Conciertos en el Whiskey A Go-Go

The Doors at The Whisky


On May 23, 1966, the Doors began their legendary engagement as house band at the Whisky A Go-Go. During their tenure at the Whisky, the Doors open for such acts as Them, featuring Van Morrison, Buffalo Springfield, Love, The Chambers Brothers and Captain Beefheart and his Magic Band.

Exposed to a wide-ranging audience — hardened groupies to Iowa tourists —The Doors began to experiment daringly. Allegedly, the experiments often took the form of drug trips, and weekly tales of The Doors' freaked-out adventures flew: “Morrison was so stoned last night he fell off the stage again”; “Ray sniffed an amyl nitrate cap and played so long he had to be dragged away from the organ”; “They all arrived stoned and started improvising at random—I don't know what it was, but it was great!” According to one friend of the group, Morrison was so consistently high on acid during this period that he could eat sugar cubes like candy without visible effect. But, inexplicably, the music kept getting better.

A Not-So-Successful Night

The Doors played second billing to just about everybody at the Whisky. If the high points were nights with Love, Them, the Turtles, the Seeds, Captain Beefheart and others, there were nights which weren't so special ... One of these was the night they shared billing with the number one band in Mexico, the Locos. (“The Locos were a real low point in our careers,” recalls Manzarek. “They were terrible, the kids hated them, and we were caught in the cross fire.”) Fortunately, this was far from the rule during the Doors' installment at the Whisky.

Popular mythology has it that the Doors are repeatedly fired by proprietor Phil Tanzini. This story is not true, and is essentially an embellishment of the tension which existed between them. However, it is Phil who dismisses them in August on the night that Jim inserts the Oedipal section into The End.

The Doors' sets are comprised mainly of songs which will appear on their first two albums. Night after night they develop and refine their songs in front of a live audience. The End is gradually transformed from a rather transient love song of bittersweet departure into the ominous saga which evokes a descent into the dark night of the soul. In addition to their regular sets, they try out newer songs on the slower nights of Monday - Wednesday. Latin Bullshit #2 is an instrumental jazz piece roughly based on a Gil Evans composition. The instrumental serves as a filler, which they continue to play through the Ondine's gigs in New York. It later evolves into Away in India, featured in a medley often referred to as the People Get Ready Jam which they often performed in 1970. Their version of Summertime is a waltz instrumental loosely styled after John Coltrane's version of My Favorite Things. These two instrumentals often serve to open sets when Jim is late arriving at the club.

The Doors and Van Morrison's band Them at the Whisky A Go-Go



Copyright 2002 by Eye Magazine/Waiting-forthe-Sun.net
http://archives.waiting-forthe-sun.net/Pages/Venues/whisky.html

Whisky-A-Go-Go Show List 1971-1975
The Whisky A Go-Go, 8901 Sunset Blvd at Clark, West Hollywood, CA
The Whisky A-Go-Go became the principal hangout of Sunset Strip musicians and hipsters in the 1960s - and it was hip enough for Dustin Hoffman's character Benjamin to be seen running out of The Whisky in the 1967 film The Graduate. Johnny Rivers was the first sensation to come out of the club, soon after it opened (on January 11, 1964), and that is when the club initially started the whole ‘trend’ of having a mini-skirted girl dancing above the crowd in a cage. Somehow, the Whisky became the cool place for bands to play.
The Whisky always had two or three bands playing, but they were not always billed. Often the unbilled bands were simply local bands, but it being Hollywood and all, sometimes unbilled local groups acting as the house band went on to become hugely famous. Bands all apparently got union scale, regardless of their status. At times, the billed bands couldn’t make it, and another band was substituted. While this is common in nightclubs, what was uncommon about the Whisky was that the band substituting could be just as good or better, and possibly even better-known, than the band it was replacing. These listings are generally from advertisements, and at times they overlap or conflict with other performances by these groups. It was not uncommon for a group to be booked for a week at the Whisky and then to skip a night for a larger gig. It appears that the Whisky was open six or seven nights a week, with local groups playing when no one well known was billed.
I have included some notes about the specific line ups of each group at the time they played, and some interesting remarks about some of the lesser known groups, but I have not attempted to relay every fact about every group, particularly with respect to recordings. I have assumed that anyone interested in this sort of list does not need a primer on Janis Joplin or Led Zeppelin.
Thanks to everyone who contributed and commented on this list. Most especially, the detail and accuracy of this list would not be possible without the formidable contributions by Jerry Fuentes and Mark Skobac (and a shout out to John Einarson, David Biasotti, Nick Warburton, Brian Williams and of course Ross Hannan). This list represents the best of my knowledge at this time. All additions, corrections and insights gratefully received.
Corry Arnold
Chapel Hill, NC June 2009



Shows 1966

May 9, 1966 The Doors (audition)
The Doors, then playing other, lesser clubs in Hollywood, have a successful audition and by June they become the “house” band for the next few months, playing every night regardless of whether other acts are booked.

May 23-27, 1966 Captain Beefheart and The Magic Band, Buffalo Springfield, The Doors
Captain Beefheart and The Magic Band were from the High Desert area around Lancaster, and were known as the heaviest blues band in Southern California.

May 28-June 1, 1966 Love, Buffalo Springfield, The Doors
The Van Morrison list has Them starting a residency on May 30, with Captain Beefheart and the Magic Band opening, sometimes with Frank Zappa sitting in with Them and The Magic Band. Them had June 1, 1966 (Wednesday) off, so Love perhaps headlined that date.

In general, local bands (famous or not) often played somewhat different dates than were advertised, depending on other commitments. The Whisky was a hang-out, and at this period people under 21 were still allowed in, and in any case the club only played Union scale wages, so a major act could skip a night of a bill with little consequence, as long as they stayed in the good graces of owner Elmer Valentine.

June 2-18, 1966 Them, The Doors
Strange as it may seem today, Van Morrison’s moody but dynamic performances as the lead singer of Them were a significant influence on Jim Morrison’s Lizard King persona as lead singer of the Doors.

Buffalo Springfield and The Association were probably second billed in the subsequent weeks, along with The Leaves and The Grass Roots. During this month, Them, The Doors, Buffalo Springfield are all regular performers almost every night, although the other groups named appear as well. On the last day, Them and The Doors play together for the last set, including a 25 minute In The Midnight Hour and a 20-minute Gloria.

Typically the Whisky booked 3 groups at this time, although they did not always advertise all of them. Every band performed at least two sets. On Saturdays and Sundays, all groups typically played a 4:00 pm all ages show, allowing in under 18-patrons.

June 22-July 10, 1966 Gene Clark and The Group, The Locos, The Doors
Gene Clark had left The Byrds in March 1966 due to his fear of flying. This was a rare performance by Gene and his band The Group, featuring Bill Rinehart (ex-Leaves) on lead guitar, Chip Douglas (ex-Modern Folk Quartet, soon-to-be Monkees producer) on bass and drummer Joel Larson (ex-the ‘original’ Bay Area Grass Roots).

July 16-23, 1966 The Turtles, First Review, The Doors
The Turtles, from nearby Westchester, are now dismissed as a trivial pop band (with lead singers Mark Volman and Howard Kaylan colluding with Frank Zappa to trivialize their history), but in fact the group were first-class musicians who played excellent contemporary folk-rock. Irrelevant Trivia: Ross’s daughters (Jessica and Elinor) had goldfish when they were children. The fish were called Mark and Howard after Volman and Kaylan. They eventually escaped (the fish not the children) to be replaced by Gomez and Lurch.

July 27, 1966 Johnny Rivers, Chambers Brothers, The Doors
The Chambers Brothers had been part of the Los Angeles folk scene at the Ash Grove, but the multi-talented group had since moved to Cambridge, MA and had remade themselves as a sort of psychedelic soul outfit. The initial single of Time Has Come Today was recorded around this time, although the longer, more famous version was not recorded until 1967.

August 1-4, 1966 Johnny Rivers, Chambers Brothers, The Doors

August 7-9, 1966 Johnny Rivers, Chambers Brothers, The Doors

August 10, 1966 The Doors
Elektra’s Jac Holzman sees The Doors this night. It’s not clear who else was on the bill, but Jerry Fuentes thinks it was Love.

August 11-21, 1966 Love, The Doors
On August 21, The Doors are fired one night when Morrison misses the first show entirely (not for the first time) and although the band drags him back from his hotel he is not really in a state to perform. His obscene rant on The End causes club owner Elmer Valentine to fire the band, who by this time has already signed with Elektra.

Shows 1967

May 16-21, 1967 The Doors, The Byrds
Two of the most famous bands to graduate from the Whisky herald the return of rock to the club. According to Chris Hjort’s chronology, due to an illness to Jim McGuinn, the Byrds do not play on the first night (May 16), and possibly not the next night either.

http://www.chickenonaunicycle.com/Whisky-A-Go-Go%20History.htm

Toasting 25 Years at the WHISKY
L.A. Times - March 13,1989

OWNERS RECALL GLORY DAYS OF FAMOUS CLUB

Before there was a rock 'n' roll heaven, the Whisky-A-Go-Go had a hell of a band. There were times during the psychedelic '60s on Sunset Boulevard when Whisky owners Elmer Valentine and Mario Maglieri had Jim Morrison and the Doors as a house band and headliners like Janis Joplin; and Jimi Hendrix was just a nice quiet guy who dropped by to jam.

Inspired by discotheques he had seen in Paris, that featured go-go girls dancing in cages, Valentine opened the Whisky in the winter of 1964 in an old three-story bank at 8901 Sunset at the corner of Clark Street.

The young Southern rocker Johnny Rivers was the opening act and recorded the historic album "Johnny Rivers Live at the Whisky-A-Go-Go" a record whose enthusiastic audience of 150 or so Whisky patrons had to troop dutifully over to a recording studio two weeks later to redub and enhance their own "live" crowd sounds.

Today, 25 years later, unknown groups such as Funhouse, Black Cherry, Rock Dolls and Skin Tight Skin are paying promoters to get them on-stage at the Whisky on its "No Bozo Monday" showcase evenings and other nights of the week in the hope that they'll become the next Van Halen or Guns N' Roses or X or Ratt, who were all launched in recent years by the club.

Meanwhile, Mario Maglieri, a tough ex-Chicago cop with a soft heart for hard rockers, is observing the Whisky's 25th anniversary year by recuperating from his second coronary.

"It's the pressure from the kids," Maglieri chuckles gruffly about his recent heart attack. "But me retire? Are you serious? I love doing what I'm doing. I love the kids. I love all the young people. I talk to them everyday. They hug you like they really mean it. They're just good kids."

Maglieri and Valentine - together with record producer Lou Adler, who produced the Rivers album and who joined them as a partner in the mid-'70s - own the Whisky, along with the Roxy and the Rainbow rock clubs. But Maglieri is still fond of the Whisky.

He remembers Janis Joplin as a "raunchy broad. But she was a good kid. She meant well. Three days before she died, we sat in a booth and she asked for a Southern Comfort. She had this raspy voice and she was stoned and drunk. The girl brought over a glass of Southern Comfort and Janis said, "I wanted a (expletive deleted) bottle of Southern Comfort."

"She was a broad that broad, but she was a great girl. I loved her." Maglieri says, laughing.

Jim Morrison , the boozing Byronic lyrisist and leather Lizard King leader of the Doors, was "just a mixed-up kid, but a good kid. I kicked his ass off-stage (when) he screwed around. He would never show up on time. But he was a good kid. He meant well. I tried to straighten him out. I saved his ass so many times."

Guitarist Jimi Henrix never played the Whisky as an act, Maglieri said, but he would show up unexpectedly to jam with performers such as Paul Butterfield. Maglieri's head still rings with the music of Buffalo Springfield, Humble Pie, Three Dog Night, Smokey Robinson and the Miracles, the Beach Boys and Chicago, which also put in a long stint as a Whisky house band.

Rock 'n' roll will never die, but by 1971, Jim and Janis and Jimi had succumbed to drugs and drink before they were 30, and the Whisky had closed down for a few months following a $100,000 fire caused, Maglieri says, by a careless smoker.

In the '70s and '80s the Whisky opened and closed a couple of times, first as a records-only disco, then again as a club for live bands. Now, instead of paying for big acts, the Whisky leases to rock promoters who charge new bands for the chance to play and gain exposure, a practice Maglieri dislikes but sees as necessary.

Occasionally a big name such as Keith Richards of the Rolling Stones will hold a private party at the Whisky to inaugurate a new album, but most of the Whisky's glory days, for the time being at least, are behind it.

Still, Valentine, Maglieri and the old Whisky-A-Go-Go remain legendary among L.A. musicians. Len Fagan, entertainment director for the rival Coconut Teaszer club and a longtime L.A. drummer, will never forget his first night at the Whisky during its early French disco-nouveau days when the Doors were still playing a cubbyhole next door called Sneaky Pete's. Fagan, then 17 and making $10 a night at a small club down the block, was standing outside the Whisky one rainy, cold night, straining to hear Moby Grape or Janis or somebody perforning inside. Suddenly, 20 feet away, he heard Maglieri's voice bellow, "Hey, you! What's the matter? Ain't you got any money? "No." Fagan answered, scared to death. "Then get inside." Maglieri ordered.

"It was just a beautiful thing" recalls Fagan, who eventually drummed for a Whisky house band. "Mario did all the announcing himself. He'd introduce you with, 'And now, ladies and gentlemen, four bums you've been waiting for.' But the beautiful thing was that he did it lovingly, and the next time on stage he'd say, 'Give an especially nice welcome to four great guys who have got a great future in front of them.' He was just a wonderful man."

The avuncular Maglieri counseled Whisky musicians on marriage or drug abuse, and sat them down for a proper meal when they dragged in after days on the road.

Iron Butterfly, Led Zeppelin, Cream, Traffic, Arthur Lee and Love, the Young Rascals \ and other major bands got a boost from the Whisky, Fagan says, while celebrities like Steve McQueen would dance the night away. "Anybody who got a shot at being the house band there was instantly put in the limelight back then. The Whisky was the must-stay place."

The Whisky, Ciro's (now the Comedy Store) and the Trip (now the Playboy Building) - and maybe Bill Gazzari's - were the big showcases in those fabulously freaky days of Andy Warhol's Exploding Plastic Inevitability and the Velvet Underground, when Elvis the King himself would drive up and down the Strip tossing out $100 bills and Frank Zappa's groupie GTO's - Girls Together Outrageously - were making the club scene.

"I learned such a lot from Mario and Elmer," says Fagan, "not only how to treat artists, but how to run a club."

The Whisky today is managed by Mario Maglieri's second cousin Louie "the Lip" Maglieri. There is a big portrait of Jim Morrison behind the bar. Enshrined up on the third floor is an old off-its-hinges bathroom door that the Whisky's light man, a 30 year old guy named Relaxin' Jackson, swears on a stack of Holy Bibles is the bathroom door from the Door's old recording studio.

"Jim Morrison took a shower behind that door," Relaxin' Jackson swears solemnly.

The waitresses dress in early Madonna Tough Pop-art black toreador pants and zippered decolletage. The main room is basic black, as are most of the clothes and leather jackets on the kids who pour into the Whisky to hear groups such as Lickety Split, Screamin' Mimi, Faith No More, Breakfast w/Amy and God Sent Humans.

And if a group called Toad and the Wet Sprockets - four young rockers dressed in plaid shirts like Larry, Darryl and Darryl of the "Newhart" TV show - have to apologize that they don't know the middle part of their encore number - hey, it's okay. Like Mario says, they're good kids. They mean well.

http://www.whiskyagogo.com/articles/890313.html

Muerte de Jim Morrison

The shocking truth about how my pal Jim Morrison REALLY died
by PETER ALLEN
Last updated at 21:35 07 July 2007

Morrison was thought to have died from natural causes
Police may reopen 36-year-old case after nightclub boss claims rock star was killed by heroin overdose and that drug dealers launched cover-up by moving body

For more than three decades it has remained one of rock music's most tantalising mysteries.
Why did Jim Morrison, legendary lead singer of The Doors, suddenly collapse and die in his Paris apartment, aged only 27?

The official death certificate states he died in the bath of "natural causes".
But now, in an exclusive interview with The Mail on Sunday, a former close friend of the singer says he knows the truth.

According to Sam Bernett, Morrison died of a massive heroin overdose in the toilet of a nightclub he was managing, the Rock 'n' Roll Circus on the French capital's fabled Left Bank.

Bernett, 62, a French-born former New York Times journalist, claims the death was then covered up by two drug dealers who transferred Morrison's body from the club to the singer's apartment and dumped it in the bath.

Bernett was then warned by the club's owners never to tell anybody about what he had seen.
This extraordinary testament is contained in Bernett's forthcoming book "The End - Jim Morrison" soon to be published in France.

The allegations are being taken so seriously that they are being examined by the French authorities and may lead to the investigation into Morrison's death being reopened.
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Morrison with girlfriend Pamela Courson
Jim Morrison first arrived in Paris in March 1971. One of the most widely-recognised stars in the world, thanks to hits such as Break on Through and Light My Fire, he had just finished recording what was to become The Door's most popular album, LA Woman.
He lived a notoriously wild life, abusing both alcohol and drugs, and soon became a regular at the Rock 'n' Roll Circus, a club frequented by the Beatles, Rolling Stones, Pink Floyd, Eric Clapton and Jimi Hendrix.
It also played host to trapeze artists and, on one memorable occasion, a live tiger and monkeys from a nearby circus.
In the early hours of 3 July 1971, the underground disco was heaving with 500 revellers, including 24-year-old British siren Marianne Faithfull who had recently split up with Mick Jagger. Morrison, who was living in Paris with his girlfriend Pamela Courson, arrived at about 1am.
"I greeted Jim as I always did," recalled Bernett from his home in Paris.
"He didn't look in great form, and immediately went to his usual spot at the bar and ordered a bottle of vodka. He was also drinking beers.
"I was used to talking about everything with him - from Janice Joplin to the beatniks - but that night it was just a bit of small talk.
"He'd come in to pick up heroin for Pam. He was always collecting drugs for her and the club was full of dealers."
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The club where Jim Morrison allegedly died of a heroin overdose
According to Bernett, Morrison bought the heroin from two men working for Jean de Breteuil, a French playboy and drug dealer.
"The dealers who Jim was talking to were well known," said Bernett.
"Both were French guys in their 20s. I knew what they were up to, and kept an eye out for Jim. He disappeared to the toilets at around 2am.
"Then, about half an hour later, a cloakroom attendant came up to me and told me someone was locked in one of the cubicles and wasn't coming out. It was then that I got a bouncer to smash the door down.'
Bernett was met by the sight of Morrison's body, slumped on the toilet.
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'Sworn to secrecy': Marianne Faithfull
In his book, he writes: "I recognised the US Army combat jacket and the riding boots from the Camargue region of France which he never took off. It was Jim Morrison, with his head between his knees, his arms dangling.
"For a few seconds our eyes were glued to the unmoving corpse. We were mesmerised by the baffling spectacle.
"The flamboyant singer of The Doors, the cool and good-looking Californian guy, was now a collapsed and inert lump lying in a nightclub toilet.
"Seeing Jim in such a bad way was pretty awful. We were certain he'd been snorting heroin because there was foam coming out of his lips as well as blood. He was scared of needles so never injected drugs. He just snorted them."
Bernett's first reaction was to send for one of his regular customers, a doctor. The medic, who Bernett refuses to name, "recognised Morrison but kept his cool. Very calmly, and expertly, he examined the body for a few seconds.
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Sam Bernett alleges that Morrison died of a massive heroin overdose in the toilet of a nightclub he was managing
"He pushed Jim's head back, lifted his eyelids, opened his mouth, and fixed his ear to his chest to listen to his heartbeat. He looked for marks and bruises on the body and the arms.
"It was a quick and professional examination. His diagnosis was very confident: 'This man is dead. Apparently the victim of a cardiac arrest.' The doctor was not stupid and spoke of a lethal overdose."
In the meantime, Morrison's two "friends" from the bar who had sold him the heroin had arrived. Ignoring the doctor's verdict, they insisted the singer 'had just fainted' and they would take care of him.
Then, according to Bernett, they lifted Morrison's body out of the toilets and along a corridor that linked the Circus with Alcazar, the club next door which still exists today.
That was the last Bernett saw of the body but, from Alcazar, he says it would have been easy to place Morrison in a car or van waiting in the small side street outside, and then take the body to the singer's apartment across the river in Rue Beautreillis.
Minutes after the tragedy, a representative of the club's owner - a well-connected Paris businessman called Paul Pacini still alive, we are trying to get a comment from him] - warned Bernett not to tell anyone what had happened.
Bernett says: "I was told, "Since Morrison's friends want to take him with them, we have nothing more to do with this story.
"The club has no responsibility for what happens here. It was a sad accident, certainly, but that's fate. So we saw nothing, we heard nothing, we shut up! OK? It's what we better do to avoid a scandal."
Bernett adds that he saw little point in calling the emergency services, as he was convinced Morrison was already dead and nothing could be done for him.
And he says anyone else in the club that night who had an inkling of what went on - including Marianne Faithfull - was also sworn to secrecy.
Incredibly, after Morrison's body was found in his apartment, no proper investigation into his death was carried out.
Pamela Courson, Morrison's girlfriend since they were at university together in Los Angeles, swore on oath that her lover had been alive and well the night before.
She told police they had been to the cinema together and then returned home at 1am - the time Bernett claims Morrison was arriving at The Circus - where she did the washing up and he watched a film, before they retired to bed to listen to music.
Then, in the middle of the night, Morrison had woken up coughing and she had watched him leave the room to take a bath "and relax".
Max Vassille, a compliant French doctor, was happy to write off Morrison's demise as "death from natural causes", pointing out that the singer had been suffering from a serious stomach ulcer and asthma attacks after moving from America earlier in the year.
He ruled that no autopsy was required, as there was "no evidence of foul play".
Vassille and Pamela Courson have both since died.
Morrison's official death report, still filed at Paris town hall, has been used ever since to quash countless conspiracy theories ranging from security agency plots to theories that Morrison faked his own death to escape the trappings of fame.
As for Marianne Faithfull, Bernett says she and Jean de Breteuil left Paris for Morocco the moment they heard about Morrison's death.
"De Breteuil was Pam's dealer, and had supplied the heroin on the night," said Bernett.
"He and Marianne immediately packed their bags and headed for Casablanca, where De Breteuil had relatives. They didn't want to hang about.
"Marianne never mentioned Jim again. She won't talk about what happened in the club to this day."
The Mail on Sunday contacted Marianne Faithfull but she was unavailable for comment. De Breteuil died of an overdose not long after Morrison.
Bernett, a former journalist who now presents programmes on French national radio, says he has finally decided to break his silence despite risking prosecution for covering up the death in his club.
"I was 26 in 1971," he said. "Today, I'm past 60, and want to get rid of my heavy load. At least everything is now out there to be discussed. I've said what I have to say."
According to French law, criminal cases cannot be reopened after 20 years have lapsed. However, civil law - as well as international law - may provide an opportunity for investigators to re-open the case.
A spokesman for France's Police National said: "The new evidence will have to be considered.


Read more: http://www.dailymail.co.uk/tvshowbiz/article-466947/The-shocking-truth-pal-Jim-Morrison-REALLY-died.html#ixzz0pYZCmiex

Su Muerte

They are waiting to take us into the severed garden.
Do you know how pale and wanton thrillful
comes death on a strange hour unannounced, unplanned for
like a scaring over-friendly guest you've brought to bed.
Death makes angels of us all
and gives us wings
where we had shoulders
smooth as raven's
claws.
No more money, no more fancy dress
This other kingdom seems by far the best
until it's other jaw reveals incest
and loose obedience to a vegetable law.
I will not go
Prefer a Feast of Friends
To the Giant Family.

En la noche del dos al tres de julio de 1971 a eso de la una de la mañana, Jim Morrison se sentó en su despacho de su piso alquilado en la calle Rue Beautreillis, 17 en Paris, intento escribir algo pero no tenia suficiente concentración. Entonces fue cuando decidió ver algunas de las películas en Super-8 que el y Pamela Courson habían grabado durante sus vacaciones por Francia, España y Marruecos. Seguidamente puso algunos discos de los Doors, durante los cuales tosía ansiosamente y entonces se fue a la cama, en la cual le esperaba Pamela ya dormida. Por la noche se levanto y vomito sangre varias veces pero le dijo a Pamela que no llamase al medico, y que se fuese a la cama. Jim lleno la bañera para tomar un baño caliente, pensando que le sentaría bien.
A primera hora de la mañana Pamela se levanto y se encontró la puerta del baño cerrada con llave desde dentro. Sintió miedo y llamo a algunos amigos (Alain Ronay, Agnes Varda, Jean Debreteuil), cuando estos llegaron rompieron juntos la puerta y encontraron a un Jim Morrison tumbado en la bañera medio sumergido, recién afeitado, sonriendo y con sangre corriendo desde su nariz hasta su labio superior.

El medio francés Max Vasille llego al apartamento sobre las seis de la mañana y certifico que el día cuatro de julio de 1971 a las dos y media de la mañana James Douglas Morrison murió a causa de una parada del corazón por causas naturales, nunca se hizo una autopsia.


La causa mas probable de la muerte era la peligrosísima mezcla de medicación contra el asma y el alcohol, aunque en abril de 1991, veinte años después, Alain Ronay contó a la revista Paris Match lo que según el le dijo Pamela en aquellos momentos de excitación: ”aparentemente el dos de julio Jim esnifó algo de heroína que pamela le consiguió esa tarde. Por la noche ambos tomaron una gran dosis de esta, y Jim empezó a escuchar todos los discos antiguos de los Doors. Después de que ambos se fuesen a la cama Jim esnifó algo mas de heroína y aparentemente se quedo dormido, mientras la canción The End se escuchase por todo el dormitorio”. Sin embargo ni la policía ni el medico Max Vassille dejaron nota de ningún síntoma de sobredosis, además de las opiniones de amigos íntimos que nos aseguran el enorme terror de Jim por la heroína, incluso Pamela tenia que esconder dicha droga para que Jim no se enterase.

La duda esta lanzada, y como resolverla, según Alain Ronay, presente esa noche, tan solo vieron el cuerpo Pamela y el Dr. Max Vassille, el resto de personas incluidas el manager de los doors Bill Sidons tan solo vieron el ataúd sellado. Pamela murió de sobredosis tres años después y Vassille siempre ha sido reacción a contar nada. ¿Cómo murió Jim Morrison? ¿Por qué murió? ¿Murió? Nunca lo sabremos.

http://perso.wanadoo.es/losdoors/sumuerte.htm

Biografía de Jim Morrison

December 8, 1943 - July 3, 1971


"Let's just say I was testing the bounds of reality. I was curious to see what would happen. That's all it was: just curiosity." -- Jim Morrison, Los Angeles, 1969



Eleven months after the marriage of Steve and Clara Morrison, Jim was born. His father was a conservative no nonsense Naval officer, while his mother was more of a free spirit, the daughter of a maverick lawyer from Wisconsin.
Jim like most from that era, was the product of a wartime baby boom that occurred in the late forties.



After World War II, the family moved to Melbourne, Florida where Steve was stationed. Unfortunately for Jim and his mother, his father was forced to leave, in order to go back to the Pacific to fly Hellcats from an aircraft carrier. For the next three years Jim and his mother would have to live with her husband's family in Clearwater, Florida.


Like his father, Jim had a very strict upbringing governed by Victorian cliches. In Jim's grandparents house, he was seen but rarely heard. Being older people they were very impatient with the boy.


Things were not great for Clara either. Steve's parents were very religious people who did not drink, smoke nor tolerated any outlandish behavior. She was a young woman who longed for the independance that a home of her own could provide.
Having little freedom in their house she longed for her husband's return. But for the sake of her marriage and her son Jim, she maintained the impeccible and sometimes stuffy household that her in-laws provided.


In 1946, she was relieved to see the war's end and to be rejoined with her husband once more.
Despite the end of the war, military obligations would continue to keep Steve away from his family for long periods of time.
Eventually the family left Florida and moved to Albuquerque, New Mexico where Steve became an instructor in one of the military's atomic weapons programs.


Once while the seven year old Jim was traveling with his parents on a highway just outside of Albuguerque, they came upon a flipped truck that had been carrying Pueblo Indians. They had been ejected from the vehicle and were laying all over the road injured and dying. This incident affected Jim severly and remained in his memory for many years. Frequently he would refer to the incident, claiming that one of the Indian's souls had entered his body at the time of their death.


When Jim became a teenager his family moved again, this time to Alameda, California. Alameda is located near San Francisco and noted for it's naval air station. The lifestyle was alot different than the one he was used to in New Mexico. Jim had to make the transition from the rural ways of Albuguerque to the new social nuances of Northern California. It was no longer cool to ride a bike to school, so Jim hoofed it a mile and a half each day. Clean Levis were out, so Jim had to inform his mother not to wash his jeans every week.


To gain attention from fellow classmates he would do anything stupid just to be noticed. On one occasion, he tied a string around his ear and put the other end in his mouth. When asked what was he doing, his reply was that there was a tiny bucket in his throat and he was collecting saliva for medical tests.


One of Jim's favorite pastimes was reading. He loved MAD magazine, but fell in love with Jack Kerouac's "On the Road." There he learned of a new term that would accompany a new lifestyle: Beatnik. Fortunately for Jim, the headquarters for all beakniks was just a mere forty minutes away in North Beach.


Jim and his friends would frequently visit North Beach, checking out all the shops and odd bookstores. He especially loved the bookstores that carried censored books. There he once met a local "famous" poet at one of these bookstores. The poet said hi and Jim ran.


Although Jim was slowly becoming a rebel and perhaps a "beatnik" he always achieved excellent grades. Without much effort he was able to maintain a 88.32 average and twice made the honor roll. His IQ was 149 and scored well on the SAT with a 528 in math and 630 in the verbal.



His first real introduction to music was when as a teenager he would visit the sleazy bars on Route 1, near Fort Belvoir, to listen to the black blues singers. His second was during college when he met his future keyboardist, Ray Manzarek. Jim was attracted to Ray's music and had frequently heard his band play. Rick and the Ravens, Ray's band, sometimes played the Turkey Joint West in Santa Monica a bar located in the nearby beach community.

During his college years, Jim also pursued another art form: he made little strange sketches of macabre figures that dealt with violence, pedophilia, sexually, etc. All this led up to an even stranger film career. Soon he would put all that behind him to start a band with some college friends.

The music business began innocently when while at Florida State University along with his friend, Sam Kilman, Jim suggested they start a band. Sam was a drummer but didn't feel that his skills were good enough to become part of a band. Sam wasn't even that sure of Jim's singing abilities, but Morrison was determined to get this venture off the ground. It was also Jim that without a whole lot of thought came up with the band's name: "THE DOORS." He said that there are two entities, the known and the unknown. Both are separated by a door and that's what he wanted to be, The Door.

When Jim informed his parents that he was going to throw away his college degree to pursue his dreams as a singer in a rock band, his father flipped! He quickly reminded Jim about the abandoned piano lessons and the time he refused to sing Christmas carols with the family. Jim's father was angry because he had paid all that money for a college education and now Jim was prepared to throw it all away on a whim. After all that, Jim never wrote his parents again.


Soon after graduation from UCLA in 1965, Jim joined the hippie scene in Venice Beach. It was at the time, a small artistic area that attracted hippies, runaways and artists. Young people spent their time on the beach smoking pot or dropping acid. During that era, LSD was still legal and could be purchased at the local "head shop."
Venice was to Los Angeles what Haight-Ashbury was to San Francisco

Jim took up residence under a boardwalk where he spent his time taking drugs and writing poems, until he ran into friend Ray Manzarek, a former fellow classmate. Ray was a keyboardist in a small local rock band that was struggling against all the other bands in the area. In order to make it big, he needed something or someone special to make his band so special that it would stand out from the rest. Little did he know that that special "thing" was his friend Jim.


One of the "poems" that had it's beginning on the beach was
"Hello, I Love You," (1965) which was inspired by a young, long thin black girl who was walking towards him as he sat on a Venice beach.
"Sidewalk crouches at her feet
Like a dog that begs for something sweet
Do you hope to meke her see, you fool?
Do you hope to pluck this dusky jewel?



Ray was extremely impressed after reading some of Jim's poem and suggested that they put together a band. He convinced Jim that they could put music to his poetry and that he could "sing" his poems on stage. Jim had already had a desire to put a band together but didn't have the vision or the members to get it together. They recruited two new members, Robbie Krieger, guitarist and John Densmore,
drummer and began playing the clubs on the Sunset Strip.
Soon they were getting the recognition they deserved and moved on to the "better" clubs. By early 1966, the band had about twenty-five original songs in their repertoire. One of which was "The End," a song not about death as most believe but about faded love.

Reluctantly Elektra Records president, Jac Holzman signed the group to a recording contract. They cut their first album in 1967, "The Doors" which was released and quickly received universal acclaim. "Light My Fire" became the group's first really big hit single and then projected them to number one on the music charts. Along with their hit, Jim quickly developed a reputation for erratic public behavior on stage.


December 9, 1967 marked the first of many incidents while in concert. During a show in New Haven, Connecticut he was arrested for attempting to incite a riot by telling the crowd that the police had sprayed him and journalist Patricia Keneally with mace backstage just before the concert.


Then in March 1, 1969, Jim was at it again. During another concert, this time in conservative Miami, Florida, Morrison was arrested for exposing himself on stage and using profanity. The legal troubles caused the group to loose their bookings for the next several months. Thankfully they still had their hit records that continued toclimb the charts to keep them in drugs, drink and women.

Morrison was brought to trial and aquitted of the charges of lewd and lascivious behavior. He was however, guilty of indecent exposure and profanity and was sentenced to eight months in prison. The verdict was appealed and Jim remained free on bail. Tired of the whole scene and the prospects of going to jail, Jim and girlfriend, Pamela moved to Paris, France.

The whole time that Morrison was in Paris, he drank heavily. He loved the wine bistros and cafes. By now he had gained excessive weight and was going through his "Elvis" period. On one occasion, Jim was sitting in a cafe drinking when he noticed some kids toting guitar cases. After a while he walked over to their table and asked them if they were Americans. They said that they were and then asked Morrison where he was from, not recognizing the BIG rock star. As it turned out they all attended UCLA. After twenty questions, the kids finally put together who Morrison was. After apologizing profusely, Jim treated them to drinks of whiskey with beer chasers. A few drinks led to an impromptu jam session with Jim, an experience I'm sure they never forgot.

Around July 1, 1971, for whatever reason Morrison had slipped into a period of despondency. He was drinking far worse than ever, but was trying to quit. In the middle of all this chaos he was trying to write. Unfortunately he was blocked, the words would not flow. Pamela was worried for him and his mental state. She tried to distract him and make him happy to no avail.


He was even invited by friends to join them for dinner the next day, but refused to go because he didn't want to saddle them with his depressed state. Finally they persuaded him and he remained quiet for the entire meal. After dinner he took Pamela home and alledgedly went to a movie, "Pursued" starring Robert Mitchum. There are alot of contradictions concerning his whereabouts that evening. Some say he went to the
Rock 'n' Roll Circus, so depressed that he bought some heroin and O.D'd in the club lavatory. Supposedly he was then carried out the back door and dumped at his flat, in the bathtub.


Another rumor is that he left Pamela and headed for the airport. Witnesses have claimed to have seen him boarding a plane.


The most famous of rumors were that after walking around all night he returned home complained that he wasn't feeling well and took a bath.
During his bath, he regurgitated a small quantity of blood. This was common for him and Pam didn't think anything was wrong. Soon she went to bed and left him in the bath. Later she awoke because he had not joined her, that's when she found him. His arms were draped over the sides of the tub and his head was leaning back, his long hair matted and wet. He had a grin on his clean shaven face. At first Pam thought he was playing another one of his sick jokes, but then noticed he wasn't breathing and called the fire department's resuscitation unit. After them a doctor and the police arrived on the scene. It was too late, it was "The End" for Jim.


Whatever happened on that fateful Friday night, we know that on July 5th, rumors circulated that he was dead. English newspapers were calling Elektra Records to verify whether or not he was dead. No one knew anything. The only thing that could prove he was dead was a sealed coffin, a signed death certificate and Pamela's word. Funeral arrangements were quickly made and secretly confirmed. Pamela filed the death certificate with the American Embassy, identifying him as James Douglas Morrison. Also she said there were no other living relatives. The official cause of death was listed as a heart attack.


On July 7th, his coffin was lowered into a grave a Pere' La Chaise. This was the cemetery that gravehunter, Jim Morrison would spend hours looking for the graves of the famous: Edith Piaf, Oscar Wilde, Balzac, Bizet and Chopin.


Morrison's coffin was to be opened on July 6th, of 2001 and he was going to be relocated to California when his "lease" expired. Both events have yet to occur.

Three years later, girlfriend Pamela Courson died of a herion overdose in Paris. She too was twenty-seven at the time of her death.


Recently I saw a special on television about these two guys, perhaps brothers who were really huge Jim Morrison fans. I believe they lived in Detroit somewhere, I can't remember and it doesn't matter. Anyway, they decided to make a bust of Jim and lug it to Paris to erect it on his grave. Actually the bust really looked good and would have been an awesome addition to his grave. I don't know why they didn't contact the family and ask permission. I'm sure the family would have given the okay for this endeavor.


So these guys put the life size bust of Jim in their suitcase (or giant hatbox, how does one carry a bust on a plane?) and off they go to France. This must have been pre- 911 because they didn't encounter any problems transporting the bust. Could you imagine, a bomb molded in the shape of Jim Morrison's head?


Finally they get to the cemetery equpped with power tools and wait until the cemetery is either closed or closing and there were very little if no people around. As soon as they think the coast is clear, they commence to drill and hammer at Morrison's grave to install the bust. Of course the local cemetery cops are summoned and soon they appear. Instead of really being mad at these two guys they were taken with the beauty of the statue. It's very French to appreciate art even if there is a crime in progress. Although they thought the whole thing was cool, they still had a job to do and arrested the two. The three of them, the two guys and the bust, were brought to the local French jail, questioned and then deported back to the U.S. That more or less was the end of their mission. Tell me, what were they thinking?



"THE END"

http://www.morbid-curiosity.com/id153.htm

Jim Morrison: El chamán eléctrico

Evolution of the Electric Shaman:

Jim Morrison's Journey Beyond Shamanism

Within the lexicon of material available on Jim Morrison, there is very little exploration into his spiritual life. We know that he felt those Doors performances which were successful were so because they transcended the concert experience to become a group cleansing and healing ritual. We know that he looked to Shamanism as a model for these ritual experiences. But if we look to his entire body of work, we find some surprising evidence that he possessed a deep well of spiritual and metaphysical knowledge which he employed in his written work, his performance, and indeed his entire life.

Just as seemingly impossible parallels, similarities and synchronicities may be observed in apparently unrelated events, so if we choose to look beyond our own limited reality as human beings, we find that evolution is the driving force not only in physical life forms, but also throughout the universe. The human experience, while indeed the focus of our universe, is not the pinnacle of our evolution. Just as we have evolved to become human, we will evolve beyond human, in our eternal journey back to God.

[With only a handful of exceptions, all religions which have come into being over time on this planet have had as their central focus a supreme creative force, which is called by many names. When I use the term God, I am referring to this supreme creative force, and not any particular definition of that force as set forth by any particular religious doctrine.]

All religions approach the concept of God in their own unique way, and while there are many who hold firmly to the belief that theirs is the one religion, in reality, all religions hold some seeds of a greater truth. For we as human beings must each have our own unique experience. It is simply not possible for any one system of beliefs to encompass all of human experience.

Just as we, as human beings, evolve through a series of incarnations, so must our spiritual tools evolve with us. It is the unfortunate fact that the majority of religions, though born of new ideas - even revelation - very quickly become static, out of the practitioners' belief that they have discovered an ultimate truth, and their subsequent attempt to hold on to that truth. Once the new belief system is crystallized, it becomes doctrine, and the religion begins to lose its validity in an ever-evolving universe. It is my belief that Jim Morrison, through his unique experience of Shamanism, augmented by his study of metaphysics and Eastern Philosophy and possibly other traditions, was experimenting with new, more evolved, and evolving experiential religious forms.

JIM AS SHAMAN

Shamanism is one of numerous pre-Christian ecstatic/experiential religions, usually associated with the indigenous peoples of the Americas, although it was also practiced by certain tribes of Northern Asia and Europe. Traditionally, the Shaman or Medicine Man, was the clan's spiritual leader, healer and mediator between the tribe and the spirit world. Through numerous techniques - including dance, music, psycho-active plants, food and sleep deprivation - the Shaman brought on periods of altered consciousness in a process designed to open him to communion with his ancestral spirits and spiritual guides.

If you compare certain events in the life of Jim Morrison to certain expected events during the course of the traditional Shaman's life, there is much to suggest that Jim Morrison was indeed called to the vocation, albeit through a life much removed from the majority of elements usually associated with the life of the traditional Shaman.

The vocation of Shaman is considered a calling which cannot be refused, and is traditionally initiated in one of three ways:

1) The shaman is born into a traditional family, and is raised with the vocation from childhood.

2) The individual realizes the vocation through a personal vision quest.

3) The individual is “called.”

Jim would be considered one who was called. This often happens in childhood, frequently precipitated through an extremely unusual event in which the child may have contact with a being in spirit, possibly divine, possibly the soul of an ancestor. Jim's experience on the New Mexico highway as a five-year-old is an excellent example of this type of "calling" experience. And while his family states that they do not recall the event, this in no way negates its authenticity. This type of ecstatic event can occur to one individual and be very real, and at the same time be veiled from the conscious experience of his companions.

While driving from Albuquerque to Santa Fe, the family came upon an overturned truck. Beside the truck, and scattered along the highway, were numerous passengers, one of whom was a Medicine Man who was in the process of passing into spirit. Throughout his life, Jim could vividly recall the spirit of this shaman entering his own body when he died. This was the initial calling and meeting with his guide, according to tradition. Another important element of shamanic tradition was also accomplished through this event. The calling is nearly always facilitated through crisis, followed by a period of spiritual derangement and subsequent rearrangement, but this event also marks Jim's “consecration” through a symbolic death and resurrection ritual. This symbolic encounter with death and subsequent rebirth is typical of the initiation ritual of all ecstatic religions.

Traditionally, young shaman initiates were taught by an elder, as were the priests and priestesses of other ecstatic religions. In more recent history, many have received a greater degree of their teaching through solitary practice in trance, meditation, dreams, etc. Clearly, this was the method by which Jim's apprenticeship was accomplished. Regardless of the method however, periods of solitude are an important part of the process. His time on the Venice rooftop was clearly an intensive period of solitary spiritual practice, followed by numerous short periods of time in his life when he would again choose solitude.

Shamans by nature are creative beings, and are often artists, poets and singers as well as spiritual leaders. Part of the mission of the Shaman is to teach others, through his own example, to transcend ordinary waking consciousness, and in the process, to realize the illusionary nature of separation. [This is a realization which is of paramount importance in many traditions.] In addition to the examples Jim set through his performance, he had the reputation of testing boundaries - of provoking others to come face-to-face with their own boundaries, providing them the opportunity to step beyond their personal limitations, thereby transcending small segments of their personal realities.

IN THE SEANCE, THE SHAMAN LED

In ritual communion, the Shaman invokes a trance state within the tribe. Once in the trance state, clan members can participate much more fully than they would in ordinary waking consciousness, enabling the experience of catharsis and group healing. Traditionally, these rituals were facilitated through the use of music and dance, and were held in the evening hours. As previously mentioned, Jim saw the Doors' concerts as his communal ritual with his tribe, attempting to affect a similar group trance and healing. The healing ritual often includes spinning and circle dancing, as well as piercing screams, and cries which can only be described as “animal sounds,” all designed to drive the sickness from the patient or group. Jim exhibited all these behaviors in performance. His movements often became spasmodic as he circled the microphone stand. [This dance is very similar to a ritual in which the Shaman circles a small tree or other phallic symbol.]

In the healing process, the Shaman is often called upon to take the illness upon himself, in order to heal the patient. In this way, the Shaman becomes a scapegoat, often suffering much more than the patient himself. Jim Morrison described his role as artist to Lizze James in Creem magazine, as both shaman and scapegoat. He believed his audience projected their fantasies onto him, and lived them vicariously through him - in the end, condemning him for his courage to live the fantasies they themselves were too fearful to attempt. He revisited this concept numerous times - in The Lords, for example, he described this role as the “heroes who live for us, and whom we punish.”

Although the tradition often employs psycho-active plants to various degrees, the Shaman's art is accomplished through the state of consciousness; drugs are merely one of the vehicles used to achieve that state of consciousness, and are often discarded once one has achieved the ability to attain altered states of consciousness without them. After his intensive period of LSD use, Jim abandoned it completely, often stating that he could take the trip without the drug.

Shamans, as well as practitioners of other ecstatic religions, also share an intimate connection with a power animal; a "familiar' or a “totem” animal. This parallels Jim's obsession with snakes and lizards; obsession being an apt description, as native peoples often carve small stone animals, known as “fetishes,” in the shape of their personal power animal.

THE SHAMAN BECOMES ELECTRIC

I believe it is clear that Jim's experience fulfilled the criteria of the Shaman's role. Further exploration into his work reveals that he expanded upon the traditional practice tremendously; broadening the tools, techniques, belief system and responsibilities of the role for a new and far greater group of people. This time-honored tradition of healing and spiritual development, indigenous to the New World, provided an excellent basis for Jim to adapt to the evolving consciousness of the American youth of his time - a generation which was clamoring for a more expansive and directly experiential path to God than that which was available through the organized religions of their own ancestors.

Archetypal references inherent to shamanism and other nature-based religions appear throughout Jim's work. These are the most basic of symbols - fire, the sun and moon, blood/the ocean - symbols which refer to the sacred wheel of life, the cycle of birth, death and rebirth - known in other traditions as the wheel of karma. Also prevalent in his work are post-modern, apocalyptic references; visions of a world of corruption, nearly devoid of the life force. Through these references, it would appear that Jim felt a responsibility to heal which was far greater than the boundaries of the traditional clan. Practicing his art on a global scale, he shouldered a responsibility which any shaman practicing in more traditional groups was never called upon to attempt. I believe this may have played a significant role in his need to move beyond the limitations of tradition.

While we have no direct knowledge of his study of other traditions, Jim's poetry contains an abundance of references which would indicate a significant study of Eastern philosophy, as evidenced by the high-level metaphysical concepts he presents in his works Yoga Powers, and it's later version, Power, as well as his song Universal Mind. Other stunning metaphors are his frequent use of the motel, a perfect model for the many pockets of individual reality which reside within the greater consensus reality, as well as the phrase “the romance of stones,” indicating the attraction which exists between even the apparently inanimate - the universal call to unity which drives the evolutionary force. These are concepts which suggest far more than a casual knowledge of metaphysics. They are indicative of the ways in which Jim expanded upon the traditional belief system of Shamanism.

It is unfortunate that we do not have any indication whose teachings he might have read, but it is clear that his study was conducted through reading as well as dream and waking spiritual experience, rather than through a direct physical relationship with a guru. As in Shamanism, it is also quite possible to undertake this study with a divine being who resides in spirit, and I believe that the lack of evidence of such study within the confines of the physical world is a good indication that his study of Eastern philosophy and metaphysics was indeed pursued in this manner.

While examples of other specific religious study are not so clear, what is clear is his interest in numerous other schools of philosophy, as well as artistic processes which are ecstatic in nature. This presents further possibilities for expansion of his tools and techniques beyond those of traditional shamanism. A good example of this is Surrealism, which was very important to Jim's creative work. Surrealism was based on the premise that derangement and rearrangement of the senses would break through the limitations which exist in human belief systems, ultimately, in this case, for the sake of producing a more “pure” art.

In my estimation, Jim's shamanic experiences were absolutely valid, but while he chose to use the title, in reality it is far too limiting to encompass the tremendous breadth of spiritual experience and knowledge he employed in his life and work. He displayed true wisdom in his ability to be open to the truth inherent within a source, without blindly acquiescing to any doctrine. This is wisdom which can only be acquired by the genius of a highly evolved human being, and gained through one's own experience and one's powers of discernment. Using the basic tools of Shamanism as his format or vehicle, Jim applied the knowledge he gained from his study of metaphysics and Eastern philosophy, and in allowing his approach to evolve, he ultimately moved beyond the confines of tradition, creating a new paradigm which held far more meaning for him, and ultimately for those of us he touched.

Copyright 2001-2006 by laciefae/waitingfor-the-sun.net

Read about Eastern Philosophy
http://articles.waiting-forthe-sun.net/Pages/electric_shaman.html

La pareja cósmica

Relación de la pareja

La relación que tuvieron fue tanto tierna como tormentosa. Morrison no dudaba en relacionarse con otras mujeres -si le atraían, hecho que Pamela compensaba siendo tan infiel como pudiese.

A la larga, fue Pamela quien parcialmente influenció a Jim a que se exiliase a París con la idea de empezar desde cero sin problemas, ser un poeta, mas no una estrella de rock, así mismo, quería guardarse a Jim solo para ella. Jim apoyó esta idea cuando recordó lo mucho que le gustaría ser un escritor de obras de teatro y llegar a componer una ópera de rock.

La banda nunca aceptó la presencia de Pam en los ensayos, ni en el estudio; de hecho, los Doors siempre vieron a Pam como un obstáculo en la vida de Jim, puesto que ella lo celaba a tiempo completo y generalmente ella quería a Jim solo para ella, todo el tiempo, pero debido a la naturaleza conquistadora de Morrison, Pam debía ver gradualmente como Jim se inclinaba por otras relaciones, para luego regresar a Pam cuando ya nadie estaba ahí.

Pamela murió tres años después que Morrison, por una sobredosis de heroína, en circunstancias bastante extrañas. Los amigos que vivían en el mismo apartamento con Pam aseguraban que ella alucinaba con la imagen de Jim, y se sentía culpable por su muerte, así como también se había acentuado su consumo de drogas; por otro lado, Pam fue prostituida por el ex-chofer de Jim. El cadáver de Pam fue encontrado en la sala del departamento, cerca de unos paquetes de heroína, hacia las 11 de la noche. La autopsia dictaminó "muerte por sobredosis", sin embargo, las versiones entre los compañeros de cuarto de Pam son confusas, ya que mientras unos dicen que Pam estaba sola en el cuarto, otros acotan que Pam había salido con uno de ellos a comprar comida, otra versión indicaba que uno de los compañeros cocinó la cena con Pam y que luego de irse por un momentos, había ocurrido la tragedia; El caso fue un completo misterio.

En su funeral, los Doors pidieron que nadie fuese vestido de negro, quizá por alguna petición de Pam o sencillamente formalidades de la familia de la novia, no se sabe. Ray Manzarek tocó una notas de las canciones "Orange Country Girl", y otras composiciones que Jim supuestamente había dedicado a Pamela, ninguno de los asistentes hizo un comentario acerca de la forma cómo vivió, murió o lo de Jim, solo fueron a su funeral y guardaron silencio.

Pamela fue cremada y sepultada en un nicho de un cementerio cerca a Disneylandia. En su lápida, aparece con el apellido Morrison, tal como lo soñó, ser la esposa de Jim. Lo más curioso es que tiempo después, cuando la película de los Doors (con Val Kilmer interpretando a Jim Morrison) iba a ser filmada, el director mantuvo un litigio legal con los padres de Pam, de los cual surgió un contrato en el cual el director no podía mostrar a Pam como la responsable directa por la muerte de Jim Morrison.

http://thot.obolog.com/parejas-mundo-jim-morrison-pamela-pareja-cosmica-290753


Datos de Pam:

Name: Pamela Susan Courson
Born place: Weed, California, USABorn
date: December 22, 1946
Death date: April 25, 1974
Death place: Los Angeles, California, USA
Death was caused by: acute heroin morphine intoxication, injection of overdose
Parents: The father Columbus Courson and the mother Pearl Schmidt
Eye color: Green
Hair color: Red
Build: Slim
Nationality: American
Ethnicity: White
Other names: Pam Courson
Spouse: No husband
Children: No children
Last occupation: sales
Studies: Orange High School never finished and attended Capistrano Valley High School

Biography and Career:

Pamela Courson met the famous Jim Morrison who was a famous vocalist of the band The Doors when she was a student. She worked for a short time like sales but she give up at that because she was leaving with her lover. Because Jim was traveling a lot with his band Pamela went with him everywhere at concerts and took care of him and we can say that was like a job for her and she made a career by traveling and taking care of Jim and the band. In the same time looks like Pamela had a boutique that was borough by Jim for her.

Why was Pamela Courson famous?

Pamela Courson was famous because she was the girlfriend of the famous vocalist of the famous band The Doors. She was a beautiful woman and she gained the love of the man and he took her everywhere in his concerts and because of that she became famous.

Why do we like Pamela Courson?

We like Pamela Courson because she was a beautiful young lady, very smart who was studying arts at L.A. City College when she met the love of her life, the vocalist from the band The Doors, Jim Morrison

http://people.famouswhy.com/pamela_courson/


Pam… sus primeros años:

The beautiful woman Pamela Courson was born on December 22, 1946 in Weed, California, USA and she died on April 25, 1974 in Los Angeles, California, USA because of an acute heroin morphine intoxication, injection of overdose. Pamela was born in a normal family and beautiful. Her mother was Pearl Schmidt and her father was Columbus Courson.

Pamela grew up in her town with her entire family and she was a pretty girl since she was young. She had a big defect and was that one that she hated school and she started to study at Orange High School but she never finished and attended Capistrano Valley High School. At that time were a lot of rumors that she left her home and moved in Los Angeles in an apartment with a friend and also that Neil Young wrote the song "Cinnamon Girl" about her.

Looks like in one night when Pamela was student at L.A. City College she went in a night club with some friends and there she met the famous vocalist of the famous band The Doors named Jim Morrison and they became friends and in a very short time they became lovers and Pamela moved in his apartment lo live together. At that time appeared a lot of rumors about this thing and all the magazines and newspapers wrote about that because Pamela was initially courted by Arthur Lee, of the Californian band Love, who brought The Doors to the attention of Elektra Records boss Jac Holzman.

The relationship of Pamela with Jim Morrison was very controversial because of their many sexual excursions by both partners. The magazines and the newspapers wrote many ugly things about them but they never cared because they were very happy and in love. Pamela and Jim made a beautiful couple and they were together everywhere. Because the band was very famous and they had concerts in the entire world and sang about drugs and had a strange way of life Pamela was rumored a lot that she became like Jim and his band colleagues.

All the newspapers wrote that Pamela was consuming drugs, alcohol and all kind of things like that. Pamela was living with Jim Morrison and in the same time she was student at arts at L.A. City College and was a good one even she hated the school and that thing was because she was doing interesting things there. She finished her school and after that she didn't got a job because she was traveling all the time with Jim and they had a strange way of life.

http://articles.famouswhy.com/pamela_courson_and_her_early_life/

Muerte de Pam y controversia:

Pamela Courson became the famous woman who was living with Jim Morrison the vocalist of the band named The Doors. She changed her way of life and traveled with Jim and the band in the entire world and she was something like the person who takes care of the image and the good thing of a band. She was all the time with her lover Jim and she was very happy for that.

This little red-haired girl had a huge impact on Morrison, who called her his "cosmic mate" and dedicated his self-published books of poetry to her, plus he wrote songs such as "Love Street" for her. He even left his entire estate to her in his will. Pamela Courson started to consume drugs with Jim and they became dependent on those things because they couldn't do anything without the pills.

In one day, after Jim took too much drugs he felt very bad and went to make a bath in the bathtub. He stayed there many hours and Pamela went to see what he was doing. She found him death in the bathtub and the doctors said the he died because of a heart failure. She was very sad and traumatized because of that and she felt that her entire life will end there. After Jim's death Pamela started to consume more and more drugs and to have some mental instability. She felt very bad and she didn't speak with anyone.

On April 25, 1974, she died of a heroin overdose on the living room couch at the Los Angeles apartment she shared with two male friends. She was mental instable because all the time she said that Jim is not dead or things like she will meet Jim soon. Her parents wanted to buried her in the same place where Jim was buried but they couldn't do that and she was buried at Fairhaven Memorial Park in Santa Ana, California, under the name "Pamela Susan Morrison".

After her death her parent wanted to have all the fortune of Jim Morrison because they said that Pamela was like his wife and they deserve the money. The parents of Jim wasn't agree with that thing and they contested their executorships of the estate. After many years of controversial things neither Morrison nor Courson was ever a resident of Colorado.

The life of Pamela and Jim was very well put in screen by the famous Oliver Stone who made a movie named The Doors and there he explained their lives.

http://articles.famouswhy.com/pamela_courson_death_and_controversial_things/


Biografía:


Pamela Susan Courson nació el 22 de Diciembre de 1946 en Weed California,era la hija de un director de secundaria del Condado de Orange.Conoció a Jim Morrison cuando apenas tenía 19 años en ese entonces era una estudiante de arte en el Angeles City College,ella se convertiría en su novia durante los próximos 5 años, hasta su muerte en 1971. Pam sería la más importante en la vida de Jim; se conocieron en un verano en Venice Beach, ella era una hermosa chica frágil, pelirroja, de piel pálida y con pecas color canela, apasionada por la vida hippie. Jim la tomó bajo su cuidado, presentándola a las drogas psicodélicas y a la poesía.



Pam acompañaba frecuentemente a Jim y bailaba un poco en uno de los clubes, hasta que Morrison le pidió que lo dejara de hacer. Durante las primeras épocas, ellos compartían un pequeño departamento en Laurel Canyon. Aunque ellos estaban profundamente enamorados, también estaban dentro de un mundo de peleas y abusos constantes mutuos. Sin embargo Pamela fue la única mujer que seguiría al lado de Jim. Y a pesar de que ambos tuvieron amoríos con otras personas, al final siempre regresaron y se mantenían juntos hasta el final; Jim decía que eran una "pareja cósmica". A pesar de que nunca se casaron, Pamela tomó el apellido Morrison mas tarde,durante su relación y hasta su propia muerte. El fatídico 3 de Julio de 1971, Pamela fue la última compañía de Jim, y aquella que descubriría su cadáver en la bañera del departamento parisino.Después, Pam llevaría una vida de excesos y miseria, que la llevó incluso a vender su cuerpo vulgarmente.



Pamela Susan Morrison murió el 25 de Abril de 1974 a causa de una sobredosis de heroína en su departamento de Hollywood. A pesar del hecho que sus padres iban a enterrar sus restos con los de Jim en el Pére Lachaise (París, Francia) y de hecho su padre mencionó aquel lugar como el sitio de entierro en su certificado de muerte, había demasiado papeleo implicado en transportar el cuerpo a un país extranjero para el entierro. Finalmente sus padres la cremaron y depositaron sus cenizas en el Fairhaven Memorial Park en Santa Ana,California.

http://rockandrollcircusmorrison.blogspot.com/2006/12/biografaspamela-susan-courson-pamela.html

Jim Morrison: una leyenda

El otro lado de la música rock es la aceptación de ídolos que nunca mueren para la historia. Cantantes idolatrados al punto de convertirse para las mujeres en dioses cuando en la tumba de éstos llegan al punto de recostarse, llorar, gemir y a veces desnudarse sólo con el hecho de pensar en la imagen del “Apolo” del rock and roll. Y es que tanto para las damas como para los caballeros amantes de The Doors no pasa desapercibido nunca el tema de su vocalista Jim Morrison. Un hombre que se caracterizó por ser el símbolo de la rebeldía de la Costa Oeste estadounidense a comienzos de los setenta. Los escándalos por el abuso del alcohol y las drogas no le permitían a Jim terminar sus presentaciones en vivo y el cierre que recuerdan sus fanáticos de estos conciertos era un “coitos interruptos” por la intervención de la autoridad policial que sacaba esposado a Jim y arruinaba la noche de miles de seguidores.
Grandes clásicos del rock hace un homenaje a la vida y obra de este músico por quien muchas rockeras suspiran cuando observan su rostro en el afiche de sus casas, la portada de un libro o en algún bar que frecuentan. "Light My Fire", "Touch Me", “L.A Woman” y “Riders on the storm” son algunos de los temas favoritos del llamado “Rey lagarto” de quien se han escrito innumerables biografías e historias. Para este servidor lo defino como un personaje que canta en otro canal y escribe en otro planeta porque nadie podrá emular el ritmo y la voz de Morrison ni tampoco superar la vocación que tuvo el artista por la poesía sombría y oscura. De hecho su obra más famosa es: “Una plegaria americana y otros poemas”.

Si está ávido de conocimiento sobre esta nueva publicación del caballero negro no se despegue ni por un segundo de la biografía de James Douglas Morrison a quien si bien no conocí porque en el año de su muerte mi madre apenas estaba cerca de darme a luz sí admiro por todo lo que aportó a la historia del rock and roll; así muchos dinosaurios enchapados a la vieja usanza de la sociedad tradicional lo tachen de estrafalario, loco, drogadicto y cuanto apelativo hay para un bohemio genial.

Cuando le preguntaron sobre su familia respondió con una sola palabra: "Muertos".

Posteriormente, en 1969, Morrison desdramatizó esa respuesta con una inocente explicación: "Simplemente no quería implicarlos... Supongo que lo dije bromeando, creo que es muy fácil informarse sobre los detalles personales si realmente se quiere."

James Douglas Morrison nació el 8 de Diciembre de 1943 en Melbourne, Florida. Era hijo de un Almirante de la Marina de los EE.UU. Cuando tenía 4 años, viajando por Nuevo Méjico con su familia, pasaron por delante de un camión accidentado, alrededor del cual, yacian varios indios muertos. Este hecho le marcaria profundamente, tal y como Oliver Stone retrató en su biopic The Doors. El propio Jim Morrison llegaría a decir que el espíritu de un Chaman indio atravesó su cuerpo.
"Eso es lo que era Jim, un Chaman, un Chaman electrizante" Ray Manzarek, teclista de los Doors.

A mediados de los 60, el joven Jim Morrison conocería, en la Universidad de Los Ángeles, a Ray Manzarek, estudiante de Cine como el. Junto al guitarrista Robbie Krieger y el bateria John Densmore fundaron el grupo "The Doors". El nombre del grupo lo tomaron de la cita de William Blake "Cuando las puertas del percepción se abren, la realidad aparece tal y como es". Jim, se encargaría de crear las letras de las canciones, inspirado en poetas y filósofos existencialistas tales como Rimbaud, Nietzsche, Blake y otros.

Las letras de los Doors se caracterizaron por su descaro y sobretodo, su erotismo. En 1967, el primer disco de los Doors vió la luz. La canción "The End" con letras como "Padre, quiero matarte/ Madre, quiero follarte" convirtieron al grupo en referencia obligada del Underground de Los Ángeles. Pero fueron canciones como "Light My Fire" o "Touch Me" las que auparon al grupo a los primeros puestos de la lista de ventas. Jim, pasó a convertirse en un icono de lo prohibido, tanto para quinceañeras como para hippies. Sus pantalones de cuero, su melena, y sus eróticos movimientos causaron furor entre el público femenino.

El grupo comenzó entonces a resquebrajarse. Las continuas borracheras de Jim y el abuso de las drogas hicieron mella en su cuerpo, pasando de ser, en poco más de dos años, un sex-symbol a convertirse en un borracho gordinflón con carraspera. La gota de agua que colmó el vaso fue la detención de Jim en un concierto, donde apareció completamente borracho e insultando a los policias. Después de esto, Jim se fue con su mujer Pamela a Europa. La noche del 2 de Julio de 1971 en París, tras ir al cine con su esposa, Jim comenzó a encontrarse mal. Ya en la habitación del hotel, decidió tomarse un baño para ver si le pasaban las molestias. Pamela se lo encontró muerto poco después. La versión oficial dijo que murió de un ataque al corazón. R.I.P. Describir a un hombre tan complejo he idolatrado, como Jim Morrison, líder y vocalista del grupo The Doors, es una tarea peligrosa, y siempre a bordo del abismo del mito.

Descripciones de su niñez se pueden encontrar en algunas canciones, como THE END, CHANGELING, PEACE FROG o en su poema AS I LOOK BACK, todo esto moldeo la personalidad de Jim Morrison. Pero ninguna experiencia lo marcaría tan fuertemente, como ver morir a orillas de un camino en nuevo México a un grupo de Indios Navajos (esta escena esta magistralmente registrada en el Filme de Oliver Stone sobre The Doors).
El alto coeficiente intelectual de Jim el cual era de 149, este coeficiente se reflejaba en los tipos de libros que leía Jim, iban desde la colección completa de Nietzche hasta autores como Huxley, Kerouac y Rimbaud. Este pasatiempo lo completaba con sendas borracheras con sus amigos de la escuela. En la universidad curso estudios de historia del arte, teatro, puesto que su meta era estudiar cine en UCLA. En esta universidad conoció a personas como Phil Oleno y Jhon de Bella, quienes cambiaron la vida de morrison para siempre.

Este grupo de amigos, ávidos lectores y bebedores estudiaron el shamanismo, crearon la teoría del rumor verdadero, La cual consistía en que la vida no era la excitante y romántica que debería ser Actitud muy común en los jóvenes de los años 60. Precisamente fue Phil quien le presenta a Ray Manzarek, Ray le propone formar una banda, más Morrison replica que no tiene habilidad con los instrumentos, Manzarek, le propone presentarse simular que toca y listo, al fin todo era parte del rumor verdadero. Jim Toco algunas veces con ellos pero aun no era el momento para The Doors.

Jim busco en el cine la salida a su habilidad creativa, mas esta fue mal interpretada, y Jim Dejo la universidad, Este hecho lo llevo a otro encuentro con Manzarek en la playa de Venice en 1965, la magia nació entre ellos cuando Morrison recito uno de sus tantos poemas eran las estrofas de Moonlight Drive. En este momento nació el grupo a pesar de que los demás integrantes no tenían el peculiar estilo de Jim.

La música Floto, los poemas de Jim eran acoplados a notas producidas en los teclados de Ray. Este era el momento del mito, en una reunión tomaron el nombre de THE DOORS en alusión a la cita de William Blake la banda quedo conformada con MORRISON(Voz), Manzarek(Teclado), Kriegger(Guitarra), Densmore(Batería), hasta ese momento la idea de ser músico, no era atractiva, más el momento se presento y Jim no lo desecho, pero aun no habían recibido su bautizo tocando en vivo.

La noche del debut en el Whisky A GO GO fue un desastre, nadie vino a verlos, el desastre de esa noche los llevo a tocar en clubes de baja reputación, el dinero escaseaba y Jim se preocupaba más en las mujeres y en la droga.

Uno quisiera pensar que una banda como The Doors, llamaría la atención inmediatamente, y tendrían contratos millonarios, pero encontrar una empresa que los reclute no fue una tarea fácil, varios los rechazaron, entre ellos el productor de los Beach Boys, El manager de The Mamas and The Papas, e inclusive el manager de los Rolling Stones, finalmente Jack Holsman presidente de la entonces pequeña empresa discográfica elektra que los había rechazado 4 veces, decidió llevarlos al estudio y grabar un disco, La leyenda indica que fue después de una presentación en que Jim Lanzaría la grosería contra su madre, y su padre.

El primer disco fue llamado The Doors en este disco se incluyo THE END, BREAK ON TROUGH y LIGHT MY FIRE. El disco fue lanzado en 1967, con el single de Break on Trough, el siguiente fue Light My Fire, el cual en menos de tres semanas se volvió numero uno, y Jim festejo el éxito comprándose un pantalón de cuero negro, el cual seria su uniforme "oficial" desde entonces.

El éxito afecto a Jim, Puesto que su desenfreno y su adicción a las drogas y a las mujeres, trajo serias complicaciones a la banda, en esta época los estados unidos, era una sociedad extremadamente conservadora y las actitudes de Jim eran una provocación a los valores norteamericanos.

Las canciones como People are Stranged, devela su enfado cuando canta, "Cuando eres un extraño, nadie recuerda tu nombre, La gente es Extraña Cuando tú eres extraño", pero lo que más le dolió, fue pasar inadvertido, por que Jim Se consideraba un Adonis, Un Shaman Sexual, Cuya misión era dar satisfacción a todas las mujeres, por eso cuando canta, "Las mujeres son malvadas cuando no eres deseado", fue un grito de enojo contra Europa. Norteamérica era su santuario, Y solamente en casa era apreciada y deseado.

Las presentaciones invariablemente terminaban en escándalo, ya sea por que Jim estaba ebrio o drogado, y no aguantaba todo el Show o por que provocaba a la audiencia. Una vez en New Haven, llevo a una chica detrás del escenario (Como todos saben es su esposa, se caso con ella en una ceremonia de Brujas, en la que se incluía drogadicción y toma de Sangre Humana), Cuando la policía que revisaba este sector en busca de Personas que atentaban la moral, el policía no lo reconoció, y le increpo para que se comporte y salga de ese sitio, Jim Empezó a insultarlo, Fue suerte que no termine ese momento en la cárcel, Por que los productores al escuchar los gritos abogaron por el. Más la historia no acabaría ahí Por que apenas subió al escenario, se mofo de los pequeños hombres de azul (Refiriéndose a los Policías), esto no fue soportado por las autoridades y fue inmediatamente detenido.

En otras oportunidades jugaba con el publico, haciéndoles esperar minutos por estrofa. Cierta vez en la universidad de Nueva York mientras cantaba THE END, interrumpió la canción justo antes de lanzar la grosería contra su madre, espero alrededor de cuatro minutos, el publico gritaba para que completase la canción, finalmente cuando la tensión en el publico era evidente, completo la famosa frase, Jim Comentaba que a la gente le gustaba asustarse por que es una experiencia similar al orgasmo una experiencia limite, cuando el publico esta por estallar lo dejo ir.
Las presentaciones de Jim Morrison, eran un espectáculo en si puesto que a media canción entraba en trance y recitaba sus poesías o bailaba como un salvaje, con el micrófono como Tótem.

Las puertas del éxito estaban completamente abiertas y el dinero entraba a raudales, los siguientes discos Waiting for The Sun en 1968, The Soft Parade en 1969 y Morrison Hotel n 1970 fueron duramente criticados por que de acuerdo a los expertos no tenia la misma fuerza de los anteriores. En definitiva estos discos estos discos contienen canciones que son las más comprometidas que Morrison Haya escrito, como Five to One (que incrimina a las viejas generaciones), Unknow Soldier(En contra de los desastres de Vietnam), Wild Child(Cancion personal dedicada a sus mujeres), y The Spy(Dedicado a su único amor Pamela Courson).

Más no importaba a los fanáticos si el disco era bueno o malo, lo que los lleva a los conciertos, era el descontrol y la falta de respeto a la autoridad, es entonces, que la gente recuerda a Jim como el cantante loco que bailaba como Sioux, el que se mofa de los policías, el que proclama Amor, Sexo, Drogas, y Rock n Roll.

Pero todo exceso lleva a un momento trágico, el punto trágico, el punto final fue un concierto en Miami, donde en una parte del Show mostró sus genitales al publico. Esto lo hecho lo llevo a que se le instaure un juicio penal por expocision indecente, y luego de una alta fianza pudo apenas salir del estado.

Mientras se tramitaba el juicio en Miami, se alcanzo a lanzar su ultimo disco de estudio, L.A. Woman en 1971 que contiene canciones como Riders On The Storm, The Wasp (Texas Radio and the Big Beat) y L.A. Woman. La sensación de que era un álbum de despedida se sentía en las peleas entre los integrantes y la inminente condena en Miami les presenta el Fin de La banda.

La corte penal de Miami dictamina la culpabilidad de Morrison, Jim que se encontraba en Inglaterra en el concierto de la isla de Wight, cuando recibió la noticia. La decisión fue instantánea y se mudo a París a fin de evitar la decisión de la justicia. Es en parís donde encontrara tiempo para escribir su poesía entre los libros que quedaron para la posteridad se pueden resaltar: The lords, The New Criatures, An American Prayer, y Wilderness: The lost Writting Of Jim Morrison, An American Prayer, es el unico que escribe en esta época.

En París se lo podía encontrar bebiendo en los pequeños cafés Parisinos, Cierta Vez un joven de la embajada americana lo encontró en un café llamado Astroquet, lo que más le impresiono era lo demacrado que estaba y lo mucho que fumaba.

La casa donde pasaría sus últimos días se hallaba en le Marráis cerca de la Bastilla. Este departamento lo compartía con su esposa y compañera Pamela Courson.

El Fatídico 3 de Julio de 1791 nunca quedara claro, la leyenda y el mito duraran para siempre, Lo que sí se sabe es que en la noche Morrison Vomito Sangre(no era la primera vez) y se fue al baño, Pamela no le dio importancia hasta que alrededor de las cinco de la mañana busco a su esposo y lo encontró en la bañera con la cabeza echada hacia atrás.

Es importante resaltar las versiones que hay de su muerte, los fanáticos dirán que fue un paro cardiaco, lo que no son muy allegados dirán que SU corazón deja de latir por años de consumo de Drogas, Pero la gente que pertenece a la comunidad cristiana, y sabe quien es Jim Morrison jurara que murió ahogado en su vomito por que así lo dice en su librito.

La historia de la muerte de Jim Morrison nunca se esclareció, por que Pamela, la única testigo murió al año siguiente, de una sobredosis, la tumba de Jim esta en el cementerio parisino de Pere Lachaise, una ciudad mortuoria de más de 200 años en el se alza un busto, donde descansa el poeta del fin.

El rumor verdadero nos dice que Jim Sigue vivo, escondiéndose en los pequeños cafés de París, al final cada cual puede pensar lo que quiera y hacer lo que lo haga feliz....

CUANDO LA PUERTA DE LA VIDA SE CIERRA...

¿Cómo Murió Jim Morrison?

El viernes 2 de julio, Alan Ronay invita a cenar a Jim Morrison y Pamela Courson, visiblemente preocupada por la extraña actitud de Morrison ensimismado y silencioso como pocas veces. Llevaba mucho tiempo bebiendo y ahora intentaba dejarlo de una vez por todas.

Morrison apenas habló durante la cena y después de dejar a Pamela en su apartamento, se fue solo al cine a ver Venganza, una película protagonizada por Robert Mitchum, que Alan Ronay le había recomendado.

A partir de ese momento comienzan las contradictorias hipótesis acerca de lo ocurrido aquella noche. Algunos dicen que se fue al Rock n Roll Circus tan deprimido que compró algo de heroína y se pegó una sobredosis en el lavabo del club, y una vez cadáver le sacaron por la puerta trasera y le dejaron en su piso, dentro de la bañera. Otros dicen que dejó a Alan y Pamela y se fue directamente al aeropuerto, donde le vieron subir a un avión. También pudo pasarse toda la noche paseando. O quizá vio la película y después volvió al piso, donde se sintió indispuesto y dijo que iba a darse un baño. Esta es la versión más extendida hasta el momento en que Pamela Courson afirma haber encontrado a Jim Morrison muerto en la bañera de su apartamento, la madrugada del sábado día 3 de julio.

¨¿Cómo murió? Según la versión oficial, Morrison había regresado a casa aquella madrugada después del cine y, tras sufrir un ataque de tos que le hizo escupir sangre, decidió darse un baño. Ella volvió a dormirse y cuando se despierta a las cinco de la madrugada encuentro a Jim dentro de la bañera, con los brazos descansando sobre los bordes de porcelana, la cabeza hacia atrás, el pelo largo y mojado enmarañado, y una sonrisa infantil en la cara bien afeitada. Al principio Pamela pensó que se trataba de una de sus bromas macabras, pero inmediatamente llamaba a la unidad de resucitación de los bomberos. Después llegó un médico y la policía, pero ya era demasiado tarde.

Así luego de una trágica síntesis uno puede inferir que jamas se sabrá la verdadera causa de la muerte de Jim Morrison, Sin Embargo El rumor Verdadero.....

"Cuando las puertas de la percepción se despejen, el hombre verá las cosas como son en realidad, infinitas" William Blake.

________________________________________ "No importa cómo muriese Jim. Tampoco importa demasiado que nos dejase tan joven. Lo único que importa es que Jim Morrison vivió, y que vivió con la meta que el nacimiento propone: descubrirse a sí mismo y el propio potencial. El lo hizo. La corta vida de Jim habla con claridad. Nunca habrá nadie como él" Daniel Sugerman.

________________________________________ "Espero que sea recordado no sólo como cantante de rock y poeta, sino como un dulce ser humano. Era la persona más afectuosa, más humana y más comprensiva que yo haya conocido. Esto no era siempre lo que la gente leía acerca de él, pero así era el Jim Morrison que yo conocí y que sus íntimos amigos vamos a recordad." Bill Siddons, mánager.

UNA CRONICA

El testamento del lagarto

CÉSAR ARÍSTIDES

Personalidad destacada del rock norteamericano de los años sesenta y setenta, Jim Morrison no sólo es el emblema carismático del músico en búsqueda constante de una percepción magnífica, hechizante y llena de dinamismo. Cuestionado por quienes lo sitúan en el contexto del fracaso, alabado por los adoradores del suplicio consumado, la ingestión reveladora y la intoxicación que justifica los miedos, James Douglas Morrison representa una de las cimas expresivas de quienes forjaron la “cultura” de los sesenta y un temperamento interrumpido por la fatalidad, a la que tentó/atentó, socarrón y desquiciante. Los Doors eran Morrison: a su muerte, la lengua del Rey Lagarto secó todas las expectativas de los demás músicos, y los intentos por agrandar la leyenda fueron en vano.

Cuando el lector enfrenta la poesía de Morrison, o más bien los apuntes que prometían ser algún día una serie de versos nerviosos, cobijados por las mantas narcóticas, exquisitas, aunque también turbulentas y llenas de dolor de la generación beatnik, debe atender forzosamente una locura impredecible y multicolor, reflejada abiertamente en la influencia suprema del cine y su corazón mecánico de renovación. De una cosa estamos seguros: el artista, específicamente el cantante, es capaz de seducir, contrariar, aletargar o sacudir con sus interpretaciones; se vale de una actitud musical —ritmo y letra— desafiante, de una representación teatral provocadora bajo los dictados de un demonio poderoso. Es reconocible el trabajo de Morrison en las composiciones más célebres de esta banda norteamericana de la costa oeste; pruebas irrefutables y celebradísimas son “The End”, “The Celebration of the Lizard”, “Shaman Blues”, “Roadhouse Blues” y “Wild Child”, entre muchas más, y aunque los otros miembros del grupo colaboraban con igual intensidad —particularmente Krieger, en las letras—, el peso del cantante originario de Melbourne, Florida, siempre fue determinante.

Diversos problemas judiciales y una racha de inestabilidad emocional hicieron que Morrison dejara sus puertas transgresoras para irse a París y dedicarse a una pasión exigente y seductora: la poesía.
Nunca, sin embargo, pudo desarrollar totalmente sus cualidades ni lograr un poemario consumado; dejó, eso sí, una serie de avisos que definen el escepticismo de su generación, un guiño permanente a la muerte, el regocijo sensual con el recuerdo de las mujeres amadas e idealizadas, una semblanza de su infancia —breve, inquietante—, acotaciones sobre el voyeur y el cinematógrafo, la exaltación del séptimo arte y un deseo de escapar, huir, alejarse de la barbarie del progreso, recurrir a la alucinación para olvidar la presión paternal-militar, el desencanto de la ciudad caótica. Como en un cuadro de Giorgio de Chirico en el que figuras de madera pueblan ciudades de pesadilla o una realidad inexplorada, Morrison lucha en sus intentos poéticos por establecer una bandera de ensueños o fundar un territorio menos hostil en este cuadro lleno de miedo, desencanto y decadencia. Si en la obra de De Chirico el panorama concentra una belleza inefable y cruel, seductora por el pánico de la soledad, en la poesía de Morrison esta belleza se transforma en paraje delirante, zona de riesgo, para situarnos siempre en una geografía desolada. Seguramente el cantante conocía cabalmente la sentencia de Allen Ginsberg
—“Yo vi las mejores mentes de mi generación destruidas por locura/ sufriendo fríos hambres histéricas desnudas,/ drogándose en calles negras por la aurora...”—, y una vez aprendida la lección sólo restaba exprimir la teoría, escupirla, destrozarla.

Es cierto, Una plegaria americana y otros poemas es una ventana con vidrios rotos y manchados, de colores sombríos, y asomarse a ella entraña el riesgo de cortarse o de no encontrar más que manchas o gestos confusos: textos inacabados, con párrafos muy malos que no vale la pena citar y versos de gran calidad salpicados en apreciaciones, conceptos vertidos azarosamente, intuiciones y deseos, muchos y fervientes deseos de hacer una poesía digna. Pero muy lejos se encuentra Jim Morrison de conceder un poema fulminante, lleno de tenacidad, conmovedor, transgresor, como él lo hubiera deseado. Surgen claves en “Oda a los ángeles pensando en Brian Jones muerto” y “La celebración del lagarto”, porque en “Una plegaria americana” y “Las nuevas criaturas” son lugar común el entusiasmo, el encabalgamiento, una sucesión de anhelos y latigazos convertidos en ideas mal encaminadas, impresiones sin furor ni fortaleza expresiva. En el caso de “Los señores. Notas sobre la percepción de imágenes” la suerte es la misma: intentos, un borrador, el esquema para una versificación venturosa, lamentablemente inacabada, sin la malicia, la destreza y el oficio del poeta. Jim Morrison escribió para los Doors muchas canciones impecables, de antología, de gran vigencia; pero en cuanto al intento de escribir poesía la experimentación es otra cosa, el talento es de otro tipo, la paciencia y el rigor no perdonan. Una plegaria americana... vale la pena por la nostalgia y la seducción acechante del Rey Lagarto; entenderemos parte de su visión desmadrosa del cosmos y podremos saturarnos de un mundo a punto de estallar, de una copulación ruidosa, un encantamiento salvaje en el corazón de las ciudades inclementes. Pero no más.

Jim Morrison, Una plegaria americana y otros poemas.
Traducción de Ana María Moix.
Plaza & Janés, Barcelona, 1998, 105 pp.

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