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: scottmurray.info
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
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: hiphappy.com
"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: www.stereophile.com
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: www.nme.com
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: www.dailymail.co.uk
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: medium.com
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: www.doorscollectors.com
Danny Fields was instrumental in the stardom of some of the biggest bands in the ’60s and ’70s from The Stooges to the Ramones to The Doors, acting as a manager, a publicity director, and a writer and editor of such popular magazines as 16. Fields was everywhere, so much so that his biography might read more like a who’s-who list of the music world. The film starts with some rapid-fire interviews from music legends such as Iggy Pop and Alice Cooper. Then we are taken back and formally introduced to Danny Fields. At Elektra Records he worked with The Doors and was instrumental in signing such artists as MC5 and The Stooges. After being fired from Elektra he became the manager for the Ramones. But as the film shifts into Fields’ time in the music industry, the focus zooms between micro stories about Jim Morrison, Nico, Edie Sedgwick, MC5, and the insane Iggy Pop. Danny Fields: 'I was The Doors’ first press agent in New York. Jim Morrison hated me from then on, because I restricted him. He asked the president of the record company to fire me. God, we hated each other.' But, while these stories are fascinating glimpses into the antics of the icons of the era, they seem to have very little to do with Fields other than the fact that he was there, trying his best to make records sell and prevent everyone from overdosing. And these stories seem to unravel chronologically, moving ever forward through the ups and downs, with no real structure in sight. Source: waytooindie.com
Feast of Friends (The Doors Tribute & More) will perform at The Cutting Room, 44 E 32nd St, New York, New York 10016 on Saturday, June 9, 2018 at 9:00pm. Feast of Friends captures elements of the bands studio sound and fuses that with the epic improvisational jams that shaped the bands live performances. FoF perform a variety of songs from The Doors historic catalog ranging from 1967 to 1971. You'll hear all the greatest hits and psychedelic deep cuts, plus a unique twist as FoF also include their original music reminiscent of The Doors unmistakable sound into their set lists. Advance tickets available here: Source: tickets.thecuttinggroomnyc.com
If you timeline Patricia Kennealy's "Strange Days" and compare with The Doors schedule you will find that Miss Kennealy spent less than a week and a half with Jim Morrison -- days, not even a month, let alone a year. Angels Dance and Angels Die by Patricia Butler is the bane of her existence and her worst nightmare because it is utterly incompatible with her narrative. Not only is it about Jim Morrison’s love relationship with Pamela, but it describes her as “Pamela Morrison” and people who read this book find it totally plausible and assume it as Morrison's only true relationship. Jerry Hopkins wrote a foreword for Angels Dance and Angels Die, and in it he says all the things that Patricia wants the world to not hear: Hopkins calls Pamela Jim’s “cosmic mate” and “common-law-wife,” saying Butler’s book should be “the final word on the matter,” praising Butler’s work ethic. Hopkins compares Jim & Pam to Heloise and Abelard, and Romeo and Juliet. Also he writes: “thereby, finally, giving Pamela Susan Morrison the consideration she deserves,” and “I believe The Doors sometimes resented Pam’s presence in Jim’s life, because she was a recurring voice that urged him to leave the band and turn his full attention on writing.” Finally Hopkins talks about how he had met Pam about a year before her death, waxes eloquent about her beauty and even chastises Oliver Stone for his depiction of her in the film The Doors.
Alain Ronay, Jim Morrison's photographer friend, said of Pamela Courson: “She is practically his real wife.” Jim Morrison on Pamela Courson in Circus magazine (1970): "There are no words to describe my relationship with her, but no matter what we did to each other, we always found our way back and now our love is stronger than ever." Morrison's final will and testament reads: "To whom it may concern I bequeath all of my worldly possessions to my only companion in life, Pamela Susan Courson..." Source: satireknight.wordpress.com
Quentin Tarantino is developing a film about the Manson family murders. According to the Hollywood Reporter, the Pulp Fiction and Hateful Eight director will write and direct the as-yet untitled film, which concerns the notorious killings of five people, including pregnant actor Sharon Tate – wife of director Roman Polanski – carried out by followers of Charles Manson in 1969. Manson and four followers later received life imprisonment – and his group were also responsible for a number of other killings during the 1960s.
Details on the plot of the film remain unknown, but Deadline reports that Margot Robbie has been approached to play Tate, while the Hollywood Reporter suggests that Jennifer Lawrence is also being considered for the part. Brad Pitt and Samuel L Jackson are also being linked with roles in the film, which will begin shooting next year. The Manson Family murders became headline news around the world, and were seen as symbolic of the disorder and violence of the late 1960s, as well as the demise of the hippie movement. Tarantino’s last film, the violent western The Hateful Eight, was released in January 2016. Despite an all-star cast that included Kurt Russell, Jennifer Jason Leigh and Samuel L Jackson, the film performed disappointingly at the box office. Source: www.theguardian.com
In June 1968, Roman Polanski’s film Rosemary’s Baby had become a huge success and made the Polish director a celebrity in the United States. Sharon Tate, an actress he had married in January 1968, was not yet a star. She had appeared in Valley of the Dolls, a film depicting the sleazier side of screen fame, Polanski’s Fearless Vampire Killers, and a nude pictorial in Playboy magazine—her husband shot the session photos. Tate seemed to be the quintessential Hollywood starlet. With Rosemary’s Baby a substantial hit, Polanski and his wife had to be based in L.A., though they could and did spend considerable time in England and Europe on film projects.
They had trouble finding the right place to live, settling for a while in a Chateau Marmont apartment on Sunset Boulevard, then renting a house in the Hollywood Hills from actress Patty Duke. The place didn’t really suit them. They wanted something grander, commensurate with Polanski’s new, exalted status, and so they kept looking. Meanwhile, the couple hired a housekeeper named Winifred Chapman. Tate hoped soon to become pregnant. Despite her flashy image and nude photos, she was something of a homebody at heart. When they learned about Altobelli’s Cielo Drive property, Polanski and Tate were interested; their plans to find a new home had taken on new urgency when they learned that Tate was pregnant. Even when Polanski was away, there were friends with her all the time, quite often celebrity hair stylist Jay Sebring, who had been Tate’s boyfriend before she left him for Polanski. After their breakup Sharon and Jay stayed close friends.
In the "Manson Women" documentary of the Biography Channel it's mentioned that Jim Morrison visited the Ranch Spahn's and The Family Manson at some point prior to the murders. Jim knew one of the murder victims, Sharon Tate's ex-boyfriend Jay Sebring, who worked as hair stylist for actors in Hollywood. His clients included Warren Beatty, Steve McQueen, Frank Sinatra and Kirk Douglas. Sebring was introduced to Sharon Tate by journalist Joe Hyams in October 1964 and they had a romantic relationship until 1966, when Tate went to London to work on The Fearless Vampire Killers and began a romance with director Roman Polanski.
Jay Sebring was also the creator of Jim Morrison's famous haircut (a free-flowing hairstyle) for the photo sessions by Joel Brodsky (The Young Lion photoshoot). Jim Morrison did visit Death Valley several times in his famous shamanistic "Vision Quests" trips and allegedly met there some members of The Manson Family, who hung out at The Spiral Staircase, the place that inspired Jim Morrison to write "Roadhouse Blues"—about the drive up Topanga Canyon Blvd to The Corral. Charles Manson often hung out at The Corral with his Family. On December 9, 1970, the day after celebrating his 27th birthday, Jim Morrison sat in the Doors’ business office, reading an article from the LA Times about a grand jury having indicted Charles Manson and members from his Family for the slayings at Cielo Drive. Jim Morrison put down the paper and said to others in the room, "I think I’m having a nervous breakdown." It seemed strange Manson had seized upon the sunny music of the Beach Boys and the Beatles for his psychotic projections but he had ignored The Doors' prophecies.
Sharon Tate, here pictured around 1969, with her husband, Roman Polanski, were customers of Pamela Courson’s store, Themis. Sharon is wearing a traditional Moroccan djellaba robe. Although it has not been proven Sharon actually purchased this item in Themis, it is almost certain she bought it at Pamela's boutique.
Pamela Courson (aka Pamela Susan Morrison, Jim Morrison's common law wife) operated Themis (1968-1971), a fashion boutique that Jim Morrison bought for her with his royalty checks from the album Strange Days. One of The Family Manson's followers was seen wearing the same Moroccan djellaba robe that both Sharon Tate and Pamela Courson wore. The Manson Family were known to be thieves, or as they called it “creepy crawling,” their way into people’s homes to steal at night. We don’t know if the night Sharon Tate was murdered they stole any of her clothes, but it is very eerie that one of Manson’s followers was wearing this same rare djellaba that Sharon Tate owned in 1969—probably bought at Pamela Courson's store—at one of those “Free Manson’s” protests. Source:pamelasusancoursonmorrison. wordpress.com
A student group in Canada apologized for playing Lou Reed’s 1972 hit “Walk on the Wild Side,” claiming the song is transphobic. The Guelph Central Student Association, a group at Ontario’s University of Guelph, said it regretted including the song on a playlist at a campus event. “We now know the lyrics to this song are hurtful to our friends in the trans community,” the group wrote in a (deleted) Facebook post, “and we’d like to unreservedly apologize for this error in judgement.”
The lyrics in question concern late trans performer Holly Woodlawn, whom Reed knew from Andy Warhol’s Factory: Holly came from Miami, FLA. Hitchhiked her way across the USA. Plucked her eyebrows on the way/Shaved her legs and then he was a she/Hey, babe, take a walk on the wild side. The student association said it would be “more mindful” in choosing music in the future and offered to speak with anyone who heard the song and “was hurt by its inclusion.” They added that the lyrics appeared to be “problematic” because they “dehumanise and fetish” transgender people by suggesting they are “wild.” Those who knew Reed say the concern is misplaced: “Lou was open about his complete acceptance of all creatures of the night,” said Jenni Muldaur, a friend of Reed’s and former backup singer: “That’s what that song’s about. Everyone doing their thing, taking a walk on the wild side. I can’t imagine how anyone could conceive of that. The album was called Transformer. What do they think it’s about?”
“I don’t know if Lou would be cracking up about this or crying because it’s just too stupid,” producer Hal Willner said. “The song was a love song to all the people he knew and to New York City by a man who supported the community and the city his whole life.” Hal Willner, who recently completed a reissue of Lou Reed’s later solo work, said: “This song was how the world first heard about these people. It’s a song about love. The students should be focusing their anger on other stuff and this isn’t it.” Source: www.independent.co.uk
In heterosexual men, pictures of rotting flesh, maggots and spoiled food induce the same physiological stress response as pictures of two men kissing each other. That is the surprising finding that was recently published in the peer-reviewed scientific journal Psychology & Sexuality. Measuring levels of salivary alpha-amylase, a digestive enzyme that is associated with stress and is especially responsive to disgust, allowed the researchers to examine the men’s physiological reaction to the photos. “In comparing the salivary alpha-amylase responses of participants to the various slideshows, we found that participants had higher salivary alpha-amylase responses to the images of two men kissing and the disgusting images, even those with very low levels of prejudice.” The study is the first of its kind, and the researchers hope that future research will strengthen their findings. Source: psypost.org
Shelley Albin: "Lou Reed is a very fifties type guy. He's ultimately straight. He wants his wife, Sylvia, who is a very fifties type girl, to take care of him." As much as Reed's sexuality was pondered, he had a long time girlfriend in Shelley Albin, and married three times. Reed even admitted his heterosexuality when initiated his relationship with Sylvia Morales. Reed's Ecstasy album addressed the failed marriage to Sylvia Morales (in the songs Baton Rouge and Tatters - she wanted kids, Reed obviously did not) and then he came with Set The Twilight Reeling, which dealt with his need to become "the newfound man, and set the twilight reeling" with Laurie Anderson.
Ellen Willis, the first rock critic for The New Yorker wrote “The Velvet Underground” essay, included in fellow critic Greil Marcus’ book “Stranded” (1979). “The songs on ‘The Velvet Underground’ are all about sin and salvation,” Willis begins. The crux of Willis’ essay is that Lou Reed managed to exist in that rare space between irony and sentimentality, to avoid slipping into either the snarl or the smile. His music was an exercise in rejection, but not the knee-jerk anti-establishment hostility. It’s a rejection of rejection, a fight against both the nihilism of punk and the boppy, commercial vibes of pop music. “For the Velvets, the aesthete-punk stance was a way of surviving in a world that was out to kill you,” Willis writes. “The Velvets were not nihilists but moralists.” Willis explains, “Their songs are about unspeakable feelings of despair, disgust, isolation, confusion, guilt, longing, relief, peace, clarity, freedom, love—and about the ways we habitually bury them from a safe, sophisticated distance in order to get along in a hostile, corrupt world. Rock & Roll makes explicit the use of a mass art form was a metaphor for transcendence, for connection, for resistance to solipsism and despair.” Source: www.nydailynews.com
Lou Reed: "For every one of my songs, I know which line is my favorite. All of those lines jump out at you in some way. They’re upside-down, or they’re darker, or they come out at you. Because that line also gives you the rhythm and allows you to touch other people’s hearts. Probably most people have five, ten songs that are really milestones in their lives and upon hearing them, just change their mood. Everybody remembers the song from their first date or the wedding song. We really do attach songs to moments. Probably one of the reasons I’m still around is because I can’t fulfill some people's expectations. They don’t like what I do, and I don’t like them either actually. I walk away because I can only take so much of music industry nonsense, before it starts to get debilitating or depressing, how low the bar gets to be. I’m exposed to the horrors of these people. But at a certain point, I think people learn not to come to you. You’re just the wrong person. They know that it’s hopeless." —Interview by Stefan Sagmeister (2008)
At George Washington High in Alexandria, Virginia, Jim made the honor roll with little effort. He had an I.Q. of 149. Jim was a precocious performer, too. When running into a pretty girl, Jim played the southern gentleman: he would bow and recite a Shakespearean sonnet. His first steady girlfriend at George Washington High was Tandy Martin. The pretty and straight-laced brunette at first found him smart, funny and cool. Then he started getting weird on her. One time, he dropped to the floor of a crowded commuter train and yanked off one of her saddle shoes. Tandy’s mother had warned her about Jimmy from the start. “He seems unclean, like a leper,” she’d told her daughter. The couple broke up senior year after Tandy accused Jim of “wearing a mask” all the time. Jim broke down in tears, saying he truly loved her. He supposedly lost his virginity to Mary Werbelow, a Sun’n’Fun beauty queen, whom he met in Clearwater, Florida. Meanwhile, he excelled academically, writing scholarly papers on everything from “The Sexual Neuroses of Crowds” to the surrealist paintings of Hieronymus Bosch.
Jim also took to the stage for the first time in a student production of Harold Pinter’s, The Dumbwaiter. After his junior year, Jim saw his father for the last time. His mother insisted he wear new clothes and get a haircut, so as not to look like a “beatnik” on arrival in San Diego. Jim begrudgingly consented. But no sooner did he board the USS Bonnie Dick, than Admiral Morrison sent him to the ship barber for a regulation Navy haircut. Thinking he had fulfilled his duty, Jim asked the commander permission to transfer from FSU to the UCLA Film School, among the most radical liberal arts programs anywhere. Permission was denied. Jim, now 21, cashed in a trust fund and enrolled anyway. His parents disinherited him. Or, as he Jim preferred it, he disinherited his parents. From now on, he would refer to himself as an “orphan.” —"Jim Morrison: Orphan" (2014) by David Comfort
A Cosmic Mating: He looked out across the room. He saw her from the stage... As his cue came up Jim Morrison caught her eye. She smiled. As Jim walked off the stage at the end of the set, she was waiting for him with a beer at the bottom of the 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. Out back was a rusting swing set. They pumped their legs urging the swings higher. They let go and were rolling around in the cold dewy grass. "Just love me," Jim said. They spent the next couple of hours making love (Jim would rhapsodize how wonderful he felt sexually with Pam). They woke up the next morning feeling raw and vulnerable. "Do you think I like being promiscuous? I love you!" Pam blurted out. Jim didn't want to lose her. "We can rent a house on Norton Avenue. Or up in the hills, anything you want. Look, I have money." 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. —"The Last Stage" (2008) by Jim Cherry
To Oliver Stone, discovering The Doors as a grunt in Vietnam, the music is secondary to Jim Morrison as a figure of liberation and his Dionysian stature is increased by his decline into a life of waste and excess. He serves exactly the kind of purpose that Elvis did for the blue-collar youth born before World War II. Like most Stone heroes, Morrison is forced to choose between his parents’ world and the world of his obsession; he appears to make this choice early, when he views the Indian car wreck in the desert and his mother tells him it is all a dream. Later, Morrison will have another Stone choice presented to him, between his pure-in-spirit blonde muse, Pam, and the dark-haired devil woman, Patricia. The Doors, like many of Stone’s films, can be read as a horror picture as Jim Morrison becomes possessed by Patricia, the reincarnation of Martine Beswick’s Queen of Evil, and by the Warhol Factory crowd, who are referred to as “vampires.” Pam’s own drug use is shown as a way of getting back at Jim (being administered to her by another man to incite Jim's jealousy). When Morrison chooses Pam, he dies in Paris after excising his demons. —"Oliver Stone's Essential Movies" (2002) by Michael Carlson
Mario Maglieri, who presided over a rock ’n’ roll mini-empire on the Sunset Strip in West Hollywood at the Whisky a Go Go and the Rainbow Bar & Grill, where he nurtured generations of musicians with encouragement, food and tough love, died on May 4, 2017 in Los Angeles. The Whisky was opened in 1964 by a former policeman named Elmer Valentine, who soon asked Mr. Maglieri, a friend from Chicago, to help run the club. It became a critical part of the Los Angeles rock scene. For a time, the Doors were the house band. Mr. Maglieri understood that some needed a free meal at the nearby Rainbow Bar and others a kind word. He told The Los Angeles Times in 1993 that he had warned Jim Morrison, the lead singer of the Doors, and Joplin to straighten out, without success. Jim Morrison, Mr. Maglieri said, “was a good boy” who “would look at me all goofed up. The reprimanding I gave him didn’t do any good. Too bad he’s not alive. I’d give him a spanking.” Source: www.nytimes.com
BEFORE THE END: SEARCHING FOR JIM MORRISON documentary hopes to debunk the myths surrounding the late Doors frontman and portray him in a more realistic and down-to-earth light. An independent full-length documentary film, Before the End: Searching for Jim Morrison will finally reveal the real James Douglas Morrison. FEATURING: Jim Morrison [archival footage], Andy Morrison, Jac Holzman, Jeff Morehouse, Ralph Turner, Bryan Gates, Philip O'Leno, Rosanna Norton, Gayle Enochs, Salli Stevenson, Anne Moore, Judy Huddleston, Ellen Sander, Mirandi Babitz, Candy Evans, and more. The Finns also conducted off-the-record interviews with Jim's sister, Anne Morrison-Chewning; early girlfriends Tandy Martin and Mary Werbelow; and friend Alain Ronay, who visited the singer in Paris shortly before his untimely passing at age 27. Directed by Jeff Finn. Co-produced by Jeff & Jess Finn/Z-Machine Source: q957.com
I believe Jim was descending deep into depression and alcoholic schizophrenia. Frustrated by their mediocrity, Jim “Lizard-less” Morrison distanced himself from his fans. In his last interview before he left for Paris, Jim told a reporter, “One morning, I woke up and was surrounded by all of these spirits.” Pamela Courson was so very close to Jim from the beginning because of her love for his poetry. She urged him to write and told him he was a real poet before anyone else did. In return for her love and nurture, Morrison let her deep inside of his heart. He needed this kind of love badly. Jim Morrison was pure wolf. He hung with his own. That is to say, he hung alone. Jim Morrison was a lone wolf for sure, but he also hung out with coyotes like Babe Hill. Being pure wolf that he was, he needed a she-wolf to stay with for life, Pamela Susan Courson. Jim Morrison would have rather swilled down Drano than send a message asking for help from his parents, not even sister, Anne, whom he dearly loved, or brother Andy. Jim was too proud and too stubborn. So, shortly before Jim died, Pamela called the Morrison’s home at two o’clock a.m., loaded on downers.
The press reported that Jim Morrison had died in his Paris apartment in the early hours of the morning of July 3, 1971, from a heart-attack suffered while taking a bath. Jim Morrison, the voice of anti-authority, was dead. Had he crumbled under the pressure of stardom? Had he decided on that ultimate intellectual experiment to determine the truth about the enduring nature of fame? "I contend an abiding sense of irony over all I do," Morrison had revealed. The stress of the Miami trials, even the possibility of a prison sentence, could have triggered an ulcer. On the morning of his death, did he take a line or two of cocaine which, because of his poor health and a haemorrhaging stomach ulcer, caused his body to go into shock? Professor Austin Gresham used the term ‘catecholamine release’. If a person lives a life of physical neglect, as Jim Morrison most certainly did, the catecholamines will be useless and without prompt medical assistance the individual will die. In the days preceding Jim’s death, he had complained of difficulty in breathing. It is very likely that he was suffering from anaemia, the condition where there is a lack of red blood cells in the bloodstream and occurs where there has been loss of blood or an inadequate intake of iron from poor diet. Bleeding from the gastrointestinal tract such as a duodenal or gastric ulcer, if allowed to bleed over a long period of time, will lead to anaemia. According to John Densmore’s book, when Bill Siddons arrived at the apartment he opened a carved wooden box which he found on a coffee table and discovered it contained heroin. He came to the conclusion that Jim must have taken some of this heroin, believing it to have been cocaine, and overdosed as a result. In which case Pam would have been riddled with guilt because Jim had found her stash and snorted it under the assumption that it was cocaine. In many ways, her subsequent life as a grieving widow is the greatest proof we have that Jim is actually dead. —"The End: The Death of Jim Morrison" (2012) by Bob Seymore
"The Doors: The Singles" Collection of 20 singles and their corresponding B-sides will be released on August 25, 2017.
Val Kilmer is a great actor, but beyond the recreated Doors concert sequences, which I found fantastic, he seemed to have largely posed and preened his way through the epic drunken deluge and, in the process, he made Jim come off as a pouting full-blown narcissist prone to childish tantrums and self-pity, like the Jackson Pollock of Rock. Before the End: Searching for Jim Morrison, in a sense, is a response to Stone's film. The Doors was a multi-million dollar Hollywood biopic shot forth with vast amounts of artistic license. But of course, even documentaries aren't exempt from a director's subjective slant. When I met with Alain Ronay, whom Stone had hired as a consultant for his Doors film, he told me he read the script, marched up to Stone, and asked him why he wasn't telling the truth about Jim. According to Ronay, Stone smiled and said, "Because the truth doesn't sell." Like Stone's biopic, When You Are Strange (2009) has served as an inspiration for my forthcoming independent documentary, an indirect response to what I consider the incessant mythologizing of Jim Morrison via mainstream Hollywood branding. Stone's film was endorsed by John Densmore, Robby Krieger, etc. and When You Are Strange was co-produced by The Doors manager, Jeff Jampol.
Subtlety, in the form of fine-detail gray-scale shading, is in order if we are to absorb Jimbo's would-be Blakean palace-of-wisdom excess and fully empathize with his wounded core. When You're Strange briefly broaches the reality of its title: feeling like a stranger, or an outcast. It's been noted elsewhere that Jim Morrison knew that pain, which hit at a young age, so it begs the question: why didn't DiCillo wade further into that particular mire, in order to extract the actual motivations that drove a volatile 27-year-old man to raging alcoholism, unadulterated rebellion, and early burnout, all in a pre-rehab world? It's convenient to now view Jim Morrison merely as a popular icon/cultural oddity and forget that, in the end, the psychic pain that came with feeling like an outsider was what ultimately secured his psychedelic place in the rock pantheon. —Jeff Finn (2016)
A new study suggests that it may be possible to develop drugs to delete memories that trigger anxiety and post-traumatic stress disorder (PTSD) without affecting other important memories of past events. During emotional or traumatic events, multiple memories can become encoded, including memories of any incidental information that is present when the event occurs. In the case of a traumatic experience, the incidental, or neutral, information can trigger anxiety attacks long after the event has occurred, says Samuel Schacher, PhD, a professor of neuroscience in the Department of Psychiatry at CUMC. Brains create long-term memories, in part, by increasing the strength of connections between neurons and maintaining those connections over time. Previous research suggested that increases in synaptic strength in creating associative and non-associative memories share common properties. This suggests that selectively eliminating non-associative synaptic memories would be impossible, because for any one neuron, a single mechanism would be responsible for maintaining all forms of synaptic memories. In addition, they found that specific synaptic memories may also be erased by blocking the function of distinct variants of other molecules that protect them from breaking down.
"Memory erasure has the potential to alleviate PTSD and anxiety disorders by removing the non-associative memory that causes the maladaptive physiological response," says Jiangyuan Hu, PhD, an associate research scientist in the Department of Psychiatry at CUMC and co-author of the paper. "By isolating the exact molecules that maintain non-associative memory, we may be able to develop drugs that can treat anxiety without affecting the patient's normal memory of past events. Our study is a 'proof of principle' that presents an opportunity for developing strategies and perhaps therapies to address anxiety." Dr. Schacher adds: "For example, because memories are still likely to change immediately after recollection, a therapist may help to 'rewrite' a non-associative memory by administering a drug that inhibits the maintenance of non-associative memory." Source: www.sciencedaily.com
David Lynch "Circle of dreams" litographies exhibition (2013). Soundtrack: Strange Days by The Doors.
“Strictly From Hunger!: A Rock and Roll Memoir” (2017) follows John Morton and his band Hunger! as they reach for fame in fortune on the Sunset Strip in 1968. Excerpt: "We couldn’t get a gig anywhere on our own so we decided to learn some new material and go from there. After one practice I was sitting on the front porch having a smoke when I saw a familiar face coming up the walkway. “I live just up the street from you guys and heard you playing,” he said, then I recognized him from the Battle of the Bands at the Teenage Fair. It was Jim Morrison: “What you got going here? Beautiful women coming and going, fucking far out live music and having a good time. Looks like paradise to me.” “Yeah, but we can’t get any gigs,” I said. “I’ll see what I can do, but you’re not going anywhere without original music in this town,” he said, “it’s about projecting an image that is universal to everyone.” I thought to myself, Jim Morrison, with such great insight and illumination in real life, was such a totally different person onstage. It was just a ruse to give people the spectacle they wanted to see.
The guy I met had no ego. Jim was playful and poetic with a dash of sarcasm. People are so drawn to the mystique that was Jim Morrison. As I discovered as I got to know him, he was just a regular human being trapped in a phenomena that wasn’t real to him unless he was high. There was a realness to him that I soaked in like a sponge to water. After Jim left I went back inside and told the other guys that we needed original material. I thought their reaction would again be disbelief, but they just asked, “who’s going to write the songs?” I said I’d try it. I thought we had a chance at stardom. We had all met The Doors backstage at The Teenage Fair, but never really thought they would become superstars. They were just another California band with a new sound. I felt there was greatness in them that was ready to explode on the scene. Talking with Jim gave me the feeling that success was there for the taking. I retreated to the back patio and started writing songs that would eventually become part of the Hunger! sound.
The Doors were doing gigs late into the morning and I would drop in when Jim came back from a gig. We’d sit on the steps to his place, getting high. I remember him joking about making it home without being followed. Other times we’d sit in his living room, everything was orderly and immaculate. Dark leather couches with ultra modern furniture, very relaxing. The marijuana and wrapping papers were on a glass table in an ornate wooden box. He kept a unique etched lighter and cigarettes in a jeweled container. I remember a pool in back that never seemed to be used but had a nice sunning area with outdoor furniture. For me it was a pleasure and honor just to be there. Getting high with Jim Morrison was like a ritual, he was like a magician quoting Huxley or Yates, waving his hands around like he was doing a coin trick. There was a method to his madness and being around him I could feel it was easy to be pulled to the dark side. He’d bring out his notebook and write passages of revelations when I was most lucid and he seemed so focused and clear. That was a mindblower. It never crossed my mind that the wine was laced with LSD.
We were mesmerized by The Doors. They led an incognito lifestyle outside of gigging almost invisible and they liked that. I never saw a limousine parked in the driveway next door and I believe few people knew where they were staying. We wanted a taste of that lifestyle. We felt somehow that we could get it by being in the right place at the right time. The Doors had worked their way up the ladder and I wanted to know all I could learn from Morrison’s experience and we grew a bond for a short period of time. He was willing to share and that’s how I came to trust in my own talent as a songwriter and musician. He made me understand that it was an uphill road to so called overnight success. He pretty much provided a roadmap to psychedelic rock stardom.
Jim Morrison was an alcoholic and did everything in excess. Drugs, booze, women and emotions. People took advantage of him. Ray Manzarek said that Jim was always thinking of his life as an unfinished film and someday he’d return to it and produce his masterpiece. I think Ray agreed with him because it gave Ray hope. Robby Krieger seemed like the quiet one, consumed in thought, almost shy. Later in the same week after I first met Jim Morrison we got a call from someone at The Magic Mushroom telling us that there was a last minute cancellation and they said they’d heard some good things about us, that Jim Morrison had put in a good word for us so he was giving us a spot sight unseen. That was unheard of, we knew that bookings in there were well in advance and it would be crowded, we jumped at it. The Magic Mushroom gig would turn out to be very instrumental in our quick rise in Hollywood. Source: doorsexaminer.com
In his 1890 opus, The Principles of Psychology, William James invoked Romeo and Juliet to illustrate what makes conscious beings so different from the particles that make them up. “Romeo wants Juliet as the filings want the magnet; and if no obstacles intervene he moves towards her by as straight a line as they,” James wrote. “But Romeo and Juliet, if a wall be built between them, do not remain idiotically pressing their faces against its opposite sides like the magnet and the filings. Romeo soon finds a circuitous way, by scaling the wall or otherwise, of touching Juliet’s lips directly.” Romeo’s desires and psychological states approximate the unknowably complicated causes and effects between the atoms in his brain and surroundings. Source: www.quantamagazine.org
Friends from Clearwater say that for three years in the early 1960s, Jim Morrison and Mary Werbelow were inseparable. He mourns their breakup in the Doors' ballad The End. "They take a part of him and sensationalize that. People don't really know Jim. They don't really have a clue," says Mary Werbelow. In the summer of 1962, Mary met Jim Morrison near Pier 60, Clearwater. Jim had just finished the year at St. Petersburg Junior College. Mary had Jim chauffeur her to St. Pete, to see the movie West Side Story. Jim talked like no one she had met. "We're just going to talk in rhymes now," he would say. He recited long poems from memory. This was not puppy love. This was different. "We connected on a level where speaking was almost unnecessary. We'd look at each other and know what we were thinking. He was a genius." When it came to sex: "It was not happening. And it didn't for a long time. I'm surprised he held out that long." Mary says he rarely drank in her presence. "It was out of respect for me. We were in love, and he didn't want to do things that I didn't like."
"She was the love of his life in those days. They were virtually soul mates for three or four years," Bryan Gates says. In the fall, Jim transferred to Florida State. Most weekends, rain or shine, he hitchhiked back to Clearwater, 230 miles down U.S. 19. Most days in between, letters postmarked Tallahassee arrived at the Werbelow mailbox. They would talk for hours. She always assumed he had her wait at different phones for her protection; now she's thinking it was his way of making sure she wrote him at least once a week. Mary says Jim asked her to wear "something floaty" when she arrived in Los Angeles. "He wanted me to look like an angel coming off the plane." Mary got her first real job, in the office of a hospital X-ray department. Later, she donned a fringe skirt and boots as a go-go dancer at Gazzari's on the Sunset Strip. Jim studied film. Mary says he started doubting her commitment. "You're going to leave me," he would tell her. "No, I'm not. How can you say that? I'm in love with you." After one fight, Jim went out with another woman. "That was the beginning of the end." He was drinking hard and taking psychedelic drugs. The day Jim helped her move to a new apartment, she told him she needed a break. "He clammed up after that. I really hurt him. It hurts me to say that. I really hurt him." They split up in the summer of 1965.
Within two years of their breakup, Jim Morrison was the "King of Orgasmic Rock." She and Jim kept up with each other. She says she was his anchor before things got crazy. "I'd see him when he really needed to talk to someone." Jim had a knack for finding her. He would eventually ask if she had changed her mind: "Why can't we be together now?" "Not yet, someday," she would answer. More than once, Mary says, he asked her to marry him. "It was heartbreaking. I knew I wanted to be with him, but I couldn't." She thought they were too young. She needed more time to explore her own identity. In late 1968, Mary moved to India to study meditation. She never saw Jim again. Lines in Break on Through especially pain her, lines she interprets as Jim saying she betrayed him by not getting back together: Arms that chain/Eyes that lie. "I promised it wouldn't be forever, that I'd get back together with him sometime. I never did. It's very painful to think of that. For a long time, any time I would think about him, or anyone would talk about him, I'd cry. It used to make me so sad. I never gave him that second chance. That destroyed me for so long. I let him go and never gave him that second chance. I felt so guilty about that." Source: www.sptimes.com
When I was seventeen, I fell in love with Jim Morrison. At the end of a dilapidated green pier in Venice, in a club renovated with fake cheetah skins, the spotlight shone through dark blue silence and caught him at the microphone. He paused inside the softly lit circle; pale light played over his face and held it. He had pale skin—a fine, white translucency. He had delicate molding—the precision of his hip bones. He had dark hair—near black, lustrous. His beauty was injured, unyielding. Jim took in the audience and closed his eyes; his delicate, destructible features drew an involuntary sigh from the crow." Remembering her first night together at a motel, Judy Huddleston writes: "I found Jim washing his hair and whistling, in a great mood. He smiled tentatively as I got in, picked up the soap and covered my body with white lather. Then he stood back so the hot water ran down my body, proving himself kind and considerate. As the soap slid smoothly between us, he kissed me sweetly. Then he lathered me up again, smiling childishly. “I’m going to dry off. But stay inside if you want.” Jim casually turned off the hot water as he got out. “Have you ever had a boyfriend?” he asked. “One and a half,” I replied sarcastically. “I think what you need is a boyfriend,” said Jim. ”You can’t look for it; then it’ll never happen. I think it’s always an accident, you know. People just meet, and they fall in love, all by accident!” When Huddleston confessed she'd only had sex with four guys, Morrison seemed startled: ”You’re practically a virgin,” he burst out, flushed. “I feel really privileged.” He looked embarrassed and thrilled, like he’d just made it with the Virgin Mary. ―"Love Him Madly" (2013) by Judy Huddleston
For never was a tale of more woe than this of Juliet and her Romeo reads the introduction of Patricia Butler's "Angels Dance, Angels Die: The Tragic Romance of Pamela and Jim Morrison." Pam and Jim's relationship was relatively private for a rock couple. Maybe readers will have a tough time piecing events together chronologically, as this narrative only sketchily covers the background events that defined Jim and Pam's world. Reports of Morrison's rampant womanizing are legendary, yet his connection to Pam could not ever be broken―we learn how he would go to great lengths (emotionally and financially) to keep Pam happy up until the day he died. They even took out at least three marriage licenses during their relationship. Butler dwells on Pam's relationship with Randy Ralston after Jim's death, showing Pam was not ready to commit seriously to another man. One day Pam showed Randy a list of bank accounts. “I think at the time the FDIC max was $20,000,” Ralston recalls, “and she showed me a list of accounts in banks all over town, each with $20,000. At the top of the list I saw, “The Probate of James Douglas Morrison.” “So many guys would bow and scrape at her feet,” Ralston says. “I think that quickly bored her. But she said she and Jim fought! She would throw his fucking clothes and books out the window.” At one point, Randy and Pamela took a trip to Las Vegas and even talked briefly about getting married. “We always were really very enamored of each other,” Randy says. “But I don’t think anybody could fill the boots of Jim Morrison. I don’t think there was any guy who could do that in her life.”
