DOORS MANIA

AUTOGRAMME

- at 156 W. 48th Street / New York. This store has autographs of famous rock stars including Jim Morrison, but does not sell them. Everyone has walked through their doors. It is still open.
(Quelle: http://digilander.libero.it/1doors)

Here is an incredibly rare Doors collectible--a fully signed 5 page contract between The Doors and Elektra Records, regarding live tapes recorded at Los Angeles' Aquarius Theatre that became their "Absolutely Live" album. Authentic Doors autographs are almost never seen, and this document offers four pages initialed by each band member and Elektra president Jac Holzman, with a fifth page signed by Jim Morrison, Robby Kreiger, Ray Manzarek, John Densmore and Holzman. A fascinating insight into the band's business affairs, and a chance to get absolutely genuine Doors signatures. As you may know, virtually ALL of the Doors autographs offered on Ebay are forgeries--as is true with 99% of the high end music autographs you see. These are of course genuine, and come with our written lifetime guarantee of authenticity. We ONLY sell autographed items that we know to be authentic--unlike so many sellers with a seemingly endless supply of signed items. Also included is a vintage Doors photograph from the correct era (this 8" x 10" photograph comes from the archives of 16 MAGAZINE, where it was first published. It has publication notes and a "Gloria Stavers Collection" stamp on the reverse.) Truly museum quality ! Note: We will be closing for the holidays on Dec 19, and that morning we will do our last shipping for the year. We can send items overnight or fedex if you like.

This 1968 photo of Jim Morrison at the Fillmore East in New York City is from the only known surviving print. The negative has been lost. The back of the print is autographed by Morrison (above); he signed it on Aug. 31, 1968 while standing on stage in Asbury Park, N.J.

Morrison signs photo,
says it's "pretty neat"
The Story Behind the Autograph
By Cal Deal, Fort Lauderdale, Florida

HOURS BEFORE The Doors were to appear at the Asbury Park in 1968, a film crew was packing up on the boardwalk outside Convention Hall.

"Are you guys with The Doors?" I said.

"Yes."

I reached into a pile of photographs I was carrying. They were pictures I had taken of Morrison at the Fillmore East, screaming into a microphone. I brought about 30 prints along to sell for $1.50 each. I pulled out a print and asked them to give it to Morrison. They said they would.

After the concert, Convention Hall was emptying. I had been sitting near the front and was nearing the rear exits. I heard a voice on the loudspeaker. It was Morrison.

"Hey, where ya goin'? C'mon back!" he said.

Surprised, I turned and looked across the half-empty hall to see The Doors back on stage! The shocked crowd ran toward them; it was every man for himself. I wound up at stage center, just feet from Morrison.

I was carrying the last remaining unsold photograph. I yelled "Jim!" to get his attention. He turned toward me, and I reached up to hand him the envelope. He came over, took it, opened it and looked at the photo right there on stage.

Morrison held up his index finger and said "wait a minute." He started walking toward the back of the stage. Suddenly I realized he was going to autograph it.

"No, I want you to have it!" I yelled.

Morrison went behind the amplifiers and came back with a pen. He stood on the edge of the stage, towering over me.

"What's your name?" he said.

"Cal."

"With a C?"

"Yeah."

He wrote something and turned the picture over to take another look.

"Where'd you take it?" he asked.

"At the Fillmore East!" I shouted.

He leaned toward me and gave it back.

"Pretty neat," he said.

I grabbed it and looked to see what he had written. It said:

Cal
JMorrison

The story behind it is that a fan named Perry , from Plainfield, NJ was in a band that played the Fillmore East on Tuesday Nights. He met Jim before the Doors show at the Fillmore and had Jim sign the back of the ticket stub. About 2 years ago, Perry was in a bind and sold the ticket to me.

Below is a selection of Autograph examples of the true Jim Morrison Autograph and even a few examples of his girlfriends signature, Pamela Courson, as a bonus. Enjoy..........

Mit Unterschrift von Pamela Courson

Mit Unterschrift von Pamela Courson

+++++ +++ ++++

Zur Vergrößerung bitte Bild anklicken!

+++++ +++ +++++

Jim Morrison (1943-1971) and the Doors, Ray Manzarek (organ, keyboard, b. 1939), Robby Krieger (guitar, b. 1946) and John Densmore (drums, b. 1944). Legendary Rock Band. Rare Document Signed, being a fabric self-adhesive backstage pass for the "doors soft parade tour" issued to a Doug Ailes, measuring approximately 3.5 in. by 3.5 in., signed by all four members of the band: "Jim Morrison" "John Densmore" "Robbie Krieger" "Ray M[anzare]k".

Morrison has signed boldly through the "doors" icon. Good contrast, mounting remnants on verso, minor soiling with a green horizontal mark through the center, perhaps for a check list. Very Rare. Ideal for framing. $OLD

+++++ +++ +++++

The Doors Hand-Signed Display

One-Of-A-Kind! "Waiting For The Sun" Album is Hand-Signed by All Members of The Doors - Jim Morrison, John Densmore, Robby Krieger & Ray Manzarek in Blue Ballpoint Pen (See Close-Up) - "Waiting For The Sun" Became the Band's First #1 Album - ("Celebration of the Lizard" was supposed to be one full side of the album, but the band was never satisfied with the entire recording) - Also Displayed isa Great B & W Promotional Photo of the Band and a Gold Plaque w/a Picture of Morrison & the Names Of All Band Members Set on a Sky Blue Background (The
Color Blends In Beautifully w/the Album Cover) - The Band's Logo "doors" is Cut Into the Matting which Matches Perfectly with the Logo on the Album. The Acrylic Black Framed Display Measures: 33" x 36" Awesome Piece of Memorabilia!
Angeblich für $3495.00 verkauft!

An actual check from Ray's bank account signed by him.

The Doors Signed Photo

8 x 10" photo of "The Lizard King" signed by the remaining three Doors, Ray Manzarek, John Densmore and Robby Kreiger. Signed in black and blue markers.

eBay Verkauf am 29.12.2006

Doorsfans aufgepasst:
EINMALIG UND KURIOS
!!RARITÄT!!
ORIGINAL AUTOGRAMM/AUTOGRAPH

JIM MORRISON of THE DOORS

auf altem chinesischen Geldschein (siehe Bild) mit diversen Kritzeleien von Jim (er war wohl nicht mehr ganz nüchtern).

Tag der Autogrammgebung wahrscheinlich der 29.8.1970!! (steht zumindest auf dem Geldschein)

Herkunft:
Ich habe dieses Autogramm selbst vor längerer Zeit bei ebay für ne Menge Geld ersteigert.
Der Verkäufer "versicherte" mir seine Echtheit und meinte er hätte das Autogramm von einem Freund erworben, der es sich selbst damals hatte geben lassen. Mehr konnte er mir auch nicht dazu sagen.

Eine Zertifizierung für solche Art von Autogrammen ist ja auch nahezu unmöglich, da sie ja nicht zu Werbe- oder Imagezwecken in Kooperation mit der Plattenfirma oder so stammen sondern am Strassenrand, im Cafe oder sonstwo spontan gegeben werden.

Dieses (angebliche ) Autogramm von Jim Morrison ging am 29.12.2006 bei eBay um 17:49:10 MEZ für EUR 56,00 an den Kunden.

Ich selbst hatte mitgeboten (EUR 55,00) obwohl ich mir ziemlich sicher war, dass es nicht echt ist.
Ist das jetzt der Neid? Nein! Was dann? Nun, wenn ich mir alle ECHTEN Autogramme von Jim auf dieser Seite so betrachte, dann stimmt einiges auf dem Geldschein nicht:

1.
Jim hat nie so ein S geschrieben. Siehe dazu die Gedichte weiter unten in seiner Schrift.

2.
Das O hat er auch fast immer so geschrieben wie auf den meisten Autogrammen oben.

3.
Sollten die Kritzeleien und das Datum wirklich ebenfalls von Jim sein, dann wäre er der erste Amerikaner (auch noch in der USA geboren und diverse Schulen besucht), der eine 7 mit Mittelstrich schreibt wie wir es in Deutschland tun. Die amerikanische 7 schreibt man so wie HIER in meinem Statement zu sehen: 7

Sollte ich mich aber doch getäuscht haben, dann hat der Käufer eine Rarität für wenig Geld erhalten.

Werde diese Bilder aber mal an ein paar Spezialisten in der USA schicken. Mal sehen ob das Autogramm echt ist oder nicht. Wenigstens mal deren Meinung.

So schreibt ein Amerikaner nie eine 7.

---

Morrison's Cub Scouts uniform from his childhood in San Diego.

 

 

 

BILDER

The Doors (Morrison, Kreiger & Albert King) Unpublished Photo
Originalbild ist in Privatbesitz und NICHT verkäuflich!

1970. Morrison and Krieger share a backstage moment with bluesman Albert King. Chances are this unpublished photo was taken at either the Long Beach Arena on February 7th or at Vancouver's P.N.E. (Pacific National Exposition) where King opened for The Doors. The 11 x 11" Fujifilm photo was printed in 2001 from the original negative and is copyrighted by Frank Lisciandro.

Jim Morrison & Van Morrison Vintage Photograph

1966. Jim and Van trade vocal licks in this rare vintage photograph taken at Hollywood's Whiskey A-Go-Go in June '66 where Them was playing a three-week engagement with a rotating cast including The Doors , The Association and Captain Beefheart. Van's keyboardist/saxophonist, Ray Elliot, rounds out this great image. The 11 x 14", linen-backed photograph was printed from the original negative.

The Doors Jim Morrison "Young Lion" Brodsky Photo

1967. While Joel Brodsky took many of The Doors' most memorable photographs, he is known, above all, for the series of "Young Lion" images of Jim Morrison taken during a session in New York. Brodsky: "Jim was drinking quite a bit...by the time I got to shooting...Morrison was pretty loose....still, he was great to photograph because he had a very interesting look...you know, Morrison never looked that way again, and those pictures have become a big part of The Doors legend. I think I got him at his peak". This 11 x 14" image from that session is a Brodsky original!

Pamela Courson

---

HANDSCHRIFTLICHES VON JIM MORRISON

"The Pony Express," Morrison's 1954 poem. In a 1968 interview with Rolling Stone, he recalled this as the first verse he ever wrote, caling it "one of those ballad-type poems."
Ein Gedicht von Morrion mit dem Titel "Der Pony Express von 1954. Laut einem Interview mit ROLLING STONE 1968 sagte Jim, das sei wohl das erste Gedicht welches er geschrieben hatte.

A drawing by Morrison, circa 1954 / Eine Zeichnung von Morrison ca. 1954

Morrison's handwritten lyrics to "Not to Touch the Earth," a track from the Doors' 1968 album Waiting for the Sun.

 

Jim Morrison's Postcard aus Paris an seinen Anwalt Max Fink

---

HANDWRITTEN POEM BY JIM MORRISON
This is a brief summary of how the original owner came to have this original Morrison Poem:
In the Summer of 1968 Carol and a friend ere having dinner at the Casa Escobar in Santa Monica.
Morirson was seated about 10 feet from them having dinner with a young black woman. During the time they spent having dinner, Morrison kept looking at Carol and she could not help from looking at him, either.
When they had finished eating, Carol excused herself to the ladies room. When she came out, Jim was waiting outside of the restroom for her and introduced himself. He invited the two to join him at his table.
All four of them sat at his table and shared wine, conversation, and a song. One topic they discussed was Carol's having just applied for a stewardess position with United Airlines. At the end of their time together, Jim asked a passing waiter for a piece of paper and wrote a short poem about their conversation.
Carol will never forget him saying. "Here's something for you to remember me by."
Cond: Exc+
Price: $20,000 or best offer

---

LA Woman Text, Handschrift JIM MORRISON

---

---

Jim Morrison "Andalusian Bitch" Handwritten Prose

c1969. While we've found no reference to "The Andalusian Bitch" in any of Morrison's published writings, we have determined Morrison's prose is a result of his viewing the 1929 Luis Bunuel/Salvador Dali surrealist film, 'Un Chien Andalou.' "The artist's own hand..." refers to Bunuel's appearance in the film where he sharpens a straight blade and slits an eye (close-up.) "Cloud razors slash at the moon" is a reference to a shot of thin, dark clouds passing in front of a silvery moon.

---

Jim Morrison Handwritten "Nietzsche" Prose

Jim Morrison's fascination with Friedrich Nietzsche is captured on film during an impromptu pre-concert, backstage performance at upstate New York's Saratoga Performing Arts Center on September 11th, 1968. WIth the 'Feast Of Friends' film crew on hand, Morrison takes a seat at the grand piano and devises the clever and astute "Ode to Friedrich Nietzche." During the spontaneous performance, Morrison specifically refers to the horse whipping incident referenced in this page of handwritten prose. This remarkable film, featured in both 'The Soft Parade' video and 'Feast Of Friends," can be accessed online at the YouTube website.

1960's. Jim Morrison's admiration of 19th century German philosopher Friedrich Nietzsche is showcased here with historical accuracy in this unpublished prose. The details of Nietzsche's nervous breakdown in January 1889 are well-documented. He did, indeed, throw "his arms around the animals neck and burst into tears". The reference to contracting syphillis as a young man and carrying "the germs of chaos all his years" also is factual. The reference to Richard Wagner is interesting as well since Nietzche became a close friend of the German composer while he was teaching in Switzerland. Some of Nietzsche's last years were spent in an asylum. Perhaps Morrison's interpretation of that period in the philosopher's life are summed up: "When at last despaired of embodying in words his entire world of thought, he let those forces sweep through him and explode chambers in his brain".

---

HOTELS + WOHNUNGEN VON JIM
(Soweit mir bekannt)

at 222 W. 23rd Street. This hotel still is a haven for writers, artists and rock stars - it was frequented by Janis Joplin, Jimi Hendrix, Jefferson Airplane, among others. The rumor goes that Jim Morrison met Debbie Harry and Patti Smith in this hotel. Sid Vicious of the Sex Pistols killed Nancy Spungen here.
(Quelle: http://digilander.libero.it/1doors)

© Fotgraf unbekannt

June 28th 1971: Jim's last pictures are taken here, at Hôtel de l'Oise in a small village called Saint-Leu-d'Esserent.
Das Hotel L'oise früher

© by www.webatoll.com (???)

Das Hotel heute
Hôtel de l'Oise- Restaurant (Groupes consulter l'hôtel)
25, quai d'Amont 60340 Saint Leu D'Esserent
Tél :03.44.56.60.24 FAX :03.44.56.05.11.

RUE BEAUTREILLIS Nr. 17
Die Fenster mit den gelben Punkten war die Wohnung zur Strassenseite der Rue Beautreillis. Nicht wie oft falsch behauptete eine Etage höher.

© Foto by MonikaTorchalski
Die gelbumrandeten Fenster war die Wohnung von Jim + Pam zur Hofseite in der 3.Etage der Rue Beautreillis Nr. 17. Nicht wie oft falsch behauptete eine Etage höher.

Der Aufgang vom Hausflur zu Jim`s Wohnung
© Foto by Jürgn Schuschke

Auf dieser Bank im Place des Vosgesgegenüber der Wohnung in der Rue BEAUTREILLIS Nr. 17 hat Jim oft gesessen . Auf der Bank sitzt Rick, der Sänger der BOOTLEG DOORS.
© Foto by Jürgn Schuschke

Eine Aufnahme von JimMorrison in seinem Schlafzimmer in der Rue Beautreillis Nr. 17 .Das Bild wurde in der TV Sendung "Die letzten Tage einer Legende - Jim Morrison" (auf PHOENIX) als echt identifiziert.
© Fotograf unbekannt

Zu Vermieten!!!

Luxury Apartment in Paris Building:
Jim Morrison's Last Home


Location:
Paris Arrondissement 4, Paris, Ile-de-France (Paris Area),
France, Europe (Rue Beautreillis)
Accommodations:
Apartment - 1 Bedroom + Convertible bed(s) - 1 Bath - (Sleeps 2-4)

Nineteenth century Belle epoque elegance and charm,
designed and elegantly renovated by an expert in historic preservation, that includes:
- Louis XVIth style carved plaster molding
- Original patterned oak floors
- Louis Philippe furnishings and Antique french art prints
- french windows overlooking vine covered inner courtyard

This apartment has been totally renovated, with every effort made to maximize comfort and charm. The apartment is on the second floor (two short flights up, and no elevator, sorry). There is a large living area with dining room table, sofas, chairs armoire and office/desk niche, separate galley kitchen with all modern amenities, and large separate bedroom with double glazed windows. The bathroom is marble, with heated floors, full tub and shower, and the water closet is a separate room with its own crystal chandelier! The bedroom sleeps two - and the living room has a comfortable "lit de repos" that opens into two singles or one double bed to accommodate extra guests.

The apartment is located in the Marais, adjacent to the Village of Saint Paul, just two blocks from the Seine, and easy walks to the Louvre, Bastille, Places des Vosges. We are also very close to three different metro (subway) lines that make negotiating Paris very, very simple.

The building has historic significance: this is where the rock star JIM MORRISON died in l972 (not in our apartment though!). On the anniversary of his death, it is not unusual still to find a bouquet of flowers on the front door of the building.

Das Gebäude hat historische Bedeutung: dieses ist, wo der Rockstar JIM MORRISON in l972 (???) starb (nicht in unserer Wohnung!). Am Jahrestag seines Todes, ist es nichts ungewöhnliches, einen Blumenstrauss an der Eingangstür des Gebäudes zu finden.

So, why do I love this apartment?
It is really, really beautifully done, filled with interesting architectural features (amazing moldings) and marble fireplaces.
It is very comfortable, and immaculately maintained.
It is perfectly situated to enjoy Paris and a real Parisian neighborhood.

Anmerkung des Webmasters:
Ich bin mir ziemölich sicher, dass es sich hier NICHT um die eigentümliche Wohnung von Jim und Pamela gehandelt hat, sondern um eine Wohnung wahrscheinlich im selben Haus, aber auf einer anderen Etage.

Ich versuche da noch etwas zu erfahren.

---

HWY

Originaltitel:
HWY, An American Pastoral. Alternativtitel: The Hitchhiker
USA, 1969
Regie: Paul Ferrara
Drehbuch: Paul Ferrara, Babe Hill, Frank Lisciandro, Jim Morrison
Produktion: Paul Ferrara, Babe Hill, Frank Lisciandro, Jim Morrison
Kamera: Paul Ferrara
Musik: Fred Myrow
Darsteller: Jim Morrison (Der Anhalter)
Farbe
51 Min.

Paul Ferraras Jim-Morrison-Vehikel "HWY: An American Pastoral" wird gemeinhin als wichtige Errungenschaft für dem amerikanischen Avantgardefilm gezählt. Sicherlich einige Elemente sind durchaus gelungen, jedoch ist "HWY" insbesondere eins: Vollkommen überschätzt. Wäre da nicht Jim Morrisons Präsenz vor der Kamera und sein Lyrik – "HWY" wäre nicht einmal eine Fußnote im Filmlexikon. Die Verehrer des unfraglich brillanten Sängers feiern ihr Idol schon ab, wenn er in einem Tümpel irgendwo in der Wüste mit seiner Lederhose baden geht. Der Filmfreund, der kein "The Doors"-Poster in seinen Räumlichkeiten kleben hat, wird sich nur fragen: Wozu all die Aufregung um "HWY"?

"Drive the highway west", sang Morrison in einem seiner intensivsten Songs "The End". Auch in diesem Film zieht es Morrison nach Westen. Nach Los Angeles. Also ist "HWY" faktisch ein Roadmovie. Und so ziemlich das trägste seiner Art. Ist es das langwierige Tempo, das "HWY" grundsätzlich zu Kunst und Kult macht? Wohl kaum. Andere Kultfilme haben bewiesen, dass die trotz gemächlicher Erzählweise faszinieren und im Zweifelsfalle sogar unterhalten können. "HWY" schafft beides so gut wie nie.

Die Story geht in etwa so: Jim Morrison spielt ein Wüstenkind, ein Möchtegernverwandter von Jodorowskys "El Topo", der unter Sand erwacht und sofort seine Bestimmung erkennt. Er macht sich als Anhalter auf den Weg in die große Stadt. Er rüstet sich mit einem Spazierstock und mit einer Jacke aus und schlendert am "HWY" entlang. Nach fast zwanzig Minuten, in denen kaum etwas passiert, bis auf, dass Morrison aus dem Off kryptische Lyrik über seine Kindheit und ein Trauma bezüglich toter Indianer am Highway rezitiert, während er auf Autowracks herumspringt. Dann, nach zwanzig Minuten endlich, erbarmt sich ein Autofahrer, Jim mitzunehmen. Den Fahrer selbst sehen wir nie und so verschwindet er nach wenigen Minuten auch komplett aus dem Film und Morrison fährt nun das Auto.

Auf seinem Weg stöbert Morrison in einem Ständer außerhalb eines Buchladens, sieht einen sterbenden Coyoten und quatscht freundschaftlich mit einem Tankstellenwart. Zwischendurch gibt es eine außergewöhnliche Szene in der er völlig grundlos innerhalb des Autos beginnt zu schreien. Als er in L.A. angekommen ist, telefoniert er, beichtet einen Mord in der Wüste, bekifft sich, bis er nicht mehr weiß, wo genau er ist. Am Ende tänzelt er auf dem Dach eines Jazzclubs. Ende.

"HWY" hätte sicherlich in den Händen eines erfahrenen und kreativen Regisseurs etwas Großes werden können. Paul Ferrara hingegen war lediglich ein Kameramann, der es gewohnt war, so zu tun, wie es ihm ein vorgesetzter Regisseur befahl. Und so ist bestimmt auch das Verhältnis zwischen Morrison, dessen ureigenes Projekt der Film war, und Ferrara. Morrison hat sich in die kalifornische Landschaft gestellt und hat Ferrara gesagt, was er zu filmen hatte. Die zusammengefügten Szenen funktionieren allerdings leider überhaupt nicht oder wenig. Autor und Mitproduzent Lisciandro sagte einmal, dass die Dreharbeiten zu "HWY" eigentlich nur als Aufwärmung zu den eigentlichen Shootings gedacht war – und exakt so sieht der Film letztlich auch aus. Man hat bei "HWY" konstant das Gefühl etwas unvollendetes, schnell heruntergekurbeltes, auf halbem Wege schnell in ein enges Konzeptkorsett gezwängtes zu sehen.

Wenn "HWY" verfilmte Poesie Morrisons sein soll, dann ist sie schlichtweg schlecht umgesetzt. Sollten sich Ferrara und Morrison wirklich an Filmemachern wie Kenneth Anger oder Andy Warhol orientiert haben, dann haben sie ihre Inspiration auf eine ganz andere Art und Weise realisiert, als es die beiden Avantgardelegenden gemacht haben. Wie man es dreht und wendet, "HWY" mag nicht funktionieren. Wenn man sich über Poesie Morrisons den Kopf zerbrechen will, dann liest man sie. Und wenn man rätselhafte Avantgarde sehen will, dann greift man zu den Vorbildern der Macher von "HWY". Denn aus "HWY" wird man kaum etwas mitnehmen können.

---

KONZERTPLAKATE

The Doors Kaleidoscope Concert Poster

1967. The Doors’ April 21st through 23rd performances at the notable,
circular-themed Los Angeles venue are advertised by this awesome 18” diameter, brain melting, day-glo red and purple, psychedelic masterpiece. VG/VG+ condition; assorted scattered pinholes, minor creases/handling, edge wear, etc.. Still quite striking and the hardest to find poster from the series. A truly spectacular Doors poster.

The Doors 1970 Vancouver Concert Poster

1970. Blues guitarist Albert King traded licks with Robbie Krieger's on four songs during the Doors set at Vancouver's PNE Coliseum in June '70. This highly sought after poster features a John Van Hamersveld design. The 14.5 x 23" poster on thin card stock exhibits a non-obtrusive vertical crease through the Densmore image, light lower border wear, and two slightly wrinkled corners.

The Doors 1967 Cal Polytechnic Concert Poster

1967. The Doors portion of the homecoming concert in San Luis Obispo was brief, to say the least. Once the final strains of "Light My Fire" are heard by the 4,100 in attendance at the conclusion of their opening 25-minute set, the audience, thinking the concert is over, begin to file out. Oddly enough, no announcement to the contrary is made. The Doors, however, do show up soon after at the homecoming bonfire! This scarce thin card stock 11 x 16.5" poster exhibits tape residue at three corners/borders and several creases.

The Doors Fantasy Faire Concert Poster

1967. A variety of
Pop/Rock/Psychedelic/Blues acts performed at the July 15th and 16th inaugural Fantasy Faire and Magic Music Festival at Devonshire Meadows in Northridge (CA); Jefferson Airplane, The Doors, Canned Heat, Paul Butterfield Blues Band, Grass Roots, Iron Butterfly, Country Joe & the Fish
and many others all performed at this early Southern California festival, held only a month after Monterey Pop. Thick flat-stock poster is in superb NM condition with just a very minor amount of edge/surface wear,
otherwise fine. Approx. 15 x 21".

The Doors Long Beach Concert Poster

PLEASE NOTE: It was pointed out to us that this poster advertises what would turn out to be The Doors last ever appearance in Los Angeles with Jim Morrison! They never played L.A. as a foursome again.

1970. The Long Beach (CA) Arena was the location of one of the final Doors concerts featuring Jim Morrison at the helm. This Feb. 7th show also featured Blues man Albert King and country rockers the Flying Burrito Brothers… what a lineup! The original 14.5 x 22.5” thick paper advertising poster we have here is in solid VG+ condition with an easily repairable 2.5" tear on the bottom center border and a few .25" - .5" edge tears. A choice and very uncommon Doors poster.

Jimi Hendrix, The Who, The Doors Singer Bowl Concert Poster

1968. This enormous cardboard masterpiece is without a doubt one of the most unbelievable concert posters we have ever offered for sale. The August 1968 series of shows at the Singer Bowl in Flushing Meadows, Queens was highlighted by three major concert events; “The New York Rock Festival” featured the most in-demand stars of ’68, starting on August 2nd with a double bill of the Who and the Doors, followed on the 23rd by the Jimi Hendrix Experience with the Chambers Brothers, the Soft Machine and “Also- Extra Feature Attraction”...(more on that in a moment!). The final show of the season starred local faves the Vagrants and the Rascals, with special guests Central Park on the 30th. Local promoters Shelly Finkel and Gary Kurfirst (who later became the manager of the Talking Heads) hired local designer Dominic Sicila to create this awesome advertising poster that has since become a topic of legend and intrigue among collectors... many had heard about it, very few had seen it and some even doubted it’s existence. Well, it’s time to put that theory to rest, because here we have the original 1968 MASSIVE 25 x 38.5” Murray Poster Company cardboard concert poster in all of it’s breathtaking glory. Impossible to find in ANY condition, this one has been professionally and meticulously restored along the top edge (water stains removed) and a tear was repaired on the bottom left corner, it looks absolutely magnificent in person. Now for the fun stuff! A near riot at the Doors/Who show prompted Pete Townshend to write the song “Sally Simpson”, which appeared on “Tommy” the following year. You want more? The “extra feature attraction” at the JHE show was... none other than Janis Joplin with Big Brother & the Holding Company, in their last performance together before an NYC audience. More? These shows were the first large outdoor events held in Queens since the Beatles played at Shea two summers previous, and the only time the Singer Bowl (now known as Louis Armstrong Stadium and used only for tennis matches) was ever used for a live music venue. OK, if that isn’t enough, then we can’t help you anymore! To call this item “epic” would be putting it mildly...this is truly a once in a lifetime opportunity, so make us proud!

The Doors; Victoria Arena, Victoria, BC, 7/20/67

Doors Madison Square Garden, NY 1/24/69

Doors Madison Square Garden, NY 1/24/69 Commemorative Poster,
signed by Ray Manzarek of the Doors.

Doors Northern California Folk-Rock Festival, 1968
(Featured in The Art of Rock)

A well worn 12 x 12" cover for the classic psychedelic LP, "Surrealistic Pillow", is signed by the entire original line-up: Grace Slick, Marty Balin, Jack Cassady, Paul Kantner, Spencer Dryden and Jorma Kaukonen. Signed in matching blue marker.

Als Beweis für die Autogramme auf dem folgenden Poster

Die beiden Unterschriften stammen von Paul Kantner (oben)
und Marty Balin (unten) der Band JEFFERSON AIRPLANE

6.15.1968 Sacramento Memorial Auditorium

Doors Commemorating Performance at Whisky-A-Go-Go Los Angeles 5/23/66

The Byrds & The Doors: May 16th - May 21st.1967, Whiskey A-Go-Go

Doors, Chambers Brothers, Steppenwolf Hollywood Bowl, 7/5/68

---

 

---

KUNST

"Jim", Größe: 130x90cm, Acryl auf Schrankrückwand

Zwei Arbeiten der deutschn Allround Künstlerin Tanja Salzmann, bei der ich mich sehr herzlichst für die Genehmigung der Ausstellung bedanke.

Wer sich für ihre Arbeiten interessiert bitte HIER klicken.

Tablett bemalt in australischer Maltechnik

---

Luggage Tags

The Doors Jim Morrison Luggage Tag

1960's. The heavy-duty plastic TWA Airlines 'Ambassador' luggage tag is embossed with Morrison's name and the Los Angeles address of Doors Productions. "If found return to nearest TWA office" is printed on the reverse. Can we trust the winning bidder to follow through on the request? 3.5 x 2"

---

PROGRAMMHEFTE

The Doors Concert Program; Datum mir unbekannt

Led Zeppelin/Doors Festival Handbills & Program, June 27th and 28th, 1970

Programm des Seattle Pop Festivals July 25th, 26th and 27th 1969

1969. Consisting of a handbill and program for The Bath Festival of Blues & Progressive Music held on June 28th, 1970. The very best of British blues was on tap including: Led Zeppelin, John Mayall, Fleetwood Mac, Ten Years After, Taste, Savoy Brown, Keef Hartley and more. Oh, yeah...Pink Floyd and Zappa, too! WOW! This scarce, double-sided 8 x 11" handbill exhibits considerable wear while the cover of the 50-pg. program exhibits an 8" tear and distressed spine. In addition, this Zep lot includes a 1969 Seattle Pop Festival handbill featuring, among many others, The Doors, Santana, Byrds, Ike & Tina Turner, Vanilla Fudge and the Flying Burrito Brothers. The double-sided 8.5 x 11" handbill is quarter-folded with tape residue on three corners.

---

PROMOTION POSTER

The Doors 1967 Ampex Tapes Promotional Poster
In Privatbesitz, Originalposter ist unverkäuflich!

1967/68. Though vinyl was the overwhelming choice of consumers in '67, of the various tape formats available, the 8-track was becoming the format of choice for music fans on the go, as the car tape deck became popularized. This Elektra Records promo poster announces that Ampex was their tape of choice on which to hear the latest release from The Doors. 24 x 36.5", factory folded, EX.

The Doors Radio Station Promotional Poster

c.1968. This is the first time we've seen this beautiful poster. WGTB, the student-run Georgetown University station, became notorious in the late 1960s and 1970s for its anti-war and left-wing programming in the Washington, D.C. area. A natural fit, of course, for The Doors! This 24 x 36" promo poster featuring a design by David Hidalgo has been linen-backed to 26 x 38", EX.

Acoustic Amplifiers Promotion Poster

The Doors only had but one single run of concert programs, and this is it from 1968. 24 pages of color and black & white photos. 9 x 12". VG/EX with light spine creases and mild handling. Uncommon.


The Doors Acoustic Amps Promotional Poster

c1968. The Doors, flanked by their Acoustic Amplifiers, are captured onstage in this scarce promo poster. The 21 x 16" poster exhibits tape remnants on three corners and missing lower left corner.

The Doors L.A. Woman Promotional Poster

1971. Released less than three months before Jim Morrison's death, the album spawned the hit, "Love Her Madly". The controversial poster, tame by today's standards, depicting a woman's crucifixion upon a telephone pole received very limited distribution. 19 x 26" with moderate border wear, a 1.25' tear on lower left border, two wrinkled corners and horizontal creases.

The Doors "The Soft Parade" Promotional Poster

1969. Rarely seen is this promotional poster for "The Soft Parade", the group's fourth consecutive RIAA certified gold album. 34 x 17" with typical wear and nicks along borders and a few non-intrusive wrinkles.

Original '60s first Printing Doors promo poster

Promo Poster zur Veröffentlichung der Single "LIGHT MY FIRE"

---

SHELBY GT COBRA

Einer von Jims Autos. Er fuhr NUR amerikanische Wagen.

The Search for Morrison's Lost Shelby

I started to wonder a few years ago when the search for old Shelby's started to be part of my life. I watched "Love Story" and remembered a 66 GT 350 parked on a Boston street. This was before VHS so I couldn't rewind the tape and check out the car a second time.

I recall being talked into watching a Jane Fonda movie once and seeing a 67 GT 350 in the background. It was wimbledon white and I was able to catch a quick glimpse of the car.

Then one Saturday night I watched "Bullitt" on TBS. My older brother kept on mentioning to me to make sure to wait for "The Chase". Finally when McQueen jumped into his 68 Mustang I knew what he was referring too.

I was at a Los Angeles cruise night a few years back checking out a white 1967 GT 500. The owner and I started talking about Cobra's and Shelby Mustangs.
"Only a few miles up the road Jim Morrison hit a pole one night with one of these". "You mean Jim Morrison of the Doors" I asked.

One of the problems researching a car accident from forty years ago is the false information out there.

Rumor had it that Electra Records purchased Jim Morrison of "The Doors" a night mist blue 67 GT 500 for his fine work on the album "The Doors".
Morrison had a reputation of abusing just about everything he touched and with that in mind the GT 500 sat on Wilshire Blvd in Los Angeles just waiting for something to happen.
And it did.
One Friday night Morrison, driving recklessly, hit a telephone pole on Sunset Blvd and proceeded to jump out of the car and started to inspect the damage.
Frustrated, he walked up the road to the Whiskey A- Go-Go and continued his evening.
Hours later he walked back to the Shelby and by now the car was gone.
Now the mystery starts.
According to some, he never followed up on the accident or who towed the car.
Touring with a popular band in the 1960's Morrison had many distractions and a minor car accident probably wasn't his biggest priority.
Another interesting story worth mentioning is the LAX connection.
Morrison drove the Shelby to Los Angeles International Airport and left it there for an extended period of time while he was traveling.
When he returned the automobile was already towed away and sold at public auction.

Another persistent story I heard was that the GT 500 was resold many times in Southern California and no one really knew the history of the car. It had been in numerous accidents and didn't have much left to it. Finally on its last leg it made it to the crusher in the early 1980's.

This writer was contacted in 2005 by a woman from the Phoenix area who asked many questions about how she'd identify a very famous 67 Shelby owned by a "deceased rock star". I pressed the woman for more details however she suddenly became rather evasive and ended the call quickly.

I realized after the Phoenix call that even if the car was in front of me I couldn't tell if it was Morrison's or not.
I was confident it was a night mist blue 67 GT 500 but I needed much more than that.
With the help of Kerry Humphreys, publisher of "The Doors Collectors Magazine", I was able to contact Frank Lisciandro who was a personal friend of Jim Morrison.
Mr. Lisciandro came into possession of many documents of Morrison's when he died in Paris in 1971.
One of the documents was an original registration for a "1967 GT 500" from 1969.
"Whose name is on the registration" I asked.
"James Douglas Morrison"
After lengthy negotiations Tango Classic Auto's was able to purchase the original registration with the much needed vehicle identification number.

Tango recently came in possession of a film with Morrison driving his 67 GT 500 and it was indeed nightmist blue. And there is no doubt that it's a four speed. For the record, he was beating the hell out of it.

It's been about 40 years since this Shelby was running around Hollywood however just recently I had an interesting conversation concerning this piece of history.

For the time being, I'll keep that discussion to myself.

Bret Matteson
www.shelbymustang.com
February 28, 2007

---

THE END

Artist: Doors
Album: The Doors Buy The Doors CD
Lyrics: Jim Morrison

This is the end
Beautiful friend
This is the end
My only friend, the end

Of our elaborate plans, the end
Of everything that stands, the end
No safety or surprise, the end
I'll never look into your eyes...again

Can you picture what will be
So limitless and free
Desperately in need...of some...stranger's hand
In a...desperate land

Lost in a Roman...wilderness of pain
And all the children are insane
All the children are insane
Waiting for the summer rain, yeah

There's danger on the edge of town
Ride the King's highway, baby
Weird scenes inside the gold mine
Ride the highway west, baby

Ride the snake, ride the snake
To the lake, the ancient lake, baby
The snake is long, seven miles
Ride the snake...he's old, and his skin is cold

The west is the best
The west is the best
Get here, and we'll do the rest

The blue bus is callin' us
The blue bus is callin' us
Driver, where you taken' us

The killer awoke before dawn, he put his boots on
He took a face from the ancient gallery
And he walked on down the hall
He went into the room where his sister lived, and...then he
Paid a visit to his brother, and then he
He walked on down the hall, and
And he came to a door...and he looked inside
"Father!"
"Y es son."

" I want to kill you."
"Mother...
I want to...
fuck you the whole night long."

C'mon baby, take a chance with us
C'mon baby, take a chance with us
C'mon baby, take a chance with us
And meet me at the back of the blue bus
Doin' a blue rock
On a blue bus
Doin' a blue rock
C'mon, yeah

Kill, kill, kill, kill, kill, kill

This is the end
Beautiful friend
This is the end
My only friend, the end

It hurts to set you free
But you'll never follow me
The end of laughter and soft lies
The end of nights we tried to die

This is the end

+++++ +++ +++++

"The End" is a song by The Doors from their self-titled album. It was gestated through months of performances at Los Angeles' Whisky a Go Go. The band would perform the song to close their last set. It was first released in January 1967.

"The End" was ranked 328 on Rolling Stone's list of The 500 Greatest Songs of All Time.

Influences
The spoken-word section of the song includes the lines "Father/ Yes son?/ I want to kill you/ Mother, I want to...fuck you," (with the last two words screamed unintelligibly). This is often considered a reference to Sophocles' Oedipus the King, a production of which Jim Morrison worked on while at Florida State University.

Said Morrison in 1969, "Everytime I hear that song, it means something else to me. It could be goodbye to a kind of childhood." Morrison had also said that the song is an inside trip, and that "kill the father" means destroying everything hierarchical, controlling, and restrictive in one's psyche, while "fuck the mother" means embracing everything that is expansive, flowing, and alive in the psyche. This interpretation of his own lyrics recalls to us Morrison's lifelong passion for freedom. He may have been influenced by the Jungian concepts of individuation and archetypes, and was certainly influenced by Friedrich Nietzsche's concept of going beyond the limited types of human beings that have so far existed by loving Dionysian vitality and life ("the mother") while rejecting Apollonian systems and traditions ("the father").

The lyrics' reference to "the Blue Bus" has been variously conjectured to refer to either Indian mystic Meher Baba's "Blue Bus" tours of the 1930s, or to Santa Monica's "Big Blue Bus" public bus lines or Fetrow's blue bus which they took many trips in. The link to Meher Baba seems rather unlikely given the dark and nihilistic tone of the song, with its references to insanity, patricide and incest; all very alien to the life and outlook of Meher Baba. A reference to the actual bus line is a somewhat better possibility. But probably the most likely conjecture is that Morrison was referring to the drug numorphan, an opioid substitute for morphine, which in the drug culture at the time was occasionally referred to as "The Blue Bus" (it was available in 10 mg blue tabs). Given Morrison's affinity for drug and alcohol use, and the overall "otherworldly" tenor of the song, this seems a more likely probability. The inspiring image would be that of being together with one's lover in the altered, dreamy state of consciousness induced after taking the opiate-like drug. Similarly, the line "the blue bus is calling us" likely refers to the addictive attraction of numorphan that develops in abusers of the drug, and "driver where you takin' us" would refer to the altered consciousness and insight experienced through drug experimentation.

An alternative explanation to explain "the Blue Bus" phrase would be the fact that military inductees have long boarded blue buses for transport to basic training, or for movement around a base. "The End" was popular during the Vietnam War, and Morrison may have intended it to be an anti-Vietnam anthem. Morrison was born at the height of World War II, while his father was in the Navy. As a child, Morrison was a "navy brat", and very familiar with military life. No doubt he saw many a "blue bus" on the posts where his father was stationed. The following are phrases from "The End" that may help put the phrase "the Blue Bus" in context.

The phrase "The west is the best, The west is the best, Get here, and well do the rest" could summon images of troops preparing for transport to Vietnam to fight in the proxy "West vs. Communist" cold war. Other phrases with military allusions include "Lost in a Roman...wilderness of pain" and "The killer awoke before dawn, he put his boots on; He took a face from the ancient gallery." This may be the image of a soldier dressing to do battle in modern times, with an allusion toward a Roman infantryman. The phrase could also be an image of a Greek actor putting on a mask to perform in a play, except prior language implies a Roman allusion rather than one of an ancient Greek. Much of the brutal context of the song, implying random acts of killing, seems to make more sense in the context of war rather than in a drug trip gone bad, or the carefully prescribed plot of a Greek tragedy (cf. Oedipus). Further, the song begins and ends similarly: "This is the end, Beautiful friend; This is the end, My only friend; The end of our elaborate plans; the end of everything that stands; The end; No safety or surprise; The end; I'll never look into your eyes...again." In toto, the song seems to be a love song, or a lament for a very close friend who has just died. All other aspects of the song are relatively inconsequential by comparison.

(In one of his Vietnam War poems, William Caughly mentions a "blue bus" in relation to the military draft: "But when they called (the draft board), I answered - no Vietnam for me, no blue bus; and I knew they'd never use the nukes - right? They just never got the chance. Day before I leave for basic training, anti-war rally in Los Angeles in front of the Century Plaza Hotel....) A War Story © 1992 by William Caughey.

Music
Robby Krieger's slinky, haunting guitar lines over D drone in DADGAD tuning using the harmonic minor scale recall Indian drone and raga-based music, as has often been noted, and the vital, unpredictable rolling and dramatic crescendoes of John Densmore's drums recall Indian tabla rhythms. The music as a whole, though, does not sound entirely or even particularly "Indian". The sharp, ringing edge of the guitar recalls the 50s rock and roll style, while the fingerpicking attack may derive equally from the flamenco guitar style Krieger had studied as a youth and from alternate-tuned folk. Ray Manzarek's organ is used sparingly to provide the inconspicuous but essential bass line (I-V-I-V-I-V...) and fills. One may find a strong similarity to Chopin's "Funeral March" theme and also to Sandy Bull's guitar instrumental "Blend" - but this probably has more to do with the quality of the melodic minor scale than with influence.

Structurally, the song rises to three separate mini-crescendoes separated by slower sections of half-spoken, half-sung lyrics before building to an enormous psychedelic crescendo right after Jim Morrison sings the "meet me at the back of the blue bus" verse. Previously, the song had been weaving along on its melodies to an encounter with the ruling powers of the mind, the controlling "father" structure and the longed-for "mother", or freedom. The final crescendo represents an attempt to break through to that freedom. Just afterward, "The End" departs on a wistful note when Morrison sings, "It hurts to set you free, but you'll never follow me. The end of laughter and soft lies, the end of nights we tried to die." In the context of Morrison's first interpretation quoted above, this lyric and the associated music that softly reiterates themes from the opening may mean that the comfort of childhood will be sacrificed for freedom.

In film
"The End" was famously used as a framing device for Francis Ford Coppola's 1979 film Apocalypse Now, in which its dark, poetic passage marked the film's descent into the surreal. The sound of helicopter rotors from the beginning of the film are often included in recordings of the song. However, this version of the song is also incomplete, and the sounds of a jungle replace most of the lyrics in the second half of the song.

This usage has led to other, often satirical usages, ranging from two sequences on The Simpsons television series in which the song plays while Homer contemplates suicide and another, Kiss Kiss Bang Bangalore, in which, in an Apocalypse Now parody, he thinks he is a god, to a Saturday Night Live sketch in which John McCain is driven to madness while campaigning for George W. Bush as a parody of Apocalypse Now.

It was used in the final episode of The Dennis Miller Show, during another Apocalypse Now parody sequence, in which Dennis was airlifted by (we are led to believe) a helicopter out of the set.

Director Martin Scorsese used the song in a sex scene montage in his early Student film Who's That Knocking at My Door.

The song was also used in Oliver Stone's 1991 film The Doors, where it plays while the band explored drugs in the desert.

The song was referenced in a 2006 episode of The Venture Bros. entitled "Assassinanny 911", in a scene which also parodied the Apocalypse Now usage.

References in Culture
* In the 3/1/97 version of the Phish song Weekapaug Groove, recorded on Slip Stitch and Pass , Trey Anastasio, the vocalist, starts out by indirectly quoting the Oedipal section of this song, saying, "He walked on down the hall... He said, "Father, I want to kill you... Mother... I want to cook you breakfast.... Then I wanna...I wanna borrow the car.... Then I wanna... Ooooooooooh."

* Floater, out of Portland, performs the song during their live shows in a medley with their song "Settling" from their 1998 concept album Angels in the Flesh and Devils in the Bone

* During the Zeitgeist tour, The Smashing Pumpkins used a tease of "The End" as an intro to "Silverfuck".

* Rap group Three 6 Mafia sampled this song for their song "I'm So Hi" on their album When the Smoke Clears.

* The episode "Assassinanny 911" of The Venture Bros. includes a sequence where Hank (under the influence of poison) quotes the Oedipal section of the song and tries to kill his father with a machete while a Doors-influenced score plays in the background.

* Chris Cornell, both solo recently and while fronting the grunge behemoth Soundgarden, will tag portions of 'The End', among other songs, onto the breakdown of the 11+ minute long Soundgarden opus 'Slaves & Bulldozers' during live performances.

---

TICKETS

The Doors Concert Ticket Collection
1967-70. Consisting of: 1) 1.5 x 1.5" stub from Portland, Oregon on December 2nd, 1967. Show opener was Glen Campbell; a mismatch of monumental proportions. VG. 2) 5 x 2" unused ticket to July 9th, 1968, Dallas concert. Footage from this gig can be seen in the documentary film, "Feast of Friends". NRMT. 3) 4 x 1.5" unused "audit" ticket for an April 4th, 1969, cancelled show in Dallas, EX. 4/5) pair of 4.5 x 2.25" unused tickets to a cancelled gig at Fairfield University on May 9th, 1970. The Connecticut appearance was aborted after trustees concluded that "it is not in the best interests of the Fairfield community to have as its star attraction...a person such as Mr. James Douglas Morrison...undesirable and immoral elements might infiltrate the campus under the guise of watching the concert"! Oddly enough, the very next show was a May 17th appearance by the Grateful Dead! MT.

Pair of Ticket Stubs for The Doors at Carnegie Hall, NYC, NY Nov. 23, 1971 (Tue)
Two tickets for a pair of seats at what Greg Shaw (The Doors On The Road) terms, "one of the highlights of the Hall's season ... and probably one of the best shows The Doors ever perform without Jim Morrison." Even Cashbox reviewed the show favorably saying in their closing line of the review, "Death is not an end when life is strong". In view of the 2003 tour, these words echo true even today. This pair will be sold together unless one is sold seperately first.

Ticket Stub for The Doors at the PNE Coliseum, Vancouver, BC, Canada July 13, 1968 (Sat)
Just another ticket stub for another Doors show?! Not a chance! According to Greg Shaw's book, 'The Doors On The Road', "After two relatively composed opening songs, Jim Morrison flies into high gear, assaulting his microphone andsterring the band into a fresh, dynamic, and energetic show ... During the finale, hundreds of people vault onto the stage, overwhelming security personel who vigorously try to restrain the crowd. Their efforts at clearing the stage are futile." Nice clean stub for the show who left an impresion on thousands of Canadians.

Ticket for The Doors at the Seattle Pop Festival, Seattle, WA July 25-27, 1969
The Seattle Pop Festival at Goldcreek, in Woodinville, WA featured The Doors, Led Zeppelin, Chuck Berry, Black Snake, Tim Buckley, The Byrds, Chicago Transit Authority, Albert Collins, Crome Syrcus, Bo Diddley, Floating Bridge, The Flock, The Flying Burrito Brothers, Guess Who, It's A Beautiful Day, Charles Loyd, Lonnie Mack, Lee Michaels, Rockin Fu, Murray Roman, Santana, Spirit, Ten Years After, Ike & Tina Turner, Vanilla Fudge, and the Youngbloods. For an entertaining review of The Doors show on July 27th, please read Greg Shaw's, 'On The Road' book, page 172.
This was an incredible 3-day event with 25 bands / musicians and over 50,000 in attendance. Of those 50,000 who attended the festival, all of them had their tickets ripped in two pieces upon entering. This ticket was never used - It has been carefully preserved for thirty-five years and is in Mint condition.

Ticket for The Doors at the Coliseum Exhibition Park, Toronto, Canada April 20, 1968
ORIGINAL unused & un-ripped ticket for this obscure show that wasn't even in Greg Shaw's first book (The Doors On The Road) This ticket came indirectly from John Brower of Toronto who was the promoter of this 1968 concert - this was to be his first major concert. 'Cheuba Productions' was named after his childhood dog. The following year he brought both The Doors back to Toronto and had John Lennon and The Plastic Ono Band on the same bill. The ticket features original artwork by legendary Canadian artist Jon Fraser. Carefully preserved for thirty-five years and in Mint condition.

The Doors 1967
Original Unused Concert Ticket for "The Doors" on September 27, 1967 at the KRNT Theater in Des Moines, Iowa - Great Condition
$249.95

+++++ +++ +++++

TOD

Bestattungsurkunde von Jim Morrison:
Größe verändern bitte auf Dokument klicken

---

VERSTEIGERUNGEN

JIM MORRISON PAMELA COURSON SILVER ARMBAND THE DOORS

An old Mexican silver armband representing a two headed king snake,purchased by Jim Morrison in an antique shop in Acapulco in 1966.He sheared it with his girlfriend Pamela Courson & she kept it as a "love present".In 1967 she came to Italy by herself for an holiday;after she spent more than a good time together with an Italian friend (...)before she left to go back to London,she gave the bracelet to him as a "love gift" from her...& Jim. On a piece of paper she draw a sketch of a "weird triangle" between she,Jim & him with the intials crossed on as"Pamela Courson Jim Morrison With Love". The lot include: The siver armband;the sheet of paper with the address & the sketch designed by Pamela; a photograph shot by a paparazzo in a restaurant in Rome,showing Pamela Courson eating a pizza together with the above"not" named guy.The guy has ben cut out from the photograph for privacy reasons.On the enlargment the silver armband is clearly visible on her wrist.According with the story narrated by the guy;he went to see her in London few months later & met Jim Morrison backstage after a concert at the London Roundhouse .Unfortunately there are no photos of this meeting. Provenience:I adquired the armband directly from the owner in 1991 after it went unsold in the first Italian Christie's auction of music memorabilia in Rome.I 've kept in my collection since. There is a small round engraving in the inside of the armband"Villadares Taxlo" possibly the signature of the craftsman & the print "sterling 925".The two parts of the armband are connected by a spring, like a bivalved shell.the bracelet is in great conditions.A beautiful artyfact.The image represented on the armband fits perfectly With the Jim Morrison persona,as much as his leather pants. If anybody has got a photo of Jim Morrison wearing the armband,please contact me.I will pay top $.Thank You..

Ging meines Erachtens bei eBay für $ 8. 800 an einen neuen Besitzer.

+++++ +++ +++++

Jim Morrison: Letzte Notizen unter dem Hammer
04. Juli 2006

The Doors-Sänger Jim Morrison war nicht nur ein begnadeter Musiker, sondern auch ein leidenschaftlicher Dichter. Nun werden seine letzten Notizen in London versteigert.

London (an) - "Do you know the warm progress under the stars? Do you know we exist? Have you forgotten the keys
to the kingdom?" Mit diesen Worten beginnt das Gedicht "The American Prayer" von Jim Morrison. Der Kopf der Doors war auch Poet und ist bis heute ein verehrtes Mysterium. Mit The Doors feierte der exzentrische Künstler in den 60er Jahren große Erfolge. Noch heute pilgern zahlreiche Fans zu seinem Grab in Paris. Dort verstarb er 1971 im Alter von 27 Jahren an Herzversagen und wurde zur Legende.

In London wird nun ein Notizbuch versteigert, das seine letzten Gedanken vor dem nahen Tode beinhalten soll. Auf 20 Seiten finden sich Gedichte und Liedtexte. Mitgeliefert wird eines der letzten Fotos, die von dem Sänger geschossen wurde. Laut dem NME versteigert das Auktionshaus Cooper Owen's Music Legends die Niederschriften noch in diesem Monat. Erwartet wird ein Preis von ungefähr 120.000 Euro. Das Notizbuch war bisher in Privatbesitz. Der Eigentümer hatte es nach Morrisons Tod in einem Plattenstudio gefunden.

Dass seine Gedanken und Gefühle einmal verscherbelt werden, hätte Morrison wohl nicht gedacht. Ihm war immer wichtig, sich mitzuteilen, eine Botschaft zu vermitteln. Dies gelang dem Musiker meistens nur unter Drogeneinfluss, was schlussendlich wohl zu seinem Tod beitrug. Um so tragischer wäre es jetzt, wenn seine letzte Botschaft in Privatbesitz eines Sammlers verschwinden und die Öffentlichkeit nie erfahren würde, was Morrison in den letzten Tagen vor seinem Tod beschäftigte.

+++++ +++ +++++

Rock and Pop Memorabilia Auction at Christies

Properties From The Personal Archives of Suzie Rotollo & The Collection of Neville Garrick
Christie's
2 PM, December 4, 2006
Viewing December 1 & 2, 10-5; Sunday December 3, 1-5.

Lot 16, hand-written poem in Jim Morrison's hand, circa 1970, titled "The American Night

Lot 16 is a hand-written poem written in ballpoint pen circa 1970 by Jim Morrison of The Doors and entitled "The American Night."

Jim Morrison's passion in life was poetry - not music, where he achieved mythical pop idol status. Beautiful and charismatic, Morrison was the lead singer of the Doors, and wrote many of the songs that helped make them famous. He self-published two volumes of his poetry during his lifetime; one of them, "The American Night," hand written by him in ball point pen, was on display at the press preview, a moving reminder of this meteoric talent, the fragility of the creative spirit, and, as with so many creative geniuses, his untimely death by suicide at the height of his popularity and fame. An altered version of this poem was published posthumously in "Wilderness: The Lost Writings of Jim Morrisson Volume 1," by Danny Sugarman. The lot has an estimate of $8,000 to $12,000, and there is also a second poem, "The Fear," from the book, Lot 17, with the same pre-sale estimate. Lot 16 sold for $50,400 and Lot 17 sold for $22,800.

A recording called "American Night" appears on "An American Prayer," but it shares nothing with the poem besides its title. At heart, Morrison was the all-American male, an irrepressible individual and a rebel, and his sound was unforgettable. Lyrically and poetically, "America" was a constant theme in his work.

Danny Sugarman writes in "Wilderness: The Lost Writings of Jim Morrison Volume 1:"

"Jim Morrison didn't want to be a god, he wanted to be a poet. Surely no modern poet has written better of alienation and the feelings of isolation, dread and disconnectedness than Jim Morrison....Jim was aware of this modern schism, the sense of dislocation, our angst, and in a self-interview included in 'Wilderness' as a prologue, Morrison himself said, 'If my poetry aims to achieve anything, it's to deliver people from the limited ways in which they see and feel.'"

Blinded by the beauty, brightness and wild lifestyle of this rock icon, his poetry was not something the public was ready to take seriously in his lifetime. Danny Sugarman wrote that it was Jim Morrison's dying wish to be taken seriously as a poet; times have changed, his poetry has endured, and to give some idea of his uncompromising genius with words, here is "The American Night:"

When radio dark night
existed and assumed control
and we rocked in its web
consumed by static
stroked with fear

we were drawn down
the distance of long cities
riding home through the open
night alone
launching fever and strange carnage
from the back seat.

---