By Greil Marcus

ISBN-10: 1610393309

ISBN-13: 9781610393300

A fan from the instant the Doors’ first album took over KMPX, the innovative FM rock & roll station in San Francisco, Greil Marcus observed the band repeatedly on the mythical Fillmore Auditorium and the Avalon Ballroom in 1967. 5 years later it used to be far and wide. 40 years after the singer Jim Morrison was once came across useless in Paris and the crowd disbanded, you'll be able to force from the following to there, altering from one FM pop station to a different, and be all yet certain to pay attention , 3, 4 doorways songs in an hour—every hour. regardless of the calls for within the track, they remained unhappy, within the greatest experience unfinished, and completely alive. there were many books at the doorways. this can be the 1st to avoid their fable, their mystique, and the demise cult of either Jim Morrison and the period he used to be made to personify, and concentration exclusively at the song. it's a tale untold; a majority of these years later, it's a new tale.

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Extra info for The Doors: A Lifetime of Listening to Five Mean Years

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Around the time The Doors appeared in theaters, a nineteenyear-old friend came to ask me for help with a college paper 1610392365-text_marcus 2/4/13 11:56 AM Page 38 38 | THE DOORS he was writing on the 1960s. Here was someone I’d known all his life, and in 1991 he wanted to talk about the HaightAshbury in San Francisco in 1967, about the Grateful Dead— not because this was ancient history, but because it wasn’t. He knew too many Deadheads his own age. He was trying to understand what all this had to do with him: why were his friends dressing up like their parents had or hadn’t twenty-five years before and going to the same shows?

It was Morrison pantomiming pissing on his own grave—when the time came, he would be barely a year older than Redding was. Who knew: someone could come along one day with “Poor Jim, dead and gone—” There’s an echo of that moment—that prediction—as, after eleven minutes of “Mystery Train” that night in Pittsburgh, Morrison stumbles into “Bullfrog Blues,” if that is what he’s stumbling into, if instead of the perfect blues lines “Woke up this morning, bullfrogs on my mind” he’s singing “Woke up this morning, the girlfriend on my mind”—as if I could tell one from the other, his tone says.

As if one’s life had been empty ever since. That, I realized, was the secret behind the media’s need for these stories, or non-stories. The media had a sense that ever since the 1960s, life had been empty. That nothing had happened since: nothing worth memorializing, anyway. And that too was part of the media secret, the idea of memorializing. The anniversaries were attempted funerals. They were attempts to bury something. But the funeral never seemed to end, and the burial never seemed complete.

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The Doors: A Lifetime of Listening to Five Mean Years by Greil Marcus

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