The Doors - The End - Live At Hollywood Bowl 1968

( I RE-POSTED THIS TERRIFIC ANALYSIS FROM " BenS/b-rod, 7moths ago"}}: "Ew, he wants to what?" Well first of all, you've got to understand where Morrison was coming from. A little background information is certainly required for the uninitiated. Jim wanted first and foremost to be a filmmaker and a dramatist (and poet) before he ever wanted to be in rock n roll. He went on to graduate from UCLA (unlike the deplorable Oliver Stone movie where a full ONE THIRD of the thing is FICTION - ie, never happened, like certain scenes, and the very crass way Kilmer portrayed him was ludicrous - but that's another topic). In the film department there, he learned many things about cinema and drama in general that he transposed into his music. He even had acting lessons according to Paul Ferrara. Anyway, I think the main work that influenced Jim on "The End" was Artaud's "Theatre & Its Double," which I reread recently and it made a lot more sense to me why Jim went in that theatrical direction. When I reread it, pieces fell into place that I'd never realized before. Artaud goes through his theories and in one instance, he even mentions "Oedipus Rex" itself by name (which, for those who don't know is an ancient Greek play that Freud psychologically postulated as universal, Oedipus for boys and Elektra for girls - deep in the unconscious). On a side note, Artaud also had a major influence on the Living Theatre, which Jim saw every show he could of, with their confrontational approach to theatre, which was right before Miami, and is what got Jim in trouble down there for allegedly exposing himself, with it fresh in his mind. Anyway, I believe its drama. Jim didn't get into personal confessional lyrics until LA Woman with things like "Hyacinth House" or "Cars Hiss By My Window." "The End" does start out about a break up with his girl prior to Pamela but then obviously goes in another direction when they would improvise to fill their slot at London Fog. But Artaud's work, I think, is key to understanding where Jim was coming from and the theatricality of some of his lyrics. And as Ray said about the Lizard King to Ben Fong-Torres - "That Lizard King thing - that's out of "Celebration Of The Lizard" and he's acting a part; its a theatre piece. Its a drama of which a guy is leading a small band of people...out into the desert and at the end of the whole piece he says "I am the Lizard King, I can do anything" and people are going "Oh, he's the Lizard King, he's the self-proclaimed Lizard King." You bastards, man! He's ACTING! ITS A ROLE, you know? Marlon Brando is not Stanley Kowalski, Jim Morrison is not the Lizard King, but they ground him down [for it]."Could the same be said for "The End?" You fuckin bet.Here's Jim speaking in late 1970 (also to Ben Fong-Torres) - "Are you still considering yourself the Lizard King?" "What I was trying to say with that, and that was years ago, and even then it was kind of ironic. I meant it ironically, and it wasn't meant to be - " and Pam cuts him off saying "That whole thing was done tongue-in-cheek" and Jim says, "Well, half tongue-in-cheek" and Pam continues, "and everybody thought it was like so serious." Jim: "Well, its an easy thing to pick up on." Its interesting to note that his production company with, I think, Paul Ferrara and Babe Hill, joking called themselves the Media Manipulators."Well, its an easy thing to pick up on" is the operative phrase - memorability, standing out, and this, I think, is key to understanding "The End" and other things. In the same interview with Fong-Torres, he also talks about how at newspapers there's someone who is there to write only the headlines of an article, that it has to be a catch phrase. Maybe its hard for literal-minded people to understand, but Jim says "THE killer" and then proceeds to take a face, an ancient drama mask that actors would wear on stage. He doesn't say "I" until he's set up the scene and in that role. "The key to throwing the audience into a magical trance is to know where in advance the pressure points must be affected...But theatre poetry has long become unaccustomed to this invaluable skill...To make language convey what it does not normally convey. That is to use it in a new exceptional and unusual way, to give it its full, physical shock potential...and restore their shattering power...The thought it aims at, the states of mind it attempts to create, the mystical discoveries it offers...It all seems like an exorcism to make our devils FLOW...strange signs, matching some dark prodigious reality we have repressed...ready to hurl itself into chaos in a kind of magical state where feelings have become so sensitive they are suitable for visitation by the mind...We must not ask ourselves whether it can define thought but whether it makes us think [and feel], and leads the mind to assume deeply effective attitudes...Just as in former times, the masses today are thirsting for mystery" (Artaud) (And there are more quotes equally as good in his work).I'm not saying he was consciously thinking of Artaud's theories when he went up onstage that night at the Whiskey, but it certainly came out of him then - the culmination of many things going on in the background of his consciousness and trying to push the envelope as an artist. As a fellow INFP explorer (mine and Jim's personality type), I think I can understand Jim more than most in that respect. Its "drama of the highest order" said Jack Holzman