"The End": Chaos, Calm, and Living with Anticipation of Death

**I mentioned in a previous post that I wrote an analysis of "The End" by The Doors for another class. In this analysis, I look at the song's lyrics, instrumentation, and performance to highlight the mixture of chaos and calm, ultimately reflecting the Morrison mindset of living with an acceptance of death. I wish I could have explored this further, but I got an A, so I must've done SOMETHING right. Right?

Ever since the sound of helicopters and the sight of gas choking out palm trees accompanied it’s introduction in Apocalypse Now, ‘The End’ by the Doors has been associated and analyzed as a song about Vietnam. However, the bigger picture reveals that, in what I consider to be Morrison’s greatest lyrics, the song is addressing so much more.  Through the instrumentation, powerful imagery, and the flamboyant live performances, ‘The End’ embodies the strange mix of clam and chaos that is living with the anticipation of death.

            Jim Morrison is obviously one of the greatest frontmen of all time, but the rest of the Doors play a crucial role in many of their songs, especially ‘The End’. Ray Manzarek, Robby Krieger, and John Densmore all transition so effortlessly from ethereal to eccentric throughout the highs and lows of the piece. Krieger’s opening guitar riffs are scattered in the most magnificent way, constantly taking left turns yet never straying too far to turn the dissonance into discomfort. Manzarek haunts the piece with his typical grace on the organ. It is Densmore who sends the madness into overdrive, as he builds anticipation throughout the whole song.  One little fill here, another one that’s a little longer, and then back to gently ride the cymbals. This constant and intentional build and retreat reminds me of Einstein’s definition of insanity, “doing the same thing over and over again and expecting different results.”

            Personally, this is lyrically my favorite piece by Jim Morrison. Of course, the Oedipus-inspired spoken word section of the song was incredibly controversial at the time, but today it is such a vibrant and gut-wrenching reminder of the carnal desires of man. In relation to Vietnam, Morrison sounds as if he is speaking to you in a dream as he sweetly yet sinisterly sings, “The blue bus is calling us.” The blue bus is a reference to those that would stop in small towns across America to pick up the young draftees headed to boot camp. Yet, my favorite portion of lyrics from the song is at the beginning. Morrison cordially introduces the listener to his only friend, The End. As if he knows this may be jarring, the song takes an optimistic turn as Morrison asks, “Can you picture what will be? So limitless and free.” Morrison, who was obsessed with the idea of death, lived in that mix of calm and chaos; he embraced life but the awareness to an end of pain made death appealing.

            Performing ‘The End’ was a visual representation of the chaos and calm in the song. Morrison was the star of the show, remaining nearly motionless until the break. Then, as he screamed “Fuck” and “Kill” and would finish the Oedipus story, his body would drunkenly flail all over the stage, nearby officers, and crowds. This was just another way that Morrison and the Doors sucked the listener into the song. Fittingly, when the Doors performed for the last time before Morrison’s death in 1971, they closed with ‘The End.’    

What I've Been Listening To

In the typical post-Grammy slumber in the music industry, it's always nice to explore music from the past. I'm the type of guy who finds something he likes, obsesses, listens to it until his roommates ban it in the house, and then move on to the next jam.  Here's what has been on repeat lately:

Drake - If You're Reading This, It's Too Late

Is it a mixtape? Is it an album? It doesn't matter. Drake seemingly became the only new music that mattered a couple of weeks ago when he dropped this project with zero warning.  On first listen, I wasn't impressed with the trap cuts and overconfident rhymes, but it's growing on me. Despite a few remaining stinkers like the lazy "6 Man" and the melodramatic "You & the 6", the production and rapping stands up. Drake and his producer 40 use the same old tricks to make the catchy, sudden transition songs like "Know Yourself". The biggest surprise? I don't even hate the Lil Wayne feature, and think "Used To" is a solid cut.

Korn

I don't believe in having guilty pleasures, but if I did, mine would be KoRn (I also believe my occasional affinity for numetal is possibly the "whitest" thing about me). In all seriousness, KoRn was a big deal in the 90s, as they broke all the rules of what metal was supposed to sound like. I read Brian "Head" Welch's born-again Christian biography when I was in 8th grade, and remember wrestling with the complexity of a man who could play this crazy music and love Jesus. KoRn is still weird, but I'll always have to get a bagpipe fix every couple of months.

Rihanna ft. Kanye West & Paul McCartney - "FourFiveSeconds"

Okay...something Kanye usually makes the list. But, "FourFiveSeconds" does more than just amplify my man crush on Yeezy. The Paul McCartney influence is evident, as the incredibly stripped down track is structured as if The Beatles could have sung it themselves (had they ever used the word "wild'n"). Despite the lack of flash and pazaaz, the raw energy and emotion that both Kanye and Rihanna bring in their performances are goosebump-worthy. Watch the video if you haven't.

The Doors

As I listen to the poetry of Morrison and the instrumentation of Densmore, Krieger, and Manzarek, I kick myself for the past 21 years for thinking I didn't like The Doors. Sure, Jim Morrison was a raging alcoholic, but the man had a warped view of the world, mortality, and rebellion that I jive with.  I can say with confidence that my favorite song is "The End" (the opening clip in Apocalypse Now is what made me reconsider the band), but other favorites include "Peace Frog", "L.A. Woman", "Waiting For the Sun", and due to my fascination with the Vietnam War, "The Unknown Soldier". As my current obsession, I recently viewed the movie starring Val Kilmer and I'm reading a book comparing the life of Jim Morrison with the French poet Arthur Rimbaud. Most interestingly, I wrote about the mix of chaos and calm in"The End" and how that represents Morrison's living in anticipation of death for a quiz and I got an +A. This listening rut may take a while to get out of, as I think The Doors may be creeping into my Top 10 favorite bands, but that's okay because..."I am the Lizard King. I can do anything."

Personal Musings from a Struggling Music "Journalist"

For those of you who don't know, I started this blog in part because I'm taking a Blogging & Journalistic Branding course this semester. My assignment for this post was to critique a recent post from one of the music blogs I've been following. As I dug through all of my favorites, I noticed something...

BLOGGERS HAVE LOST THEIR VOICE.

Yes, this post is going to sound cynical.

Many music blogs are now dedicated to delivering news. There's no reaction or explanation. Most importantly, there's no discussion.

How did this happen? Music overload. Hundreds of genres are supported by thousands of average users creating songs in GarageBand. This isn't to say that it's all garbage, because I also think that we are blessed to live in an era where technology allows anyone to be an artist. Unfortunately, this constant flow of new music has overwhelmed even the most genre-specific blogs, leaving sites to report without commentary. 

Maybe it's because the art of writing is being overpowered by the convenience of images and video. I told you this would sound cynical, but in my defense I fully support awesome reviewers like Anthony Fantano, BIGQUINT INDEED, and the Daily Guru.The process of advertising and search engine optimization doesn't help individual users either, as I'm sure there are hundreds of others like me writing their thoughts down. 

(Or maybe I just haven't found what I'm looking for. If you know of something I'm missing, let me know in the comments!)

It's hard for me to critique any of the people who ARE sharing their voice, as I'm such an amateur myself (an amateur with very little self-esteem, hence the lateness/lack of posts). However, I think the idea of broadcasting your opinion is scary to even the educated listener. The ultra-critical, right-or-wrong attitude of review suppliers like Pitchfork create a lot of pressure for the novice reviewer. Starting a blog is work, sure. But it's also a written account of how a piece of art makes you feel, and that's a very vulnerable position to willingly force oneself into.

Maybe, some social networking site in the future will perfect a community where "music nerds" like myself and others can gather and share real opinions and reactions. For now, I'm uncomfortable critiquing the work of what I hope to someday consider my peers. All I can do is stick with this, write what I think, and keep on listening.

Why We Need Another Nip-Slip: A History and Reflections on the Super Bowl Halftime Show

Let me first start of by saying, Katy Perry, if you read this it's nothing personal and I hope this doesn't ruin my chances with you, I just like music a lot and want people to actually listen. P.S. I think I'm good kisser, but there's only one way for you to find out. ;)

Right. Moving on.

(visual courtesy of CNN)

When did the Super Bowl halftime show become more about the visuals and less about the music?  Forgive me in advance, because I'm feeling super cynical about this one, but no one seems to be addressing that LITERALLY NO ONE CARES ABOUT THE MUSIC.

Which sharks danced best? Sure. Was there a lot of pyro and fireworks? Ugh, see above. (FIREWORKS IN A DOME THAT NO ONE INSIDE COULD REALLY SEE). Was there a metallic hellcat sent to devour the souls of non-Pepsi drinkers? Check. But no one is talking about the songs, the voice, the instruments (probably because they aren't plugged in), nothing but the flash and hoop-la.

As I looked into Super Bowl halftime performers of the past, I found that until 1991, pop had no place. Numerous marching bands, some world organizations, the occasional oddity or standards singer, but no rock stars. I'm not even sure if the halftime show was televised. But then in '91, New Kids On the Block took the stage with some Disney characters and changed the game. Two years later, it would be the King of Pop himself, Michael Jackson. 

After a string of some weird lineups in the rest of the '90s (wasn't everything just kind of weird in the '90s?), the 2000s were off to a great start before the infamous nip-slip. Classic artists like Phil Collins, Tina Turner, Aerosmith, and Sting, teamed up with fresh names like Christina Aguilera, Britney Spears, *NSYNC, Shania Twain, and No Doubt. 

I actually missed the infamous Janet Jackson nip-slip of 2004, as I didn't really care about the Patriots or the Panthers and since I was ten, I really did care about playing Tony Hawk's Pro Skater.  But ESPN did a really cool piece on Nipplegate's 10 year anniversary last year. Basically, PEOPLE FREAKED OUT.

In response, the upcoming years were filled with great music. Paul McCartney, the same man once hated by so many conservative parents, was ironically the go-to safe move for the year following a major scandal. The coming years were as followed, Rolling Stones, Prince, Tom Petty & the Heartbreakers, Bruce Springsteen, and ultimately the Who.

Since then, nothing but pop.  The Black Eyed Peas were the worst of the bunch, but I enjoyed Beyoncé, Bruno Mars, and I even enjoyed Katy Perry last night.  However, just as the halftime show has evolved from just a college band marching around to a multi-million dollar event, at this rate the next step is cutting out the music all together.

Giant metal lions vs. Christians, maybe?