Podcast Sejarah

John Densmore

John Densmore


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John Densmore dilahirkan pada 25 November 1877. Dia menjadi peguam dan William Bauchop Wilson, Setiausaha Buruh pertama di Amerika, melantiknya sebagai Pengarah Pekerjaan Umum.

Pada 22 Julai 1916, para majikan di San Francisco mengadakan perarakan di jalan-jalan untuk meningkatkan pertahanan negara. Semasa perarakan, bom meletup di Steuart Street yang mengorbankan enam orang (empat lagi mati kemudian). Dua saksi menggambarkan dua lelaki berkulit gelap, mungkin orang Mexico, membawa beg pakaian berat berhampiran tempat bom itu meletup.

Polis mengabaikan maklumat ini dan menuduh dua pemimpin kesatuan sekerja, Tom Mooney dan Warren Billings, atas kesalahan itu. Kedua-dua lelaki itu didapati bersalah dan Mooney dijatuhkan hukuman mati dan Billings dijatuhkan hukuman seumur hidup.

Kerajaan Amerika juga menjadi prihatin terhadap Kes Mooney dan Billings dan Setiausaha Buruh, William Bauchop Wilson, mewakilkan Densmore untuk menyiasat kes tersebut. Dengan memasang rahsia secara diam-diam di pejabat swasta Peguam Daerah, dia dapat mengetahui bahawa Mooney dan Billings mungkin telah dirangka oleh Charles Fickert. Laporan itu dibocorkan kepada Fremont Older yang menerbitkannya di Panggilan San Francisco pada 23hb November 1917.

Berbekalkan maklumat dari laporan Densmore, Presiden Woodrow Wilson meminta William Stephens, Gabenor California, untuk melihat kembali kes tersebut. Dua minggu sebelum Mooney dijadualkan untuk digantung, Stephens menjatuhkan hukuman penjara seumur hidup di San Quentin.

John Densmore meninggal dunia pada 29 Julai 1937.

Ketika seseorang membaca kesaksian dan mengkaji bagaimana kes-kes itu dijalankan, seseorang cenderung untuk bertanya-tanya banyak perkara - mengenai kegagalan pejabat pengacara daerah untuk membuat siasatan sebenar di tempat kejadian; pada kesesuaian mudah beberapa saksi bintang; kaedah yang tidak teratur yang dilakukan oleh pihak pendakwaan dalam mengenal pasti pelbagai defendan; pada jenis lelaki dan wanita yang menyesal yang dikemukakan untuk membuktikan perkara-perkara penting dalam kes yang paling penting; pada nampaknya ketidakcekapan bahkan alibi yang mapan; di sangfroid dengan mana pihak pendakwaan kadang-kadang membuang teori yang tidak dapat dipertahankan untuk mengadopsi teori yang tidak terlalu masuk akal; atas penolakan pendakwa raya untuk memanggil sebagai saksi orang yang benar-benar melihat jatuhnya bom; Pendek kata, pada kelalaian dan ketidakmungkinan keterangan yang ditimbulkan, bersama-sama dengan tidak adanya apa-apa yang kelihatan seperti usaha tulen untuk mendapatkan fakta-fakta dalam kes tersebut.

Perkara-perkara ini, ketika seseorang membaca dan mempelajari catatan lengkapnya, diperkirakan menyebabkan di dalam fikiran bahkan yang paling mematikan keputusan pemberontakan mental. Kebenaran yang jelas adalah, tidak ada kes-kes mengenai kes-kes yang dapat menimbulkan rasa yakin bahawa martabat dan keagungan undang-undang telah dijunjung tinggi. Tidak ada tempat yang menyerupai konsistensi dari jarak jauh, kesannya adalah tambalan tambalan, perubahan sementara yang tidak tepat, kekok dan sering memerlukan.

Bukan tujuan laporan ini memasukkan analisis terperinci mengenai bukti yang dikemukakan dalam kes-kes ini - bukti yang, dalam garis besar umum, sekurang-kurangnya, sudah Anda ketahui dalam jawatan anda sebagai presiden, ex officio, Suruhanjaya Pengantaraan . Cukup untuk mengingatkan anda bahawa Billings telah dicuba terlebih dahulu; bahawa pada bulan September 1916, dia dinyatakan bersalah, terutama disebabkan oleh keterangan Estelle Smith, John McDonald, Mellie dan Sadie Edeau, dan Louis Rominger, yang semuanya telah lama ditolak; bahawa ketika Mooney diadili, pada bulan Januari tahun berikutnya, pihak pendakwaan memutuskan, dengan alasan yang jelas, untuk tidak menggunakan Rominger atau Estelle Smith, tetapi untuk menambah daftar saksi Frank C. Oxman tertentu, yang keterangannya , bukti kesaksian dua wanita Edeau, membentuk kaitan terkuat dalam rantai bukti terhadap defendan; bahawa berdasarkan kekuatan keterangan ini Mooney didapati bersalah; bahawa pada 24 Februari 1917, dia dihukum mati; dan kemudiannya, pada waktunya, pada bulan April tahun yang sama, terbukti tanpa keraguan bahawa Oxman, saksi bintang pendakwaan, telah berusaha untuk mengingkari sumpah sumpah dan dengan demikian telah merosakkan kredibilitinya sendiri.

Pendedahan tentang keseronokan Oxman, yang melibatkan seperti halnya kantor pengacara daerah, pada awalnya tampak menjanjikan bahawa Mooney akan diberikan perbicaraan baru. Peguam daerah sendiri, Tuan Charles M. Fickert, ketika berhadapan dengan fakta-fakta, mengakui di hadapan saksi-saksi yang berwibawa bahawa dia akan menyetujui perbicaraan baru. Pembantu utamanya, Encik Edward A. Cunha, membuat pengakuan maya tentang pengetahuan yang bersalah mengenai fakta-fakta yang berkaitan dengan Oxman, dan berjanji, dengan semangat menyesal, untuk melihat bahawa keadilan harus dilakukan orang yang telah disabitkan melalui keterangan Oxman . Hakim perbicaraan, Franklin A. Griffin, salah satu yang pertama menyedari betapa pentingnya pendedahan itu, dan sangat cemburu akan kehormatannya sendiri, tidak sempat meluangkan masa untuk secara rasmi mencadangkan kesesuaian perbicaraan baru. Peguam Negara, Hon. Ulysses S. Webb, mendesak tindakan serupa dalam permintaan yang diajukan ke Mahkamah Agung California.

Oleh itu, perkara-perkara nampaknya diperbaiki dengan adil, ketika dua perkara berlaku untuk mengecewakan harapan pertahanan. Yang pertama adalah perubahan depan secara tiba-tiba di pihak Fickert, yang kini menafikan bahawa dia pernah menyetujui percubaan baru, dan usaha yang dilakukannya selama ini dikhaskan untuk usaha kekok untuk memutihkan Oxman dan membenarkan motif dan tingkah lakunya sendiri selama ini. Yang kedua adalah keputusan Mahkamah Agung yang menyatakan bahawa keputusan itu tidak dapat diluar catatan - dalam erti kata lain, penghakiman itu tidak dapat diketepikan hanya dengan alasan ia didasarkan pada kesaksian palsu.

Terdapat alasan yang baik untuk mempercayai bahawa perubahan sikap Fickert secara tiba-tiba disebabkan oleh utusan dari beberapa kepentingan korporat tempatan yang sangat bertentangan dengan pekerja buruh. Ia dituduh oleh terdakwa Mooney, dengan banyak kemungkinan, bahawa Fickert adalah makhluk dan alat kepentingan kuat ini, yang di antaranya adalah Dewan Perdagangan dan utiliti perkhidmatan awam utama di kota San Francisco. Dalam hubungan ini, sangat penting bahawa Fickert seharusnya mempercayakan sebahagian besar pekerjaan penyiasatan yang diperlukan dalam kes-kes ini kepada Martin Swanson, seorang detektif korporat, yang selama beberapa waktu sebelum ledakan bom telah dengan sia-sia berusaha menghubungkannya defendan dengan jenayah keganasan yang lain.

Sejak pendedahan Oxman, kes pengacara daerah telah meleleh terus sehingga ada sedikit yang tersisa tetapi terdapat rekod manipulasi dan sumpah yang tidak memuaskan, pendedahan selanjutnya telah menyebabkan kredibiliti hampir semua saksi utama pendakwaan. Dan sekiranya diperlukan pengesahan tambahan mengenai kelemahan kes yang melekat terhadap para pelaku kesalahan ini, pembebasan Puan Mooney pada 26 Julai 1917, dan Israel Weinberg pada 27 Oktober berikutnya akan memberikannya.

Pembebasan ini diikuti oleh penyiasatan Suruhanjaya Pengantaraan dan laporannya kepada Presiden pada tarikh 16 Januari 1918. Laporan Suruhanjaya itu, sambil mengabaikan sepenuhnya persoalan mengenai rasa bersalah atau tidak bersalah tertuduh, namun didapati dalam keadaan yang hadir cukup alasan kegelisahan dan keraguan sama ada kedua-dua lelaki yang disabitkan telah menjalani perbicaraan yang adil dan tidak berat sebelah.

Lazimnya penganiayaan tanpa henti terhadap empat atau lima orang terdakwa, walaupun itu mengakibatkan hukuman yang tidak terbatas bagi mereka semua, mungkin akan membawa kesan tempatan, yang akan segera dihapuskan dan dilupakan. Tetapi dalam kes Mooney, yang tidak lain adalah fase perang lama antara modal dan buruh terancang, keguguran keadilan akan menggembirakan nafsu pekerja di mana-mana dan menambah keyakinan, yang sudah terlalu luas, bahawa pekerja tidak boleh mengharapkan keadilan dari rayuan yang teratur ke mahkamah yang telah ditetapkan.

Namun keguguran keadilan ini sedang dalam proses penyempurnaan yang cepat. Seorang lelaki akan digantung; yang lain dipenjara seumur hidup; baki defendan masih dalam bahaya kebebasan atau kehidupan mereka, satu atau yang lain mereka pasti akan kehilangan jika beberapa cek tidak diberikan kepada aktiviti pengacara daerah yang paling menakjubkan ini.

Adakah anda akan mengizinkan cadangan dari saya pada masa-masa yang bermasalah ini yang mungkin membenarkan apa yang saya rasa sukar dibenarkan dalam keadaan lain?

Saranannya adalah: Tidak mustahil untuk menangguhkan pelaksanaan hukuman Mooney sehingga dia dapat diadili atas salah satu dakwaan lain terhadapnya, agar dapat memberikan pertimbangan penuh dan pertimbangan terhadap perubahan penting yang saya mengerti ada berlaku dalam keterangan terhadapnya?

Saya menggesa perkara ini dengan sangat hormat tetapi sangat bersungguh-sungguh, kerana kes ini telah mementingkan kepentingan antarabangsa dan saya dengan bebas memberikan cadangan itu kerana saya yakin bahawa anda begitu cemas seperti mana-mana orang yang tidak mempunyai keraguan atau peluang kritikan apa pun. sendiri untuk kes itu.

Saya mohon agar anda percaya bahawa saya hanya digerakkan oleh rasa kewajipan awam dan sedar akan banyak kepentingan dan rumit yang terlibat ketika saya sekali lagi mesti mencadangkan penggantian hukuman mati yang dijatuhkan ke atas Mooney. Saya tidak akan berani lagi untuk menarik perhatian anda terhadap kes ini sekiranya saya tidak mengetahui kepentingan antarabangsa yang melekat padanya.


Sejarah Bermasalah Jim Morrison

Setiap kali perbincangan beralih kepada bintang rock terbaik sepanjang masa, ada kemungkinan seseorang akan menyebut Jim Morrison sebelum ini. Dengan penampilannya yang baik, karisma gelap, suara memikat, dan sifat puitis, frontman Doors adalah penyanyi rock klasik, dan dia pasti memeluk peran tersebut. Sejak hari-hari awalnya sebagai bintang dalam pertunjukan antiknya yang liar dan kematian, waktunya, Jim Morrison tanpa malu-malu menjalani gaya hidup rock 'n' roll hingga akhir.

Malangnya, ini tidak semestinya perkara yang baik. Seperti dulu, "hujung" tidak begitu jauh, kerana Jim Morrison bergabung dengan 27 Club yang terkenal kerana hidup sepenuhnya seperti bintang rock. Walaupun ada sedikit keraguan bahawa "Mr. Mojo Risin '" adalah seorang seniman yang sangat berbakat yang warisannya sebagai legenda rock sangat layak, dia juga menjalani kehidupan yang rumit dan sering tragis yang penuh dengan musibah, yang kebanyakannya adalah miliknya pembuatan sendiri. Apa sebenarnya yang membuat Lizard King berdetak? Rintangan apa yang dilalui oleh hidupnya? Hari ini, kita melihat sejarah Jim Morrison yang bermasalah.


Sejarah Densmore, Crest Family & Coats of Arms

Klan Pictish dari Skotlandia kuno adalah nenek moyang orang pertama yang menggunakan nama Densmore. Ia berasal dari tanah Dundemore di Fife di mana keluarga ini mempunyai sejarah yang panjang dan terkenal sejak Zaman Pertengahan awal. Nama itu secara harfiah bermaksud & quot; bukit yang diperkaya & & quot; dan banyak kubu kuat lama di Scotland disebut. [1]

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Asal Awal keluarga Densmore

Nama keluarga Densmore pertama kali ditemui di Fife, di wilayah Dundemore, berhampiran Lindores. Salah satu catatan pertama nama itu adalah Henry de Dundemore yang menyaksikan piagam pengesahan oleh John, Earl dari Huntigdoun tanah di Kynalchmund ke Biara Arboirath c. 1219 dan kemudian menyaksikan piagam lain oleh earl yang sama memberikan tanah Lundors kepada para bhikkhu Lindores (c.1232-1237.) [2]

Pada tahun 1296, Ragman Rolls menyenaraikan Patrik de Dundemor dan William de Dundemor sebagai pemilik tanah di Fife.

Lebih jauh ke selatan di England, Dinmore adalah kebebasan ekstra-paroki, di ratus Grimsworth di Herefordshire. Di sini, & quot; Dinmore Hill adalah komandan Ksatria St John dari Yerusalem, yang didirikan oleh saudara lelaki perintah itu, pada masa pemerintahan Henry II. & Quot

Harapan di bawah Dinmore terdapat di Herefordshire dan Worcestershire. Awalnya dicatat sebagai Hope in the Domesday Book of 1086 [4], ia menjadi dalam bahasa Latin, Hope sub Dinnemor pada tahun 1291. & quotDinmore mungkin nama Welsh 'din mauer,' yang bermaksud 'benteng besar,' atau sebagai alternatif 'rawa orang yang dipanggil Dynna, 'dari nama peribadi Bahasa Inggeris Lama + & quotmor. & Quot [5]

Dinmore Manor House adalah sebuah rumah luar bandar yang besar sejak tahun 1189 ketika dianggap dibina oleh Knights Templar.


The Doors & # 8217 John Densmore di dalam Buku barunya mengenai Musical Heroes

Dalam kehidupan pasca Doors, pemain drum John Densmore lebih banyak, jika tidak lebih, penulis daripada pemuzik. Pengarang dua buku terlaris, Penunggang Di Ribut dan Pintu Tidak Dibakar , dia mula mengerjakan koleksi terbarunya, The Seekers: Mesyuarat Dengan Pemuzik Luar Biasa (Dan Artis Lain) , beberapa tahun yang lalu.

Diilhamkan oleh buku George Gurdjieff Perjumpaan Dengan Lelaki Luar Biasa , Karya terbaru Densmore & # 8217, yang dikeluarkan pada 17 November, memberi tumpuan kepada mentor dan pemuzik yang dikatakannya & # 8220makan dia & # 8221 selama ini. Setiap bab menyoroti ikon muzik yang berbeza, menenun kisah-kisah hubungannya dengan rakan band Jim Morrison dan Ray Manzarek, bersama Bob Marley, Patti Smith, Lou Reed, Paul Simon, Janis Joplin dan banyak lagi.

Koleksi ini adalah pelajaran sejarah yang menggembirakan bagi para geeks muzik: Densmore sama jujurnya, seperti membincangkan pengalaman yang tidak menyenangkan dengan Van Morrison, dan percakapan, mendokumentasikan tempat berkumpul dengan Willie Nelson.

LUKISAN bercakap dengan Densmore mengenai buku itu, memeriksa semula hubungannya dengan anggota Doors yang lain dan berada di sana berkali-kali untuk sejarah muzik.

LUKISAN: Saya suka anda bermula dengan ibu anda, kemudian guru muzik. Adakah anda menuliskannya secara kronologi atau menyusunnya mengikut fakta, seperti menyusun rekod?
John Densmore: Saya menulisnya secara berasingan dan kemudian menyusunnya. Saya fikir, & # 8220Oh, saya & # 8217 akan bermula dengan ibu saya kerana dia menyokong permainan dram dan piano saya dan mendorong saya. Oleh itu & # 8217 adalah tempat yang baik untuk bermula. & # 8221 Kemudian saya fikir & # 8217 dalam bab Elvin Joes bahawa saya mula bercakap mengenai pemain drum dan orang lain - rentak gendang pertama yang pernah kita dengar adalah di dalam rahim, ibu kita & # 8217 degup jantung. Dan kemudian saya fikir, & # 8220, tentu anda bermula dengan ibu anda kerana anda berasal dari rahimnya [Laughs].”

Adakah anda melihat tema penyatuan dalam artis yang anda pilih?
Saya menulis beberapa bab mengenai beberapa ikon ini yang memberi makan kepada saya. Kemudian saya mula berfikir, & # 8220OK, mari kita cuba membuat kronologi ini. & # 8221 Dan kemudian saya mula menyusunnya bersama-sama. Saya berjuang dengan apa yang menyatukan semua orang ini. Dan saya mendapat cinta suara - seperti pelukis melihat dunia, pemuzik mendengarnya. Itulah sebabnya mereka semua berhubung. Sekiranya anda menonton Bob Marley dan anda menonton Gustavo Dudamel, konduktor [Philharmonic] A.S., mereka & # 82171hubungkan - apa yang anda lihat ialah seluruh badan mereka mengeluarkan bunyi 'kerana mereka begitu hilang dan masuk ke dalamnya.

Bagaimana anda memutuskan artis yang anda sertakan?
Intuisi saya memberitahu saya yang besar, yang paling mempengaruhi saya. Elvin Jones adalah idola saya, dan dia masih memberi makan saya, jadi dia pasti berada di sana. Dan kemudian Ravi Shankar sangat penting bagi saya, dan saya belajar dengannya, jadi dia harus berada di sana. Kemudian sedikit kemudian saya & # 8217m berfikir, & # 8220Tunggu sebentar, Jerry Lee Lewis. & # 8221 Kami sangat berbangga dapat membantu memulakan [kemunculan semula] - melihat kembali rocker & # 821750-an, tidak ada yang melakukannya sebelum ini. Nah, the Stones mendapat lawatan B.B. King - itu sangat keren. Dan sangat awal, mereka mendapat Howlin & # 8217 Wolf di rancangan TV atau sebagainya. Tetapi semasa anda membaca, kami cuba mendapatkan Johnny Cash dan mereka mengatakan bahawa dia adalah penjahat. & # 8220OK, anda hanya menunggu setahun atau lebih. Dia akan menjadi ikon Amerika gergasi, anda brengsek. & # 8221 Saya suka menolong peminat muzik memahami bahawa kita semua berada di bahu generasi pembuat muzik terdahulu.

Ia juga menarik anda memilih untuk memasukkan bab Van Morrison setelah mengalami pengalaman negatif di Hollywood Bowl.
Saya masih, seperti yang saya katakan, dengar & # 8220Into The Mystic & # 8221 dan pergi, & # 8220Tuhanku. & # 8221 Mereka yang berada di biz tahu keperibadiannya. Saya mengatakan apa yang harus saya katakan kerana saya kesal dan saya juga mengagumi bakatnya. Jim boleh menjadi bajingan - itu pasti.

Dan anda membahasnya dalam bab Paul Simon, di mana anda bercakap mengenai Paul mengingati Jim bersikap kasar kepadanya di pertunjukan Forest Hills.
50 tahun kemudian, dan saya tidak percaya bahawa Paul mengingatnya. Ini tersekat dengannya kerana dia berusaha untuk membantu kumpulan muda, mendorong kami untuk melakukannya dengan baik, membuka peluang untuk mereka. Dan untuk melihat penyanyi utama, setelah disingkirkan olehnya, menjadi ikon raksasa ini, saya & # 8217 pasti saya menggaru-garu kepalanya selama 50 tahun itu, & # 8220Wow, apa itu? & # 8221 Dan rasanya jenis penyembuhan untuk membincangkannya. Ini agak berwawasan, kami berdua mengetahui bahawa mungkin [Morrison] gugup seperti Trump, yang menjadi defensif ketika dia gugup dan berganda menjadi bajingan.

Adakah menulis mengenai hubungan ini, seperti Jim dan Ray, memberi anda perspektif baru?
Oh, kawan, saya merindui Ray, muzik lebih dari sebelumnya. Ini benar-benar mengejutkan saya, ya ampun, dia pemain bass dan pemuzik yang memainkan garis-garis yang terukir di dahi kita selama-lamanya kerana mereka & # 8217 sangat melodi dan menarik, [seperti] pengenalan Bach & # 8220Circle Of Fifths & # 8221 di & # 8220Light My Fire. & # 8221 Ray bahkan berkata, & # 8220Kami mengagumi Herbie Hancock, tetapi kami & # 8217 tidak mahir seperti lelaki-lelaki ini. & # 8221 Tetapi mereka memberi makan kepada kami kerana kami mengagumi mereka. Tetapi garis unik Ray & # 8217 yang ditulisnya - itulah & # 8217 an hadiahnya. Jelas tidak akan ada Pintu tanpa Ray.

Saya suka bagaimana anda menjalin anekdot peribadi juga, seperti berbaik dengan Ray.
Nah, perspektifnya seperti apa yang saya lihat malam tadi ketika ucapan You YouTubed the Beatles untuk Rock And Roll Hall Of Fame. George [Harrison] berkata, & # 8220Saya berharap John [Lennon] ada di sini. Saya tahu dia akan berada di sini, dan kami sangat menyayangi John. & # 8221 Tetapi jika anda salah satu dari Fab Four, atau salah satu Pintu yang luar biasa, maka anda & # 8217 telah melalui taufan ini, dan hanya keempat-empat yang menetap dan benar-benar merasakan persahabatan yang tidak dapat dilakukan oleh orang lain. Walaupun dengan semua cobaan dan penderitaan, wow, ada ikatan yang mendalam dan mendalam. Saya telah berkahwin tiga kali, dan saya akan berkahwin lagi, tetapi, hubungan saya dengan Pintu jelas merupakan yang paling lama sepanjang hidup saya, dan paling mendalam. Saya membuat Charlie Rose untuk buku terakhir saya, dan saya masih ingat petikan yang sangat disukainya. Saya mengatakan berada dalam kumpulan rock adalah poligami tanpa hubungan seks. Jadi anda & # 8217 sudah berkahwin.

Adakah sukar bagi anda untuk melihat semula hubungan anda dengan Jim lagi setelah bertahun-tahun?
Sekiranya semua lelaki, kumpulan pastinya kumpulan saudara. Ini saudaramu. Ini persaingan saudara, jadi ketika Jim pertama kali berlalu, saya sedih, tetapi saya memerlukan beberapa tahun untuk sangat berduka kerana saya marah padanya. Saya tidak dapat menerima bahawa kreativiti dan penghancuran diri datang dalam paket yang sama dengannya. Tidak semestinya ada hubungannya dengan artis. Dan sekarang, saya masih akan mendengar beberapa garis yang tidak jelas - malam tadi saya memikirkan & # 8220Land Ho! & # 8221 kerana ada tentera laut dan saya memikirkan Jim dan ayahnya. Dan saya & # 39; masih mengambil barang, dan cinta itu lebih mendalam. Saya mendapat sedikit metafizik dalam buku ini dan mengatakan bahawa saya telah banyak berbual dengan Ray dan Jim sekarang. Baiklah, mengapa tidak? Saya menyukai [George] Harrison mengenai bagaimana dia mempunyai hubungan yang mendalam dengan John - dan jika anda tidak dapat melakukannya, bagaimana anda akan memilikinya dengan Yesus atau sesiapa sahaja yang anda fikir anda akan lihat di Syurga?

Anda menyebut seni dan kemusnahan diri, tetapi kemudian anda bercakap di sini dengan lelaki seperti Willie Nelson dan Paul Simon yang masih berkembang pada tahun 70-an dan 80-an. Bagaimana ia memberi inspirasi kepada anda?
Ya, Paul Simon dan Willie Nelson adalah mentor bagi saya dalam bidang penuaan kerana Jim berusia 27 tahun dan saya & # 8217m 76 dalam sebulan. Di sana terdapat jalan Jim & # 8217, dan di sana terdapat jalan saya, yang kurang merosakkan diri sebagai contoh untuk orang muda, yang saya suka. Tetapi saya juga merasa bosan dengan bagaimana Willie dan Paul melakukannya. Mereka masih sangat kreatif dan bersemangat. Mereka tidak berada di rumah rehat. Itu adalah perubahan sebenar, dan mungkin itulah kunci untuk umur panjang dan semangat mereka: bertunang.

Salah satu perkara menarik yang saya fikir keluar dari buku ini ialah tidak ada jalan yang betul. Anda menyebutkan bahawa anda terkejut ketika Patti Smith berpindah ke bahagian tengah tetapi kemudian menganggapnya gagah. Dan sekarang dia lebih bersemangat dan relevan dari sebelumnya.
Apa mentor bagi saya sebagai penulis. Ya ampun, satu perkara yang dia berikan adalah sumbangan luar biasa ini untuk benar-benar memulakan keseluruhan gerakan punk. Kemudian dia mendapat Anugerah Buku Nasional kerana menulis [ Hanya Kanak-kanak ] - apa-apaan? Wah. Oleh itu, mungkin dia menyalurkan tenaga itu, apa sahaja yang membuatkannya melakukan muzik atau menulis. Atau tenaga yang datang melalui Willie atau Paul Simon, dia hanya menyalurkannya. Dan dia hampir boleh melakukan apa sahaja jika anda mengetuknya tanpa ego.

Semasa pertama kali melihat Bob Marley, adakah anda tahu bahawa dia adalah orang istimewa itu?
Ya, saya benar-benar diberkati pada yang satu itu. Ketika saya melihat mereka mendapat bayaran kedua untuk Cheech & Chong di Roxy - oh, tuhan. Itu adalah kejutan budaya. Saya baru tahu, "Ini akan datang." Saya dan Robby berada di Jamaica sebelum ini. Saya sangat diberkati untuk berada di bahagian depan semua perkara ini, seperti reggae dan Marley. Saya berjumpa dengan Gustavo Dudamel ketika dia & # 39; tetamu sedang melakukan dan mengetahui sesuatu & # 8217 akan datang. Saya berjumpa dengan Jim dan tahu dia berbakat dengan sesuatu. Anda lihat Chasing Trane: Dokumentari John Coltrane ? Saya & # 8217m di sana, dan saya rasa: Saya & # 8217m seorang remaja, dan saya tidak tahu bahawa Coltrane akan menjadi ikon raksasa, tetapi saya tahu ada sesuatu di sini. Saya tersandung dalam masa inkubasi semua perkara ini, Coltrane dan reggae dan muzik klasik di L.A. Phil. Saya & # 8217m sangat bertuah kerana dapat merasakan tempoh inkubasi semua gerakan muzik yang kuat ini.

Adakah keberuntungan atau terbuka kepada mereka?
Terbuka dan berminat - dan mungkin ini terdengar sedikit [egois] tetapi [mempunyai] intuitif. Saya mempercayai intuisi saya, dan saya mempunyai rasa intuitif yang cukup baik untuk menghidu pergerakan kreatif.

Tetapi anda juga jujur ​​tentang sebaliknya, seperti mengakui bahawa anda tidak mendapat Lou Reed pada mulanya.
Ya, betul - walaupun Patti yang saya tidak dapat pada mulanya. Terdapat banyak jalan ke tembok Yerusalem & # 8217s. Itu & # 8217 daripada puisi.

Adakah buku ini lebih mudah dibuat kerana masalah pokoknya?
Oh, itu adalah kaedah yang sangat baik dan baik untuk menyelesaikannya. Dua buku pertama yang saya tulis ditulis dalam darah. Yang ini ditulis cinta. Hujung topi yang penuh kasih sayang.


Pintu & # 8217 John Densmore pada Masa Van Morrison Meninggalkannya di Panggung

Pada malam The Doors dipecat dari pertunjukan kelab pertama kami, Ronnie Harran, penempah Whisky a Go Go yang terkenal, melihat kami dan menawarkan slot "house band" di jalan. London Fog Club telah membuang kami bukan kerana Jim berada dalam kabut pada malam itu (yang kadang-kadang dia), tetapi kerana pergaduhan meletus dan mereka menyalahkan kumpulan itu. Nasib baik, Ronnie mempunyai telinga yang baik dan tahu kami menuju ke suatu tempat. Dia juga pergi dengan penyanyi utama yang tampan ke boudoirnya, tetapi itu cerita lain.

Set pertama di Whiskey adalah pada pukul 9 malam, ketika tidak ada yang berada di kelab. Headliner datang seterusnya, kemudian kami melakukan set kedua kami, dan akhirnya headliner ditutup malam.

Kami agak gementar pada beberapa minggu pertama. Hasilnya adalah tinjauan mengerikan dari Pete Johnson dari LA Times. Ia sangat mengerikan sehingga, seperti yang saya katakan kepada kumpulan lain, mungkin ia adalah PR negatif yang baik, kerana itu membuat kita terdengar seperti sesuatu yang menarik untuk dilihat. Setelah kaki kami basah, kami melonjak dengan penuh semangat dan cuba melancarkan panggung masing-masing aksi terkenal yang mempunyai penagihan besar. The Rascals, Paul Butterfield, The Turtles, The Seeds, Frank Zappa and the Mother of Invention, The Animals, The Beau Brummels, Buffalo Springfield, Captain Beefheart — semuanya harus berurusan dengan kami. Maksud saya, tentu saja kita menyayangi dan mengagumi semua pemuzik kreatif ini, tetapi kita juga merupakan kekuatan yang harus diperhitungkan dengan diri kita sendiri.

Kami mula mengembangkan yang berikut, orang-orang aneh yang gemar menari bentuk bebas dan akan muncul untuk set pertama kami setiap malam. Pemilik promosi besar Elmer Valentine dengan bijak menurunkan sangkar tarian go-go, merasakan pergerakan baru "hippies". Itu adalah kawasan kita sekarang. Setelah kami menyelesaikan beberapa lagu kami, bukannya tepuk tangan, keheningan memenuhi ruangan.

Kebanyakan orang takut berdiam diri. Kami tidak. Ahli astrofizik [Neil deGrasse] Tyson mengatakan bahawa "jirim gelap" - ruang di antara bintang dan planet - sama pentingnya dengan jirim, dan mungkin lebih penting lagi. Demikian juga, ruang yang dimainkan oleh pemuzik di antara nota yang memberi unsur muzik kepada manusia. Ketika mesin drum pertama kali ditemukan bertahun-tahun yang lalu, mereka mempunyai butang "manusia", yang, ketika ditekan, mempercepat atau memperlambat mesin. Saya rasa kesalahan manusia adalah perkara baik, atau sekurang-kurangnya sesuatu yang menimbulkan rasa belas kasihan. Jadi sesuatu yang menakutkan, tetapi sangat menarik bagi manusia, berada di ruang "benda gelap" di mana suara ditelan oleh keheningan. Kekosongan lengkap. Kekosongan. Sukar untuk beberapa tindakan untuk mengikuti kami kerana getaran tidak menyenangkan yang kami tinggalkan di udara.

Kami mendengar bahawa Elmer menempah lagu Mereka, kumpulan Ireland yang penyanyi utamanya, Van Morrison, telah menulis "Gloria" dan "Mystic Eyes" dan dengan begitu mengadaptasi "Baby, Please Don’t Go" yang sesuai dengan suara dan bandnya. Kami kagum. Ketika tarikh semakin hampir, keputusan untuk mengeluarkan versi "Gloria" dari set kami kelihatan bijak. Kami fikir pengambilan lagu kami cukup bagus, tetapi tidak keren untuk menginjak jari pencipta.

Pada malam pembukaan untuk "budak lelaki dari Belfast," The Doors bermula dengan set pertama yang gugup. Semasa rehat, saya meletakkan diri saya di tempat biasa di tangga ke balkoni atas. Buku pertama saya, Penunggang di Ribut, menetapkan nada:

Mereka dengan kejam mengambil pentas. Mereka membantah beberapa lagu satu demi satu, menjadikannya tidak dapat dibezakan. Van kelihatan mabuk dan tegang, menghempas mike yang berdiri di atas pentas. Tetapi ketika dia menjatuhkan rahang dan lidah bawahnya dan mengeluarkan salah satu teriakan kemarahan itu, sesuatu yang membuat Irlandia dalam diriku membuat kulitku merangkak dengan lebam angsa. Kemarahan kuno.

Saya bingung dengan penyanyi ini yang mempunyai banyak bakat sambil sedar diri. Ronnie mengantar saya, Van, dan beberapa orang lain ke pesta kecil di apartmennya pada pukul 2 pagi. Sebilangan besar dari kita membuat perbincangan kecil, sementara Van melotot di sudut. Kemudian secara tiba-tiba dia meraih gitar Ronnie dan melantunkan vokal, menyanyi kerana menjadi orang asing di dunia ini dan ingin bereinkarnasi ke masa lain dengan wajah yang lain. Pada akhirnya, lirik ini akan berakhir pada transendental Minggu Astral album. Penunggang memberitahu apa yang berlaku seterusnya:

Seolah-olah Van tidak dapat berkomunikasi di tingkat pesta percakapan kecil, jadi dia hanya mendengar lagu-lagunya. Kami terpesona. Tampaknya tidak pantas untuk memujinya, kerana muziknya berasal dari tempat yang begitu dalam. Oleh itu, apabila dia selesai, diam selama satu minit atau lebih. Kesunyian yang suci.

Saya agak menyedari ketenangan di antara bunyi sejak tahun enam puluhan. Pada masa itu, saya tidak mengetahui betapa pentingnya keheningan dan suara dalam muzik. Saya hanya memahaminya secara intuitif. Sebaik sahaja kami mula mengenali pemain Ireland pada minggu ajaib itu, The Doors memasukkan kembali "Gloria" ke dalam senarai set kami. Malam terakhir sebelum Van dan anak buahnya kembali ke Old Sod kami semua bermain "Gloria" bersama-sama. Dua pemain drum, dua papan kekunci, dua semuanya. Malah dua Morrisons. Setelah kira-kira dua puluh minit, kami semua meletakkan "Gloria" di tempat tidur setelah malam yang mulia.

Van terus menulis banyak lagu penting. "Brown Eyed Girl," Crazy Love, "dan" Moondance, "untuk beberapa nama. Dengan "Into the Mystic," dia tampak menunjuk ke arah yang lebih spiritual, yang memuncak dengan hipnotis Minggu Astral. Menggunakan pemuzik jazz dan tidak berlatih sebelumnya, Minggu Astral adalah aliran kesedaran impresionistik. Ini tetap menjadi kegemaran ramai hingga hari ini, walaupun pada kenyataannya ia gagal mencapai kejayaan penjualan arus perdana yang signifikan selama beberapa dekad. Setelah tiga puluh tiga tahun, akhirnya berjaya mencapai emas pada tahun 2001. Saya selalu mengatakannya Minggu Astral adalah salah satu album kegemaran saya sepanjang masa, dan sentimen itu nampaknya banyak dikongsi, memandangkan berapa banyak senarai "Album Terhebat Sepanjang Masa" yang menyertakannya.

Pada 6 November 2008, saya mendapat panggilan telefon dari "Van's people", yang bertanya sama ada saya mahu bermain "Gloria" dengan dia dan kumpulannya di Hollywood Bowl. "The Man" akan mempersembahkan beberapa masa lamanya hingga sebentar, kemudian album yang cemerlang Minggu Astral pada separuh masa kedua. Neraka ya! Lagipun, saya sudah bermain "Gloria" dengan dia, kumpulannya, dan kumpulan saya di Whisky pada tahun 1966.

Saya pergi ke latihan petang untuk "Gloria" di Bowl. Terdapat kira-kira lima belas pemuzik di atas pentas, yang merupakan kumpulan yang luar biasa besar. Saya menduga bahawa, untuk babak kedua, Van memerlukan pemain tambahan, rentetan dan seumpamanya, untuk meniru bunyi Minggu Astral. Bobby Ruggiero melambaikan tangannya untuk aku duduk di bangku drumnya. Saya melakukannya, kemudian melihat ribuan tempat duduk kosong. Setelah bermain di venue ini dua kali, saya selesa duduk di atas drum riser dan teruja dengan malam yang menjelang. Saya menguji setiap drum. Rasanya mudah, yang melegakan. Dengan set drum, sudut berbeza untuk setiap pemain, dan bermain di kit anda sendiri terasa seperti memakai sarung tangan yang selesa.

Van tidak kelihatan, tetapi mereka mahu berlatih. Kami melompat ke lagu itu, dan penyanyi sandaran menyanyikan bahagian utama Van. Itu adalah alur menendang kumpulan besar ini dengan nada yang sangat saya kenal. Saya melemparkan penjilat tanda tangan saya sendiri, dan para pemuzik berpusing, mengakui saya dengan senyum lebar.

Kemudian mereka berhenti dan berkata, "Kami mungkin melakukan bahagian Bo Diddley di tengah."

"Baiklah," jawab saya. "Saya harus tahu itu lebih awal."

Saya dapat merasakan jeda yang sangat hamil, dan kemudian ketegangan meningkat di kalangan pemain. Tidak ada yang bangun untuk bertanya kepada Van mengenai pengaturannya. Itu janggal, kerana jika saya tidak tahu bagaimana mereka akan memainkan bahagian itu, saya boleh membuatnya dan itu akan memalukan semua pihak. Saya pernah mendengar cerita seram mengenai Van, seperti ketika dia menjerit salah satu jalannya kerana membawakannya vintaj anggur yang salah, tetapi saya mempunyai sejarah panjang dengan lelaki itu, jadi saya tidak akan membiarkannya menghalang saya.

"Baiklah! Saya akan bertanya kepadanya! " Saya berkata bangun dari najis dram. Para pemuzik memandang saya dengan kehairanan ketika saya menuju ke bilik persalinan. Mereka seolah-olah takut dengan vokalis utama mereka.

Saya meletakkan telinga ke salah satu pintu bilik persalinan dan dapat mendengar Van di telefon. Saya rogol. Dia tidak bertindak balas. Saya mengetuk lebih kuat. Tidak ada. Kemudian saya terhantuk keras, dan akhirnya dia bertindak balas. "Ya, apa?"

“Van, it’s John Densmore. Are you going to do the Bo Diddley section in the middle of ‘Gloria?’”

“Whatever you want” was his response, as he went back to his conversation.

We finished rehearsing, and I went home. When I came back in the evening with my girlfriend Ildiko, we went backstage, since Van had already started. His manager told me the plan was for “Gloria” to be the encore just before intermission. I would walk out with Van, he would introduce me, and then we’d play the song. Easy enough.

We walked out together on that magnificent stage under the shell at the Hollywood Bowl, but I could tell that Van couldn’t take in the applause he was getting. Something was torturing him. Then he began to torture me, though not on purpose, I think.

Ildiko and I listened to several songs from the side of the stage. They sounded good, although up close, it was clear that Van wasn’t relaxed. Something inside him seemed to be always on pins and needles.

They finished the last song, and Van the Man exited stage right. Later, Ildiko would say that she could feel Van’s nervous energy. I stood beside him as we waited for our cue. He asked about Ray and Robby, which was sweet. I was reminded of that time a few months after he finished the Whisky gig years ago when I saw him in town and he asked, “How’s Jim doing?” Two Morrisons caring about each other.

We walked out together on that magnificent stage under the shell at the Hollywood Bowl, but I could tell that Van couldn’t take in the applause he was getting. Something was torturing him. Then he began to torture me, though not on purpose, I think. In his preoccupied state of mind, he forgot to introduce me. The band was waiting for their cue to start the song, and it didn’t come. The awkward silence needed to be broken, so the guitar player started the opening chords to “Gloria.” After a few bars, the rest of the band had to kick in, so they did.

Leaving me standing there in front of ten thousand people, wondering what to do. Walking off would have been weird. I spotted a tambourine under the backup singers’ riser, so I walked over, picked it up, and started playing it as if that had been part of the plan. Needless to say, I was not happy. At that moment, I didn’t give a shit about how talented Van was. This was humiliating.

No one in the audience knew that anything was wrong, but yours truly felt tremendously awkward as I worked my way over to Bobby, the drummer. We were trying to figure out how to switch—him jumping up and grabbing the tambourine, me grabbing his sticks and sitting down without missing a beat. It couldn’t be done. If we tried it, the beat would definitely drop for a few bars, and Van the Man would have definitely been pulled out of his “flow.” He would have turned around with a big frown on his face, even though he himself had caused the problem. So I just continued to play the tambourine with a fake smile.

At the finish, we all headed for the wings, with the roaring crowd fading as we exited. Van seemed to disappear. His manager came up to me expounding major apologies. No one would dare try to go look for “The Man” to get his take, let alone an apology.

Ildiko gave me a big hug when I met her at our box seats for the second half. Only she and the Doors’ manager, Jeff Jampol, knew what I had been through. After a few songs from one of my favorite albums of all time, Astral Weeks, we left. The performance wasn’t bad, but the vibe, which only Jeff, me, and our two girlfriends knew about, had taken the wind out of our Van Morrison sails.

Since then, I’ve reduced the capital letter “M” to lowercase “m” when I write about him: Van the man. Also, this book is subtitled Meetings with Remarkable Musicianstidak Pertemuan dengan Lelaki Luar Biasa, for a reason. Van blew it. I was going to pay him a compliment in front of ten thousand people, but he didn’t remember to introduce me, so he didn’t get that compliment. I was going to say, “It’s a great honor to be playing with a Morrison again.”

It took me a year or so to get over what had happened because, when someone you know behaves badly, it can cloud your appreciation of their work. Anytime one of Van’s songs came on the radio, I had to change the station. Later, admiration for his gifts crept back into my psyche. “Into the Mystic” won me over again. I just can’t resist the spiritually brilliant music The Man has produced.

When Van Morrison sings, “We were born before the wind, / Also younger than the sun,” he is talking about “the flow.” Even with all his phobias, he usually taps into the jet stream of sound circling the planet. Van has described that feeling in interviews: “It’s just plugging in and going with the flow and then sourcing that energy.”

Jay-Z speaks of getting into “the flow” while rapping. It’s the rapper’s choice whether to go fast with an amazing cadence, like Eminem, or wonderfully slow, like Snoop Dogg. It’s how the rap sits on top of the beats, just as it’s a drummer’s choice whether to push the feel or to lay back. Singers make choices through their phrasing, deciding when to start a line and how long to drag it out.

Van, who obviously listened to early R&B, is impeccable when he’s into his flow. Randy Lewis, the esteemed music critic for the LA Times, hit the nail on the head: “Van Morrison strives to reach a special space through music, an ethereal place perhaps best summarized in the title of his 1970 song ‘Into the Mystic.’ ‘Just like way back in the days of old, [and] magnificently we will float into the mystic.’”

Dipetik dari The Seekers: Meetings With Remarkable Musicians (and Other Artists) copyright © 2020 by John Densmore, reprinted with permission of Hachette Books, an imprint of Hachette Book Group, Inc.


The Doors influential drummer John Densmore turns 76 today

John Densmore is one of Rock’s most unique drummers, he has developed a personal technique in which he blends among other styles Jazz, Tribal beats and Rock. With The Doors he became famous and scored several hits during the late 1960’s. We look back at his life and career

Early Life and The Doors

John was born John Paul Densmore on December 1st, 1944 in Los Angeles, California, he learned music from an early age, starting by the piano and later took up drums/percussion for the marching band at his school. He also played timpani in orchestra. Densmore also studied ethnic music under jazz cellist Fred Katz which proved to be a very big influence on his work as a professional musician that lasts to this day. In the mid-1960’s he joined guitarist Robby Krieger in a band called The Psychedelic Rangers shortly thereafter he began rehearsals with keyboardist Ray Manzarek, Manzarek’s two brothers and Jim Morrison in the group Rick & the Ravens. On the brothers’ departure from the band, Densmore recommended Krieger join them, thus forming The Doors in 1965, with Densmore on drums, Jim Morrison on vocals, Ray Manzarek on the keyboards and bass and Robby Krieger on guitar. The band played intensevely on the Sunset Strip circuit in Los Angeles for almost two years. In late 1966, after several rejections from record labels due to their odd sound which was interpreted as lack of commercial potential, they were signed to Elektra by Jac Holtzman, the label’s founder that wasn’t afraid to take chances on new bands with unusual music. Their first album “The Doors” was released in January 1967, along with their debut single “Break On Through (To The Other Side)” which made it only as a local Los Angeles hit. Shortly after, on July 1967, The Doors reached No.1 on the Hot 100 with their Jazz-Rock fusion song “Light My Fire”. The band quickly become worldwide famous with songs such as “People Are Strange”, “Love Me Two Times”, “Hello, I Love You”, “Touch Me” and “Roadhouse Blues” among many others. However, despite the success, Jim Morrison’s wild life style that involved consuming large amounts of drugs and alcohol as well as his on stage antics that made him being arrested on stage in December 1967, and the infamous 1969 Miami concert, where a out of control Morrison shout profanities to the audience and reportedly exposed himself, pushed The Doors successful career to a fast end. John Densmore temporally quit the band in 1968 during the recording sessions of their third album “Waiting For The Sun” due to Morrison’s increasingly self-destructive behavior, although Densmore returned the next day. Densmore repeatedly suggested that the band stop touring, but Krieger and Manzarek were resistant to this notion. After the Doors’ disastrous performance with a gibberish-spouting Morrison in New Orleans on December 12, 1970, the band agreed to stop performing live, and the New Orleans concert would be the band’s last public appearance as a quartet. Morrison died in 1971, though the surviving trio recorded two more albums of songs “Other Voices” in 1971 and “Full Circle” in 1972, the band dissolved in 1973. They would get together again as a band to record music for the posthumous Jim Morrison album and poetry project “An American Prayer” where they played for the late singer’s isolated vocals in 1978.

Solo Career

Densmore formed a band with fellow ex-Doors Robby Krieger in 1973 called Butts Band. The band released two albums with two different lineups but disbanded in 1975. Densmore left rock and roll in the 1980s, moving to the world of dance as he performed with Bess Snyder and Co., touring the United States for two years. During most of the 1980’s he pursued an acting career, one of his film credits includes playing the role of a recording studio engineer on the 1991 Oliver Stone biopic “The Doors” based on the band’s career. Densmore wrote his best-selling autobiography, Riders on the Storm (1990), about his life and the time he spent with Morrison and the Doors. In the first chapter Densmore describes the solemn day on which he and the band finally visited Morrison’s grave around three years after Morrison’s death. After Jim Morrison’s death, Densmore, Manzarek and Krieger, allowed “Riders on the Storm” to be used to sell Pirelli Tyres, but in the United Kingdom only. Densmore later stated that he “heard Jim’s voice” in his ears and ended up donating his share of the money earned to charity. In 2003, Densmore vetoed an offer by Cadillac of $15 million for “Break on Through (To the Other Side)” citing Morrison’s historic and vehement opposition to licensing the Doors’ music, notably their best-selling single “Light My Fire” for a Buick television commercial,as well as Densmore’s own development of strong personal views on the subject. In a subsequent court trial against his former bandmates Ray Manzarek and Robby Krieger for the non-authorized use of The Doors name (Manzarek and Krieger rehashed The Doors by putting up together a successful tour being the only two original band members of the band and named themselves The Doors Of The 21st Century), in which Densmore was joined by the Morrison estate, opposing lawyers attempted to portray Densmore as an eco-terrorist. Notable musicians who testified in support of Densmore included Bonnie Raitt, Randy Newman, Neil Young, Tom Petty, Eddie Vedder and Tom Waits. In 2013 Densmore released “The Doors Unhinged”, a book covering his lengthy but victorious legal battle with Krieger and Manzarek and Densmore’s veto of the Cadillac commercial offer and recently he released another book, “The Seekers: Meetings With Remarkable Musicians (and Other Artists)”. Densmore is politically outspoken and in 2015, he backed the U.S. presidential run of Bernie Sanders. Densmore remains a very active artist in many fields including the already mentioned music, writing, acting but also on movie making and performing arts. John Densmore was inducted into the Rock and Roll Hall of Fame as a member of The Doors in 1993, today he turns 76.

Watch John Densmore talking about his drumming technique and studio recording

Watch Densmore drumming with The Doors, “When The Music’s Over”, Live at The Hollywood Bowl,
1968


The Doors defined California cool in the ’60s. How does their legacy stack up 50 years later?

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The Doors — from left, singer Jim Morrison, drummer John Densmore, keyboardist Ray Manzarek and lead guitarist Robby Krieger — pose for a publicity photo in the 1960s. Fifty years ago, the band released its self-titled debut album. (Elektra Records)

LOS ANGELES — The door to the Doors is numbered 420. A quirk of circumstance that feels comically ordained.

Technically, this is the entrance to the Doors Music Co., the licensed legal corporation in a fourth-floor suite of a flavorless glass rectangle in West Hollywood. Should you take 2,000 steps east, you’ll find yourself at the world-famous Whisky a Go Go, the nightclub at which the Doors reigned a half-century ago as they became the sinistral emissaries of sex and death at the center of the Summer of Love.

This air-conditioned shrine is consecrated with artifacts of the past and faint reminders of its perpendicular intersections with the present. Platinum and gold plaques occupy almost every square inch of available wall space. Portrait photos depict the Doors at their Aquarian zenith, shaggy and seditious, without time to wallow in the mire. Jim Morrison, now dead 46 years, leers, taunts and preens from every angle.

In the conference room, Robby Krieger remains very much alive. For much of the past year, the lead guitarist has busied himself with the promotional cycle surrounding the self-proclaimed “Year of the Doors,” commemorating the semicentennial of the quartet’s self-titled debut and follow-up “Strange Days,” released a mere nine months apart in 1967. Festivities included Los Angeles proclaiming a “Day of the Doors,” Krieger throwing out the first pitch at Dodgers Stadium, and the remastered vinyl reissues and re-packagings that have become pro forma around the anniversaries of iconic boomer bands.

It’s been 50 years since the first song Krieger ever wrote, “Light My Fire,” topped the Billboard charts, but he still quietly mourns the loss of Morrison, who was interred at Paris’s Pére Lachaise cemetery a short four years after the band’s career took off.

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Ray Manzarek, right, and Robby Krieger light candles at Jim Morrison’s gravesite at Paris’s Pére Lachaise cemetery in 2011. (Jacques Brinon/AP)

“It’s pretty tough to get away from it because pretty much every day something reminds you of him,” Krieger says, underscoring the sepulchral reality that has shrouded Morrison since 1971.

Krieger, a native of Southern California whose earliest guitar playing was steeped in flamenco, was the band’s youngest member and just 25 when Morrison died. Now 71, grandfatherly and silver-haired, he’s dedicated almost his entire adult life to burnishing the legacy of his youth and attempting to transcend it. He tried first with a pair of Doors albums, without Morrison, before the band finally split up. In the intervening decades, Krieger has released half a dozen records of jazz-rock fusion, several of which included contributions from Doors keyboardist Ray Manzarek, who died in 2013, and drummer John Densmore. He still writes most nights.

“It’s my dream to write a hit instrumental song that people will always remember,” he says.

Adopting a “one for all, all for one” mantra, the Doors split equal songwriting credit among the four members. But when Jim Morrison is your lead singer, it’s inevitable that less oxygen exists for the other members. Few know that Krieger wrote three of the band’s highest-charting singles (“Love Her Madly,” “Touch Me,” “Light My Fire”).

Even though it’s a story he’s retold thousands of times, there’s a certain simplistic thrill to hear Krieger explain the spark behind the band’s biggest hit, inauspiciously composed late one night on the piano bench at his parents’ house, where he lived until the band’s career became the grist for an Oliver Stone biopic.

“I asked Jim what should I write about and he said, ‘Write about something universal,’ so I decided to write about earth, air, fire or water,” Krieger says.

“I picked fire because I liked that song by the Stones, ‘Play With Fire,’” he says. “The words just came to me. I’d never heard anyone say those three words together before.”

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The Doors in 1967. (Bobby Klein/Doors Property, LLC/Rhino Entertainment)

Krieger was just 20 when he wrote the song that has endured for half a century. This idea of youth is central to the mythology and perpetual vitality of the Doors, a group that sold you on the supernatural dream that permanent enlightenment was a short trip away, in any direction that deranged the senses.

Every generation of eighth-graders is seduced anew by the Doors’ autonomic rebelliousness, grandiosity and epic sweep that encompassed French Symbolist poetry, Bavarian beer-hall stomp, Athenian drama, alluvial Southern blues, Iberian guitar and the occasional indecent exposure charge. Merely reciting a list of those influences induces eye rolls from skeptics, flashbacks to acne and regrettable haircuts, insufferable teenage poetry and bootleg T-shirts hawked on the Venice Beach Boardwalk.

For many, the Doors remind us of our worst selves. One pretentious boor in a dorm room convinced that he’s the reincarnation of Jim Morrison can ruin the band forever. And they aren’t wholly absolved from inspiring thousands of would-be mystics who returned from Burning Man “pretty sure” that they’re shamans. In the parlance of our times, they seem basic. When the influential website Pitchfork ranked the 200 best albums of the 1960s, “The Doors” was the lone entrant and it barely cracked the top 100.

Among their canonized peers, the Grateful Dead’s long, strange trip ended with the countercultural kings slowly being submerged into the corporate infrastructure they once existed in opposition to the Velvet Underground turned obscurity in the ’60s into post-breakup notoriety as ground zero for the sneering rise of punk and alternative rock and Jimi Hendrix remained frozen in tie-dye as a psychedelic sage, whose guitar is less easily ridiculed than some of Morrison’s more overwrought lyrics.

But this critical revisionism doesn’t square with the band’s sustained influence. Any artist in thrall to Iggy Pop, Ian Curtis of Joy Division, Nick Cave or Patti Smith owes at least a secondhand debt to the Doors. Lana Del Rey name-checked Jim Morrison on “Gods and Monsters” and once covered “Roadhouse Blues.” Marilyn Manson has repeatedly declared the band’s formative and continued impact upon him.

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Cover art for The Doors' 1967 eponymous debut. (Rhino Entertainment)

“The Doors were what made me want to become a rock star,” Manson says. “If you separate all the ingredients, the vocals and the guitars and the rhythm, it wouldn’t make sense. But together, there’s magic in those songs.”

Morrison’s patrilineal heritage directly extends from Manson to Lil Uzi Vert, a rapper whose emergence this past year has partially redefined the rock-star archetype for a new generation.

The Doors’ reputation in rock circles may have declined over the years, but it’s in rap where you can see the Doors’ modern influence most dramatically. Kanye West famously sampled “Five to One” for Jay-Z’s “Takeover.” The unhinged showmanship and ­codeine-fueled rampage of Lil Wayne’s historic 2005-2008 streak reminded many of Morrison. (During his stint on Rikers Island, Weezy read a Doors biography.)

In Los Angeles, where 2Pac still exists as gangsta rap’s patron deity, Morrison levitates just above him in the civic hagiography. The parallels are unmistakable, from the Christ-like poses and books of poetry to the attacks from authorities and preponderance of leather. Snoop Dogg covered “Riders on the Storm.” Members of the Pharcyde selected their group name after an afternoon eating mushrooms and watching Stone’s “The Doors.”

“I got introduced to the Doors by a documentary,” says South Central’s G Perico, one of Los Angeles’s best and fastest-rising new gangsta rappers. “I immediately became a fan of how real Jim Morrison was. Even though he was long gone, I was still drawn to his energy.”

It’s unquantifiable and orphic energy, one best experienced through vibe than a clinical deconstruction of the band’s (impressive) discography. The Doors induce chimerical feelings of ominous sunshine, primordial serpents and peculiar creatures communing in Laurel Canyon. At their best, they conjure moods that language can’t label — the interstitial half-remembered transmissions of an acid trip, the deja vu when the bloodshed of the past interferes with the dystopian frequencies of the present.

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Grateful Dead drummer Mickey Hart, left, Remo Belli, founder and chief executive of Remo Inc., center, and John Densmore, the drummer of the the Doors, take part in a giant drum circle in 2012. (Damian Dovarganes/AP)

“The ’60s was only two years: ’65 to ’67. Itulah sahaja. That was the pure across-the-board renaissance of music, art and film before it got co-opted, the assassinations started and Vietnam polarized everything,” John Densmore says.

If you’re searching for the subversive streak that defined the Doors, Densmore is where the journey ends. At 72, he’s retained a seeker’s curiosity, the poetic spirit that set them apart and the atavistic energy found in most great drummers.

“A lot of the time, I sit around depressed about the current situation with a few maniacs running the world and then I think, ‘How . . . did I ever get through seeing a little girl napalmed on television every night?’ ” he says.

“It was just horrific, but our [generation’s] protests helped stop the war, and if we got through that, we can get through Trump. So I try to look at him as the catalyst coalescing everyone who’s been semi-asleep — and that assuages my depression.”

It’s a summer morning at the tribal-art-decorated house in the Pacific Palisades where Densmore lives with his son and a big, white, affable dog named Conch. He wears athletic shorts and a loose black T-shirt. His hair and goatee are entirely gray, but a studded earring exaggerates an ageless trickster glint in his eyes. There is no drum circle he couldn’t lead.

Doors lore often wrongly stereotypes Densmore as needlessly contentious. In Stone’s mystic caricature, Densmore (played by future “Entourage” star Kevin Dillon) furiously storms out due to Morrison’s sodden outlandishness. In 2003, when Cadillac offered $15 million to license “Break on Through (To the Other Side),” Densmore vetoed the commercial. When Manzarek, Krieger, Ian Astbury of the Cult and Police drummer Stewart Copeland formed the Doors of the 21st Century, Densmore successfully sued to keep them from using the band’s name.

In the ensuing trial, Densmore claimed that Manzarek and Krieger’s legal team depicted him as an eco-terrorist (he once was arrested alongside Bonnie Raitt for protesting corporate clearing of ancient rain forests). Raitt, Neil Young, Eddie Vedder, Tom Petty, Tom Waits and Randy Newman all supported Densmore during the case. But despite this once-seismic rift, Densmore and Krieger, the lone survivors, briefly reunited to play “L.A. Woman” at the Day of the Doors celebration.

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Cover art for The Doors' 1971 album "L.A. Woman." (Rhino Entertainment)

“It’s because of the music. We created something together bigger than us,” Densmore says. “The muse comes in, and it’s not yours, and that’s huge. So our differ­ences can go aside. As time goes on, it’s easier.”

In conversation, Densmore radiates a creative integrity that frequently feels endangered. Royalties have made him a multi­millionaire, but he has also turned down more than most of us will make in this lifetime. There’s an engagement and curiosity about the present that feels more palpable than with most of his peers. If the fire still burns, it’s partially because he hasn’t lost the ability to stay outraged.

“In different stages of life, you do start to see [things] you didn’t see before. What makes me so crazy is we’re [hurting] the youth,” Densmore says. “Can’t we not only financially but emotionally invest in the youth? That’s what an elder is supposed to do. My friend Michael Mead, the mythologist, said, ‘Everybody gets older, but not everybody gets elder.’ That’s it, which means look around, help the youth, show gratitude, don’t just be an old prick.”

Accordingly, he’s devoted himself to political action, philanthropy and the arts. Since distancing himself from the rock world in the 1980s, he’s performed with a touring dancing company, acted in plays and television shows, and written several books. He recently completed the book “Meetings With Remarkable Musicians,” which chronicles his interactions with Ravi Shankar, Patti Smith, Gustavo Dudamel and Elvin Jones. As he breaks down the concept and chapters, his excitement builds, his syllables accelerate you catch that alchemical symphony that buoyed those immemorial songs. And maybe that’s all there is. Maybe the simple answer is that you just need to stay true and keep searching.

“I’m still looking for the music in between the sentences,” Densmore says, taking a quick quarter note rest, perfectly paced. “Same as you.”

This article has been updated to note the musicians who supported Densmore at the the Doors of the 21st Century trial were not, in fact, present for the proceedings.


Doors’ Densmore remembers Jim Morrison and band’s heated feud ahead of his book signing in Boulder

Berkongsi ini:

It’s 1968, one of the most pivotal years for America in the 21st century. The Vietnam war is reaching its bloody crescendo and a hard-fought presidential campaign is underway.

Jim Morrison, legendary singer and poet of the Los Angeles rock band, the Doors, is out of town when his three bandmates, drummer John Densmore, guitarist Robbie Krieger and keyboardist Ray Manzarek, agree to a tentative deal allowing the use of their number-one-hit song, “Light My Fire,” in a television commercial for Buick cars.

This, despite band members’ unusual decision to share equal songwriting credit and make all decisions by consensus. This, despite the fact that the members had previously agreed that allowing their music to be used to sell a product, any product, would be akin to making a deal with the devil.

When Morrison, the personification of the Doors’ jazz-influenced, psychedelic, catchy and often political rock, found out, he was outraged. He accused his bandmates, who first jammed together in a garage in the Venice neighborhood of Los Angeles, of selling out and threatened to smash a Buick, live onstage, in protest.

Ashamed, the three agreed to uphold their famous “all for one, one for all” partnership, and abandoned the Buick deal. (The band did allow their 1971 hit, “Riders on the Storm,” to be used in a British commercial for Parelli tires, the only time they did so, but donated the money they received to charity.)

“Jim did not primarily write ‘Light My Fire.’ He only wrote a line or two,” said Densmore, now 74. “He said ‘f-you’ to the rest of us, because we were considering ‘Come on Buick, Light my Fire.’ What does that say? That he cared about the whole catalog, all our songs, what we all represented.”

Fast forward three decades. Morrison is long gone, having died in Paris in 1971. Krieger and Manzarek are eager to sign a $15 million deal with Cadillac to use “Break on Through” in a commercial.

But this time, it’s Densmore who says no. He also balks at Krieger and Manzarek touring with Police drummer Stewart Copeland and Cult singer Ian Astbury as “The Doors of the 21st Century” (the last four words in decidedly small print) and using Morrison’s image to promote shows.

John Densmore. (Scott Mitchell Photography / Courtesy photo)

“That’s when,” Densmore said, “I made the very difficult decision to sue my bandmates for running off with the name. My premise was, the Doors without Jim is ludicrous, just as ludicrous as The Police without Sting, the Stones without Mick.”

Krieger and Manzarek countersued, and “all for one, one for all” looked as if it had been irrevocably shattered — forever.

Densmore recounts the story of the lengthy legal wrangling that followed, as Morrison’s parents — estranged from their talented, mercurial and troubled son during his rise to fame — joined the drummer’s suit, setting up a monumental battle that split the band in half, in his self-published book, “The Doors: Unhinged” (subtitled, “Jim Morrison’s Legacy Goes on Trial”). Densmore will speak about and sign the book during his first visit to Boulder on Saturday.

“What I’m doing is going to places I’ve always wanted to go that I have never been to,” said Densmore, who first published the book in 2013. “I just did Santa Cruz, and since I’d never been to Boulder, I’m coming there.”

Densmore’s 1991 memoir “Riders on the Storm” was a New York Times bestseller. The story of the long legal wrangling over Morrison’s legacy, which also shines light on Densmore’s long-time political activism — he was once tossed in a paddy wagon with Bonnie Raitt for protesting the destruction of old-growth forests — has drawn accolades from numerous rock and roll legends.

On the back cover of Densmore’s book is a quote from Tom Waits: “John Densmore is not for sale and that is his gift to us.”

“Eddie Vedder said he hopes someone like me will be there to protect his legacy,” Densmore said.

At first, many fans viewed Densmore as a traitor. But the legal cases eventually were resolved in his favor and, he said, true fans see his act of rebellion for what it is.

“They know I’m trying to preserve John, Ray, Robbie and Jim,” he said, “not Fred or Tom or whoever.”

Talk-show host and author Tavis Smiley once told Densmore, “You’re either a saint, or you’re crazy,” to turn down a cool $5 million for the Cadillac commercial. Densmore said he was “just trying to listen to Jim’s ghost.”

“I just didn’t want to have ‘Break on Through’ used to sell a gas-guzzling Cadillac Escalade,” he said. “I said to the guys, ‘We’ve all got a nice house, a couple cars. What do you need to buy so badly to sell out Jim’s legacy?’ They didn’t have any answer to that.”

The split was acrimonious, but Densmore wrote the final chapter as a plea to his former bandmates, whose friendship he couldn’t imagine living without.

“I wrote, basically, ‘Hey guys, it’s a hard pill to swallow, but please read this. How could I not love you guys for creating magic in a garage all those years ago?’” he said.

It took a few years, but both Manzarek and Krieger came around. When Densmore heard Manzarek was ill, the two spoke by phone. Manzarek died in May 2013.

“It was a short conversation, but healing. We had closure, thank God,” Densmore said.

And these days, he and Krieger get together to play music occasionally, including a recent rendition of “Hello, I Love You” — the band’s only other chart-topping hit — at a benefit event, with Jack Black on vocals.

“We were blessed by the muse. Something happened in that garage that was bigger than the four of us,” Densmore said. “We’ve got to honor that.”

With the benefit of hindsight, Densmore believes Morrison was an alcoholic. In his seminal band bio, “No One Here Gets Out Alive,” Danny Sugarman describes an outraged Densmore following the infamous concert in Miami, where a drunken Morrison was arrested for indecent exposure onstage.

“I gripped the sticks so hard my knuckles turned white,” Densmore said. “What Danny didn’t understand was, that’s called ‘tough love.’ Something in my young psyche knew there was an elephant in the room, alcoholism, that no one was talking about. … Everybody wanted to keep playing, and the ‘greed gene’ kicked in. Me, I didn’t give a s**t if we had one less album, if (Morrison) would live.”

Densmore likes to believe that Morrison would be clean and sober today. He also believes that the painful decision to confront his bandmates resulted in a symbolic “healing of the ‘60s,” with Morrison’s parents coming together to celebrate and protect their estranged son’s legacy.

“Polar opposites, coming together for the common good,” he said. “It’s so touching. We entered this horrible situation, but we all came together for Jim.”

If you go

What: John Densmore, legendary drummer of The Doors, will speak and sign his book, “The Doors: Unhinged: Jim Morrison’s Legacy Goes on Trial”

When: 2 p.m. Sabtu

Where: Boulder Book Store, 1107 Pearl St., Boulder

Tickets: Purchase the book for $27.16 for a spot in the signing line books also will be on sale at the event


If John Densmore didn’t have braces, his life could have been very different

In the mid-’60s, he reconnected with a friend from high school and formed a band. The friend was guitarist Robby Krieger. They met keyboardist Ray Manzarek and singer Jim Morrison and became The Doors. The iconic band is best known for their songs “Hello, I Love You,” “Touch Me,” “Light My Fire,” “Love Her Madly,” and many more.

Now, John is retired and lives in Santa Monica near the ocean. He looks back at playing with The Doors as very fond memories. Sadly, John and Ray are the only band members that are still alive at the time of posting.


The Doors’ John Densmore Talks About the Band’s Ugly, Six-Year Feud

In his new book The Doors Unhinged: Jim Morrison’s Legacy Goes on Trial, Doors drummer John Densmore spins a funny yet lurid, behind-the-scenes tale of his six-year feud with former bandmates Robby Krieger and Ray Manzarek &ndash a greed-filled courtroom battle in which he was accused of being an anti-American, card-carrying communist who supports al Qaeda.

Densmore said the rift started in 2003, when Cadillac offered the band a record-breaking $15 million deal. Krieger and Manzarek wanted the deal but Densmore balked, recalling a studio session in 1968 when Jim Morrison, the band’s enigmatic lead singer who died in 1971, discovered the band was considering taking $75,000 for a Buick ad. In that commercial, the car company would use the band’s hit “Light My Fire,” changing the lyrics from “Come on baby light my fire” to “Come on Buick light my fire.”

“Jim told us he couldn’t trust us anymore,” Densmore tells Batu berguling. “We had agreed that we would never use our music in any commercial, but the money Buick offered us had been hard to refuse. Jim accused us of making a deal with the devil and said he would smash a Buick with a sledgehammer onstage if we let them [change the lyrics].”

Then Krieger and Manzarek started touring under the Doors name. The band advertised themselves as The Doors of the 21st Century, with “The Doors” appearing in big, bold letters and everything else in small fine print.

“They started using the name the Doors,” Densmore says. “I sent some example of the ad to the estate and said, “Hey, your deceased son has been resurrected and has been performing. Apparently I am, too.” I asked Robby to stop and he said he would. But he didn’t.”

As far as Densmore was concerned, the Doors died in a bathtub in Paris in 1971. It was crucial to honor Morrison’s absence. “I was not trying to stop them from playing,” Densmore said. “They were great. Anyone can play Doors songs, unless it’s for an ad for some product. I just wanted them to be clear [that it wasn’t the Doors].”

Densmore and the Morrison estate, which includes Morrison’s parents and his widow, sued Krieger and Manzarek to prevent them from using the name or taking the Cadillac deal. Krieger and Manzarek counter-sued, claiming they were being hamstrung by the estate and prevented from making a living as musicians.

Based on courtroom transcripts, Densmore works up a cautionary tale of the ugly collision of art and money. Densmore writes that the opposing legal team attacked his character and labeled him un-American and a communist for not taking the Cadillac deal.

“They tried to convince the jury I was an eco-terrorist because I am involved with a handful of peaceful, credible environmental organizations,” said Densmore, who was once arrested with Bonnie Raitt for protesting the cutting down of old-growth trees. “I couldn’t believe some of things I heard them say. I felt betrayed, hurt and very alone. . . Now, you can probably google my name and al Qaeda will come up. Great, let’s go to Abu Ghraib! It was really disturbing.”

During the trial, several musicians &ndashincluding Raitt, Neil Young, Eddie Vedder, Tom Petty, Tom Waits and Randy Newman &ndash all showed support for Densmore.

“Though it’s something I don’t like to think about, there will come a time when I will be a Dead Rock Star,” wrote Pearl Jam’s Eddie Vedder on the book. “I can only hope that in my inevitable absence there will be someone with the integrity and principled behavior of Mr. Densmore looking after whatever legacy our group may leave behind.” Petty said the book was a must-read for any musician who feels their work is worth more than money.

In a shocking turn of events, Police drummer Stewart Copeland, who played with Krieger and Manzarek in the Doors of the 21st Century, took the stand to speak out against the misuse of the name. “Copeland told the truth,” Densmore said, “which exposed lies. Copeland challenged their use of the Doors name. He said that it wouldn’t be appropriate to call themselves the Doors. But if they didn’t, the limos and big arenas might disappear.”

In speaking with Densmore and reading his book, Manzarek comes across as an arrogant control-freak, while there is a genuine feeling of loss for Krieger as a friend. Yet, Densmore said he’s now on speaking terms with both of them. (“I just talked to Robby a few days ago,” he says cheerfully.) Yet despite years of in-fighting and ugly accusations, Densmore would still consider a Doors reunion.

“Being in a band is like polygamy, only without the sex,” Densmore said. “Things happen. But I’d get together for a one-off if there’s a good reason &ndash but it would have to be for charity, not for money.”


Tonton videonya: John Densmore Drum Lesson - Riders On The Storm (Mungkin 2022).


Komen:

  1. Coley

    Congratulations, great idea and timely

  2. Mannuss

    Saya minta maaf, tetapi pada pendapat saya anda salah. Saya boleh mempertahankan kedudukan saya. Tulis kepada saya dalam PM, kita akan berbincang.

  3. Zeroun

    Yes, you said correctly

  4. Nopaltzin

    Actually, it will be soon

  5. Judd

    frasa yang luar biasa



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