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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 www.etherglow.blogspot.pt 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 !


Informations

Tarif Général 23€ 
Tarif Réduit 19€ 
Etudiants (-25ans) / Demandeurs d’emploi 10€ 
Jeudis étudiants : 8€ 
Patch Culture : 5€ 
Tarifs préférentiels Abonnés


dossier de presse


Jim Morrison - Jean-Yves Reuzeau




Chaman, poète maudit, sorcier des mots, James Douglas Morrison, dit Jim Morrison (1943-1971), chanteur des Doors, continue de fasciner des générations d'auditeurs et de lecteurs.
Cette biographie très documentée retrace l'aventure fulgurante d'un artiste hors du commun qui réinventa le rock and roll. L'équipée sauvage de celui qu'on appelait le «Roi lézard» fut aussi celle d'un groupe, les Doors, dont les mélodies et les textes font aujourd'hui parti de l'histoire de la musique : «Riders On The Storm», «Light My Fire», «You Make Me real»... Auteur de plusieurs livres sur Jim Morrison, Jean-Yves Reuzeau travailla une dizaine d'années pour le label Elektra, celle des Doors.

                                                                                                                                     Gallimard



Hard Rock Cafe Lisboa recebe exposição

The Art of Hard Rock


A partir desta quarta-feira e até dia 26, o Hard Rock Cafe Lisboa recebe a exposição The Art of Hard Rock.

Ao todo, estão 40 obras de nomes como Michael Jackson, Pete Townshend, John Entwistle e Roger Daltrey dos The Who, Paul Stanley dos Kiss, Frank Zappa, Alice Cooper, Billy Idol, Lou Reed, Julian Lennon, George Clinton, Mike Oldfield, Marty Balin dos Jefferson Airplane, Marillion, Ugly Kid Joe, Ringo Starr dos Beatles, Jim Morrison e Iron Maiden. Na imagem, pode ver-se um quadro pintado propositadamente por Ronnie Wood para posterior leilão.

A exposição que durante este ano percorreu as principais cidades europeias termina a digressão em Lisboa. A entrada para a exposição é livre e o espaço está aberto todos os dias.






The real Jim Morrison - The conspiracy show podcast






           EPISODE TITLE: THE REAL JIM MORRISON
           AUTHOR: RICHARD SYRETT
           INTERVIEW WITH: ALAN GRAHAM
           PUBLISHED: 30 SEPTEMBER 2012
           PODCAST TITLE: THE CONSPIRACY SHOW PODCAST
           PODCAST EPISODE: EPISODE OF 30 SEPTEMBER 2012
           PART: I (OF II)
           LENGHT OF PART I: 00:00:00 TO 00:52:13
           RADIO STATION: ZOOMER RADIO
           AVAILABLE: Zoomer Radio



Therefore, time does not exist.


Interview with Judy Huddleston about the book
“This is the end… my only friend”





Judy Huddleston is a sweet and generous person. She was born in California, where she studied Visual Arts at California Institute of the Arts and teaches writing at California State University at Monterey. Her prose is realistic, vivid and raw. Her non-fiction is honest, unprejudiced and undisguised. Her poetry is deep, mystical and serene. She lives among trees, sun, deer, owls, wild turkeys and a dog called Obie. Her house has white screen doors facing a pines wood. Publisher Chicago Review Press will make "Love him madly : an intimate memoir of Jim Morrison" available in May, 2013.





“I wrote the first draft of this book when I was in my early twenties. Though I’ve been over it several times since then, I’ve tried to stay as close to the truth as the original.” p. 3

ether glow: Did you keep diaries through the time you met Jim? Did you use them as the basis of the book? Will they ever be published?
Judy Huddleston: Yes, I did, but they were mostly sketches and poems. I doubt that they are publishable.




“When I heard Oliver Stone was going to direct a film about Jim and The Doors, I was both excited and scared. As one of Jim’s countless romantic interests, I was found by his researchers. After my first meeting with Oliver, his producer asked me to work as a technical advisor on his movie.” p. 4

ether glow: What is your opinion about the movie?
Judy Huddleston: I felt it was too sensationalistic and the portrayal of Jim was too one-sided.




““I loved your manuscript. But it’ll be a hard sell.” I didn’t mention how long I’d been trying.” p. 4

ether glow: Yours was one of the first books to be published about Jim Morrison. How hard was it to get it published? How was it received?
Judy Huddleston: It is almost always difficult to get a first book published. Since the publisher went bankrupt shortly after publication, it was barely “received” at all.




“He starts talking about dreams being interesting writing material, and telling me how he keeps his in notebooks. Then he turns them into poems”. p. 18

ether glow: Did Jim give any example of a poem written that way (a dream turned into a poem)?
Judy Huddleston: No, he didn’t give any examples.




““It’s getting late,” he says.
“I know, I have to go.” I put my head against his chest for a moment, full of his pain that came unannounced. I’m bursting and suffocating with the knowledge that I can never have him – he is not something to have.” p. 23

ether glow: How were you so sure and so quickly that Jim was not something to have?
Judy Huddleston: His entire being was based on having freedom.




“Most of my time is spent in isolation, reading William Blake, Greek drama, Dostoyevsky and comparative religion. I begin writing morbidly obsessive poems and begin new fantasy drawings.” p. 52-53

ether glow: Where are those poems and drawings? Do they still exist?
Judy Huddleston: They’re in journals in storage.




“We’d had a debate over the good and bad points of L.A., and I’d taken the side that it was to flashy.” p. 75

ether glow: Why was Jim so fond of LA?
Judy Huddleston: He seemed mixed, but liked the straightforward city aspects.




““It never works out, something’s always wrong. You believe all these things about love, but it’s never true the way you thought. Still, you keep believing something will work, and it’s just not possible! Never.”
“What about Pam?”” p. 81

ether glow: In your opinion why did the love and friendship between Jim and Pam last for so long? And why were they so drawn to each other?
Judy Huddleston: Honestly, I don’t know how it worked. Fate, karma, love, sex, mutual addictions and codependence?




““I’ll have to give you a copy of my book. It’s really good, and I’ll sign it for you. Then, someday when I’m dead, you’ll have money ’cause it’ll be a collector’s item.”” p. 116

ether glow: What is your opinion about the book? Did you like it? Did you share your opinion with Jim (besides what is on p. 172)?
Judy Huddleston: Some of it was excellent and I liked it. Some of it I didn’t.




“I drive away, convinced that he’s incomprehensible, promising myself I’ll never again attempt to understand anything he says or does.” p. 117

ether glow: What was in Jim’s nature that made him so incomprehensible?
Judy Huddleston: Deep paradox.




““I wander what it will be like when we’re in our thirties and people respect us?”” p. 136

ether glow: Did Jim talk a lot about the future? He used to say he wouldn't be around for long.
Judy Huddleston: Not much future; seemed aware he wouldn’t be alive long.




“He needs an extra dose – an extra dose of everything.” p. 136

ether glow: In your opinion why was Jim so excessive?
Judy Huddleston: The basic addictive personality.




“I suffer mild culture shock (I am not a hippie, I am too screwed up). I feel combined guilt, hostility, and rebellion towards the enlightened ones. They’ve set up a new norm, and I don’t fit it, either.
My girlfriend, Linda, has become full-fledged hippie of pure intent. She introduces me to the people of the village, hoping I will come out of my catatonic coma. It just makes me worse. I can’t believe that the city gave birth to smog, jealousy, politics, meat-eating and other bad things. I can’t passively accept each new day as glorious. In the middle of the gentle flow around me, I want to scream, “You’re hypocrites!”
In homespun, embroidered clothes, with no make-up and my hair hanging loose and moppy, I’m viewed as a sister; but if I wear make-up, curl my hair, and eat at Taco Bell, I’m a spiritual reject. I do both on purpose, and, I am amazed at the reactions my surface image causes. People actually believe you are what you look like.” p. 142-143

ether glow: How did Jim feel about the hippies?
Judy Huddleston: Amused, fond, misguided idealism.




“I know I can never really reach him, he’ll never really believe that I do honestly love him. I could go down on my knees, cry testimony to God, beg him to believe, but somehow it feels he never will.” p. 152

ether glow: Why didn’t Jim believe that someone could honestly love him? Why was he so unreachable?
Judy Huddleston: Back to the wounded self.




“When I wake up, I see Jim inspecting the stack of books by my bed.
“Are these all for school? he asks, amazed.
“No. None of them are. They’re for me.” I say.
He has come upon a William Blake book, and is quoting random blurbs from memory.
“I really love Blake! He’s one of my favorite writers,” he says ecstatically.” p. 162

ether glow: What other writers did he mention he liked?
Judy Huddleston: Rimbaud, Artaud.




“Have some peace of mind.” p. 163

ether glow: Was it any occasion you saw Jim in peace of mind? What do you think tortured him constantly?
Judy Huddleston: Fleeting moments of peace. Otherwise hypersensitive and raw nerve endings tuned to pain, uncertainty, and loss.




“”Well, that line – about pulling your eyes out!”
“That,” the adult explains, “is about a contemporary issue. SMOG!” I see he does not care for criticism.
“I liked the part, about being metamorphosized from a mad dancing body on hillsides to…”
“To a pair of eyes staring in the dark,” he finishes for me, his anger forgotten." p. 172

ether glow: Did you discuss any other of Jim’s poems or lyrics?
Judy Huddleston: A feast of friends / When the music’s over / People are strange. I can’t remember if it’s in the book, but he said he wrote People are strange after a fight with Pam.




““Was it awful?” I don’t know many details about his trial in Miami, I just know he and the law can’t possibly mix. “I mean, all the bullshit. Legal games. Money for freedom…” I trail off, feeling inappropriate as he makes a meaningless gesture and dismisses further discussion of this subject by putting a wall over his face.” p. 180-181

ether glow: Do you think Miami affected him in a deep way?
Judy Huddleston: Yes, touched his fundamental flaw.




“When he reaches one painting I did more under his influence than mine, he doesn’t even notice. Anyone who was able to read and hear what his images evoked could’ve seen the blatant similarity. It’s all in muted warm and cool shades of pale yellow, the differences blocking out a highway leading to a desert horizon. Above this, there’s a moon, and a highway’s edge, stretched like a shoreline, a row of symbols: fish skeletons, round arrows, sun signs underlined, parts of an alternate language.” p. 184

ether glow: What did his images evoked to you? Does this painting still exist?
Judy Huddleston: Basic eternity. It’s in storage.




“Winter has taken its fluid California turn into spring, when I hear Jim has left Los Angeles for France. Rock hasn’t worn well, he wants to write, lose his sex-symbol image, be taken seriously.” p. 191

ether glow: Did he tell you what the real reason for leaving was? How did you know he’d be back in September?
Judy Huddleston: No. I just thought (incorrectly) that he’d be back.




“Now bending over, she gets the full view, an unmarked, but for a purple felt-pen transgression, ground grave, like a swimming pool hole filled with yellow and white growing flowers.” p. 200

ether glow: When and how many times did you visit Jim’s grave?
Judy Huddleston: 1973-74






This is an excerpt of an exclusive interview for www.etherglow.blogspot.pt conducted by email with Judy Huddleston in 2012.

Desperate rock wives - Pierre Mikaïloff






"Desperate Rock Wives" by French author Pierre Mikaïloff has 13 pages on Jim, Pam, and Patricia Kennealy.

                                                                                                                                              Ida Miller



SSMF 2012 Celebrating The Doors!










"SSMF 2012 CELEBRATING THE DOORS! STREET FEST LINEUP FEATURING MARILYN MANSON, THE OFFSPRING, STEVE AOKI + MORE!


We’re thrilled to announce that the fifth annual three-day music festival–taking place on THE SUNSET STRIP Thursday, August 16 through Saturday, August 18–will celebrate the music and legacy of THE DOORS.

The festival will kick off with an exclusive VIP event honoring the iconic Sunset Strip band on August 16, which will feature an all-star band celebrating THE DOORS, and will conclude with an all-day street fest on Saturday, August 18. MARILYN MANSON will headline the outdoor street fest, which will also feature performances by THE OFFSPRING, STEVE AOKI, BAD RELIGION, very special guest BLACK LABEL SOCIETY, FAR EAST MOVEMENT, DE LA SOUL, DEAD SARA, DAS RACIST, THE MOWGLI’S and more. Many of the artists will celebrate THE DOORS by performing their take on some of THE DOORS’ legendary songs. The venues within the street festival closure–The Roxy Theatre, Whisky A Go-Go and Key Club–will also host full lineups from more than 50 bands throughout the day.

Look for further lineup announcements to be revealed in the coming weeks. Tickets are on sale today (6/13) via TicketWeb.com/SSMF (various pricing options below). A portion of ticket proceeds will benefit IMPACT DRUG AND ALCOHOL TREATMENT CENTER in Pasadena, CA, which has been treating individuals struggling with the powerful force of addiction since 1969. Impact is a residential treatment community for men and women from all walks of life and has outpatient clinics, transitional housing and in-custody programs throughout L.A. County. Impact offers programs to everyone from the roadie to the rock star, with their simple and effective no-nonsense approach to substance abuse treatment. For more information, go to http://www.impacthouse.com.

As in years past, Sunset Boulevard will be closed to traffic between Doheny Drive and San Vicente Boulevard and transformed into a premier concert destination with two outdoor stages, beer gardens, an artist autograph tent, an outdoor VIP rooftop lounge, silent disco, VIP Lounge at On The Rox, food trucks and interactive experiences.

“We are happy to bring another amazing and diverse lineup to the boulevard as we celebrate the music and legacy of one of The Sunset Strip’s most influential artists, The Doors,” noted SSMF executive director Todd Steadman. “We’re also excited to mark the fifth year of the music festival. SSMF is a homegrown, not-for-profit festival that continues to grow each year. It is shaped by a team of venue owners who partner each year to create a unifying event that celebrates The Sunset Strip and the community of musicians and music fans it has fostered. We look forward to seeing past attendees and welcoming new fans to this year’s event.”

THE DOORS–organist RAY MANZAREK, guitarist ROBBY KRIEGER, drummer JOHN DENSMORE and late singer JIM MORRISON–have earned worldwide notoriety for being one of the most influential rock groups of all time. With an intoxicating, genre-blending sound, provocative and uncompromising songs, and the mesmerizing power of singer Jim Morrison’s poetry and presence, THE DOORS had a transformative impact not only on popular music but on popular culture. The band was formed in Venice, Calif., and remains a vital piece to the legacy and history of The Sunset Strip. It was on The Strip that THE DOORS got their start at the London Fog before moving down the street to perform as the house band at the Whisky A Go-Go. A show at the Whisky in August 1966 helped them land a deal with Elektra Records, which would propel the band into international music icons.

“The Doors are honored to be celebrated by the magical, legendary Strip,” says RAY MANZAREK. “A great leap forward from the Summer Of Love to today. What a great time we’re going to have! The Sunset Strip. Live bands, loud music, Rock and Roll. It’s the ‘60s all over again, and everyone is welcome. Dancing in the streets. Joy, Love, Peace. And we want to get it all together just One – More – TIME! Could this be the beginning of the new Golden Age? Let it be so.” ROBBY KRIEGER says, “It’s a thrill to be honored by The Sunset Strip Music Festival this year. Venice was our home, but The Doors lived and came of age on the Sunset Strip. It’s exciting to see that the legacy we helped create is still alive and thriving today!” JOHN DENSMORE adds, “The Sunset Strip in the ‘60s was the incubation canal for an entire renaissance in music, and its impact is still with us. The Doors are proud to be honored this year at the 5th annual SSMF celebration.”

Tickets for SSMF 2012 are on sale beginning today at TicketWeb and are free of additional ticketing fees. Ticket options include general admission August 18 street festival ticket for $75 and VIP options for $135, which includes access to the rooftop VIP area with views of the West stage, VIP areas in the beer garden and venues, access to VIP lounge On The Rox, a separate entrance and additional perks. A very limited number of three-day VIP passes will also be available for $250. These special passes include access to THE DOORS celebration on Thursday, August 16, VIP access to the August 18 street festival and entrance to all of the Sunset Strip Venues on August 16, 17 and 18–House of Blues, The Roxy Theatre, Viper Room, Whisky A Go-Go and Key Club–pending capacity.

Previous SSMF performers have included Ozzy Osbourne, Motley Crue, The Smashing Pumpkins, Slash featuring Fergie, Public Enemy, Common, Bush, LMFAO, Kid Cudi, Neon Trees, Matt & Kim, Cobra Starship and She Wants Revenge, among others. Highlights from SSMF 2011–which drew a festival record of 15,000 music fans from Southern California and beyond–can be seen here: http://bit.ly/SSMF11vid.

Attendees traveling to SSMF can also enjoy a special offer on Virgin America flights to Los Angeles between August 13 and 21, when they book online at Virgin America.

SSMF2012’s proud supporting sponsors include Virgin America, Jack Daniel’s, Gibson Guitar, Bud Light, Monster Energy Drink, Los Angeles Hornburg Range Rover and Land Rover on The Sunset Strip, Glaceau Vitaminwater, Mondrian, 98.7fm, TicketWeb, City of West Hollywood, West Hollywood Marketing & Visitors Bureau and Clear Channel Outdoor. Street fest/event production provided by Swing House Hollywood. Festival creative provided by Signature Creative.


For the latest SUNSET STRIP MUSIC FESTIVAL news, like www.facebook.com/sunsetstripmusicfestival and follow @SSMF."






Jim Morrison




On mornings like this as I drive toward work at 6:21 am

4th Street stretches ahead

without end

as I stick my arm out my window and roll back

my sunroof as the sky begins to lighten

my long-dead father

waves to me from a barber chair as the red white and blue pole spins

ready to tell me never-before-told stories of riding boxcars in the depression

the man

in the donut shop window waving his arms with wild eyes delivering a speech

to the rest of the donut munchers knows the secret

to world peace

Jim Morrison

didn’t die but is a minor aging poet with long gray hair walking to a beat in his head

he wants me to get him a reading

at the Long Beach Poetry Festival

he sticks out his thumb and I wave at him but keep on rolling because I will always

have my chances to stop and give him a ride and listen to him

audition

Charlie Chaplin twirling his cane as he waits at a bus stop

a whiff

of albondigas soup from the red brick Honduras Kitchen

Buddhists

in orange robes leaving the monastery to walk down sidewalks and see

gas stations and old men walking dogs

in the sunrise

Charlie Parker

standing on a corner kicking the heroin and booze for good with a cup of black coffee

in his fist

and the next great jazz breakthrough

in his head

I could ride 4th Street forever

but I turn and head for the freeway

to roll into work

on a morning like this I am not just another factory worker

but the only machinist poet on earth

the one no High School

or university or job ad ever

predicted

and there is nothing on earth I would rather do than pick up a wrench

and wonder who

will step out of the shadows to stroll down 4th Street

tomorrow.


                                                                         Fred Voss



Jim Morrison por Sam Fuller: "A lucidez é a ferida mais próxima do sol"




No final dos anos 60, Samuel Fuller vivia na Califórnia com a sua mulher, Christa Lang, cerca de 30 anos mais nova. Fuller era já conceituado, tendo assinado obras como The Steel Helmet, Pickup on South Street, House of Bamboo, China Gate, Forty Guns, Shock Corridor e The Naked Kiss, só para citar alguns. Sam conheceu Christa em Paris e, quando foram viver para Los Angeles, a atriz acostumou-se a receções e festas. O casal tornou-se amigo de Jacques Demy e da sua mulher, Agnès Varda, ambos realizadores franceses talentosos. Um dia, Christa visitou Demy e Varda, e deparou-se com Jim Morrison.


Quando o vocalista dos The Doors soube quem era o marido de Christa, ficou entusiasmadíssimo, jurou que era admirador dos filmes de Samuel Fuller e suplicou-lhe que o queria conhecer. “Christa não prometeu nada ao miúdo”, recorda o cineasta. “Ela já assumira um papel que desempenharia durante o resto do nosso casamento, o de guardiã polida, face a admiradores que me faziam perder tempo. Eu nunca ouvira falar deste miúdo, Morrison, nem do seu grupo, The Doors. Não estava nada interessado em conhecer uma estrela do rock, nem mais ninguém, já agora, visto que estava absorvido a escrever o meu guião, Riata.”

Christa, no entanto, convenceu-o de que aquele rapaz era um “artista sério”, e que deviam aceitar o seu convite para jantar num restaurante italiano de Sunset Boulevard. Fuller acedeu. “A noite foi estranha, mas memorável. Morrison, um miúdo carismático, não parava de falar da sua ambição de ser realizador. Jim tinha uns 23, nessa altura, mas já era veterano na indústria da música. As drogas integravam obviamente a sua existência diária”, comenta Samuel Fuller. “E estava tão pedrado nessa noite, sabe Deus com quê, que tentou fazer o pino diante da nossa mesa, no meio de um restaurante à pinha…”



Fuller não tinha paciência para tretas nem para supostos artistas presunçosos. E muito menos para rock stars. Mas viu algo em Morrison. “Gostei daquele jovem maluco e dotado, e pressenti que procurava desesperadamente uma figura paternal. Convidei-o para aparecer no “Shack” [nome que Sam dava à sua casa]. Ele visitou-nos muitas vezes, e eu punha Riata de lado para passar tempo com ele.”

Jim Morrison ficaria famoso pelo seu lado excêntrico e provocador, mas, na presença de Samuel Fuller, não era nada daquilo que imaginaríamos. “Sempre se comportou impecavelmente comigo, dizia-me que queria sair do mundo de loucos da música e enveredar pelo cinema. Era difícil acreditar que os concertos deste miúdo eram selvagens, com Jim a abrir a braguilha, expondo-se, e provocando o público com frases do género, ‘quero matar os vossos pais e foder as vossas mães!’”

“Jim relatou-me como fora crescer no sul dos EUA, falou-me da desaprovação do seu pai, um militar. Eu não conseguia entender de que modo podia ser um exemplo para ele, mas Morrison jurou que eu era. Realizara alguns filmes experimentais e pediu-me que os visse. Combinou uma projeção na UCLA [University of California, Los Angeles], e eu vi-os. Não eram grande coisa, mas transpareciam promessa. Encorajei-o a não desistir.”
Samuel Fuller acabou por se identificar com aquele “miúdo louco” mais do que pudesse supor. “O seu desejo de se reinventar era algo em que me revia. Para continuar a trabalhar no meio artístico, tínhamos de o fazer. Ele aprendia, tal como eu, que a notoriedade é uma espada de dois gumes. Quanto mais famosos nos tornávamos, mais difícil era mantermo-nos criativos.”
DESPERDÍCIOS E CONCLUSÕES

Fuller já ia nos 40 e tal quando se tornou famoso, já fora ardina, copyboy, jornalista, veterano de guerra; publicara romances e realizara vários filmes, hoje considerados clássicos. Como o próprio afirma:

“Eu tinha maturidade para lidar com isso. Aos 20 e poucos, Jim era alvo de enorme reconhecimento internacional. Ninguém, com essa idade, consegue lidar com tanta adulação. Isso transformou-o num ser humano desesperado, em busca de uma saída do castelo autodestrutivo da sua própria reputação.”
Ao aperceber-se disto, Fuller achou que não podia fazer muito mais senão ouvi-lo, quando Jim Morrison o visitava. “Era extremamente lúcido, com rasgos de autêntico brilhantismo, especialmente quando falávamos de cinema ou poesia. Como qualquer pessoa intensamente criativa, possuía um toque de loucura. A droga e o álcool conduziam Jim à sua autoaniquilação.”
Certo dia, Morrison apareceu em casa de Fuller com um livro de poemas, dando-lho de presente. Com grande solenidade, autografou-o: “Para Samuel Fuller. Morrison.” Era The New Creatures. Noutra altura, deu-lhe o manuscrito de um romance intitulado Look Where We Worship, o que Samuel achou “mais um exemplo de escrita tumultuosa e inspirada”.

A confiança entre ambos estabelecia-se, e Fuller fez algo raro, mostrou a Jim o argumento inacabado de Riata, no qual trabalhava. Morrison adorou. Um dia, em casa de Fuller, Jim pegou num exemplar da revista Life, com Mick Jagger na capa. Fuller gracejou que o vocalista dos Rolling Stones seria uma boa escolha para o assassino em Riata, e Christa sugeriu, seriamente, que lho propusesse.

“Morrison aproveitou para se oferecer timidamente para protagonista do filme. Eu disse-lhe logo que ele tinha um rosto demasiado dócil para o papel. Ele ficou destroçado, não como um ator que não conquista um papel, mas como um rapaz repreendido pelo pai. Saiu, com o rabo entre as pernas. Nunca mais o vi.”
Samuel dera-lhe a sua palavra de honra: Mal ele escrevesse o seu primeiro argumento, apoiá-lo-ia, aconselhando-o com cenas e personagens. “Senti-me terrivelmente mal por não conseguir ajudar aquele jovem atormentado que simplesmente tinha demasiados demónios para exorcizar”, lamenta Fuller. Não era hábito do realizador confraternizar com músicos de rock e, muito menos, apoiá-los ou ficar a pensar no assunto.

Jim Morrison faleceu em Paris, em julho de 1971. A mulher de Fuller encontrara-o, poucos dias antes da sua morte, na capital francesa, mais concretamente em La Coupole, em Montparnasse, nesse verão. Christa e a irmã ficaram chocadas ao ver que “o miúdo, outrora bem-parecido, estava agora gordo e distorcido, pálido e com ar doente. O abuso que infligira a si mesmo era terrível de ver, e uma dolorosa tragédia”, relembra Fuller.
O realizador não era estranho às vidas que descarrilaram em Hollywood, mas a morte e o desperdício do talento de Morrison impressionaram-no. Riata, com ou sem Jim, nunca foi completado. Também a sua mulher, Christa, se impressionava com as mortes prematuras no mundo artístico. Fuller e ela própria, amigos de Roman Polanski, tinham sido convidados para uma festa por Sharon Tate, dois dias antes do massacre. “Não fomos, porque Christa tinha outros afazeres, e eu estava a trabalhar afincadamente no meu script. Teríamos acabado como os outros”, declara Fuller, referindo-se ao caso Charles Manson.

Christa perdeu outra das suas amigas, pouco tempo depois, por suicídio, e era algo que começava a preocupá-la. Era também uma época em que trocava cartas com o escritor Henry Miller, e teve a ideia de escrever um livro sobre este assunto, em conjunto com o autor. Ao pesquisar tais matérias, Christa encontrou uma frase do poeta francês René Char, que, por acaso, Miller adorava: “A lucidez é a ferida mais próxima do sol.”


                                                                                                                                      David Furtado


Jim Morrison est «Vivant»

ART CONTEMPORAIN À ART BASEL, UNE ŒUVRE IMPOSANTE CONSACRÉE AU CHANTEUR DES DOORS ET MOULÉE À VÉZELISE



                    «Room 4», de Tom Burr, installation à Art Basel. Une oeuvre à un million d'euros? Photo DR


« Personne ne sortira d’ici vivant ». Phrase mythique, tirée de la chanson « Five to one » (1968), reprise également pour la meilleure biographie consacrée à Jim Morrison (2007). « Vivant », il l’est, pourtant, le leader des Doors retrouvé mort à Paris la nuit du 3 juillet 1971. Vivant à travers son héritage musical et poétique, à travers les succédanés de chanteurs rock qui s’en inspirent, à travers sa tombe au Père-Lachaise, sans doute l’une des plus visitées au monde.

Quarante ans après sa disparition, c’est à travers une œuvre contemporaine que l’une des icônes rock du XX e siècle renaît de ses cendres. L’artiste new-yorkais Tom Burr expose en effet ce week-end à Art Basel, première foire d’art au monde, « Room 4 ». Une « pièce » au sens propre comme au figuré, qui fait référence au numéro de la chambre que le roi lézard occupa deux semaines à l’hôtel de Medicis (désormais Le Petit Paris), peu avant sa mort.

« RAYONNEMENT INTERNATIONAL »

Burr, dont la réputation enfle (avec le soutien de la galerie Bortolami à New York, qui expose notamment Buren) et qui fait partie des 50 artistes majeurs de la section « Unlimited » en Suisse, souligne que l’œuvre » a été conçue comme un mémorial aux mémoriaux ». Si, dit-il, un homme célèbre comme Morrison ne s’y était pas temporairement installé, cette « chambre » serait restée dans l’obscurité. Au même titre que sa stèle funéraire, elle est aujourd’hui encore un lieu de pèlerinage, faisant l’objet de vidéos, d’articles, et de graffitis.

Des murs (de 2,5 m de haut), une fenêtre, la porte de la chambre n°4, une table, une chaise, une armoire, du carrelage pour la salle de bains. Ainsi que des « accessoires » : une poubelle, une bouteille de Jack Daniel’s et son bouchon dont la « position sur le carrelage » a fait débat pour quelques centimètres, lors de l’installation. C’est en fin de semaine dernière que « Room 4 » (« 3 tonnes de métal ») a décollé de la fonderie Huguenin à Vézelise, où elle a été moulée dans le bronze, patinée, pour rejoindre l’expo. « ça nous a pris cinq mois de fabrication », note Joël Huguenin, à la tête de l’établissement depuis 1978, et qui travaille principalement dans le Grand Est et secteur frontalier, « ça nous donne un rayonnement international, avec un artiste qui a une cote énorme ». Pourquoi la galerie Bortolami l’a-t-elle choisi elle, plus portée habituellement vers des créations plus « classiques » ? « Parce qu’on a une grosse capacité de production, notre qualité est reconnue, et qu’on n’est pas très loin de la Suisse ».

Sans compter le travail « déterminant, technique » de tôlerie, de césures que peu de fonderies réalisent en leur sein. Tom Burr est venu « valider » à deux reprises, en mars et en mai, les travaux.

Pas de doute, Jim Morrison – « mort quand j’avais vingt ans », sourit Joël Huguenin, plutôt, lui, fan de Miles Davis – fait encore vibrer la flamme (artistique), suscite toujours le même culte, et fait recette. Un immortel. Ce n’est pas encore la fin, pas encore l’heure de « The end ».

                                                                                                                       Xavier FRERE


« Room 4 », exposée dans le cadre d’« Art Unlimited » à « Art Basel », jusqu’au 17 juin à Bâle.


Everyone said I should write a book - Jonathan White






Between these covers you will vicariously be confronted by pirates at sea, be alone and dying in the Himalaya mountains, come face-to-face with a Ku Klux Klan member on a small island in the middle of Georgia. You'll spend a little time with Jim Morrison and be entertained by Barnacle Bill, the parrot. You will travel to exotic places and meet interesting and diverse people.


                                                                                                                                          Jonathan White



We want the world - Daveth Milton






Inspired by true events, this imaginative recreation of history re-opens Morrison's secret FBI dossier to reveal his Establishment opponents. Moving between Jim’s image, influences and brushes with the law in Phoenix and Miami, Daveth Milton uses meticulous research skills to assess the extent of the conspiracy against the singer. Part meditation, part rock in the dock exposé, We Want The World provides the ultimate account of Jim Morrison's awkward encounter with the Bureau.


                                                                                                                                          Daveth Milton


Reefer movie madness - Shirley Halperin and Steve Bloom






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