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Limbo Dreams (for Jim Morrison)

Drugged Moth Trinity,
the blue flame’s gory eye;
Laudanum seeds
flowering in rubber gardens.
A tradition gone invisible,
endangered species of Clowns
falling apart in a trick mirror held
by Green hands spreading
the sex of candy gloss girls,
The vigils of acoustic candelabra,
the sex of Ouija Letters
And galleys of sailor costumes.
Like Cats Coming Out of Clocks
Desperate dilated vigils;
Ideal Stranger, Carnival Organ Monkey,
The ReArrival of France;
the blue flame’s on in the kitchen.
The Naked trace of tinfoil moths, a worm’s symmetry,
helpless + pinned by some
stranger’s hand.
Death for cherub ideation is chinoiserie dream,
Like Cats Coming Out of Clocks
crimson eyes awaken scalp the endless night
daring back the dividends
Only the best waste can leave.
A drugged Moth Trinity,
the blue flame’s even split
The piano is calling you home.
The Man on the River Styx whistling acapella,
unknown to his tune,
absent as a period
entombed in space.
Boy of 27 summers
limbo dreams
Can only speak of Was and When.
Hello! We love you! Hello!

                                                                     John Allen

The Death of Venice

Pit bulls kick up dirt engoldened by
the sun, honey to sooth broken
streets of Lexus hybrids and
homeless clowns. Princes sheathed in denim
stagger past out-of- work shamans who hunch
over guitars to rasp their bright
laments: Teenage cops, killings,
a new
apartheid. American

flags jerk, horses’ tongues
flailing, skaters roar radioactive Cool, and I

drive street to street,
dreaming again my old dream of
Venice—Venice, where my
raggedy soul
was born.


A lone festival wind totters through the dusk
under dying palms and the glare of Hollywood
movie shoots. Mad with thirst for
friendship, God, it cartwheels down Rose, up
Windward, over soil of Gashouse, Hopper,
Jim, poets of a
magic bleeding town— searches

between yoga parlors and
cocaine shanties,
gang tags and
one percenters,
between a Bhakti yogi’s prayer and
the embers of our city.

Raccoons peer from crevices
where they huddle in patched sleeping bags,
but when the sky wilts purple they
stride onto the road to stand
naked beneath streetlamps, pale
bruised sentinels.
The wind folds into shapes of
a busker and mandolin,
and together, grieving carolers, they cry:


“O Saints of Exhale, Full Circle, Rama:
Are your seas lagoons for scarred ships?
Are your hearts filled with broken seagulls?

“O crucified poets, meditators, agitators:
Who will stand for adoration?
Who will drive Google and Reddit
from our streets?”

Through chapped whiskered lips the city sings:

“Who are we, who are we, to ask this of you?
We have no names, are only voices,
but still we ask:

“O daughters, lovers, sons;

“O ghost pianist of the Sidewalk Cafe, hammering at
your keys till they splinter across the twilight shore,
O Sixth Street painter topless and paintspattered on your
brown lawn not giving a damn,
O exhalation of dispensary weed cohered into
Christ and lumbering across the waves;

“O baroque literati snug in your aeries of words, scribbling onto
paper already incinerated to ash,
O track mark juvie crash landed from I10 dreaming
of an angel to drag you from your grave;
“O dreamers who blundered west from Houston, Boston,
Boise, only to be dashed against toney anterooms of
Paramount and Universal, and then united to
praise strange circus gods here, at the
edge of the crazy water;
“O crystal-chic agents of the New Age selling
fictions to babies,
O streets that we love,
O ink of night crack slinger, scared father of three,
who whistles to actors quivering in used Beemers;

“O Buddhist baby boomers shipped in from Burma and
Cambridge, despairing to reach psychotically texting
strippers and drunkabilly rockers,
“O air bnb profiteers,
O LAPD privateers,

“O black matriarch who squints at
prohibitively hip eateries which you
in any case cannot afford on the
corner where your great grandmother
worked and died,

“O new gentry who have no idea where you are
and could not be expected to care
what miracles have tattooed this ground,
but might still permit it to turn you into a
porpoise or a dying star—
“Who among you will erupt, ablaze
with care for our weird commons?
Who will describe
one circle around us all, proclaiming:
I am the first born soul of a new family, and
this is my city.
Show me one gambler unafraid to stake it all
on Love,
one true child of Venice—
our Jerusalem, the lost Holy Land
of Los Angeles.”

                                                                                                 Blake Abramovitz

Sem título

Estamos sós
Num planeta errante
Alguns ovnis as vezes pousam por aqi
Colhem vacas&sêmen
Depois desaparecem

Estamos sós
As galáxias se afastando
E nossa fome d contato
Borrada no pó cósmico
Guardamos em nossas gavetas
As fotografias d estrelas já extintas

O universo expande
E isso nos deixa mais sós
O planeta
Um grão de pó desacelera n rastro a Grande Explosão

Pelos radiotelescópios
Ouvimos Jim Morrison :
Este é o fim?

As flores do deserto daqi nos lembram
Qe estamos sós
E os deuses astronautas já não mais nos alcançam

Porq será qe os beijaflores não mais visitam nosso Jardim?

                                                                                                 Cátia Cernov

UnSpun - Jan Irvin & Joe Atwill

A Celebração do Lagarto

Récita dos poemas de Jim Morrison com acompanhamento musical de um quarteto. O projeto conta com a participação de 4 músicos e um actor:
Flauta > Sebastião Assunção
Clarinete > Gonçalo Leónidas
Clarinete Baixo > Jorge Camacho
Violoncelo > Mariana Ottosson
Actor > Joaquim Guerreiro

Lords and New Creatures Study Guide -

Sesso, droga e calci in bocca - Renzo Stefanel

"Raccontato in 38 storie, dalla sua preistoria all'epoca della new wave, il lato violento, sporco, indecente, volgare, sinistro e brutale del rock: in una parola, trucido."

Shards of love - María Rosa Menocal

"In discussions ranging from Eric Clapton's adaption of Nizami's Layla and Majnun, to the uncanny ties between Jim Morrison and Petrarch, Shards of Love deepens our sense of how the Middle Ages is tied to our own age as it expands the history and meaning of what we call Romance philology."

E o poeta feneceu

Por não poder prosseguir
No seu destino ... jogou
A vida na tumba fria
Hoje o poeta mora
Na mansão da poesia

                    Autor desconhecido

Jim Morrison - unknown artist

Teaching Literature Through Song Lyrics : The Poetry of Rock and Roll

With Ray McNiece and Sean Kelly

This performance and workshop explore lyrics and music as literary expression, showing how themes, styles, and techniques of contemporary songs connect with the history of poetry.

The 50 minute performance covers the varieties of "guitar poetry" that are the roots of rock and roll. From work songs (sea chanties, field hollers) to train songs, from country to blues, from jazz to Broadway show tunes, Ray and Joe demonstrate the styles that created and continue to inform rock And roll.

The workshop shows the links between songs from the performance and the diverse literary and oral traditions that comprise the American experience. "Summertime," from the musical Porgy and Bess, segues into Van Morrison's "Moondance," a love song in the same key. What is a love song? A train song, "Rollin' in my Sweet Baby's Arms," transitions to one of Woody Guthrie's dust bowl ballads and then to Curtis Mayfield's "People Get Ready." How do these lyrics reflect the respective times when they were composed? What is the influence of William Blake on Jim Morrison of the Doors? How do both poets use symbolism in their work? How did the Beat poets influence Bob Dylan? How does the lyric structure of Scottish Border Ballads compare with Blue's format? How has the African- American folk poetry of "the dozen's'' influenced rap? The workshop will discuss these questions through lecture, demonstration and question and answers The workshop will also include an audience participation finale where students will create the verses and chorus of a song.

The performance and workshop pivot from Steven Smith's LYRICIST REVIEW, and encourage students to compare and contrast the songs they listen to everyday with poems from the curriculum to gain an understanding of the power and beauty of poetry.

Ray McNiece is a published poet, an actor and a folk-rock guitar singer. He is lead vocalist for the poetry music project Tongue-in-Groove. Sean Kelly is a singer-songwriter in the Richie Havens tradition. He and Ray comprise the duo, Soul Surviving Sons.

                                                                                                                    Ray McNiece Poetry Education

Hotel Rodoviária - Danislau

A narrativa é centrada no frenético personagem Jim da Silva, explicitamente inspirado no vocalista da banda The Doors, Jim Morrison.

                                                                                                                                 Lygia Calil

Comentários do filme "When you are strange – um filme sobre os The Doors" - Marcos Espíndola

Título: Comentários do filme "When you are strange – um filme sobre os The Doors"
Autor:Espíndola, Marcos
Resumo:Comentários do debatedor convidado Marcos Espíndola, na sessão de exibição e debate do filme "When you are strange – um filme sobre os The Doors", (The Doors: When You're Strange, ano de produção: 2009), do diretor Tom DiCillo, realizada em 20 de novembro de 2014 no Auditório "Elke Hering" da Biblioteca Central da UFSC.

Jim Morrison - William K. Stidham

Rock Criticism: When the Music's Over

An empty stage materializes. A phantom light breaks through the misty unknown, dividing darkness. A solitary orb settles upon the elevated, dusty old floorboards. Nothing has past, no one is present. Suddenly, flares of crimson punch through the density. “Yea, c’mon” A wily metallic chatter descends from the rafters, followed by a sonic vibration below. The instance plays on, resurrecting in the forsaken vacancy. The beast draws its breath, and then it happens. With a scream from the nether declaring “We are here”, all pistons are ablaze. A neon electric frequency cracks open the air, letting loose howling demons from another world. And so begins our excursion through voice and madness, isolation and deformity, desolation and obscurity, truth and pain, and the space in between. The doors of perception are open. The cascading noise speaks, “When the music’s over…” It beckons curiosity. It speaks again “When the music’s over…” It demands attention. “When the music’s over…” The recipient demands the answer. The voice grants it. “Turn out the lights” And again. “Turn out the lights.” Once more. “Turn out the lights” Thrice driving the inalienable, self-evident truth into consciousness, leaving no room for reproach. Without warning, the guest is cast down the rabbit hole; its circus troupe host mockingly shouting down to it as it goes. “Music is your special friend”, they say, as it’s sent spinning down euphoric humiliation, naked with guilt. The freak reads out the sentence “Dance on fire as it intends” And it does, as it’s sent deeper and deeper down recollection, unwillingly, towards some inevitable, wicked cosmopolitan. “Music is your only friend” And without warning, it’s over; Silence. The blank stage reappears. He steps into the light. “Until the end”, he whispers. The solar winds agree “Until the end” The floorboards rattle in approval “Until the end” The electric villain spits from its ruptured curtain in overwhelmingly consensus. And the show goes on. The dark figure on stage cries and screams in confliction, requesting and demanding in pain and anger and sadness in one harmonizing, beautiful breath, which sings the darkest poetry; uncertainty. The foreboding elements about the figure grow impatient as they wait for Him to reconcile with anonymity; pattering back and forth through the hollow stage as he attempts to do so. The figure comes forth from inquisition, a supposed truth in his mouth. “We want the world and we want it…” The music listens. “Now” The music sounds in indifference “Now?” The speaker waits for their rebuttal in innocent naivety. His music parent refuses him. “Now!” the villain shouts in rebellious defiance. Crying in unison for salvation, He and the music become one again, resounding in empathic hopelessness, revisiting discovered truths, holding firm in convictions, making love and war in sweet, safe, comforting resolution. And they continue to do so until their fire and brimstone bedchamber collapse, their sweet melody echoes through motion no more, water and earth sit beside one another no longer, souls ascend and descend apart, sorrow reaches for everlasting joy in vain. Then, turn out the lights.

                                                                                                                                      John Montana

Lifestyle Theory - Glenn D. Walters

                                                                                                                     Glenn D. Walters

Chanson (Living Next To Jim) - Paul Hemphill

L'UMP de Paris veut rendre hommage à Jim Morrison

Le groupe au Conseil de Paris a soumis au vote un texte prévoyant de baptiser une place ou un bâtiment public au nom du chanteur des Doors, qui aurait eu 70 ans le 8 décembre.

Le Conseil de Paris, à l’initiative du groupe UMP, votera lundi ou mardi pour le principe de dédier un lieu, place ou équipement public, à la mémoire du musicien Jim Morrison qui a vécu et est mort à Paris en 1971, a-t-on appris vendredi. Les élus UMP soumettront au Conseil un «vœu» en ce sens, auquel l’exécutif socialiste «répondra favorablement», a dit à l’AFP Bruno Julliard, adjoint du maire Bertrand Delanoë chargé de la culture, saluant «une bonne initiative».

Le cofondateur et chanteur des Doors, mort à Paris le 3 juillet 1971 à l’âge de 27 ans, est enterré au cimetière du Père-Lachaise, où sa tombe est devenue un lieu de pèlerinage pour ses fans du monde entier. Mais aucun lieu ne porte son nom, font remarquer les cosignataires du «vœu», proposant «qu’un espace public parisien, place ou rue, établissement culturel, soit dédié à la mémoire de Jim Morrison», d’après le texte transmis à la presse.

Le «vœu», à l’initiative du conseiller de Paris Jérôme Dubus (UMP), insiste sur «la carrière exceptionnelle» de l’artiste américain, «chanteur, cinéaste, poète», à la tête d’un groupe parmi «les plus marquants de l’histoire du rock», et évoque aussi «son engagement contre la guerre du Vietnam». Il rappelle que Morrison, qui aurait eu 70 ans le 8 décembre, a vécu dans le quartier du Marais, au «17 rue Beautreillis»(IVe).

Pour Jérôme Dubus, «c’est étonnant» qu’aucun lieu dans la capitale ne porte encore le nom Morrison «étant donné son lien particulier avec Paris». L’élu UMP a fait remarquer que certains dans son groupe s’étaient demandé si un tel artiste «mérite d’être commémoré ainsi». «Certes il a eu une vie assez controversée notamment à cause de ses addictions […], mais c’est quelqu’un qui a marqué et il n’y en a pas tant que ça dans le monde du rock», a-t-il ajouté.

Un équipement public tel une bibliothèque ou un conservatoire de musique pourrait à terme prendre le nom de Morrison, selon Bruno Julliard, qui ne cache pas que la mesure pourrait prendre du temps. Pour de tels hommages à des grandes figures artistiques, «on a cinq ou six vœux chaque mois au Conseil de Paris», a dit l’élu PS.«Comme on ne débaptise pas de rues, dans le cas d’équipements publics cela peut aboutir plus vite.»

L’adjoint à la culture a cité les précédents de la bibliothèque Aimé-Césaire (inaugurée en 2010 dans le XIVe arrondissement) ou du centre musical Barbara (2008, XVIIIe). Autre exemple récent : Alain Bashung, mort en 2009, a son square depuis 2012 dans le XVIIIe arrondissement, où il a vécu.

13 dezembro 2013

An evening around Jim Morisson

SAM 07 DÉC // 18H // PROJECTION // Entrée libre

Lectures De Richard Bohringer


à l'occasion de la sortie de son dernier livre sur Morrison paru chez Gallimard


I "The Paris Journal"

20 Clichés du carnet de Jim Morrison

II "The summer of 65'", photos de Robbie Freeman

The summer of 1965....Jim Morrison was taking a film class and Robbie Freeman was taking a photography class at UCLA with Edmund Teske. Jim Morrison was re-editing his UCLA end of term Workshop 170B Film. Often Jim and Robbie would slip into Bungalow 3K7a trailer behind Gypsy Wagon snack bar and smoke a joint..... Throughout the summer, Robbie carried his manual Minolta 35mm camera as a requirement for his class with Teske. Robbie and Jim would get high and take photos while they cruised around Los Angeles area: Will Rodgers State Beach, The Self Realization Center, The Red Log House and at Morrison's apartment on Goshen Ave. "Jim would never pose for a photo unless he was making an odd motion or a bold statement". That fall of 1965 Jim came to Robbie's home in Topanga Canyon and played a demo of six songs with Ray and his brothers (Rick and the Ravens). Jim had written the lyrics himself and "The Doors" had asked Jim to sing them himself. It was before the revolution. Truly, this special and important work documents the months before Jim Morrison joined the Doors. The photos of Jim playing with a gas mask, climbing a fire escape as well as hiding behind a Jacket, smoking a joint, passing a joint and lying on the beach all make a statement of who Jim was and became to be. These photos are a true piece of American history.



Lectures de certains poèmes de Jim Morrison en Anglais ET en Français d'après "Ecrits" de Jim Morrison.

Phil Trainer

By 1985, Phil Trainer was back in Paris and people started referring to him by his nickname, "Steele" -- French for "style". The name stuck and became Phil's pseudonym. But up until that time, Phil Trainer had already made a name for himself, having written film scores for Georges Lautner, a No. 1 hit in Latin America titled "Carousel", and the international club classic, "City Lights" -- the balearic anthem that went Gold, selling over 10 million singles and compilations.


Un fil de Dean Preston (Australie) 2011

Jim Morrison : O poeta-xamã - Marcel de Lima Santos

A relação entre xamanismo e poesia na obra de um dos ícones pop do século 20 é o tema do livro Jim Morrison, O poeta-xamã, que a Editora UFMG lança hoje, 5, a partir das 19h, na Livraria Mineirama (Rua Paraíba, 1419, Savassi).

A obra do escritor e professor da Faculdade de Letras Marcel de Lima analisa a manifestação xamânica nos poemas escritos por Morrison, líder da banda The Doors. O autor discute a tradição poética do bardo visionário e as influências dos poetas do romantismo Arthur Rimbaud e William Blake nas produções artísticas de Morrison.


Ghost - Into The Self

Curta-metragem de Rodrigo Zan e Leco Moura
Direção e roteiro Rodrigo Zan
Diretor de Fotografia Leco Moura
Narração Sally Shepard
Atrizes Yasya Slonova & Ana Pierucci
Diretor-assistente Guigo Foggiatto
Assistente de câmera Seven Xing
Operador de som Gao Fei Zeng
Telecine Steve at Fotokem
Edição Leco Moura
Trilha-sonora The Doors
Filmado em 16mm

Lançamento do livro Jim Morrison : o poeta-xamã

Jim Morrison: The Articulation of the Shaman-Poet in the Poetic Tradition

This dissertation aims at the articulation of the shaman-poet in the poetic tradition. It presents American poet Jim Morrison as the shaman artist whose life and poetry are analyzed as belonging to the tradition of poets Plato called possessed by furor poeiicus. This tradition, which is to find its prime in the writings of the Romantic poets, states that poetry is a secret language, based on feeling and imagination, that speaks to the heart of men about the sacred and universal, i. e., natural, quality of the human soul. The shaman-poet, thus, belongs to a tradition that goes back thousands of years to a time when the primitive man used to be in touch with a magical understanding of his environment on a regular basis, in contrast to the extremely rational perception of the world by modem man. The poetry of Jim Morrison is presented here as a representative of this sacred language that tells of this magical perception, long-forgotten, though never completely erased from the human mind. Hence, it is to be seen not only as a bridge to the spiritual realm of feeling and imagination, but also as a technique for ecological survival in this current rational and secular era.

                                                                                                                    Marcel de Lima Santos

Jim Morrison - Um ensaio


Portas por trás das portas: sete abordagens temáticas a partir do grupo The Doors

Este trabalho quer explorar sete abordagens temáticas possíveis a partir e, principalmente, em diálogo com a trajetória e obra de um grupo californiano de rock, o The Doors. O texto é resultado de discussões anteriormente elaboradas para minicursos, aulas, mesa-redonda e, especialmente, matérias publicadas, em 2001, na imprensa belohorizontina.

                                                                                                                      Nísio Teixeira

Jim Morrison - Bruni Sablan

Celebration of the Lizard King: Jim Morrison

I went on to find other wonderful coincidences in Jim's writing and his inspiration from other works such as The Yage Letters from William S. Burroughs and Allen Ginsberg. This is another drug-inspired tale woven through a series of letters between the two authors. The first portion of the collection begins with Burroughs during his visit to the Amazon Rainforest in 1953 in search of yage, one of the most powerful hallucinogens known to man. The latter series of correspondence occurred when Ginsberg went on the same conquest in 1960. Burroughs wrote back to Ginsberg after his mystical journey...


Not a decade later, Morrison wrote...

"Who scared you? Why were you born, my babe?
In two-time's arms with all of your charms, my love.
Why were you born? just to play with me?
To freak out or to be beautiful, my dear?
Load your head, blow it up, feeling good, baby"

                                                                                                   Brandt Hardin

Liner Notes 11 coming up soon at the Melbourne Writers Festival

This year, Liner Notes, a literary cabaret in tribute to a classic album, takes a lysergic road trip with Jim Morrison to scatter the ashes of the ’60s in the Mojave Desert, as we celebrate the swaggering shamanic blues of The Doors’ L.A.Woman. Featuring special guests Missy Higgins, Andy Griffiths, Ophira Eisenberg (US), Dave Graney, Doug Johnstone (UK), Jane Caro, Luka Lesson and Josh Earl, with Emilie Zoey Baker, Sean M Whelan and Alicia Sometimes, and led by MC Michael Nolan and a kick-arse live band. So, join us for the Lizard King's swansong before he ran a warm bath in Paris for the American Dream. The Regal Ballroom, Northcote, Friday 23 August. Tickets:

Side one

1. ‘Changeling’ JOSH EARL
2. ‘Love Her Madly’ ANDY GRIFFITHS
3. ‘Been Down So Long’ JANE CARO
4. ‘Cars Hiss By My Window’ EMILIE ZOEY BAKER
5. ‘L.A. Woman’ DOUG JOHNSTONE (Edinburgh)


Side two

6. ‘L’America’ OPHIRA EISENBERG (Host of the Moth StorySLAMs, USA)
8. ‘Crawling King Snake’ GEORGE MEGALOGENIS
9. ‘The WASP (Texas Radio and the Big Beat)’ LUKA LESSON
10. ‘Riders on the Storm’ MISSY HIGGINS

If that line-up doesn’t get your mojo risin’, nothing will.

Friday 23 August 2013 at 9.00 pm
tickets here:

Jim - Walter Daguerre

Um homem diante do túmulo de Jim Morrison com uma arma em punho. Um homem que não conheceu o vocalista do The Doors pessoalmente mas que, entretanto, teve sua vida pautada pelas ideias e pelos ideais deste que é considerado um dos maiores ícones do rock de todos os tempos. Um homem que durante anos acalentou o sonho de seguir os passos de seu ídolo, como artista e como ser humano, mas que acabou percorrendo uma existência trivial. Um homem que chegou aos 40 com o sentimento de que suas idealizações se perderam no tempo. É este homem que está agora em Paris, no cemitério Père-Lachaise, com um revólver na mão para acertar as contas com Jim Morrison. Ele tem somente uma bala, uma pequena peça de chumbo com a qual pretende transformar seu destino num jogo de azar. Este seria um acontecimento relativamente simples, não fosse a aparição de uma misteriosa mulher com quem ele trava um decisivo diálogo. E a presença enigmática de JIM.


Jim Morrison, do “The Doors”, é tema de peça musical no Rio de Janeiro

Estreia hoje no Teatro Leblon, no Rio de Janeiro, o espetáculo “Jim“, baseado na obra e vida de James Douglas Morrison, mais conhecido como Jim Morrison, vocalista da banda “The Doors”. O musical é estrelado pelo ator Eriberto Leão, um fã da banda desde os 18 anos, que se identifica com algumas características do astro e até chegou a criar uma cena inspirada no roqueiro poeta, nos tempos em que estudava na Escola de Artes Dramáticas, em São Paulo.

Com direção de Paulo Moraes, o texto é de Walter Daguerre e procura fugir do modelo biográfico, voltando a atenção do espectador especialmente para a poesia e os conflitos internos de Jim. O autor procura também mostrar a influência de grandes nomes como Friedrich Nietzsche, William Blake e Charles Baudelaire como inspiração para os trabalhos de Morrison. No palco, Eriberto se divide entre dois homens, o próprio Jim e João Mota, um fã nascido 49 dias após a precoce morte do músico, mas que é profundamente influenciado por suas ideias e conceitos. Mesclando referências musicais nacionais e internacionais do próprio ator, o espetáculo é embalado por 10 sucessos, incluindo “Light my fire”, “The end” e “Riders on the storm“, todos executados ao vivo por Eriberto, que divide o palco com a atriz Renata Guida e uma banda.

O espetáculo fica em cartaz até o fim do semestre na Sala Tônia Carrero, do Teatro Leblon, com grandes possibilidades de passar por São Paulo, Belo Horizonte e Curitiba em 2014.

brief translation: The play "Jim", based on the life and work of James Douglas Morrison, premieres today (July 9th, 2013) at Rio de Janeiro, Brasil. Written by Walter Daguerre it focuses mainly on Jim's poetry, psychology and influence by Nietzsche, Blake, Baudelaire on Morrison. The show is rocked by 10 hits as Light my fire, The end, Riders on the storm, all performed live by actor Eriberto Leão.

Jim Morrison : O Rei Lagarto - Luciano Saracino

Jim Morrison, vocalista do grupo The Doors, é uma das lendas mais controversas do rock e também um dos maiores símbolos da contracultura dos anos 1960. Suas letras, canções e atitudes provocaram e inspiraram muitos jovens. Jim foi e ainda é um enigma para seus fãs. Esta biografia em quadrinhos faz um mergulho em sua trajetória: desde o início de sua carreira com os Doors até sua misteriosa e prematura morte aos 27 anos.

                                                                                                                                                 V&R Editoras

The ghosts of Père Lachaise

Untold stories

Interview with Mark Opsasnick about the book
“The Lizard King was here”

From all books on Morrison one stands out for the depth, seriousness, accuracy and criteria of the research it is solidly based on. A tremendous amount of interviews, visits, transcripts, hard work and persistence have resulted in a valid, balanced and realistic vision of Jim’s years in Alexandria as some of the roots of his thought, writing and personality. (It only makes us wonder how priceless it would be to have the same kind of investigation techniques and high standards applied to the Florida period.)
The author is Mark Opsasnick, author also of more than 70 published articles on subjects as music or popular culture and 7 books (the most popular being "Capitol rock").
For these reasons I can only sincerely recommend that you read The Lizard King was here : the life and times of Jim Morrison in Alexandria, Virginia.

“If the concern of biography is the human individual in all his aspects, it would be imperative to examine his various activities, endeavors, interests, his environment, and his relations with others.” p. 18

ether glow: Exactly how much material did you gather while researching for this book? Will it ever be published?
Mark Opsasnick: A tremendous amount of material was collected – enough for two books. I have another Morrison book outlined, but I’m not sure if I’ll be writing it or not. I’m very much involved with a difficult project right now that deals with documenting the entire history of Washington, D.C.-area popular music from the 1800s to the 1970s and all my time and energy is being absorbed by this endeavor. When this book is finished I’ll sit back and see if another Morrison venture is forthcoming.

“It was at UCLA where Morrison reportedly escalated his drinking habits and experimented with drugs such as marijuana and LSD.” p. 27

ether glow: Did Morrison ever express any willingness or curiosity to experiment with drugs during the Alexandria period?
Mark Opsasnick: None whatsoever. Not one person I interviewed ever saw or heard of Morrison doing any type of drugs during his Alexandria years. He just wasn’t hitting the chemicals yet.

“From this period of his life there are no known surviving letters, notebooks, journals, drawings, collages, or personal photos (in fact, the only known image of Morrison from this period is his senior year photo), and although he did take the time to sign several yearbooks for his classmates – usually only scribbling “Jim” or “J. Morrison” – he didn’t record any thoughts or shared experiences.” p. 73

ether glow: Question: What is the source of this statement?
Mark Opsasnick: Not one person I interviewed who knew Morrison in Alexandria, including his brother Andy, recalled there being any type of surviving material from these years – aside from a couple of paintings that are rumored to now be privately owned by Tandy Martin and Jim Merrill.

“A limited quantity of rare Jim Morrison poetry has surfaced in recent years on the Internet. This material has mainly consisted of short poems that were uncovered from his stray notebooks or lifted from obscure European books and magazine articles. One such poem that has surfaced is a piece entitled “All the Poems,” which was allegedly written during his high school years and dedicated to Tandy Martin. While I don’t have permission to quote the poem directly, I will paraphrase the work and tell that it is presented in two “Acts”, the first of which talks of a beautiful woman who dances in a ring of fire (no doubt an allusion to Tandy Martin’s thirst for intrigue and adventure) and concludes with parting words in which the writer and his “beautiful one” are joined in a dream-like union.” p. 108

ether glow: What makes you believe that “All the Poems” was written by Jim Morrison?
Mark Opsasnick: A close friend of Tandy Martin’s provided this information and I believed it to be true. Shortly after the book was released, Tandy Martin herself contacted me and verified that this particular poem was, in fact, written about her by Morrison.

ether glow: Did you interview Tandy Martin? Will the content of the conversation(s) be released or eventually incorporated in a new edition of “The Lizard King was here”? How enlightening was your dialogue and how did it manage to fill the gaps of “The Lizard King was here” left by the absence of Tandy Martin’s testimony?
Mark Opsasnick: Since the publication of “The Lizard King Was Here” I have spent some time with Tandy Martin and talked with her at length, but she has never discussed Jim Morrison with me. I haven’t pressed the issue with her. If I do another Morrison book, I may ask her to cooperate, but right now it’s not on the schedule.

“To be as fair as possible, I felt it was imperative to obtain the perspective of Jim’s younger brother, Andy Morrison, on several family-related issues.” p. 118

ether glow: Did you try to contact Anne Morrison for your research?
Mark Opsasnick: No. None of Morrison’s friends from GW High had anything to say about here and no one remembers her ever going into Washington, DC with Jim. Andy was a different story. Jim was more involved in Andy’s life at that point in time.

“The closest concentration of bookstores to the bus stop at 12th and Pennsylvania was the infamous 9th Street Strip that Andy Morrison had alluded to, a then-seedy Times Square-like stretch of run-down arcades, peep shows, billiard parlors, liquor stores, lunch rooms, restaurants, bars, and adult theatres that was billed by the local media as “The Bowery.” In 1960 this area was also home to some of the city’s favorite used book shops including the Bargain Book Shop (808 9th Street NW), the Central Book Shop (906 9th Street NW), George Friend’s Book Shop (922 9th Street NW), and the Park Book Shop (919 G Street NW). Jim Morrison must have loved this slowly decaying stretch of old shops and the hidden treasures they held.” p. 159

ether glow: This paragraph bears an impressive similarity with “The Lords” (“But in the grimy ring immediately surrounding the daylight business district exists the only
real crowd life of our mound, the only street
life, night life. Diseased specimens in dollar
hotels, low boarding houses, bars, pawn shops,
burlesques and brothels, in dying arcades which
never die, in streets and streets of all-night
cinemas.”). Do you consider that it may have been an inspiration?
Mark Opsasnick: Personally, I am almost certain it was – because he just described 9th Street NW exactly as it was in 1960. However, we have no way of verifying that. Only Morrison himself could tell us if he had D.C. or L.A. in mind when he wrote those lines.

“Those who spent time with Jim Morrison during his Alexandria tenure basically agree that he frequently liked to surprise and even shock the people around him without forewarning. Often times he would exhibit strange and inexplicable behavior for whomever he was with, then measure their reactions like a silent psychologist conducting esoteric social experiments. His penchant for quashing the comfort zone of those in his company was perhaps just one method of testing his philosophy of free activity, a process of thought that encompassed concepts of chaos, disorder, and rebellion in the face of authority.” p. 245

ether glow: What exactly is the philosophy of free activity?
Mark Opsasnick: Exactly as the line says: “a process of thought that encompassed concepts of chaos, disorder, and rebellion in the face of authority.” Trying to understand Morrison’s teenage behavior is futile; he was a free spirit and did whatever he liked without regard to consequence or the way it would affect other humans around him. It seems liked he was always trying to alter the conventional processes around him – he did things to push the boundaries of socially acceptable behavior and gauge the reactions he got. Of course, maybe his motivation was simpler; maybe he just got off on freaking people out.

“… and he had to deal with feelings of rootlessness, a byproduct of the constant relocating most military families endured.” p. 251

ether glow: It has been widely discussed weather the constant relocating of the Morrison family affected Jim or not and in what way. Jeff Morehouse depreciated such effect saying “A lot of people talk about the instability, yet there was a basic stability because we had families that we did move with, so there wasn't complete shock every time we went somewhere. A lot of times we really were in with a bunch of other people we'd known forever. There were a lot of families that did that.” (BUTLER, Patricia – “Angels dance and angels die”. London [etc.]: Omnibus Press, 2007, p. 5)”. You seem to have a different opinion about it. On what did you base it?
Mark Opsasnick: There are two schools of though on this and based on what was told to me by several of Jim’s friends, I believe the rootlessness definitely affected Morrison in some way. Jim Merrill told me something to the effect of “Morrison was there, but it was like he wasn’t really there.” He had relocated so much it seemed like he was always on the move and really made no effort to make friends or cater to anyone else. People gravitated towards him. He knew that as soon as high school was over, he’d be in motion again. That has to adversely affect a teenager in some way.

“They served as inspiration for his poetry and personal writings (which during his high school years reportedly appeared on his notebook pages as a succession of abstract, symbolistic fragments taken from scattered life experiences), and later amalgamated into the body of lyrics that became the very foundation for his life’s work with the Doors.” p. 252

ether glow: Where can we find the source of this information?
Mark Opsasnick: Many of Morrison’s high school friends recall how he would carry those flip-up style little notebooks in his possession and would constantly write in them regardless of his immediate environment. Several individuals have opined that bits and pieces of this material surfaced in Doors lyrics, though at this point it is impossible to cite specific pages as examples, since none of those notebooks survived his Alexandria period. We must take their testimony at face value.

“For those who wondered whatever happened to Morrison’s incredible book collection after he passed away, it was donated to the Alexandria Library in 1972 by his brother Andy. Each title, heavily laced with Jim’s scribblings and notes and underlines, was likely sold off for twenty-five cents apiece at ensuing library book sales.)” p. 252

ether glow: Did Andy write down the titles or remember them?
Mark Opsasnick: No. Andy remembers nothing in terms of specific titles. We can only speculate on what was in Jim’s collection. Those books are gone forever.

“Morrison’s rebellion against rules and boundaries and his perpetual resistance to authority can be looked upon as responses to his father’s military background, practices that were fostered in Alexandria and stayed with him throughout his tempestuous existence.” p. 254

ether glow: Did the same happen to Andy and Anne since they were exposed to the exact same background?
Mark Opsasnick: Not to my knowledge. However, I feel that Jim Morrison, being the eldest of the three, had a different relationship with his father than his siblings did. Andy and Anne never had the opportunities to rebel while in Alexandria. Jim Morrison did.

“Both Bob Hemphill and John Huetter had kept in touch with Morrison to some extent after their high school days together had concluded. Hemphill had actually exchanged letters with him during their college years and was probably one of the last from Alexandria to enjoy any type of semi-regular contact with Morrison.” p. 257

ether glow: What happened to these letters?
Mark Opsasnick: Bob Hemphill told me he still has those letters in his possession. If true, they are worth a fortune.

This is an excerpt of an exclusive interview for conducted by email with Mark Opsasnick in 2012.

The Heart of the Silence - Tandy Martin

Teaser for a film featuring a trek to sacred lagoons at 17,000 feet in the Peruvian Andes with Shaman Americo Yabar and the Q'ero Indians. We performed ceremonies at various apecheta's or energetic doorways on the way up the mountain. At the lagoons we sat with Q'ero Indians Don Mariano Apasa and his son Nazario who laid one of the cornerstones of the National Museum of the American Indian in Washington DC. Americo teaches energetic passes, and the dictum "Come down from the head to the heart and live life through heart."

Dom Juan de Molière

Musique The Doors 
Par la Cie La Naïve 
Mise en scène Jean-Charles Raymond 

Avec : 
Bruno Bonomo, Silvia Cimino, Patrick Henry, Christelle Golovine, Hervé Pezière, Charles-Eric Petit, Marie Salemi

Quand la plus grande figure du libertinage du XVIIe sièclese retrouve propulsée en pleine période seventies où le puritanisme fait rage, elle devient « rebelle », rock-star. Alors la foi devient mystique, la famille devient mafia, la fuite un road movie, mais le mythe reste intact.

Il y a toujours eu et il y aura toujours des êtres qui s’opposeront à tout ce qu’une majorité accepte. La fin des années 60 et le début des années 70 ont révélé quelques figures devenues aujourd’hui mythiques, comparables à ce fameux "jeune noble libertin" du XVIIe, notamment Jim Morrison ; TheDoors sont donc convoqués pour la BO de ce road-movie, marqué par de nombreux clins d’œil cinématographiques, de Stanley Kubrick à Terry Gilliam, Martin Scorsese ou Francis Ford Coppola.

[L’hebdo Marseille] Des rappels dignes de ceux d’un concert de rock ! Un vrai bonheur !

[La Marseillaise] La téléportation réussie du libertin de Molière dans les seventies de Jim Morrison. Au-delà de belles idées de mise en scène (des idées tout simplement géniales), l’essentiel est dans le jeu. Un impressionnant Charles-Éric Petit, délicieusement cynique et sensuellementdélétère. Le reste de la distribution est au diapason, mêlantles registres du gag et du drame avec une belle énergie.

[Zibeline] Géniale analogie qui fonctionne avec cohérence et légèreté, un miracle !


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Jeudis étudiants : 8€ 
Patch Culture : 5€ 
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