Cinemateque #16 May/June 1969

[TheWallsScreamedPoetry]

Cinemateque 16 Norman Mailer Fundraiser May 30/31st 1969



I HAVE JUST attended a happening, one that in a year or less will become another legend in the cycle of Jim Morrison. The event was a benefit for Norman Mailer's mayoralty campaign at the Cinemateque 16 Theater on Sunset; the happening, a showing of the Doors new movie, Feast of Friends, which was followed by a poetry recital, if recital is the proper word.

On Friday night this revolutionary theater began with Feast which was produced by Franck Lisciandro, with photography by Paul Ferrara and sound by Babe Hill. This is a multi-faceted collection of explosive excerpts of the Doors legend, compliment by the fact that the revolving song was 'The End' and not 'Light My Fire'. This film was everything the Cream film wasn't, but should have been.

MAILER'S POETRY

The poetry itself has to be heard, experienced to be understood. Excerpts of Mailer's poetry as well as personal poetry were read by the so-called members of the cast: Tom Baker, participant-organizer, and star of Warhol's I, a Man, Seymour Cassel, one of the faces of John Cassevettes movie, Mary Waronov of Warhol's Chelsea Girls, Michael C. Ford who is soon to have a publication out on Ezio Press called Stuttering In The Starlight, Michael McClure, author of The Beard, and James Douglas Morrison, lead singer of the Doors. The poetry was accompanied by Robbie Krieger's rather humorous touches on the guitar.

Later, McClure read some of his own endeavors then handed the mike to Morrison who read his own highly imaginative poetry. After that, Jim felt like singing and promptly did so. Robbie played some gutsy blues and Jim sang old, dirty, blues numbers, to the delight of the audience and the supposed castigation of Tom Baker. Baker spilled coffee on McClure, threw the chairs against the wall, scared the rest of the performers, and then went after Morrison. Baker pulled the chair out from under him; Jim landed on the floor, unhurt, and never missed a note. Living theater had begun!

The audience even got into it. Tom Nolan and Kim Fowley staged their own mock fight in the aisles while Ginny, the Door's secretary, was yelling, "Hey, Jim, dance for us."



SECOND NIGHT

The second night was stranger in respect to the "happening" incidents, beginning with a consecration of a cigarette to the masses, and a rather surprising unannounced Pledge of Allegiance. These incidents had to be experienced to be believed. This is truly living theater involvement, yet pure entertainment.

Perhaps Elektra could possibly put an album out featuring these highly dramatic poets. Perhaps this is the germ of something great to come. Doors concerts, mainly on college campuses, featuring movies, poetry and music, just letting it happen. Maybe this is what theater so desperately needs, a way to become entertainly involved with those on stage, whether you like it or not.

THERE HAVE been some other interesting events in town lately, such as the opening of a new club in Venice called the Comic Strip. Featured the first night were some really heavy groups, Portable People, which features two drummers and two organ players; and T.I.M.E., whose previously injured drummer, Richard, is doing fine, and Fields, who as always was great. The club has possibilities, if the cops let it alone long enough for it to develop.

Rodney Bingenheimer helped throw a fantastic party for photographer Ed Carreff and Three Dog Night, a bon voyage party, since the group left two days later for England and Germany. Everyone was there, naturally, all of Three Dog Night, Laura Nyro, Linda Ronstadt, Sky Saxon of the Seeds, plus Lord David Sutch, among others. It was a great party, Rodney, thanks!

The Troubadour played host to Joni Mitchell and David Ackles, a very enjoyable evening, even if the place was completely backed. Joni has a great new album out on Reprise called Clouds, an interesting album and typically Joni.

COMING EVENTS

Coming to the Troubadour will be Arlo Guthrie, Mason Williams, James Taylor, The Sunshine Company, Noel Harrison and Pentangle. Neal Young will also perform, doing a lot of material from his new album called Everybody Knows This is Nowhere on Reprise. Poco will also perform, and all I have to say is, it's about time. Poco is a great group, and they make country western music not only fun, but really enjoyable for anyone, which is an art all by itself. Poco has one of the best albums out called Pickin' Up The Pieces. Try it. You'll see what I mean.

It's funny that so many artists are coming out with paintings for album covers, Joni Mitchell, Poco, Alice Cooper and Albert Collins, when in realty one of the very first groups to do such an album cover was the Seeds for the album Future, and that was about a year ago. Interesting how Sky and the Seeds start so many trends.

Taj Mahall played the Whisky A Go Go, and what else can you can? They were great. One of the best things about Taj Mahal's music is not only is it heavy, but it is also danceable, which believe me, is important.

ASH GROVE

The Ash Grove presented a benefit performance featuring Canned Heat, with Albert Collins and Collins stole the show. He was so great the audience wouldn't let him leave, and he had to appear someplace else that night. Albert took off and walked through the crowd playing. Everyone was impressed with his presentation. That's talent.

Get a load of this: Managers Charlie Green and Brian Stone gave Iron Butterfly an Alpine-type lodge on Big Bear Lake to celebrate the boys' fantastic-selling LPs. The band sent a return present, a hydroplane named In-A-Gadda-Da-Vida. I wonder how I can get on to such a good thing?

Well, anyway, so long for now.

Column: Around About, And Then Some
Anne Moore, World Countdown News, 13th June 1969


Read More here...
Cinematheque Theatre 16 Hollywood CA

[TheWallsScreamedPoetry]

This Anne Moore girl seems to have been pretty tight with the band I been reading a few articles from her with other bands and she seems to be a really good writer.
Did she have a thing with Morrison as she seems really tight with the guys.
Cool

[darkstar3]

DCM ISSUE NO. 6
Spring 1995

CLIFF MORRISON…OR MARSTON? That Is The Question
by: Anne Moore and Sue Scheider
July 13 1994



On July 13 1994 “Cliff Morrison and the Lizard Son Band played the Roxy Theater on the Sunset Strip in Los Angeles California. Cliff claims that he is the son of The Doors lead singer, Jim Morrison.

Regardless of the claim, most of the band’s music consists of Doors’ cover songs with four original numbers, all of which are derivative of former Doors hits. One number, Welcome To The Show does offer some originality in its arrangement and lyrics.

Cliff’s vocals and stage presentation are pure Jim right down to the last detail. This poses an interesting scientific question…what traits are passed on genetically and which ones are culturally learned? The intelligent scientific community generally assumes that such things as singing baritone or having blue or grey eyes are genetic traits, while mannerisms, movements or vocal inflections are not inherited, but picked up by learning and watching. This is not a debatable subject, but scientific fact which could lead to some fascinating speculation as to how Cliff learned all of those moves. We think he’s seen Val Kilmer one too many times.

In the pursuit of fairness, we have not edited the following interview with Cliff Morrison. Now its your turn to make up your mind…is he or isn’t he?

UPSTAIRS IN THE DRESSING ROOM AFTER THE GIG

Present: Anne Moore, Sue Schneider, Barbara Butler, Matthew Mellon (Manager) and Cliff M.

A/S” You seem to have several loyal followers here tonight?

Cliff M: That’s just a part of it. Because I have a mailing list that’s about 20,000 strong now. I got that out of storage and started pulling them together.

A/S: They’re obviously heard you play before?

Cliff M. No, not all of them. That was…

MM: That (the show) was a lot of industry people…

Cliff M. A of industry people who just laid there tonight. That’s why it was stiff crowd.

A/S: We want to find out your entire story and your claim that you are Jim’s son. What is the whole story?

Cliff M. The whole story. I was born here in California…’69.

A/S: The rest?

Cliff M: The day?

A/S: Sure, are you a Sag or a Leo or what?

Cliff M. I’m a Virgo. September 2.

A/S: Actually, we’ve heard different stories about you.

Cliff M: There are a whole bunch of different versions.

A/S: We’re heard one that your mother had an affair with Jim.

Cliff M. Yeah.

A/S: The second story is that you are really Pam’s son and Pam didn’t want Jim to know she was having a baby and gave you away. That’s the story that’s going around.

Cliff M: The thing about the Courson family is that, I can’t speak about that, and I can’t speak about the Morrison family. Because I told them I wouldn’t do that. And uh…

MM: That’s in order to protect the estate.

Cliff M: Yes. There are things I really can’t say here as far as you know who…my mother is, here. I was raised, everything is perfect, you know, my Mom is here with me. She’s downstairs.

Sue to MM: Is that the red haired lady you were talking to?

MM: I was talking to a lot of people. (very snippy)

Cliff M: My Mom is down there, but she can’t be interviewed. She’s already been talking to people all night…writing books and stuff like that. So we have to keep that pretty much down…But there is a major weirdness about the whole thing.

A/S: Obviously, because we’ve been hearing two different stories.

Cliff M: It’s a very spiritual thing, too. It just doesn’t go as far as just The Doors…it goes into new…into new legends that are about to appear.

A/S: Does your Mom have any proof that you are Jim’s son?

Cliff M: Does my Mom?…Yes.

A/S: Does he have any documentation?

Cliff M: Does she need it?

A/S: I’d say your going to need it one of these days.

Cliff M: Yeah, bring them on.

A/S: They would want to know…on such and such a date shw was with him, etc.

Cliff M: Yeah, on such and such a date…She introduced me to Robby Krieger.

A/S: She did?

Cliff M: Yes, she did. And I played with him. I played with Robby Krieger.

A/S: And how did you like playing with Robby?

Cliff M: I love him. He’s a great man. He was my Dad’s friend. So are the rest of the Doors. All of them are very good people.

A/S: So as far as you know it’s just your Mom’s word on it. She doesn’t have any documenatation.

Cliff M: Me.

A/S: Just you. (laughing) I’m sure she considers that pretty good. When did you learn the truth about this?

Cliff M: Actually, it was pretty hard on me. I was the one at stake. I was the one who threw a fit. I was the one who left,. I’m the one who didn’t, you know…but you know that’s over now and everything is cool.

A/S: We understand you have record labels looking at you.

Cliff M: Yes…big names.

A/S: Anybody in particular…any big bites?

MM: A lot of big ones…but I’d like to keep that confidential, at the moment. Signing is not a problem, it’s just getting the right deal.

Cliff M: I can just tell you one thing…(picks up the tape recorder and talks directly into it). Let’s see. Jim Morrison of The Doors is my father and I’m Cliff Morrison. I’m from my fathers balls. Okay, there’s a lot of stuff that’s going to be said and done. I just let everybody bring it up against me. If they find fault, let them bring it…if they don’t. just let it…just let it lie by. Because you know I’m trying to get a family thing going, because I’m not against anybody…even though you have all these questions and stuff…it’s all in a line of the work.

A/S: You have to realize you are going to have people questioning you.

Cliff M: Of course. Yeah, because…

MM: (Irritated) Let’s go on with the questions, please.

A/S: You mentioned the Morrison estate. Have you been in touch with them?

Cliff M: No, the estate has nothin’ to do with this. Keep the estate out of it. My grandparents, we hardly know each other. My family, just leave it go.

A/S: So you have had no contact with them?

MM: Let’s go on with another question.

A/S: Have you met any of the other Doors?

Cliff M: Yeah, on the phone.

A/S: Have they been down to see you play?

Cliff M: Yeah, they’ve seen me play. Robby’s seen me play. I play with him. Robby’s a sensitive man. He was a good friend of my father’s.

A/S: Has Dave “Wild Child” Brock?

Cliff M: I know Dave Brock.

A/S: Has Dave seen you or have you ever seen Dave?

Cliff M: I’ve seen Dave and Dave’s seen me. Dave’s really cool.

A/S: He does Jim very well.

Cliff M: Very well, very well. He’s one of the best.

A/S Have you seen any of the other Doors tribute bands?

Cliff M: Wild Child, man…Keep The Doors Alive. Riders On The Storm, yes, I’ve seen them. Jeff, yes…I know them. And keep The Doors alive. The Doors keep on selling, man. A guy came out to my uncle Alan Graham’s you know, okay. I was with him too. Smelling like a dog. I heard he was pretty damn good. I heard his tape music…I love it.

A/S: Where do you want to see your career go?

Cliff M: I just want a lot of people to just have the music, you know. Either to go out there, but I want…it belongs…my music belongs to everybody. It belongs to you guys.

MM: That’s the end.

A/S: We were just going to ask him about his other influences?

Cliff M: Ricky Nelson. Damn right. I love that man. I love that man…but his boys have to get better. No, Nelson has to write…Can you shut that off for a minute?

END.

[darkstar3]

Pop Culture Zoo

REVIEW: ‘When You’re Strange: A Film About The Doors’
BY ANNE MOORE
PUBLISHED MAY 11, 2010 AT 8:29 AM PDT

The Doors were often called, by critics and fans alike, pretentious, or they were praised as the greatest rock band that ever, well, rocked. They are/were… neither/both…

The Doors are/were a unique group perfectly suited for the difficult, but amazing, period of history (1965-1971) in which they participated. They aspired to do something special, not realizing at the time how insightful they actually are/were.

When You’re Strange: A Film About The Doors, tries to accomplish something different in presenting their history, and in most cases succeeds. The film, directed and written by Tom DiCillo (Johnny Suede, Delirious), and narrated by Johnny Depp will be featured on most PBS stations as part of that network’s acclaimed American Masters series on May 12.

While the band was actually made up of four independently brilliant musicians, keyboardist Ray Manzarek, percussionist John Densmore, guitarist Robby Krieger and of course singer Jim Morrison, it’s hard not to see this as another documentary on Jim Morrison and The Doors — with the emphasis as usual on Morrison.

The documentary, however, uniquely benefits from DiCillo’s incorporation of a treasure trove of archival photos and original footage shot during The Doors’ formation in 1965 to Morrison’s death in 1971. Highlighting When You’re Strange are outtakes from HWY, a film that Morrison and his UCLA film buddies shot in early 1969. The director also used another film produced by The Doors, Feast of Friends, an on-the-road journal filled with concerts, recording sessions and rehearsal footage. Both films have never been officially released, although bits and pieces of bootleg versions can be found for sale or posted on the Internet. HWY was apparently only shown once at a film festival. Feast of Friends won an award at the Atlanta Film Festival in 1969 and was also shown at a midnight screening at the San Francisco Film Festival later that same year where the audience greeted it with boos. Feast or famine (pun intended).

Johnny Depp’s low-key narration doesn’t distract from the material, which is very appreciated.

When You’re Strange does try to take an alternative approach to The Doors, given the unique opportunities and material available. Strangely, the two biggest overall criticisms I’ve seen are that there are no “talking heads” giving opinions, plus several critics cite as extraneous the included moments of 1960′s history: Viet Nam, Kent State, Bobby Kennedy and Martin Luther King. If that’s to imply they’re not relevant to a documentary about The Doors, then I wonder what these people have been listening to and with what comprehension.

As Jeff Jampol, Manager of The Doors, clarifies, “We also made a conscious decision together with Tom not to use any talking-head interviews, no new footage in this movie, the entire thing, front to back. Because, I mean, we’re close to it, but you get pulled into this era; and all of a sudden, you’re there, and the magic comes alive. Nobody wanted to interrupt that with some talking heads speaking about The Doors in the past tense.”

Producer Dick Wolf also explains some of their final decisions to include key historic political and cultural footage. “It’s also why all of us are so excited about it being on PBS and part of the American Masters series, because what it has done de facto is it makes it the document of record of not only The Doors, but one of the major documents of record of the late ’60s, because it is very rare to see contemporaneous footage from that era that makes any sense. You know, if you remember the ’60s, you weren’t there, which is unfortunately true for many of us, but this film does remind you.”

When You’re Strange should please all but the most die-hard Doors’ fans, and will probably turn a few new people on to the music and the magic of The Doors.

I was a music journalist in Los Angeles during this era and saw The Doors perform from the early days at the Whisky, to the Forum and Aquarius concerts, to their last local performance at the Long Beach Arena. So I thoroughly enjoyed reliving those memories, even though the film makers did get a few facts wrong and played around with some historic continuity, but most viewers probably won’t notice, or care.





What did catch me by surprise, a bit more than halfway through the film, is a shot of poet Michael McClure giving a one-finger salute. Behind him is Morrison, carrying a six-pack of beer, and behind him is me. That photo was snapped in July 1969 backstage during a concert at The Cow Palace, taken by The Flower Princess, a local Northern California writer. Some Doors’ web sites have mislabeled the girl as Pamela Courson, his on-again, off-again girlfriend, but that’s unequivocally me, in one of the few pictures I have of Jim and myself. But that’s another story…or two.

popculturezoo.com/2010/05/review-when-youre-strange-a-film-about-the-doors/

More On The Cow Palace Show (July 25 1969) can be found here:
newdoorstalk.proboards.com/index.cgi?action=calendarview&thread=567

[darkstar3]

Jun 21, 2011 15:49:03 GMT TheWallsScreamedPoetry said:

This Anne Moore girl seems to have been pretty tight with the band I been reading a few articles from her with other bands and she seems to be a really good writer.
Did she have a thing with Morrison as she seems really tight with the guys.
Cool

I came across a few things she has written and placed them in this topic. I have enjoyed reading her articles. If I come across anything else I'll post it. It would be nice for her to tell her story about seeing The Doors in concert since she saw them several times.

This is from Rocks Back Page Website:

Anne Moore

Anne Moore started writing about the crazies of rock 'n' roll during her first year in college (when that was she refuses to tell us). But it was early enough to see and interview many of the great rockers from the so-called "classic" era and to even spend the "summer of love" in swinging London. During this period Anne wrote for World Countdown, Teen Screen, FaVE, Phonograph Record Magazine, CREEM, LA Image, Fusion, Concert, The Los Angeles Free Press and dozens of other publications.

Anne parlayed her eclectic knowledge of the music scene to a job at United Artist/Liberty Records as their National Director of College Promotion and traveled all over the United States for the company. Later she worked in PR for several European groups and local LA bands, from Blue Swede to the Hollywood Stars and Zolar X.

At the moment, Anne is writing more about TV and movie stars then music and musicians, primarily for European magazines. She is also beginning a mystery novel, which has nothing to do about music... at least not yet.

List of articles

Brownsville Station
Interview by Anne Moore, LA Free Press, May 1974

Captain Beyond
Profile and Interview by Anne Moore, Daily Planet (Miami, Florida), March 1973

Doors, The : Column: Around About, And Then Some
Report by Anne Moore, World Countdown News, June 1969

Genesis: Evolution & Revelation
Profile and Interview by Anne Moore, Valley Advocate, April 1974

Gentle Giant: Santa Monica Civic, Los Angeles
Live Review by Anne Moore, LA Free Press, February 1975

George Harrison On Tour – Press Conference Q&A
Report and Interview by Anne Moore, Valley Advocate, November 1974

New York Dolls : N.Y. Dolls Real Teen-Age Rock And Roll Band
Interview by Anne Moore, LA Free Press, September 1973

New York Dolls : Oh, Those New York Dolls
Report and Interview by Anne Moore, Valley Advocate, October 1973

Emitt Rhodes
Interview by Anne Moore, Metropolitan Review , November 1971

Leo Sayer: Very Much Myself
Interview by Anne Moore, LA Free Press, May 1975

Slade
Profile and Interview by Anne Moore, LA Free Press, November 1973

Slade May Make It Yet
Interview by Anne Moore, Valley Advocate, March 1974

Slade: Dave Hill...King Of The Stompers
Interview by Anne Moore, Fan, July 1974

Status Quo In The U.S.: 'Matchstick Men' Make Good
Interview by Anne Moore, LA Free Press, May 1973

Stooges, The : Stooges Storm Sin City
Live Review by Anne Moore, Creem, July 1970

[TheWallsScreamedPoetry]

Ah lightbulb moment!! ###
I recall someone saying that this Anne Moore saw Jim at some party getting really annoyed at a crazy woman stalker type who would not leave him alone.
She commented that she had never seen Jim react to a crazy fan this way and she had seen him be quite kind to the nutbags he attracted.

This supports people like Kathy Lisciandro and Cheri Siddons who said Jim was quite tolerant and rarely raised his voice which contradicts the ridiculous histrionics of Jim and the Buick betrayal in the Manzarek book.

Of course crazy Jim sells so he is portrayed as a drunken maniac more than someone who showed consideration and tolerance even to the biggest loony he would attract.

People like Manzarek are responsible for the way Jim is seen today by the media. Of course I am sure he could get annoyed and behave like an arce, the same way any of us could do, givengood enough reason but he was not the Ogre he is presented as by The Doors who love to tell us that side as it gets them off the hook for all thier shit.

[pixiedust]

Jun 22, 2011 18:32:36 GMT TheWallsScreamedPoetry said:

Ah lightbulb moment!! ###
I recall someone saying that this Anne Moore saw Jim at some party getting really annoyed at a crazy woman stalker type who would not leave him alone.
She commented that she had never seen Jim react to a crazy fan this way and she had seen him be quite kind to the nutbags he attracted.

This supports people like Kathy Lisciandro and Cheri Siddons who said Jim was quite tolerant and rarely raised his voice which contradicts the ridiculous histrionics of Jim and the Buick betrayal in the Manzarek book.

Of course crazy Jim sells so he is portrayed as a drunken maniac more than someone who showed consideration and tolerance even to the biggest loony he would attract.

People like Manzarek are responsible for the way Jim is seen today by the media. Of course I am sure he could get annoyed and behave like an arce, the same way any of us could do, givengood enough reason but he was not the Ogre he is presented as by The Doors who love to tell us that side as it gets them off the hook for all thier shit.

Hi, Alex. "Crazy woman stalker type" lady here. LOL.

Your "light bulb" moment is in ADAD. In real life, I never heard Jim get as loud as he did in the theatrical opening lines of "Soft Parade." He was a man of low decibels.

That said, I checked my notes from that winter. Here's what really happened at Elektra's party on March 3, 1971 and what lead up to it.

It began Friday, January 15, 1971. Jim and I hadn't seen each other for awhile, though we did talk on the phone a few times a week. That Friday he called me up. He was at the Chateau. Could I come over for the afternoon and go over a couple of ideas he wanted to discuss. I was flying to Vegas that day. It was for the weekend, an interview with B.B. King for Circus Magazine. Jim asked if I could cancel B.B. No, but I'd be happy to talk to Jim on the phone.

I'm a phone person. Jim wasn't. He liked to see the person he was talking with to see their reactions. I guess to him it seemed a more honest interaction.

Jim and I were also both very stubborn. I flew to Vegas. Our phone calls between Vegas and LA became ridiculous, all about who was more important to me - B.B. King, or Jim and our friendship and Jim's ideas. The result? From January 17 to March 3, 1971 Jim and I made no effort to contact each other in any way. It was stupid and childish.

On March 3rd, Elektra was having its big opening party. Kathy and Danny both knew that Jim and I had stopped talking in January.

That winter both of them reminded me that Jim was leaving for Paris in the spring, so I might want to resolve things with him if I could, before he left. Save the friendship, if it could be saved. That sort of stuff. I had my doubts about even wanting to try. Stubborn.

On March 3, 1971 I'd like you all to know that, despite what is said in ADAD, neither Jim nor I yelled at each other that day ... or any other. The rest of this is based on my diary notes from that day and the quotes were written down that evening, after I got home from Elektra.

Danny and Kathy said Jim would be at Themis. Go talk to him.

At Themis, Jim wouldn't talk with or listen to me. Instead he and Babe went to the Elektra party. Danny insisted I, "go talk to him." After a few minutes of "why should I" and Danny saying I'd regret it if I didn't at least try, I figured I was there. I really had nothing to lose, so I followed Jim and Babe over to the party - somewhat reluctantly - as Danny waved me onward.

After three or four attempts to talk to Jim and resolve things, (no yelling, no raised voices), I decided that if he wasn't going to listen, I wasn't going to waste any more of my time. I decided to leave and started towards the exit door.

Jim chose that moment to ask why I was following him around like "a goddamned puppy dog."

I turned back to face him from the opposite side of the room and said, "because we need to talk."
He said, "Fine. Talk."
I said, "When we met, I tried to be a real friend to you, Jim Morrison. I thought you could use a real friend." Saying that, I walked out the door.

Neither of us yelled. Our voices were about the level of two people talking to each other from adjoining rooms.

As I left, I passed Anne Moore. She was just arriving at the party and had missed the "confrontation" completely. Later Anne and I talked. She said Jim seemed upset. She asked what happened. I told her.

Two days later, Jim called me. We resolved our differences and decided to keep in touch. Of course, we had no way of knowing he wouldn't come back, so I think we both assumed that we would remain friends for many years.

In 1994, Butler was researching her book on Pam. I couldn't tell her about Pam, but I tried to give her an idea of what Jim was like. One day Anne had lunch with us and verified what I said about the party.

I'm not sure exactly why Butler wrote what she did, but her version in ADAD is about as true as saying David Beckham never played football or that Barry Manilow wrote "Satisfaction."

[adam]

i'm enjoying sali's posts....

i'm far too ignorant to know precisely what she's defending herself against with such subtle verbose ferocity but it makes interesting reading.

this is such a good forum

i cant imagine a world where ppl spend decades analyzing & speculating where i fitted into the life of a famous person, but i'd certainly want to put the record straight if i'd been written about wrongly

if i knew more about what you're talking about i'd ask questions!

y'know i still might - you come across well but in the other thread there were intelligent questions from opinions i trust!

[they'll be easy questions tho, no algebra or shit like that]

[itsjustme]

Jun 22, 2011 14:42:24 GMT darkstar3 said:

Pop Culture Zoo

REVIEW: ‘When You’re Strange: A Film About The Doors’
BY ANNE MOORE
PUBLISHED MAY 11, 2010 AT 8:29 AM PDT

The Doors were often called, by critics and fans alike, pretentious, or they were praised as the greatest rock band that ever, well, rocked. They are/were… neither/both…

The Doors are/were a unique group perfectly suited for the difficult, but amazing, period of history (1965-1971) in which they participated. They aspired to do something special, not realizing at the time how insightful they actually are/were.

When You’re Strange: A Film About The Doors, tries to accomplish something different in presenting their history, and in most cases succeeds. The film, directed and written by Tom DiCillo (Johnny Suede, Delirious), and narrated by Johnny Depp will be featured on most PBS stations as part of that network’s acclaimed American Masters series on May 12.

While the band was actually made up of four independently brilliant musicians, keyboardist Ray Manzarek, percussionist John Densmore, guitarist Robby Krieger and of course singer Jim Morrison, it’s hard not to see this as another documentary on Jim Morrison and The Doors — with the emphasis as usual on Morrison.

The documentary, however, uniquely benefits from DiCillo’s incorporation of a treasure trove of archival photos and original footage shot during The Doors’ formation in 1965 to Morrison’s death in 1971. Highlighting When You’re Strange are outtakes from HWY, a film that Morrison and his UCLA film buddies shot in early 1969. The director also used another film produced by The Doors, Feast of Friends, an on-the-road journal filled with concerts, recording sessions and rehearsal footage. Both films have never been officially released, although bits and pieces of bootleg versions can be found for sale or posted on the Internet. HWY was apparently only shown once at a film festival. Feast of Friends won an award at the Atlanta Film Festival in 1969 and was also shown at a midnight screening at the San Francisco Film Festival later that same year where the audience greeted it with boos. Feast or famine (pun intended).

Johnny Depp’s low-key narration doesn’t distract from the material, which is very appreciated.

When You’re Strange does try to take an alternative approach to The Doors, given the unique opportunities and material available. Strangely, the two biggest overall criticisms I’ve seen are that there are no “talking heads” giving opinions, plus several critics cite as extraneous the included moments of 1960′s history: Viet Nam, Kent State, Bobby Kennedy and Martin Luther King. If that’s to imply they’re not relevant to a documentary about The Doors, then I wonder what these people have been listening to and with what comprehension.

As Jeff Jampol, Manager of The Doors, clarifies, “We also made a conscious decision together with Tom not to use any talking-head interviews, no new footage in this movie, the entire thing, front to back. Because, I mean, we’re close to it, but you get pulled into this era; and all of a sudden, you’re there, and the magic comes alive. Nobody wanted to interrupt that with some talking heads speaking about The Doors in the past tense.”

Producer Dick Wolf also explains some of their final decisions to include key historic political and cultural footage. “It’s also why all of us are so excited about it being on PBS and part of the American Masters series, because what it has done de facto is it makes it the document of record of not only The Doors, but one of the major documents of record of the late ’60s, because it is very rare to see contemporaneous footage from that era that makes any sense. You know, if you remember the ’60s, you weren’t there, which is unfortunately true for many of us, but this film does remind you.”

When You’re Strange should please all but the most die-hard Doors’ fans, and will probably turn a few new people on to the music and the magic of The Doors.

I was a music journalist in Los Angeles during this era and saw The Doors perform from the early days at the Whisky, to the Forum and Aquarius concerts, to their last local performance at the Long Beach Arena. So I thoroughly enjoyed reliving those memories, even though the film makers did get a few facts wrong and played around with some historic continuity, but most viewers probably won’t notice, or care.





What did catch me by surprise, a bit more than halfway through the film, is a shot of poet Michael McClure giving a one-finger salute. Behind him is Morrison, carrying a six-pack of beer, and behind him is me. That photo was snapped in July 1969 backstage during a concert at The Cow Palace, taken by The Flower Princess, a local Northern California writer. Some Doors’ web sites have mislabeled the girl as Pamela Courson, his on-again, off-again girlfriend, but that’s unequivocally me, in one of the few pictures I have of Jim and myself. But that’s another story…or two.

popculturezoo.com/2010/05/review-when-youre-strange-a-film-about-the-doors/

More On The Cow Palace Show (July 25 1969) can be found here:
newdoorstalk.proboards.com/index.cgi?action=calendarview&thread=567

at the end of this article ,you said you have some other few pictures taken with Jim, i just wonder if you post them already somewhere? thank you

[darkstar3]

Jun 25, 2011 18:56:23 GMT @itsjustme said:

Jun 22, 2011 14:42:24 GMT darkstar3 said:

Pop Culture Zoo


More On The Cow Palace Show (July 25 1969) can be found here:
newdoorstalk.proboards.com/index.cgi?action=calendarview&thread=567

at the end of this article ,you said you have some other few pictures taken with Jim, i just wonder if you post them already somewhere? thank you

The person who wrote the article, Anne Moore mentioned "other" photos. The only photo I have seen with Anne and Jim is the one that is already posted on this topic. Sorry. Maybe someday Anne will decide to write an article that features the photos she mentions.

[casandra]

Jun 21, 2011 14:12:39 GMT TheWallsScreamedPoetry said:

MAILER'S POETRY

The poetry itself has to be heard, experienced to be understood. Excerpts of Mailer's poetry as well as personal poetry were read by the so-called members of the cast: Tom Baker, participant-organizer, and star of Warhol's I, a Man, Seymour Cassel, one of the faces of John Cassevettes movie, Mary Waronov of Warhol's Chelsea Girls, Michael C. Ford who is soon to have a publication out on Ezio Press called Stuttering In The Starlight, Michael McClure, author of The Beard, and James Douglas Morrison, lead singer of the Doors. The poetry was accompanied by Robbie Krieger's rather humorous touches on the guitar.

Later, McClure read some of his own endeavors then handed the mike to Morrison who read his own highly imaginative poetry. After that, Jim felt like singing and promptly did so. Robbie played some gutsy blues and Jim sang old, dirty, blues numbers, to the delight of the audience and the supposed castigation of Tom Baker. Baker spilled coffee on McClure, threw the chairs against the wall, scared the rest of the performers, and then went after Morrison. Baker pulled the chair out from under him; Jim landed on the floor, unhurt, and never missed a note. Living theater had begun!

The audience even got into it. Tom Nolan and Kim Fowley staged their own mock fight in the aisles while Ginny, the Door's secretary, was yelling, "Hey, Jim, dance for us."

SECOND NIGHT

The second night was stranger in respect to the "happening" incidents, beginning with a consecration of a cigarette to the masses, and a rather surprising unannounced Pledge of Allegiance. These incidents had to be experienced to be believed. This is truly living theater involvement, yet pure entertainment.

Perhaps Elektra could possibly put an album out featuring these highly dramatic poets. Perhaps this is the germ of something great to come. Doors concerts, mainly on college campuses, featuring movies, poetry and music, just letting it happen. Maybe this is what theater so desperately needs, a way to become entertainly involved with those on stage, whether you like it or not.

Column: Around About, And Then Some
Anne Moore, World Countdown News, 13th June 1969


Read More here...
Cinematheque Theatre 16 Hollywood CA

I think that what happened at that poetry reading was a little weird, but that wasn’t because Jim had unpredictable behavior. It seems that Tom Baker was out of control.

Darkstar: Is this poetry reading what you found in Melvyl Database Catalog at UCLA?

forum.johndensmore.com/index.php?s=dd1ec12fcb92eedf4b6be15ee05c9dc2&showtopic=2732&mode=threaded

I think it would be interesting to watch this film for looking if it really happened that Anne Moore said in the article. According to Jim and Robby’s performance on tape records, it seems that everything went smoothly.

[adam]

i wonder how many other "jimbo" stories are really "tombo" ones..?

[casandra]

Jun 26, 2011 14:02:22 GMT adam said:

i wonder how many other "jimbo" stories are really "tombo" ones..?

I also wonder, Adam. The airplane episode is another story in which Tombo was involved…

[darkstar3]

Jun 26, 2011 10:07:06 GMT casandra said:

Jun 21, 2011 14:12:39 GMT TheWallsScreamedPoetry said:

MAILER'S POETRY

The poetry itself has to be heard, experienced to be understood. Excerpts of Mailer's poetry as well as personal poetry were read by the so-called members of the cast: Tom Baker, participant-organizer, and star of Warhol's I, a Man, Seymour Cassel, one of the faces of John Cassevettes movie, Mary Waronov of Warhol's Chelsea Girls, Michael C. Ford who is soon to have a publication out on Ezio Press called Stuttering In The Starlight, Michael McClure, author of The Beard, and James Douglas Morrison, lead singer of the Doors. The poetry was accompanied by Robbie Krieger's rather humorous touches on the guitar.

Later, McClure read some of his own endeavors then handed the mike to Morrison who read his own highly imaginative poetry. After that, Jim felt like singing and promptly did so. Robbie played some gutsy blues and Jim sang old, dirty, blues numbers, to the delight of the audience and the supposed castigation of Tom Baker. Baker spilled coffee on McClure, threw the chairs against the wall, scared the rest of the performers, and then went after Morrison. Baker pulled the chair out from under him; Jim landed on the floor, unhurt, and never missed a note. Living theater had begun!

The audience even got into it. Tom Nolan and Kim Fowley staged their own mock fight in the aisles while Ginny, the Door's secretary, was yelling, "Hey, Jim, dance for us."

SECOND NIGHT

The second night was stranger in respect to the "happening" incidents, beginning with a consecration of a cigarette to the masses, and a rather surprising unannounced Pledge of Allegiance. These incidents had to be experienced to be believed. This is truly living theater involvement, yet pure entertainment.

Perhaps Elektra could possibly put an album out featuring these highly dramatic poets. Perhaps this is the germ of something great to come. Doors concerts, mainly on college campuses, featuring movies, poetry and music, just letting it happen. Maybe this is what theater so desperately needs, a way to become entertainly involved with those on stage, whether you like it or not.

Column: Around About, And Then Some
Anne Moore, World Countdown News, 13th June 1969


Read More here...
Cinematheque Theatre 16 Hollywood CA

I think that what happened at that poetry reading was a little weird, but that wasn’t because Jim had unpredictable behavior. It seems that Tom Baker was out of control.

Darkstar: Is this poetry reading what you found in Melvyl Database Catalog at UCLA?

forum.johndensmore.com/index.php?s=dd1ec12fcb92eedf4b6be15ee05c9dc2&showtopic=2732&mode=threaded

I think it would be interesting to watch this film for looking if it really happened that Anne Moore said in the article. According to Jim and Robby’s performance on tape records, it seems that everything went smoothly.

Casandra, I apologize for not replying on this topic until now.

The Cinemateque 16 Theatre performance was not recorded on film. One of the songs that Jim Morrison performed and was recorded in audio form is "I Will Never Be Untrue" and he read the poem "An American Prayer."

Calendar Entry for this event:
newdoorstalk.proboards.com/index.cgi?
action=calendarview&thread=552

Jim performed with Michael McClure at the S.S.C. Gallery, May 1 1969 and there is a book referencing this date but no video:

Material type <Book>
Title Reading and show : S.S.C. Gallery, 8:30 p.m., May first : Michael McClure, D. R. Wagner & Jim Morrison.
Published [s.l. : s.n, 196-?]
Description broadside : ill. ; 56 x 42 cm.

Call Number Special Collections PS3563.A262 Z3 k42

Other authors McClure, Michael.
Wagner, D. R. (Donald R.), 1943-
Morrison, Jim, 1943-1971.
Sys. no. 000449459

pegasus.library.ucsb.edu/F/4JGNL944LX97425X5XCVLR3IKTBFXBFXIIKC4GGJ3LBQGL3HXI-15146?func=full-set-set&set_number=022028&set_entry=000025&format=999

Calendar Entry
newdoorstalk.proboards.com/index.cgi?action=calendarview&thread=549

[casandra]

Don't worry. Thank you very much for the info, Sara.

I was wrong, thought that it was the same poetry reading and I thought it was filmed, but the UCLA catalog database shows a book or pamphlet or poster ("ill." means illustration or picture in library science, so I think the photo which is on that calendar entry is probably the "book" shown on the database. 56x42 cm. is too big for a book). What a pity, it would have been very interesting to watch a poetry reading with Jim.

I have a unofficial Doors anthology with two songs at Cinemateque (Paperback queen and Backdoor man) or that says there...

I think this is at Cinemateque.

www.youtube.com/watch?v=acCtZkh79PY

[TheWallsScreamedPoetry]