When the doors of perception are cleansed,

Things will appear as they truly are, infinite. (William Blake)

There’s a bit of lore that Jim Morrison liked to tell: when he was four years old, his family drove past an overturned truck on a highway in New Mexico, where a number of Pueblo Indians lay on the road, dying. The scene upset the young Morrison considerably, and he would later tell friends that when the family drove away, the soul of a dying Indian passed into his body. That story is often used (as it was in director Oliver Stone's biopic The Doors) to explain the quality that made Morrison one of the most charismatic and mythologized performers in rock-and-roll history during his time with the group the Doors. "He was a shaman," said Ray Manzarek, the Doors' keyboardist. "He was an electric shaman."

Morrison, the son of a U.S. Navy rear admiral, and Manzarek met in the mid-sixties at U.C.L.A., where they were both studying film. They decided to form a band, one that was less influenced by the music of the time than by Manzarek's interest in blues, as well as the jazz orientation of guitarist Robbie Krieger and drummer John Densmore. Atop this mixture were Morrison's lyrics--image-rich poems inspired by the writings of Nietzsche, Blake, Rimbaud, and others, about lust, alienation, and the search for a higher existence. The mood of the Doors' music was dark and daring and--best of all--erotic. On the first chorus of the group's self-titled 1967 debut album, Morrison announced the goal, to "break on through to the other side." The Beatles wanted to hold your hand. The Rolling Stones wanted to spend the night together. But the Doors wanted to light your fire. Even that was tame compared to "The End," It was shocking enough to get the group banned from Los Angeles's famed Whisky-a-Go-Go nightclub, and a signal that the Doors were a force to be reckoned with.

With Morrison out front, egging on ever-growing crowds, the Doors created the aura of danger, taboo, and uncharted territory, even if the journey was really a little safer than it seemed. The group's music was ultimately accessible, with songs such as "Light My Fire," "People Are Strange," "Hello, I Love You," and "Touch Me" rolling into the Top 20. And Morrison played pop star to the hilt--taking off his shirt, wearing tight leather pants, and posing for spreads in all the teen magazines.

But there was certainly a darker side to Morrison: he was an alcoholic and a heavy drug user, sexually promiscuous and prone to reckless and violent behavior. The Doors' concert career was effectively neutered in 1969, when a drunken Morrison was convicted of exposing himself onstage in Miami. Soon thereafter, he moved to Paris, where he died of a heart attack, in 1971.

The Doors arguably became more popular after Morrison's death. In 1979, Francis Ford Coppola made "The End" a centerpiece in his epic Apocalypse Now, and the 1980 biography of Morrison and the band, No One Here Gets Out Alive, written by former Doors gofer Danny Sugarman, was a bestseller. The same year, The Doors Greatest Hits was released and went on to sell two million copies. In the early eighties, the Doors were selling about 750,000 albums a year, prompting Rolling Stone to publish a photo of Morrison on the cover proclaiming "He's hot, he's sexy, and he's dead."

The Doors--who broke up in 1973, after the remaining trio recorded two albums without Morrison--remain an ongoing concern. In 1991, Oliver Stone's film starring Val Kilmer further mythologized Morrison. During 1996, the greatest-hits album and Absolutely Live were re-released. Since his death, Morrison's grave in Paris's famed Père Lachaise cemetery is dotted with gifts and graffiti from a constant pilgrimage of fans. "I love it," Manzarek has said. "To me, it's a process; every five years, there's a new generation of fifteen-year-olds discovering the Doors.

TRUE OR FALSE?

Jim used to say that when he was four years old, his soul passed into the body of a dying Indian.
He studied film-making at the Los Angeles university.
Jim was extremely well read.
When the Doors became famous, Jim’s photos appeared in the press.
Jim was nice, polite and had very good manners.
He died in London and was buried there.
His most famous song The End was used in a film about Vietnam.
Jim sang romantic songs about love and friendship.
20 years after Jim’s death the film about the Doors attracted attention to his personality.
Few people remember Jim Morrison now.

JIM MORRISON :

- Я вношу хаос в тексты, в то время как остальные пытаются навести порядок.

- Рок-концерты всегда несут функциональную нагрузку - они дают возможность множеству людей почувствовать ясно и остро своё существование, своё единство.

- Всё начинается с простой песни в качестве основы. Затем музыка превращается в гипнотический поток звуков, реку звуков. Это освобождает меня, я могу делать всё, что представляю. Мне нравятся песни, но главное, чем я наслаждаюсь необыкновенно, - это ритм музыки, энергия, ритм, исходящий от слушателей, которым я могу следовать, уноситься куда угодно.

- Нужно чётко осознавать, что музыка способна поглотить своим гипнотизмом. Она освобождает подсознание. Музыка даёт мне чувство безопасности, которое помогает мне выразить себя...

Джим Моррисон не был просто рок-певцом или сочинителем — у него была совершенно другая культура. Он испытал влияние Рембо, Бодлера, Хаксли, Керуака, французских экзистенциалистов с одной стороны, и Боба Дилана — с другой. Это была Калифорния, и это был 1966 год. Музыканты превращали рок-н-ролл из музыкального явления в явление социальное. Моррисон впитал высшие достижения рок-поэзии и, вместе с тем, свое особое, тонкое понимание мировой культуры.

Джим Моррисон искал. Себя, свое место в жизни, границы и пределы человеческого мироприятия. Все его творчество освещено роковым светом тоски, языческим светом в поисках своего Бога. В одной из последних песен Джим написал: «Расскажу о сердечной боли немного, скудной пище, больной душе, расскажу тебе о потере Бога...». Вся жизнь его — жажда счастья, любви, покоя и Бога, но только смерть могла дать ему полное освобождение от этого мира. Ученик Артюра Рембо, Моррисон стремился стать ясновидцем через полное расстройство всех своих чувств.

Вся жизнь Джима Моррисона — мистический интерес к смерти, соединенный с равнодушием к ее физической стороне, знание того, что смерть оболочки еще не конец, а лишь освобождение души, выходящий в последний и неподвластный никому полет.

² Kingdoms of Our Own by Jim Morrison (extract from the poem American Dream)

We can invent Kingdoms of our own To be a collage of magazine dust

Grand purple thrones, those chairs of lust Scratched on foreheads of walls of trust

And love we must, in beds of rust

This is just jail for those who must

Steel doors lock in prisoners’ screams get up in the morning and fight for such

And muzak AM rocks their dreams unusable standards

No black men’s pride to hoist the beams while weeping maidens

while mocking angels sift what seems show-off penury and pout ravings for a mad staff

Мы можем собственные Королевства создавать

Великие пурпурные престолы – эти кресла

Той страсти и любви, что наши чресла

Остались должны на проржавленных кроватях

И вопли узников стальною дверью заперты

Музон дешёвый убаюкает мечты

Нет гордости у черных, чтоб поднять стропила

А суррогатных ангелов конклав

Просеивает глянцевую пыль журналов

Чтобы толпа о стены веры лбы разбила

Это для тех, кому в тюрьме придется просыпаться

И за такие непригодные стандарты драться

Ну а девицы, как всегда, рыдают

Кичатся нищетой, капризами, болтают

Несут безумной чепухи бессвязный бред

PEOPLE ARE STRANGE

People are strange when you’re a stranger

Faces look ugly when you are alone

Women seem wicked when you are unwanted

Streets are uneven when you are down

When you’re strange

Faces come out of the rain

When you’re strange

No one remembers your name

When you’re strange

MOONLIGHT DRIVE

Let's swim to the moon

Uh-huh

Let's climb thru the tide

Penetrate the evenin' that the city sleeps to hide

Let's swim out tonight, love

It's our turn to try

Parked beside the ocean

On our moonlight drive

Let's swim to the moon

Uh-huh

Let's climb thru the tide

Surrender to the waiting worlds that lap against our side

Nothin' left open

And no time to decide

We've stepped into a river

On our moonlight drive

Let's swim to the moon

Let's climb thru the tide

You reach a hand to hold me

But I can't be your guide

Easy I love you as I watch you glide

Falling through wet forests

On our moonlight drive

Moonlight drive

C'mon, baby, gonna take a little ride

Goin' down by the ocean side

Gonna get real close

Get real tight

Baby gonna drown tonight

Goin' down, down, down

MY EYES HAVE SEEN YOU

My eyes have seen you

Stand in your door

Meet inside

Show me some more

My eyes have seen you

Turn and stare

Fix your hair

Move upstairs

My eyes have seen you

Free from disguise

Gazing on a city

Under television skies

Television skies

My eyes have seen you

Eyes have seen you

Let them photograph your soul

Memorize your alleys

On an endless roll

Endless roll

RIDERS ON THE STORM

Riders on the storm

Into this house we’re born

Into this world we’re thrown

Like a dog without a bone

An actor out on loan

Riders on the storm

There’s a killer on the road

His brain is squirming like a toad

Take a long holiday

Let your children play

If you give this man a ride

Sweet family will die

Killer on the road

Girl you gotta love your man

Take him by the hand

Make him understand

The world on you depends

Our life will never end

Girl you gotta love your man

BREAK ON THROUGH

You know the day destroys the night

Night divides the day

Tried to run

Tried to hide

Break on through to the other side

We chased our pleasures here

Dug our treasures there

Can you still recall the time we cried

Break on through to the other side

Everybody loves my baby (2)

She gets, she gets, she gets high

I found an island in your arms

A country in your eyes

Arms that chained us, eyes that lied

Break on through to the other side

Made a scene from week to week

Day to day, hour to hour

The gate is straight, deep and wide

Break on through to the other side

WAITING FOR THE SUN

At first flash of Eden we raced down to the sea,

standing there on freedom shore,

waiting for the sun, waiting for the sun, waiting for the sun

Can’t you feel it now that spring has come

that it’s time to live in the scattered sun?

Waiting for the sun, waiting for the sun,

waiting for the sun, waiting for the sun.

Waiting, waiting, waiting, waiting,

waiting, waiting, waiting, waiting,

waiting for you to come along,

waiting for you to hear my song,

waiting for you to come along,

waiting for you to tell me what went wrong.

This is the strangest life I’ve ever known.

LOVE HER MADLY

Don’t you love her madly?

Don’t you need her badly?

Don’t you love her ways?

Tell me what you say

Don’t you love her madly?

Want to meet her Daddy?

Don’t you love her face?

Don’t you love her as she’s walking out (of) the door?

Like she did one thousand times before

Don’t you love her ways

Tell me what you say

Don’t you love her as she’s walking out (of) the door?

All your love (3)

All your love is gone

So sing a lonely song

Of a deep blue dream

Seven horses seem

To be on the mast

LIGHT MY FIRE

You know that it would be untrue

You know that I would be a liar

If I was to say to you

Girl, we couldn’t get much higher

Come on baby, light my fire

Try to set the night on fire

The time to hesitate is through

No time to wallow in the mire

Try now we can only lose

And our love become a funeral pyre

Come on baby, light my fire

Try to set the night on fire

FIVE TO ONE

Five to one, baby, one in five,

no one here gets out alive,

now you get yours, baby, I’ll get mine,

gonna make it, baby, if we try.

The old get old and the young get stronger,

may take a week and it may take longer,

they got the guns but we got the numbers.

Gonna win, yeah, we’re takin’ over, come on!

Your ballroom days are over, baby,

night is drawing near

shadows of the evening crawl across the years.

You walk across the floor with a flower in your hand,

trying to tell me no one understands,

trading your hours for a handful of dimes.

Gonna make it, baby, in our prime.

get together one more time (4)

SPANISH CARAVAN

Carry me Сaravan, take me away

Take me to Portugal, take me to Spain

Andalusia with fields full of grain

I have to see you again and again

Take me, Spanish Caravan

Yes, I know you can

Trade winds find Galleons lost in the sea

I know where a treasure is waiting for me

Silver and gold in the mountains of Spain

I have to see you again and again

Take me, Spanish Caravan

Yes, I know you can

LOVE STREET

She lives on Love Street

Lingers long on Love Street

She has a house and garden

I would like to see what happens

She has robes and she has monkeys

Lazy diamond studded flunkies

She has wisdom and knows what to do

She has me and she has you

She has wisdom and knows what to do

She has me and she has you

I see you live on Love Street

There's this store where the creatures meet

I wonder what they do in there

Summer Sunday and a year

I guess I like it fine, so far

She lives on Love Street

Lingers long on Love Street

She has a house and garden

I would like to see what happens

THE END

This is the end, beautiful friend.

This is the end, my only friend, the end

of our elaborate plans, the end

of everything that stands, the end

no safety or surprise, the end.

I’ll never look into your eyes again.

Can you picture what we’ll be,

so limitless and free,

desperately in need of some stranger’s hand,

in a desperate land?

Lost in a Roman wilderness of pain,

and all the children are insane,

all the children are insane,

waiting for the summer rain.

There’s danger on the edge of town,

ride the king’s highway.

Weird scenes inside the gold mine;

ride the highway west, baby.

Ride the snake, ride the snake

to the lake, the ancient lake.

The snake is long, seven miles;

ride the snake, he’s old

and his skin is cold

The West is the best, the West is the best,

get here and we’ll do the rest.

the blue bus is calling us (2)

Driver, where are you takin’ us?

The killer awoke before the dawn,

he put his boots on,

he took a face from the ancient gallery,

and he walked on down the hall.

He went to the room where his sister lived,

and then he paid a visit to his brother.

and then he walked on down the hall.

And he came to a door and he looked inside,

“Father?”

“Yes, son?”

“I want to kill you. Mother, I want to …”

Come on, baby, take a chance with us, (3)

and meet me at the back of the blue bus…

This is the end, beautiful friend.

This is the end, my only friend, the end.

It hurts to set you free but you’ll never follow me.

The end of laughter and soft lies,

the end of nights we tried to die.

this is the end.

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