The Doors kill only to clear the way for rebirth; they hint at the eternal rhythmic balance of
life and death. Four Doors:
John Densmore, drums. Ray Manzarek, organ. Robby Kreiger, guitar. And
of course, Jim Morrison.
The Doors
kill only to clear the way for rebirth; they hint at the eternal rhythmic balance of life and death. Four Doors: John Densmore, drums. Ray Manzarek, organ. Robby Kreiger, guitar. And of course, Jim Morrison. Morrison becomes intoxicated by the danger of his poetry, and, sexual in an almost psychopathic way. His richly textured voice taunts and teases and threatens and throbs. With incredible vocal control and the theatrical projection of a Shakespearean star, he plays with the audiences emotions. The Doors embodied the zeitgeist, with all of its spiritual awareness, and liberating transcendence of obsolete cultural values, but embodied it with a potency concentration and theatrical vehemence that was totally unexpected. They flaunted rather than soft-pedaled the threat that the new culture presented to the old culture, and both cultures were left rather reeling by the experience. Today, the majority of American icons are too busy riding to the hounds of commerce or favour, rather then
riding the wave of uncompromising, primal, poetic energy that The Doors offered. When the Doors performed it was a
religious experience between them and the audience. They were able to move people to a kind of
emotional orgasm through the medium of words and music.