect. But, now, according to the researchers in Norway, that trend has ended. Instead of getting smarter, humans have started getting dumber. The increase of scores of general intelligence stopped after the mid-1990s and it's difficult to interpret since these countries have had significant recent immigration from countries with lower average national IQs. During the last century, there is a negative correlation between fertility and intelligence. Sadly, other researchers have found similar results. A British team recently found IQ score results falling by 2.5 to 4.3 points every decade since approximately the end of the second world war. And this past December, another group from the U.S. found that children who grew up eating a lot of fish tended to have higher IQs—and they slept better, too, which is another factor involved in adult intelligence levels. Source:

Sunday, June 10, 2018

Hollywood's Eve, A Rock-and-Roll Memoir

Hollywood, California, in the 60s and 70s was the cultural capital of America and the world—a movie factory, a music factory, a dream factory. Eve Babitz, the subject of Lili Anolik’s remarkable new book, is Hollywood’s native daughter. "What truly sets Babitz apart from L.A. writers like Joan Didion or Nathanael West is that no matter what cruel realities she might face, a part of her still buys the Hollywood fantasy, feels its magnetic pull as much as that Midwestern hopeful who heads to the coast in pursuit of 'movie dreams.'" Babitz turned herself into the West Coast’s answer to Edie Sedgwick: a groupie with an artistic streak. She designed album covers for Buffalo Springfield and Linda Ronstadt, and seduced Jim Morrison. Throughout Babitz’s stories, there’s an awareness of the dichotomy between the often vapid realities of Los Angeles and the ideals of an authentic Bohemia. Anolik’s dazzling Hollywood’s Eve is many things: a philosophical investigation, a critical appreciation, a sociological study, a cultural commentary, and a noir-style mystery. Hollywood's Eve: Eve Babitz and the Secret History of L.A. will be released on January 8, 2019.

Eve Babitz in L.A. Woman (2015): "Greatness is a disease. That must have been what was wrong with Jim Morrison. His silences were deadly and the fury within him to capture the world's imagination was so dignified and ironical that, like pain, you only remembered what it was like when it was too late." Eve may be LA Woman, inspiration for The Doors song. “Never saw a woman/ So alone”– that’s her. Source:

“Grace Slick always thought she was ugly,” said Eve Babitz. “But she was certainly gorgeous.” Grace Slick, the Acid Queen of Haight Ashbury, had just as much fun as the guys on the road. “I pretty much nailed anybody that was handy,” she claims. “My only regret is that I didn’t get Jimi Hendrix or Peter O’Toole.” During the legendary Doors/Airplane European tour of 1968, she ended up in Jim Morrison’s bedroom at the Belgravia Hotel, where they romped around and covered each other with strawberries. “Jim Morrison inhabited two places at once, and although there was some pattern of events going on in his head that connected what I’d just said, it never made sense. I’m sure that the people who knew him well must have heard normal dialogue out of him like, “What time does the plane arrive?” But I never heard anything intelligible I could respond to until I was able to see what he was like alone, away from the frantic energy of the music halls. I also wish I could tell you that he came to my room to hustle me. But I was the perpetrator. “Okay if I put this plate on the radiator?” I asked. This was Europe, 1968. No central heating. After I set the plate of  frozen strawberries on the cold radiator, he crawled over the top of the bed. I can play this, I thought, and I relaxed. It wasn’t 9 ½ Weeks with Kim Basinger and Mickey Rourke using food as erotic lubricant; it was more like kindergarten play. I was afraid I’d be stepping on that Fantasia tape that seemed to be running in his cranium. This was like making love to a floating art form. I’d never had anyone “study” me like that. He seemed to be appraising the distance between us as if it was an invisible garment that needed to be continually breached with each motion. With our hips joined together and his body moving up and down, if felt like he was taking a moment each time to circle the area between our bodies and consider the space that separated us. At the same time, he was surprisingly gentle. Somehow, I’d expected a sort of frantic horizontal ritual. It’s interesting; the most maniacal guys on stage can be such sublime lovers. He was a well built boy, his cock was slightly larger than average. Jim mystified me with that otherworldly expression, and at the same time, his hips never lost the insistent rolling motion that was driving the dance. 

When Jim did look directly in my face, he seemed to be constantly searching for the expression that might break the lock, as if I might be wearing a disguise. I’m not sure what I mean by that, but I can say that it was both intriguing and disconcerting, waiting for him to ask me if I was someone else – an impostor or a product of his imagination. I dressed as fast as I could, without looking like it was a race. Jim didn’t seem to notice; he appeared to be totally unconscious, just lying there motionless on the bed. But naked, with eyes closed and without moving a muscle from his completely immobile posture, he said, “Why wouldn’t you come back?” Since I hadn’t said anything about coming or going, I didn’t know what he expected to hear, so I went into proper Finch College mode and said, “Only if I’m asked.” He smiled, but never asked. Danny Sugerman said, “You know, Grace, I’m glad you're telling everybody you screwed Jim. You can’t believe the amount of ugly women who’ve claimed to have fucked him.” —Somebody to Love?: A Rock-and-Roll Memoir (1999) by Grace Slick

Judy Huddlestone on Jim Morrison: "Like everyone, he had moments of happiness or joy, but clearly he was not happy. On balance, he was more tortured than most--genetics, karma, childhood, alcoholism--whatever the reason. Was he bipolar, borderline psychotic? It was like a switch got flipped, far beyond a regular mood swing." A new peer-reviewed paper (published in the January 2018 issue of ScienceDirect) has shown that possessing a high intellect could be directly linked to several psychological disorders including Depression, Anxiety, ADHD and Autism. The highly intelligent individual has a remarkable capacity for seeing and internalizing vast uncertainties, possibilities, and problems. This gift can either be a catalyst for empowerment and self-actualization or it can be a predictor of dysregulation and debilitation. The study also found that high intelligence could also potentially be linked to almost double the risk associated with autoimmune disease. The study also suggests that an above average IQ could also have a large impact on physical health. *Mood Disorders - National average 9.5% High Intelligence 26.8% *Anxiety Disorders - National average 10.9% High Intelligence 20% *Depressive disorders - National average 6.7% High Intelligence 25.8% Source:

During 1999–2016, suicide rates increased in nearly every state in America, including >30% increases in 25 states. In 2016, a Harvard University study revealed that 51% of people between the ages of 18 and 29 “don’t support” capitalism—and only 42% support it. So if not capitalism, then what? The study found young people favor socialism, but that’s not the only alternative. There has been an uptick of interest in a 170-year old political system — that dirtiest of C-words. Communism. It’s no secret that the United States doesn’t have the best relationship with communism. Much of this is rooted in the The Red Scare of the 1940s and ’50s, which fueled the Cold War and the wars in Korea and Vietnam, and which had a lasting effect on how people in the U.S. view the political system. Since then, the U.S. government has interfered in multiple countries  in order to weed out communism anywhere it popped up. In any case, in recent months, communist ideology has seemed to catch on with more Americans. The Communist Party USA — a national organization founded in 1919, with 7,000 registered members — has reported a significant spike in interest and membership with 5,000 new members. CPUSA’s international secretary said, “There is growing interest in communist ideas.” The Seattle Communists, a chapter of the Pacific Northwest-based Communist Labor Party, has seen its numbers swell. Further, communists believe that fascism happens when capitalism is under threat. As the economic system becomes unstable, white working class people are directed to blame immigrants and people of color and are steered toward white nationalism. In this sense, simultaneous rises in both far right and far left ideas are inevitable under capitalism.  Source:

Jim Morrison could be pretty funny at times. He smirked: “Well, in fifty-sixty years this whole set-up is going to collapse. Everybody's gonna lose their money to a bunch of crooked politicians and white-collar criminals. You'll see. And then these guys, let’s call them economists, they're all gonna say finally, ‘Well, Ezra Pound was right!’ And Social Credit will come in." “Well Jim, ya’know Pound was in the nuthouse at Saint Elizabeth's hospital for twelve years.” “So what?” “Well, there’s this charge of Treason.” He cocked his head and gave me a sharp glance. “Sure. His transcripts were censored. And what the fools don't realize is that Pound is a hero and should’ve been given the Congressional Medal of Honor! It's all in code, the broadcasts! It's in cypher! You just gotta know how to figure it out. Pound was a spy for the government and he oughta be decorated." He concluded, “Everybody else thinks you’re a communist or whatever. Actually, you're a patriot. So Pound was doomed – unless he played ball with the Government. Of course, he could have stayed right here in America, but that's what makes him such a hero.” “Well, why didn't all this come out at the trial?” “Because, by 1946, when the troops arrested Pound, Roosevelt was dead, and Truman didn't know anything about the code." And there he had me. “Well, why didn't Pound say anything after they put him in the nut house, Jim?” “Because the U.S. Military put him in that cage in Pisa and he went bonkers. This was a case of state security. It's as plain as day.” 

Jim Morrison could be oddly patriotic. “Dostoyevsky said, the Russian hates freedom. Those fuckers wouldn't know what to make of it. Like a primitive man under an open sky gone crazy from the light. The Politician, one of the two examples of the ‘secular Priest’, becomes the consummate actor of our day,” Jim said. “What's the other example?” “The Psychiatrist. According to Freud, the future of illusion needed secularization.” I said: “Your Mr. Pound said that Rome was destroyed by its Rhetoriticians.” “The Rhetoriticians took over when the Romans lost their Poets. Rhetoric is just another word for politics,” said Jim: “Politicians are too shrewd to be neurotic, by and large. Greed so wonderfully concentrates a man’s mind.”—"Summer with Morrison: The Early Life and Times of James Douglas Morrison, A Memoir" (2011) by Dennis C. Jakob

Friday, June 08, 2018

RIP Jerry Hopkins, Before the End

Jerry Hopkins (RIP): "Oliver Stone bought the rights to my book, and he bought the rights to my research material, which were essentially the transcripts to 200 interviews I had done. That was the extent of my involvement in the film. I have mixed feelings about the movie. Mainly that it was so one-sided. I knew Morrison. I knew him to be a man who had a sense of humor about himself. He was a man of staggering intelligence. He read enormously, and he remembered everything he read. The man put things together in an interesting manner, and he was a great conversationalist. Very little of that comes out in the movie. Forty percent of the movie is sheer fiction. Stone merged characters. He ignored chronology. It was Stone writing his version of the sixties. Hollywood never has let the facts get in the way of a good story. People credit Rolling Stone with inventing gonzo journalism but Hollywood was way ahead of them. The way Hollywood portrays the American West wasn't the way it was. Oliver was just being Oliver. He is a terrific filmmaker. What bothers me most about Stone is that most young people today use movies as their major information sources and he knows it. If they get misinformation from the film they won't even bother to crosscheck with a book. Oliver's dishonesty and he is not alone in this, is a disservice to young people whose ideas are formed by what they see in the movies." Source:

Letter from Jeff Finn for one 'not a fan' of Jim Morrison: At any rate, after 32 years of researching Jim’s life and interviewing his family, friends and lovers, I’ve come away with a vastly different picture of Morrison than the mainstream media have painted. Jim was not the narcissistic, tantrum-throwing, raging drunk/man-child Oliver Stone would have said media and everyone else believe. Keep in mind Stone, after Alain Ronay asked him why he chose not to portray Jim the way he really was [displaying warmth, humor, etc, in addition to his darker moments], was said to have replied with a grin: “Because the truth doesn’t sell.” According to Ronay, Jim was chockfull of the nuances of humanity, as opposed to the one-dimensional, fallen rock god-cum-buffoon to which he’s been reduced by former fans such as yourself. So, imagine if you will: Jim was an actual human being, riddled with complexity. Did he hit bottom? Yes. But he also lived and breathed and flourished in stark contrast to the totally self-absorbed, drunken/stoned-24/7 human cartoon Stone chose to depict, an image that has deeply tainted Jim’s legacy. Hence the making of my documentary in general and my response to your reply in particular.

We ALL have levels of “healthy” narcissism, some healthier than others, but you seem to imply Jim had full-blown Narcissistic Personality Disorder which, to my knowledge, is a rather rare condition (between 0.5-1% of the general population). And I’m not trying to paint Jim as some goddamn saint, but nearly all those I interviewed refuted the notion that he had NPD, or that he was even a “narcissist.” Narcissists, by nature, are uninterested in anyone but themselves. Jim, conversely, is said to have been vastly interested in others. But say for the sake of argument Jim did have NPD. Would that then have entitled the New Haven police to beat the hell out of him on December 9, 1967? That’s apparently the case - as per your cruel logic. Now, the way I see it, Jim’s real “crime" that night was daring to stand up to a New England cop [who'd been hired to protect Jim & The Doors!]. From what I’ve gathered, the cop flaunted his ego, along with his Mace, and that resulted in ABUSE OF POWER and POLICE BRUTALITY.

All this begs the question: Whose side are you on, man? Jim Morrison, who used his MIND to help evolve the Free Speech movement and help Rock & Roll come of age or the New Haven Police Department, a corrupt gang of thugs who apparently chose to overcompensate for their insecurities by using their FISTS to pound on a skinny 145-lb singer already half-blinded by their Mace? I will end by paraphrasing a quote from Henry Rollins: “There is no existential threat to the police that rivals what the police inflict upon themselves.” I find your lack of compassion disturbing and indicative of the mass apathy that’s sweeping the U.S. BEFORE THE END documentary is in the process of being shopped to the major streaming services (Netflix, Amazon). A DVD release is in the works as well. ~ Jeff Finn

Sunday, June 03, 2018

The Doors: Waiting for the Sun's 50th Anniversary

Jim Morrison had a deep, almost classical baritone, and when accompanied by the Doors' rhapsodic garage ensemble, he lent a unique, mesmeric clarity to the primordial yearnings of the late ’60s. He was also the first superstar hippie with an aura of pre-counterculture masculinity. There was nothing remotely smiley or reassuring about Morrison. Mostly, though, Oliver Stone's film wants to be an intimate portrait of Morrison. And that’s where Stone’s frenzied, one-thing-after-another approach takes its toll. As docudramas go, The Doors is more docu than drama: It simply presents Morrison’s life and dissolution, bottle by bottle, without really giving us a peek into his soul. Stone essentially buys into the star’s myth about himself. Then the movie undercuts the myth by showing us, in agonizing detail, what the booze did to him. Morrison’s fatalistic yearnings seem to touch a responsive chord in Stone. Lying dead in his Paris bathtub, Morrison has a transcendent smile. Stone doesn’t pretend to know whether Morrison did break on through to the other side. But the flashes of brilliance in the film exert a powerful hold. Forty years after his death, Jim Morrison can still convince an audience that he’s onto something. Whatever one can say about Morrison’s method toward revelation, the truth is it ultimately destroyed him. Source:

"I was born to sail away to touch the land of my dreams but evil winds filled my sails and finally I lost my way. The ship run aground of my life and now, I lie here broken, helpless." —Jim Morrison

Break On Through: The Life and Death of Jim Morrison, (ekindle, 2014) by James Riordan and Jerry Prochnicky, reveals how Morrison overdosed on Pam Courson's heroin. This is, without a doubt, the most thoroughly researched book on Jim Morrison and the Doors yet to be published, and reveals Danny Sugerman's No One Here Gets Out Alive for the puerile, fawning mess it is. But it is less the star and more the martyr that surfaces here, with gruesome accounts of Morrison being beaten by cops, lambasted by finicky critics, verbally abused by audiences, and emotionally drained by a neurotic girlfriend. The story is that Morrison was a failed visionary, and that "I can do anything" was the shallow, desperate boast of a man already fallen off the edge on which he so loved to live. The tragedy of Jim Morrison—who, like all sacrificial media gods, will always be young; that's why we love to kill them—is that he destroyed himself in full view of millions, and no one did a thing to stop him. Source:

Waiting for the Sun was the third studio album by The Doors, recorded from February to May 1968 and released in July 1968. It became the band's first and only No. 1 album, spawning their second US number one single, "Hello, I Love You". Waiting for the Sun contains two songs with military themes: "Five to One" and "The Unknown Soldier". In his 1980 Morrison biography No One Here Gets Out Alive, Jerry Hopkins speculates the song seems to be a parody of all the naive revolutionary rhetoric heard on the streets spouted by the "hippie/flower child" hordes, an interpretation strongly supported by the final verse "Your ballroom days are over, baby." Waiting for the Sun was praised by James Riordan as The Doors' best album with no complaints about its brevity. Sal Cinquemani of Slant magazine wrote: "Despite the fact that Morrison was becoming a self-destructing mess, Krieger,  Manzarek and Densmore were never more lucid – perhaps to compensate. This was a band at its most dexterous, creative, and musically diverse..."

I’m With the Band, the classic confessional of Pamela Des Barres’s sexual and romantic escapades with a cacophony of rock stars, is republished in a 30th anniversary edition this month. In bracing detail, the woman born Pamela Miller in Reseda, California, details her high jinks on the Sunset Strip of late-60s and early-70s Los Angeles. “I was the muse,” she adds, “and I don’t care what people say about that. Groupies enhanced these people’s lives in a huge way. And if it weren’t for us, they would not be who they are.” Mick Jagger was asked once in Rolling Stone what he thought of Des Barres' book. He said he had no problem with it: ‘I was there.’ “Jimi Hendrix hit on me and it’s impossible to describe his charisma, it was huge,” she said. “I didn’t sleep with him though — I was only 17 and way too young.” But Miss Pamela didn’t think twice when it came to Jim Morrison, although she only went to second base with The Doors front man. Source:

Wednesday, May 23, 2018

'An Alternate History': Jim Morrison & Pamela

A prolific groupie who counts Jimmy Page among her former lovers has said her drug-fuelled sexual encounters empowered women. Pamela Des Barres says the Led Zeppelin guitarist was a 'true love' but also had flings with The Who's Keith Moon and Rolling Stones frontman Mick Jagger. The 69-year-old believes she was a positive role model to younger women. Whether it was watching Elvis sat between Jimmy and his band's frontman Robert Plant, or sitting on stage watching the legendary guitarist entertain 80,000 fans, she had a front row seat for the rock 'n' roll antics of the 1960s.

As she promotes the republication of her now 30-year-old memoirs I'm With The Band, she told The Sun: 'Sitting on Jimmy’s amp, I almost felt like one of the group. Girls in the audience looked up at me and wondered which one I was sleeping with, and I was so proud. Any woman who gets out there, looks on stage and goes after someone who inspires her, that is the ultimate feminist act, surely?' she said. "People ask me the #MeToo’ question a lot, I had #MeToo’ stories growing up–but not with musicians. I was never harmed. I considered myself a feminist." One man who couldn't charm Pamela into bed was Jimi Hendrix, for whom she performed in a short film dancing around his band. She said the impossibly charismatic guitarist hit on her but she felt she was too young to sleep with him at the age of 17. 

But the same year Pamela hooked up with The Doors frontman Jim Morrison after hearing his song The End playing from a nearby building. She went to his house to find him singing along to his own record while standing shirtless next to his fridge in leather trousers. Pamela recalls 'making out passionately' and described the singer as the most beautiful man she has ever seen.

In 1973 Pamela called time on her groupie lifestyle, but married singer Michael Des Barres. They divorced in 1991 after having a child, Nicholas, in 1978. The former groupie is believed to be the inspiration for the 2000 film Almost Famous, but Pamela wasn't impressed with the movie. Pamela, who now lives alone in LA, identifies as a Christian and squares the religion's moral dogma with her promiscuous past by describing orgasms as 'godly'. Source:

In the early 60's both Jack Kerouac and Jim Morrison were living in the Clearwater, Florida area, a time in Kerouac’s life that he was hitting local bars with an entourage of teenage admirers. It’s tempting to imagine a teenage Jim Morrison sharing a beer with Kerouac, but no such meeting has ever been mentioned. At the time Morrison was known to be extremely shy, a few years before when the Morrison’s lived in San Francisco Morrison went to the City Lights Bookstore while poet-owner Lawrence Ferlinghetti was there and Morrison was too shy to approach him. 

Jim Morrison 'An Alternate History' by Jim Cherry: In Beat poet Michael McClure Jim Morrison found a kindred poetic spirit and a productive relationship, but not at first. McClure and Morrison first met in New York while McClure was rehearsing his play “The Beard.” Both men were drinking and had an immediate dislike for each other. That hurdle seems to have been overcome by the time The Doors went to play their European tour. Morrison ran into McClure and invited him over to read some of his poetry. McClure was soon encouraging Morrison to get his poetry self-published it. By 1969 Morrison was impressed by McClure’s novel “The Adept” which had themes and settings in common with Morrison’s. They rented an office in a Hollywood building and worked on a screenplay of “The Adept” but because of its lack of cohesion was rejected by an agent, and the two went on to other projects. 

One of the most frequently asked questions among Doors fans, is what would Jim Morrison be doing if he hadn't died? July 3, 1971, 4am, Paris, France. Jim Morrison wakes up after falling asleep in the bathtub after a night of drinking. Morrison wraps himself in a warm robe and goes back to bed. As he gets into bed he’s careful not to wake Pam. August 1971. He comes to the conclusion that although he’s feeling better he can’t recreate the creative burst he felt on Venice Beach six years earlier. Morrison adopts the same discipline he had when working with Michael McClure. Morrison, gaining creative confidence and control, decides to accede to Pam Courson’s wishes that she and Jim have a normal life. He buys an old church in the French countryside that will be renovated into their home. In the meantime Morrison wanting to finish ‘old business’ works on his manuscript of Observations While on Trial in Miami. The book is observational as well as philosophical with a surrealist edge to it and provides a look into the American judicial system of the time. It becomes an underground hit and is considered by many to be one of the last great writings of the 1960’s counterculture movement.

The producers of Altered States see Morrison and are so impressed they want him to star in their movie. Morrison, familiar with the Paddy Chayefsky novel and seeing this as a chance to advance his film career agrees to play the lead as long as he can direct. Morrison argues that based on past experiences he has some insight into the subject matter and he throws in the use of a Doors song as well. The producers agree and Jim Morrison stars in and directs Altered States which is released in 1980... As I was writing this a sense of sadness overcame me for what could have been. Jim Morrison’s talents were many and his potential was within his grasp all he had to do was find a way. Source:

Maybe intellectuals have always been persecuted and shoved in lockers, but today we are at a specially low point — where social media interaction has replaced genuine debate and political discourse, where politicians are judged by whether we’d want to have a beer with them, where scientific consensus is rejected, where culture is underfunded, where journalism is drowning in celebrity gossip. Jim Morrison wouldn't fit well in our era of celebrated mediocrity, that's sure. Pamela Courson was the muse who inspired many of Jim Morrison's songs and poems like "Love Street," "Queen of the Highway," or "Twentieth Century Fox." Morrison began his relationship with Pamela Courson in 1966 when they met during one of the first appearances of the Doors at “London Fog”. She was born in Weed, California and grew up in an area south of L.A., Orange County (Morrison dedicated a piece to her called “Orange County Suite” even at the time it was never published officially). Pam was studying art at L.A. City College and couldn’t wait to explore the big city (in particular the Sunset Strip zone).

Morrison was touched by the sweetness of Pamela, her warm smile and her apparent defencelessness. It didn’t take long for the two to fall in love and so began a relationship which, although it had its ups and downs, was marked by a sense of profound complicity. The main characteristic of their relationship was clearly expressed in the words of the song “Queen of the Highway”. Pam was the princess and Jim was the monster dressed in black leather. Pam was often present at studio recording sessions of the Doors. Jim often used to joke and improvise during the sessions: an example can be heard in “Five To One”, in which Jim repeats both at the beginning and end of the song the words “Love my girl”; no doubt these words were meant for Pam who was sitting in some corner of the studio. Jim in Pamela had finally found his other half.  Source: