Jim Morrison has been dead and gone for forty years, but the legacy of The Doors remains as controversial as ever. Last year’s pardon for Morrison’s conviction stemming from his 1969 drunken performance in Miami brought out hordes of detractors. Many people still view Morrison as the quintessential “bad boy” of rock, a drug-filled alcoholic whose contribution to music was marginal at best. Blender.com ranked The Doors at #37 on its list of The 50 Worst Artists in Music History, describing The End as “overblown screeds of nonsense.” Earlier this year, Alex von Tunzelmann, a reviewer for The Guardian, said this about Oliver Stone’s The Doors: “It’s a bloated, pompous, unbalanced film, which looks great but has nothing going on beneath the surface. This is the biopic Jim Morrison deserved.” On the other hand, Piero Scaruffi said, “Of all creative bands in the history of rock music, the Doors may have been the most creative. They are the closest thing rock music has produced to William Shakespeare.” (The title of a New York Times article on Scaruffi’s music site was called The Greatest Web Site of All Time.)
Considering that we have had more than four decades to evaluate the music of The Doors, it is amazing that opinion is still so divided. Despite accolades such as Light My Fire’s selected by NPR as one of the most significant American musical works of the twentieth century, few 60’s artists remain so consistently controversial. No one doubts the genius of Dylan, The Beatles, and other top groups, but The Doors are a lightning rod for criticism. Morrison’s poetry is often belittled and marginalized by critics who hardly had a clue as to what Morrison was saying.
Nick Tosches tells us that “The Doors’ most ambitious work was often their worst. Trying to make of rock & roll something it could never, should never, be, Morrison seemed a pompous fool rather than the intrepid seer he fancied himself. With dark, messianic urgency, he delivered images and ideas that were embarrassing in their unoriginality.” Tosches is entitled to his opinion, of course, but it is clear that his understanding of Morrison’s lyrics is about as superficial as it gets. Morrison wanted to be known for his words, but Tosches and many of his colleagues were simply not up to the task. Telling us that “Jim Morrison’s obsessions were sex and death” is simplistic and barely scratches the surface of Morrison’s vision. Yes, sex and death are there, but they are just the tip of the iceberg. Morrison was about the transformation of consciousness, rebirth, and self-discovery. His poetry aimed at helping each of us achieve the treasure that is at the end of the hero’s journey.
Our rock and cultural critics have done their best to explain The Doors, but as Twisted Sister sang in We’re Not Gonna Take It, “if that’s your best, your best won’t do.”
Check out my Celebration of the Lizard Webinar for a look at the lasting legacy and extraordinary meaning of Jim Morrison and The Doors.
Source: Weird Scenes Inside the Goldmine