Santuario de Morrison®

PBS 1969

Publicada por la red PBS en la primavera de 1969.Esta entrevista es la primera concedida por Jim Morrison después del concierto de Miami.Dicha entrevista fue llevada a cabo en un estudio de televisión en New York por Richard Goldstein,un periodista de Voice Village el cual ya habia entrevistado a Morrison un año antes para la revista New York.Este diálogo fue breve no más de 10 minutos.Además incluyó algunos temas tocados en el mismo estudio por la banda,canciones como Tell all the people o Wild Child.Disfrútenlo.Las letras en negritas corresponden a Richard.

O.K., let us speak about Doors. All started at the UCLA where Morrison and Manzarek prepared a control of cinema. They divided a house with Venice, California, close to the beach. Ray made known with his friends Krieger and Densmore the poetry of Jim. And they started to occur all the four in several clubs of Sunset Strip, and even in their first bands, there is something of very distinctly blues, which is lost sometimes in the poetic text, but which generally shows through in the rate/rhythm, where it holds a great place. At all events, an important house of discs signed a contract to them, which it cancelled then, before someone else does not put the hook above to them. This time, they recorded. Their first album was sold better than Reader' S Digest. They became superstars, able to make react thousands of fans of a slapping of fingers and to fill the largest rooms of the Western world. They still attract each other more publicity by their presence than by their music. If the authorities make gray mine, the kids are delighted. It is like said one day Jim Morrison: “When you make peace with the authority, you put yourselves to form part of it. ” I interviewed Doors when they were downtown a few weeks ago, and I would like to now pass some extracts of this recording to you...

Jim Morrison: In a certain way, I believe that the concerts of rock'n'roll always served a function. They represent a chance for a great number of people, of the same condition in the life, to gather, to be assembled also certain manner, and simply to smell themselves to exist as a mass, as numbers…

It is indeed something which exists.

Ray Manzarek: And then, take ten miles people gathered, and you have a direction of the communion which develops, something that all these people have in common. We are there all together and there y is no reason. A concert channels a certain energy, and nothing in the external world allows this kind of thing, and, in the ideal, it is that which a concert, a good concert succeeded in making. People are brought together in an immense room, and then they regain their car on the carpark and take again the road, return on their premises. I hope that they are aware still that they are together, you see, they were sets with the concert, and they are sets on their premises, they are together at the school, they are together in the street. And if people could work on this aspect of the things and give an actual weight to all that, to still work on top, and still, all would be well better.

You like this Community feeling.

All: Ouais.

A privileged contact, in a certain way… I wrote one day something on you, an article entitled the Shaman in superstar, in which I insisted on the fact that the musicians rock'n'roll, the heroes of the rock'n'roll, had a religious function for the young people of today. Sometimes do you regard your concerts as species of ritual?

Jim Morrison: It is funny… I read certain things on the shamanism. I know the phenomenon badly personally, separately, you know, which one sees with the music and this kind of things, but, in, euh, the tribes, the Shaman can have any age, it can be an old man, or a young man, and the whole tribe always to some extent tries to further push it in its “trip” and listening insouciemment (sic). It is right a psychological question of tendency in the individual.

Which is according to you the role of the Shaman rock'n'roll in period of social upheaval?

Jim Morrison: I do not believe, for what I know, who the Shaman is really interested in his role in the company. It is interested more in the continuation as of its own phantasms. If it enters too much a role or a function, it is its interior world which is likely to be upset.

Do you think that for this reason of many stars of the rock'n'roll today are reticent to imply itself at the political level, you know, to make statements on the crisis of teaching, this kind of things?

Jim Morrison: There is a heap of people who the policy does not interest simply.

When you travel around the world, to Europe, to America, what the kids seek through you?

John Densmore: It is funny… in Europe, the kids are concerned much with the policy, you know. It is enough for us to launch the least thing which has a political range, they start to protest with us. I want to say, they like that, especially when America is criticized, you see. If we are satisfied to play, they also pigent, they can seize the political aspect of it. In America, it is all the opposite which occurs. The majority of people who come to our concerts, they are as… it would be said that they did not come to intend to us to speak about policy.

What did they come to hear?

John Densmore: I believe that they came for the religious experiment.

How is that translated into terms of rate/rhythm, riffs and things like that?

Ray Manzarek: It is impossible, because each rate/rhythm, each riff, each word is a release, you know, you release yourself at the time when you play.

And words of the songs? Which difference do you make between a text of rock'n'roll and a poem?

Ray Manzarek: Eh well, it does not have there really a difference, you know. The books of Jim resemble the texts of our songs. I can read a page and just as easily intend it to sing it. You know, for him, I believe that there is no difference of the whole, it is written poetry, and what it makes on scene, it is spoken poetry. Its spoken poetry goes very far, though certain poems are read better than they are not listened on scene, but as a whole, spoken poetry is much more effective.

John Densmore: What we do some times, it is that we play a song and we play the structure of the song, and then one starts to improvise musicalement and him, it improvises on the lyric level, and one arrives at something of poetic, it is direct poetry, you know, and one returns later to the initial form.

Ca gives naturally something of good more fluid than than one has at the beginning in the book.

Jim Morrison: It was necessary for our songs most interesting one certain time to take form evening after evening in the clubs. One started with a very stripped song and, progressively, the music became a species of sound river hypnotic which opened the way, for me and the others, with all possible imaginations. I like the songs, but I prefer by far to smell the vibrations, and to feel the vibrations of the public and, from there, to let me them involve in the unknown.

Which is the difference with the fact of writing a poem?

Jim Morrison: The two things are very similar. I believe that poetry is very close to music, if it is only when you write a poem, you are only… the music has a hypnotic quality which leaves you free, you know, one lets the subconscious express and take us along where he wants. I admire really the poets who arrive, with or without microphone, to face an audience and which start to recite their poems. I have really a great admiration for that. But I find that the music gets certain a sense of security to me, and it is easier to me with it to express me me or to express another thing, it is really hard to start to read like that, cold. I would like to be able to do it, I should work of advantage on top.

I think that one of the tendencies of the rock'n'roll today is with the demystification. One does not make any more in the mystery, one is interested again in a certain “honest” music, a music which one can make at home, you see. What do you think about it?

Jim Morrison: I precisely spoke about that this weekend, I reflected much there. I believe that the two original types of music, indigenous, this country are the negro music, the blues, and a certain imported music “folk” Europe, the music country of the North-West of Virginia. Here are the two principal currents in which enracine all American music, and the rock'n'roll which was born ten years ago was only one mixture of these two musical forms. I believe that what is arriving today, it is that the rock'n'roll is in the train more or less dying, and that each one turns over to its roots again. Some turn over to the country, others with the blues. I imagine that in four or five years, the music of rising generation will be a synthesis of these two elements, with some things in more… can be that one will be based of advantage on electronics, euh, on the tapes… I think perfectly a person surrounded by machines, electronic instruments of all kinds, singing and speaking by using his apparatuses.

I thought that the rock'n'roll progressed, you know, that it advanced by successive stages, of a point to another. But it is rather as a wave which should be designed the things, like a return…

Jim Morrison: This is why I love the musicians of blues and of jazz, the musicians of country, they continue to explore their own music. Sometimes, that fall to point name ana the people find in this music something which express the time, and some other time it have more the favour of public, but I think that it be good for the musician and the poet, for the artist in general, to continue to explore their own territory, and if it go, so much good, and if the people one it air to be sulky the thing, then so much good also, which count, it be to continue its exploration, you see.