I don't quite recall when I first heard a Doors' song, but I could safely assume that it was Jim Morrison wailing the tune "Light My Fire" or "Break on Through". After all, these two anthems are the foundations upon which the Doors' legend was built, and to this day remain the band's gems. But as I have come to learn through the years of reading about and scouring over regurgitated bits of information of this group is that they are so much more than a member of the genre of those 1960s bands who musically fell in love with drugs, love, and repetitive choruses. Gathering knowledge from a countless number of books, newspaper articles, and documentaries about the band's lead singer, Jim Morrison, has led me to scorn the drunken, obnoxious hippie identity that a majority of the public has perceived him to be some thirty years after his passing. There was a time when I shared these prejudicial views with the casual listeners, but it's been quite a long road to personally come to the conclusion that Jim was a poet who had something valuable to say when he was performing. However, a public misconception of Morrison and the Doors still remains, and will linger for the simple reason that we cannot re-live the late 1960s and become acquainted with this rock n roll icon. Thus, this very fact incited me to gain a better understanding of the legend that's been bogged in criticism for the last thirty years.
I preface this paper by a consideration of why Jim Morrison can be discussed within the discourse of religious studies. I suggest four possibilities. The first is the place of religion in late modernity; that is, as individualized, subjectivated and deinstitutionalized. These factors contribute to the circumstances under which Morrison may be understood in religious terms because of the conditions they create. Religion may be deinstitutionalized (Luckmann 1967; Bibby 1990), but people are still religious (Chaves 1994). This enables religion to exist in other ways; one way is through dead celebrity. In an article entitled “Is Elvis a God? Cult, Culture, Questions of Method,” John Frow (1998, 208-209), after discussing the apparent failure of the secularization thesis,1 remarks, “ . . . religious sentiment . . . has migrated into many strange and unexpected places, from New Age trinketry to manga movies to the cult of the famous dead . . . we need to take religion seriously in all its dimensions because of its centrality in the modern world.” Further, religion as individualized and subjectivated (Hervieu-Léger 2000) allows people to create their own systems of meaning and transcendence. Dead celebrity, using Morrison as an exemplar, is one system.
The 1960's were turbulent years in America, and Jim Morrison created an image of himself that stretched the boundaries of popular culture and entertainment. He was the first musician to truly live the creed of the moment, " sex drugs and rock and roll." Morrison's complicated lyrics, wild behavior, and personal charisma attracted many fans that worshipped him as a rock and roll icon. Morrision left them with a lot of great music and some very bad memories. Like Janis Joplin and Jimi Hendrix, he destroyed himself in the process of becoming a star.
Indians scattered on Dawn’s Highway bleeding, ghosts crowd the young Morrison’s eggshell mind. This is one of many crazy events showcased in the excellent, Jerry Hopkins and Danny Sugerman biography about Jim Morrison, No One Here Gets Out Alive. No One Here Gets Out Alive brings to light the exciting and intriguing events that occurred in the perplexing life of Jim Morrison, while elaborating on previously known events in grand detail. Jim Morrison was the frontman and lead singer of the late 60’s and early 70’s psychedelic rock band, the Doors, whose records have had a profound impact on the course of music history. This is a spectacular novel chock-full with unbelievably true stories about Jim Morrison’s life that will leave you wanting
Jim Morrison is widely considered to be one of the most iconic performers in rock and roll history. Paired with the instrumentals of The Doors, his haunting lyrics and chaotic performance style struck a chord with audiences of the 1960’s and elevated him to “Rock God” status. Morrison undoubtedly lived his life in a way to live up to that title: in his short lifetime he was arrested a total of 6 times and most of his adult life was consumed by copious amounts of sex, drugs and alcohol. Of course, all of this indulgence only led to tragedy, Morrison was often prone to self-destructive and abusive behaviors. Oliver Stone’s 1991 film The Doors as well as James Farr’s essay “'The Lizard King or Fake Hero?”: Oliver Stone, Jim Morrison, and History
... seen, done and drunk too much. He had lived life on his own terms, And now must pay for his actions. Death was closer and easier than returning to America, to the endless succession of stages it demanded. Jim Morrison passed away in Paris on July 3, 1971. His dying wish was to be remembered as a poet, and not as a rock star.
When I was growing up, Bob Dylan was more of a name on paper to me than a person. I knew Peter, Paul & Mary's covers of his songs better than I knew his. My parents listen to a lot of folk music--Peter, Paul and Mary, Simon and Garfunkel, the Weavers, Pete Seeger, Woody and Arlo Guthrie--but somehow Bob Dylan never entered the mix. Even after it somehow filtered into my consciousness that he'd written these songs I'd known all my life, that he was a performer, he remained mysterious. Photographs always seem to show him looking down, away from the camera, an expression of brooding concentration fixed on his face. When I heard the original versions of the songs I knew, like "Blowin' In the Wind," I liked the covers better. I liked the melody and harmony. Dylan's vocal style was a little too slipshod. It wasn't quite talking but it wasn't quite singing, he slurred his words and ended lines before it felt like they were done, and his timing was off. But it's that ambiguity--clear as split pea soup, as they say--that keeps drawing me back. Like the lines that end early, leaving you with the sense that the important part was left unsaid, more is implied by Dylan than said straight out. I keep going back, wanting to hear more, hoping that maybe this time he'll finish that thought. Maybe this time I'll get it. But I never quite do. He's never appealed to me as a singer, but his style and character are unmistakable, his charisma magnetic and powerful.
Protest singer, poetic genius, and a song and dance man; Bob Dylan influenced both popular music and popular culture for more than five decades. Although often reduced to a nasally-voiced guitar player who cannot carry a tune, Dylan mesmerized a nation with his musical genius since the early 60s. His artistic talents posed opportunities for creativity in the music industry and proved that a singer does not need a beautiful voice in order to sing. The lyrics make the song. The voice of a generation, singer-songwriter Bob Dylan not only influenced popular culture in the 1960s, but he opened artistic avenues that transcend far beyond popular music, and into our hearts.
The affects of Seattle’s geographical location appears to be an ingredient of the music created by these grunge bands, whether expressed blatantly or subliminally. Seattle exists in a corner of our nation and a great distance from more prominent cities, therefore, a sense of isolationism amongst its citizens is to be expected. Seattle is also subject to an unusually high level of precipitation, most notably rain, one (1) of the few things that the city may be regarded as famous for. An abundance of gloomy days certainly plays upon the psyche of the human attitude. Musicians of grunge bands appear to express this geographical condition in the manner in which they choose their topics for lyrics and deliver their music. Isolation may be cited as an influence in their music with the respect to the style in which they deliver their product, well practiced, yet unrefined because of their lack of hope for recognition. Unrelentingly dreary weather may be responsible for depression among band members that may well be reflected in their music, possibly accounting for their extreme volume (frustration and yearning to be heard) and crude lyrics (unpolished because they expect to remain obscure).
By definition a friend is a person who provides assistance and support. We have different groups of friends for different purposes in our lives. Although there are many different categories of friends, Marion Winik author of “What are Friends For?” mentions that some of the more common groups consist of the faraway, work, family, and former friends (132). We keep our friends because we value their loyalty, communication, support, and dependability.