Perspectives on Jim Morrison from the Los Angeles Free Press

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Perspectives on Jim Morrison from the Los Angeles Free Press Sept 22, 2019 8:26:17 GMT -5

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appeared in Hart’s column supported the Decency Rally, and Hart reminded her readers about the upcoming event.
Another letter from “Winter Tourist” wished to make clear that parents should attend rock concerts to come to
understand that not all rock and roll bands are the same (like The Doors), and a third letter from the president of
Melbourne Teen Town mentioned “that The Doors are a bad risk.” The last was within the context that one could
not possibly know if the band, nationally known or otherwise, would be “decent and law–abiding” onstage. The
president of Melbourne Teen Town also explained that the efforts of Teen Town are for recreation (implying that the dances they plan keep teenagers off the streets).184 According to Marjorie Paxson, who worked at The Miami
Herald
during the time, Hart’s column was actually ahead of its time for an advice column in a women’s section of a
newspaper: it was a locally written feature that dealt directly and indirectly with the sexual revolution, birth control, marital issues, dieting, mental health, and hippies.185
Just the day before the rally, an editorial supporting the rally appeared in The Miami Herald. Informing
readers that the teenagers organizing and attending the rally wish to inform the world that they do not want filth in
entertainment, the editorial describes the rally as a potentially constructive and entertaining event for teenagers:
The plan for the rally began as an answer to the Doors performance March 1. Call it protest, if you like. We consider it a kind of protest which should be heard more often—an uprising of the vast majority which usually is silent, speaking out affirmatively, not negatively.186

The local news featured photographs of the preparations for the rally (at this point called “Decency Day”
or “D–Day”). Writers continued to note that the rally originated as an outcome of the community’s reaction to the “wild performance staged” by The Doors.187
184 Eleanor Hart, et al., “Decency Rally May Point The Way to Better Things,” letters in “Column with a Heart,” under “For and about Women,” The Miami Herald, 19 March 1969, 1C.
185 Paxson, “Women in Journalism,” interview by Gentry, Session 6, 154 (or 15 of 31). Paxson added that Eleanor Hart was “a very imaginative person” with her column. She remarked that the women writers had a number of strategies for dealing with issues that concerned them, even when they were unable to address them in their own writing: “[The Miami Herald] had a great deal of space . . . so that if outside articles were written that we thought would be good for the paper, we would run them. We ran, for instance, parts of Betty Friedan’s book The Feminine Mystique.” See ibid., Session 6, 154 (or 15 of 31).
186 Anon., “Teens to Rally For, Not Against,” under “Editorials,” The Miami Herald, 22 March 1969, 6A.
187 See Anon., “Decency Day,” photograph that appeared on page 1C in the “Local News” in The Miami Herald, 23 March 1929. In the same issue, it was reported that a judge was to rule on the Cincinnati case brought forward by promoters after The Doors concert was cancelled there. See Anon., “Judge to Rule on ‘Doors’ Injunction,” under “Local News,” The Miami Herald, 23 March 1969, 4C.

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Wardlow reported that 30,000 people attended the rally. Wardlow and Mahoney’s articles that covered the
event featured photographs of Anita Bryant and Jackie Gleason greeting the attendees, riding on antique touring cars
into the Orange Bowl, as well as a photograph of flag bearing adults and teenagers––one turtle–neck clad girl
holding a “Down with obscenity” sign. Headlines stressed a sense of success: “‘Decency Rally’ Rattles Orange
Bowl to Rafters”; “‘Should Do This Every Six Months’”; “Orange Bowl Trembles as Teenagers Stage Roaring Rally for ‘Decency.’”188
After the event, the “Letters to the Editor” section of the newspaper included letters for and against the
rally; most, however, praised The Miami Herald’s coverage. None examined the surrounding issues of censorship.
Dorothy Moldenhauer credited the press for the rally’s success:
What comes to mind is the magnitude of the power of the press without which this mass meeting would never have been a success. The effectiveness of the news media in their encouragement of decency and good citizenship as compared to coverage of the shoddy side of youth groups about which the less said the better proved a most satisfying contrast.189

Mary F. Keith of Baltimore described the rally as “the most heartwarming sight to the people of this country.” R. Faria of Palm Beach Shores also praised the rally and The Miami Herald’s coverage of it.190 Though these Letters
to the Editor were supposed to include letters against the event, the balance clearly tipped in favor of the rally.
Timothy Greenfield did not criticize the rally in his letter, but rather Jackie Gleason, who “returns to the stage after
the half–naked girls have advertised dog food” and “has in his hand a coffee cup ‘supposedly’ filled with booze”: the Great One being himself a decent role model.191 Greenfield did criticize the audience in passing, remarking that
if they thought Gleason was an appropriate representative for decency then “those who donned American flags and
188 See Jean Wardlow, “Decency Rally Rattles Orange Bowl to Rafters,” The Miami Herald, 24 March 1969, 1A and 25A. See also Larry Mahoney, “‘Should Do This Every Six Months,’” The Miami Herald, 24 March 1969, 25A.
189 Dorothy Moldenhauer, “Great Coverage of Rally at Bowl,” under “Letters to the Editor,” and “The Rally for Decency: For and Against,” The Miami Herald, 29 March 1969, 6A.
190 See Mary F. Keith, “Only Way is Up for Entertainment,” under “Letters to the Editor,” and “The Rally for Decency: For and Against,” The Miami Herald, 29 March 1969, 6A, and R. Faria, “The Best News Around Lately,” under “Letters to the Editor,” and “The Rally for Decency: For and Against,” The Miami Herald, 29 March 1969, 6A.
191 Timothy Greenfield, “How Sweet It is Saturday Night,” under “Letters to the Editor,” and “The Rally for Decency: For and Against,” The Miami Herald, 29 March 1969, 6A. The Miami Herald often reported about Gleason’s connections to the city. For example, see Jack Anderson, “The Honeymooners return to Florida,” Miami Herald, 15 September 1970, B1.

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Perspectives on Jim Morrison from the Los Angeles Free Press Sept 23, 2019 5:46:09 GMT -5

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teenagers at the time wanted modern entertainment, but without the filth.199 Afterwards, the prominent teen
organizer (Levesque) received an outpouring of letters to stage similar rallies in other cities, an invitation to appear on the Today show, and was one of the recipients of a letter of praise from President Nixon.200 Miami Herald radio
and television editor Jack E. Anderson discussed the appearance on the Today show before it took place. Anderson
was already a controversial but respected investigative reporter and columnist. He later earned a Pulitzer Prize in
1972 for his report that the Nixon administration secretly sided with Pakistan in its war with India; he would also
investigate the Watergate Scandal and publish the secret transcripts of the Watergate grand jury. Here he informed
readers again about the rally being instigated by The Doors:
Morrison tried unsuccessfully to provoke a riot and broke into a series of obscene gestures. It set the legitimate rock music cause back locally almost to the pre–Hair era. The incident by now has been belabored to the point of tedium.201

The rest of the article focused on The Doors and Morrison. Anderson criticized Collier and Thee Image, explaining
that Collier knew better and took a risk with The Doors. He claimed that he was told (by who?) that Thee Image
was “a gaudy, psychedelically painted center of overwhelming sound.” He mentioned that a friend there told him “that if any of the recorded underground platters have tainted lyrics you can’t hear them anyway over the noise.”202
He also explained that Collier outbid the University of Miami to get The Doors, who were especially popular among
the young, to play at the Dinner Key. Anderson was curious about several questions that remained unanswered about the issues surrounding the Miami concert, including “why Morrison and The Doors lost their cool.”203 He
concluded,

199 Anon., “Away We Go, Decently,” under “Editorials,” The Miami Herald, 25 March 1969, 6A.
200 Anon., “White House Letter Comes for Clean Teen,” The Miami Herald, 27 March 1969, 2C. It was later reported that Miami Rabbi Irving Lehrman would present a speech at a synagogue in Miami Beach that would call the decency rally “‘a wonderful thing’” and would draw connections to Nixon’s remark that “‘the greatest crisis facing our nation is a spiritual and moral one.’” See Anon., “Teens Decency Rally Draws Rabbi’s Praise,” The Miami Herald, 28 March 1969, 4C. An article about the Today show appearance, written for the Associated Press in The Miami Herald, described the national attention the rally received, how it had become an impetus for other rallies against decency in the U.S., and quoted Nixon’s letter of appreciation to Levesque. See Associated Press, “Decency Rally sparks National Drive,” The Miami Herald, 29 March 1969, B1.
201 Jack E. Anderson, “Decency Teens On Today’s Today Show,” The Miami Herald, 28 March 1969, 2B.
202 Ibid., 2B.
203 Ibid., 2B.

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What provoked the bad scene at Dinner Key? Were they sore at Collier and his associates? Wasn’t the money what they had been promised? Collier and his brother were roughed up in the mêlée. What brought all that on, besides the group’s unhappiness with having their microphone cords disconnected. I still don’t completely understand how Collier and company got their rear ends caught in The Doors.204

Mahoney also reported about a warrant issued for a seventh charge, unlawful flight to avoid prosecution.
Morrison, however, was on tour with The Doors and was unaware of any legal problems resulting after the Miami
concert. Police did not arrest him, members of the band, or anyone else involved in the performance during or after the concert. Mahoney described Morrison’s performance as “evoking the wrath of much of the community.”205 He
explained that by the end of March the warrants remained unserved because Morrison and The Doors had been to
the Carribean and returned to an undisclosed location in the U.S. Max Fink, their Beverley Hills lawyer, criticized
the charges by remarking that Miami’s reaction to the concert as well as international reaction to it had been “‘blown
out of proportion’” as had the reaction the Miami community had to the concert. He asked if its residents were at all
aware of theatre today. He concluded that considering the kinds of shows that took place at the time, The Doors’ Miami concert could not have contained any obscenity.206
The Miami Herald’s Coverage of Jim Morrison’s Trial

As the 10 August 1969 court date approached, The Miami Herald’s coverage again shifted its focus to
Morrison. According to the column “The Tip Off,” an early strategy of The Doors’ lawyers was to have
contemporary films shown to the jury. These films included Jag är nyfiken–en film i gult, a Swedish film directed
by Vilgot Sjöman (known as I am Curious (Yellow) in the U.S., released in Sweden in 1967, and released in the U.S.
in 1969), the Woodstock documentary (1969), and Allen Funt’s What Do You Say to a Naked Lady? (1969). These
films and the trial were called “X–rated.” The Doors’ lawyers wanted the films to be admissible in court to show
204 Ibid., 2B.
205 Mahoney, Larry, “‘Doors’ Singer Faces Seventh Charge in Miami,” The Miami Herald, 25 March 1969, 3B.
206 Ibid., 3B. Morrison had apparently paid the bond to be released while awaiting trial. See Associated Press, “Rock Singer Release on $5,000 Bond,” the Los Angeles Times, April 1969, page numbers unavailable; reproduced as “Rock Singer Released on $5,000 Bond,” in Sugerman, The Doors: The Illustrated History, 132. According to the unsigned article, Morrison surrendered to the FBI “on a Miami lewd and lascivious charge.” It also reported that the FBI added the charge of “unlawful flight to avoid arrest.”

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Perspectives on Jim Morrison from the Los Angeles Free Press Sept 24, 2019 10:23:24 GMT -5

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the jury that they represented “‘contemporary moral standards.’”207 At the time, The Miami Herald itself was also
chock full of advertisements for films in the mainstream with hippie or drug culture themes like Hy Averback’s
I Love You, Alice B. Toklas! (1968), Joseph McGrath’s The Magic Christian (1969), and Mark Robson’s Valley of
the Dolls (1967), as well as adults only films like Paul Hunt’s You (1968), in addition to far less risqué films in the mainstream, local vaudeville and burlesque shows.208 Of the last, one particular advertisement stands out: a local
revue, Femmes de Fantasia, took place at Miami’s “world famous” Eden Roc. The advertisement informed that the show possessed “the excitement of Hair” and “The Wildness of Oh, Calcutta.”209
A large picture of a bearded Morrison with Manzarek and Krieger appeared on the first page of Section B
in the 11 August 1970 Miami Herald. According to the caption, Morrison is the one facing the charges. All three
were casually dressed, as staff writer Paul Levine points out. Levine was a 21–year–old court reporter who
graduated from Penn State University with a degree in journalism just a week before he started working for The Miami Herald. He had never been in a courtroom before.210 After writing about the trial, he went to The University
of Miami Law School. Levine is known today as a prolific and award winning author of his bestselling Jake
Lassiter novels and for the critically acclaimed 9 Scorpions (1999) and Solomon vs. Lord (2005). He wrote The Miami Herald’s coverage of the trial and made radio reports of it.211 He reported that the trial had been delayed.212
He mentioned that Morrison was accompanied by The Doors, their publicist, and two lawyers (one was attorney
207 Anon., “Movies Rated ‘X’ May Enter Trial of Rock Musicians,” under “The Tip Off,” The Miami Herald, 2 August 1970, 34A.
208 I Love You, Alice B. Toklas! starred Peter Sellers. The Magic Christian starred Sellers and Ringo Starr, had a script written by Graham Chapman and John Cleese (just before they were united with Terry Gilliam, Eric Idle, Terry Jones, and Michael Palin on the BBC television show Monty Python’s Flying Circus), and was based on a book by Terry Southern, who was previously a co–writer with Stanley Kubrick of the film script for Dr Strangelove, or: How I Learned to Stop Worrying and Love the Bomb. The film You featured “Feel–A–Vision” and had “no holds barred” concerning obscenity and nudity.
209 The advertisement appeared, for example, in The Miami Herald, 5 August 1970, 7C.
210 Paul Levine, message under “Disorder in the Court,” Naked Authors.com, www.nakedauthors.com/ archive/2007_02_01_archive.html (accessed on 7 September 2007). On this blog, he recalled his own inexperience as a court reporter, “A prosecutor took pity, showed me around, and taught me a few Latin expressions. (‘Mero Motu,’ it turns out, is not a businessman’s greeting in Tokyo, but rather an act undertaken on the court’s own motion).”
211 See Rockmine, “The Doors: Tape List,” in Rockmine: The Doors, www.rockmine.com/DoorsIC.html (accessed on 7 September 2007).
212 Paul Levine, “Doors’ Singer’s Case Given Second Billing,” The Miami Herald, 11 August 1970, 1B.

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Max Fink, best known as a Beverly Hills celebrity divorce attorney). Ian Glass identified the publicist as Mike
Gershman in his Miami News article about the trial. Gershman confirmed that he was there with The Doors in his article that appeared just afterwards in the magazine Rock.213 Criminal Court Judge Murray Goodman was
appointed to the case, which he postponed to the next day. Levine’s report could be perceived as cameos of the
lawyers, the publicist, and Morrison: the lawyers wanted the trial to take place immediately; the publicist and
Morrison apparently took the situation less seriously than what would be expected at a hearing. The publicist was
interested in getting coverage of the trial on network television. Morrison smoked, talked to fans in the corridor of
the Metro Justice Building, and according to Levine, did not speak above a whisper. Recalling the Miami concert,
Morrison being called the “King of Orgasmic Rock” and his earlier connection to Florida (he was once a Florida
State University student), Levine quoted Morrison’s sarcasm about Miami: “I get a real good feeling from Miami.”214 Levine mentioned that Fink predicted the trial to last six or seven weeks and that during that time he
would show that Morrison’s performance did not “offend the ‘contemporary moral standards of the community.’” Morrison, however, was quoted that “the significant issue is artistic freedom of expression.”215
Levine later reported that Goodman’s courtroom was too small for the many Doors fans who wanted to see
Morrison. According to Levine, the room was just big enough for lawyers to begin the process of selecting a jury
for the trial. He described the process itself as grueling since the state used five out of its six challenges, Morrison’s lawyers used two of its six, and Goodman excused six more.216 Levine reported that some of the teeny boppers were
lucky enough to see Morrison’s poem “An American Prayer” (bound in hardcover) as it was passed around by the
publicist to newsmen just outside the courtroom. He was showing Morrison’s admirers that the poem was “‘not unlike the lyrics to the musical Hair.’”217 Meanwhile, after the five jurors were chosen in the courtroom,
Morrison’s co–defense counsel, Robert Josefsberg, demanded that the entire jury be dismissed because he did not
believe Morrison could receive a fair trial as none of the jury members were young; all potential young jury
213 Ian Glass, “Doors’ Morrison in Court as Jury Selection Begins,” The Miami News [issue number unavailable] (1969): pages unavailable; reproduced in Sugerman, The Doors: The Illustrated History, 135.
214 Levine, “Doors’ Singer’s Case Given Second Billing,” 1B.
215 Ibid., 1B.
216 Paul Levine, “Morrison’s Peers Try for Glimpse at Trial,” The Miami Herald, 13 August 1970, 1E.
217 Ibid., 1E and 2E.

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Perspectives on Jim Morrison from the Los Angeles Free Press Sept 25, 2019 18:59:24 GMT -5

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members had to be dismissed for knowing too much about the case. Levine reported that Goodman was open–
minded to Josefsberg’s suggestion to find jurors under 30 years old for the case. Levine’s account revealed Fink’s
hand early on. Fink questioned every potential juror about popular culture and contemporary art, books, music, and
theatre. Fink’s strategy was spelled out, according to Levine, from the very beginning, and his questions were
quoted in the article:
“If Mr. Morrison used slang expressions which you as individuals considered crude––some four– letter words––and those same expressions, verbally and physically are part of the dissenting scene in this country, as evidenced by plays, books, and thing[written by] people of the country, would you be shocked?”218

Levine concluded that Fink’s questions demonstrated that the jurors had very little knowledge of popular culture and
contemporary art, books, music, and theatre. He also reported that Fink asked a woman juror if she would be
willing to see a film that featured nudity and profanity. She replied that she would not pay for it:
The defense lawyers have said they would like to show the jury certain X–rated films as evidence of the current community standards with regard to obscenity. Should this be allowed, the country would pick up the admission tab for judge, jurors, and lawyers.219 The jury was selected two days later. It consisted of four men and two women.220 According to “The Tipoff”
column that appeared the day before the trial was scheduled, Morrison’s lawyers purchased tickets for Hair for
everyone involved in the trial (the county did not have to pick up the tab after all). The musical would take place later that month at the Coconut Grove Playhouse.221
Levine later reported on the two young witnesses, Colleen Clary (age 17) and her boyfriend Carl
Huffstutlear (20), who claimed they saw Morrison pull down his pants to his knees and expose himself at the Miami
218 Ibid., 2E.
219 Ibid., 2E.
220 Anon., “Jury Set for Trial of Singer,” The Miami Herald, 15 August 1970, 2B. The men were John Cone (a machinery worker who was once a cook for the U.S. Army), Herbert Franks (a tile setter for a flooring company), Karl Beidl (a mechanic who served 23 years in the Coast Guard), and William Bowen (a 1950 graduate of Ohio State University and an elementary art school teacher). The women were Elaine Hemperly (a Miami Beach housewife with a 23–year old son and a 30–year old daughter) and Audrey Tomp (a housewife who was once an insurance underwriter). The short article described Morrison as being the idol of “the Now Generation.”
221 Anon., “Morrison Jury May View Hair If Court Allows,” under “The Tipoff.” The Miami Herald, 16 August, 1970, 24A. The column featured Morrison’s publicity shot next to pictures of former Florida Governor Fuller Warren and federal Judge C. Clyde Atkins. All were discussed in this issue’s “The Tipoff.”

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concert.222 On the stand Clary, a drugstore cashier, explained that she witnessed Morrison with his hands on his
genitals. Levine reported that Clary was so distraught from embarrassment and the cross–examination that
Goodman had to call for a brief recess. According to Levine, Fink attempted to show that Clary’s description in
court conflicted with answers that she gave the day before. Levine’s example was that Clary claimed to have bought
tickets for the concert, but later told the court that her brother–in–law (a Miami policeman) let her and her boyfriend
into the Dinner Key free of charge. Levine reported that Huffstutlear’s testimony was similar to Clary’s and that
Fink pointed out to the court that Huffstutlear stated earlier that his memory of the concert was vague but on this day claimed that it was not vague.223 The headline of the article, “Singer Exposed Self, Two Spectators Testify,”
emphasized that two witnesses testified, but did not imply that their testimonies were questionable. Levine also
reported that Huffstutlear had seen Woodstock and that Fink was seeking the Judge’s permission to let the jury see the film.224 The prosecution’s presentation was met by Josefberg’s motion for a mistrial because prosecutor Terry
McWilliams “accused Morrison of inciting to riot, though the performer is not charged with that offense.”
According to Levine, McWilliams also mentioned that Morrison “called for a revolution.” Despite McWilliams’
choice of language in the courtroom, Goodman rejected the motion for a mistrial. Fink’s defense presentation
suggested that the trial was the outcome of political pressure, pointing out that none of the 26 policemen at the concert arrested Morrison at the time.225
On the third day of the trial, Levine reported that over 100 blown–up photographs were introduced into evidence: “none clearly portrayed him in one of the two positions the prosecution contends was illegal.”226
According to Levine, the photographer, Jeffrey Simon, a former University of Miami student, testified for the state;
however (Levine’s “however” was in all capital letters and boldface), Simon did not testify that he saw Morrison roll
222 Paul Levine, “Singer Exposed Self, Two Spectators Testify,” The Miami Herald, 18 August 1970, 1B. The article featured another publicity shot of a younger grinning Morrison. Interestingly, the first page of the article is juxtaposed to Miami Herald medical writer Ena Naunton’s “Follow Beeline Straight to Sobriety,” which claimed that honey could help ease the malaise of the morning after.
223 Ibid., 1B.
224 Ibid., 1–2B.
225 Ibid., 2B.
226 Paul Levine, “Morrison Blurred in Photos,” The Miami Herald, 20 August 1970, 3B.

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Perspectives on Jim Morrison from the Los Angeles Free Press Sept 26, 2019 10:15:40 GMT -5

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down his pants and expose himself, even while at the “closest vantage point to Morrison” and The Doors.227 The
one photograph that showed Morrison’s hand near his groin was apparently so blurred that the prosecution argued
that the photograph showed Morrison holding his genitals and the defense argued that Morrison was holding a microphone.228
Levine reported a day later that Goodman rejected Fink’s request to have books, films, periodicals, and
plays to be admitted as “evidence of contemporary moral standards” and to allow the court to view the movies. He described the decision as a “severe setback” for the defense.229 Again, the defense questioned the fairness of the
trial. The Judge also ruled that the defense could not present “psychiatrists, clergymen, and educators it had planned on using to establish the ‘contemporary standards’ that federal courts consider in judging obscenity cases.”230
Levine quoted Goodman, who wrote that in regard to obscenity there was a difference between speech (and dress)
and conduct:
“The court is of the opinion that the standards of obscenity apply to written material and motion pictures protected by the First Amendment, namely freedom of speech and dress. . . . Conduct is another matter entirely . . . . To allow so–called experts or others to testify or admit evidence to support the theory that in America, 1 March 1969, it was accepted conduct and outside of statutory prohibition, to use the language alleged in this case, to expose one’s sexual organs as alleged, to simulate masturbation and oral copulation as alleged, would be to acknowledge the existence of a state of affairs which would shock and affront decent and law abiding citizens everywhere.”231

According to Levine’s article “Officer: Morrison Fans Feared,” Miami police officer Richard Flaum testified that police took no action against Morrison because they feared that the fans would retaliate.232 Another
headline for the article read “Mood Precluded Arrest, Jury Told.” Levine reported that Morrison grabbed Flaum’s
police cap and that Flaum went backstage to retrieve it; Fink asked if the mood backstage precluded 26 uniformed
policemen from arresting him and Flaum said “no.” Under the photograph of a bearded Morrison appeared the 227 Ibid., 3B.
228 Ibid., 3B.
229 Paul Levine, “Movies, Play Barred as Morrison Defense,” The Miami Herald, 21 August 1970, 2C. The article featured a photograph of a bearded Morrison on the left with the caption “. . . setback” and a photograph of Goodman on the right with the caption “. . . ‘irrelevant.’” The News Summary on a previous page refers to the trial. See Anon., “Greater Miami,” under “News Summary,” The Miami Herald, 21 August 1970, 2A.
230 Ibid., 2C.
231 Ibid., 2C.
232 Paul Levine, “Officer: Morrison Fans Feared,” The Miami Herald, 26 August 1970, 2B. The article featured a photograph of Morrison at the Miami concert (taken by Miami Herald Photographer Mario Castellanos).

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caption, “Morrison at concert here . . . policeman said arrest would have been ill advised.” Levine also reported in
the article that Miami undercover narcotics agent William Riley saw Krieger “get on his knees near Morrison” while others claimed it was Morrison who kneeled near Krieger.233
Levine’s next article was about the 65–minute tape of Morrison at the concert that was introduced into
evidence by the prosecution. Levine pointed out that Morrison, who was wearing a pimento colored shirt during the
trial, was tapping along to the music as his own lawyers relaxed; this behavior was contrasted to that of the
prosecution, who (as Levine implied) was taking the trial seriously. The tape featured Morrison singing “Light My
Fire,” but his alleged call to start a riot or revolution––and the sounds of the concert about the time Morrison allegedly exposed his genitals––was missing.234 Levine quoted Morrison from the tape: “‘Hey, I don’t want a
revolution . . . . I want you to love your neighbor until it hurts. I want love, love, love, love, love, love, love, love. Grab your f------ friend and love him.’”235 Levine referred to Morrison’s charges again, this time by remarking that Morrison was “more–or–less lighting his own fire.”236 He reported that police dispatcher Kathleen Vivian
maintained that she heard Morrison ask the audience if they wanted to see his genitals. Levine mentioned that the
tape was recorded by a young audience member and submitted “after pleas in the news media for photographs and recordings made at the concert.”237
Levine reported on the verdict and Goodman’s rejection of Morrison’s plea for an acquittal. The
prosecution concluded, and Goodman agreed, that the jury should be able to decide about which witnesses to believe.238 Levine quoted Goodman’s ruling: “‘I find there are sufficient facts upon which the jury could find the defendant guilty on each of the four counts, beyond and to the exclusion of every reasonable doubt.’”239 The
defense then followed with their witnesses, which included Miami Beach photographer David Levine, who was 233 Ibid., 2B.
234 Paul Levine, “Jurors Hear Morrison Tape, But No Call to Join in Nudity,” The Miami Herald, 28 August 1970, 9C.
235 Ibid., 9C.
236 Ibid., 9C.
237 Ibid., 9C. Levine also mentioned The Doors would be performing at the Isle of Wight concert, a festival that also featured Joan Baez and Jimi Hendrix.
238 Paul Levine, “Judge Rejects Morrison Plea for Acquittal,” The Miami Herald, 3 September 1970, 6D.
239 Ibid., 6D.

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Perspectives on Jim Morrison from the Los Angeles Free Press Sept 27, 2019 7:46:22 GMT -5

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standing at the front of the stage during the conference and testified that he did not see Morrison expose himself.
According to Levine, Goodman ordered a limit of 17 witnesses for the defense, who was planning on presenting 60
witnesses. Levine recalled that Goodman also ruled that the defense could not present experts on “contemporary moral standards.”240
In an unsigned article that appeared in The Miami Herald on 17 September 1970, the anonymous author
reported that Morrison and The Doors claimed that it was members of the audience, not Morrison, who were offensive language at the concert.241 The author quoted Morrison in the courtroom answering his attorney Max Fink
on the stand: “‘I heard a lot of profanity. . . . It was coming from the audience and ran the full gamut of basic four–letter words.’”242 Miami Herald staff writers J. K. DeGroot and Raul Ramirez wrote the article that anticipated
the jury’s verdict. According to the authors, the jury had determined its verdict on three of the four charges against
Morrison. The jury asked Goodman about the distance witnesses stood from The Doors during the night of the
concert. DeGroot and Ramirez reported that the trial that was supposed to last just a week lasted 15 days that were stretched out for over two months and ended with over five hours of closing arguments.243 They noted Morrison’s
last day in court by describing his activities there:
The man who started it all, the self–anointed King of Orgasmic Rock ended his gig in Criminal Court Judge Murray Goodman’s chambers reading a book. The book, a current best seller, contained many of the four–letter deeds and words in question during the trial. Amid barrages of Biblical quotations, counter–volleys of Hans Christian Andersen and salvos of four–letter words that could clear a pool room, Morrison read on.244 The day of the conviction was on 21 September 1970. The results of the trial were reported briefly in the
“News Summary” of that issue of The Miami Herald. “The Indecency Trial” was in all capital letters and in
boldface:

240 Ibid., 6D.
241 Anon., “Morrison: Audience Cussed,” The Miami Herald, 17 September 1970, 3D. The author reminded readers of the charges against Morrison, his connections to Florida, and to UCLA.
242 Ibid., 3D.
243 J. K. DeGroot and Raul Ramirez, “Morrison Jury Expects Verdict Today,” The Miami Herald, 20 September 1970, 3C.
244 Ibid., 3C.

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The indecency trial of rock singer Jim Morrison ended with his acquittal on a felony charge and conviction of two misdemeanors. His bond was boosted from $5,000 to $50,000 pending sentencing, which is scheduled for 23 October 1970.245 The article about the conviction appeared on the first page of section B of The Miami Herald. It featured a
photograph of Morrison leaving the courtroom with his lawyers. Above the title of the article, “Singer Jim Morrison
Guilty of Indecency,” was a headline that read “Innocent on Felony Charge.” Miami Herald staff writer Colin
Dangaard wrote the article and called Morrison by his first name (James) and described him as “the shaggy–haired, bearded, self–styled ‘King of Orgasmic Rock” before reporting on the trial itself.246 Interestingly, Dangaard
mentioned that the charges were against Morrison as well as The Doors. He reported that Morrison was found
guilty of indecent exposure and indecent language, but “not guilty” of lewd and lascivious behavior, drunkenness,
and the felony charge. The misdemeanors in the article have bullets next to them with very little spacing to separate
the ones of which Morrison was found guilty and the ones of which he was found “not guilty.” The bond increase mentioned previously in the “News Summary” was also mentioned here.247 Dangaard recalled the testimonies for
the prosecution by Clary, her boyfriend, and other witnesses who claimed Morrison exposed himself, as well as by
Vivian. He also mentioned the warrants, Goodman’s rulings that eliminated the opportunities for the defense to
show the court films, Fink’s questioning about the 26 uniformed police officers who did not arrest Morrison during
or right after the concert, the tape that was introduced into evidence, quoting Morrison as Levine did earlier, and the
Orange Bowl and other indecency rallies that were the result of an outraged Miami over Morrison’s performance there and its own residents and the nation over indecency.248 Dangaard also discussed the book Morrison was
reading in court and the demeanor of his paid and “non–paid” attorneys:
While the jury sat Sunday in final deliberation, Morrison sat calmly, reading Irving Stone’s biography of Jack London, Sailor on Horseback. All the King’s men sat around; the attorneys, up beside Morrison, and the non–paid ones in back, chewing gum, yawning, scratching, and, from time to time, muttering “far out.”249

245 Anon., “Greater Miami,” under “News Summary,” The Miami Herald, 21 September 1970, 2A.
246 Colin Dangaard, “Singer Jim Morrison Guilty of Indecency,” The Miami Herald, 21 September 1970, 1B.
247 Ibid., 1B.
248 Ibid., 1B and 3B.
249 Ibid. 3B.

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Perspectives on Jim Morrison from the Los Angeles Free Press Sept 29, 2019 16:58:40 GMT -5

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Without distinguishing these attorneys from others in the courtroom, Dangaard reported an instance when
some of Morrison’s fans became disruptive in court and continued to discuss Morrison’s own attitude towards the
court that day:
Once a couple in the back row dropped off to sleep, their heads together under a pile of tangled, matted hair. When they started to snore a court orderly prodded them and asked, “Hey, are you two under the influence or something . . . ?” “Just tired, man, just tired. . . .” “Far out,” said a lady with a gold tinfoil star glued smack between her eyes. “Jim baby” seemed to rock back in his chair, Judge Goodman hiked his bond by $45,000. But he was indifferent over the jury’s decision, adding “It could have been worse, I suppose. I’ve only been found guilty of misdemeanors.”250 Dangaard also reported Morrison’s desire to appeal and his claim that he would do so despite exorbitant legal costs. He remarked that “this trial and its outcome won’t change [his] style.”251 According to Dangaard, Morrison was
also taking notes during the trial and planned to write “an essay or something” about his “impressions”: “‘I might even put some of it in a song . . . but [the] trouble is the outcome wasn’t clear–cut enough for that.’”252
Conclusions

The city of Miami issued a warrant for James Douglas Morrison on 5 March 1971, less than four months
before his death in Paris. On 17 April 2007 Paul Levine revisited the trial he covered nearly 40 years previous as a
very young reporter for The Miami Herald. His comments were posted on the blog at Naked Authors.com:
My fading recollection was a travesty, and that the evidence was conflicting and confused as to what Morrison did. The singer died of heart failure in a Paris bathtub before his appeal could be heard. I wonder if he would even want the pardon request pursued.253

Levine was responding to Dayton cable television producer Dave Diamond’s efforts to seek a pardon for Morrison.
Diamond wrote to Florida Governor Charlie Crist that former New York Governor George Pataki pardoned the late
comedian Lenny Bruce on an obscenity conviction. According to the blog, Crist responded that he could not pardon
someone by himself and that there was no precedence in Florida for procedures for a posthumous pardon.
250 Ibid., 3B.
251 Ibid., 3B.
252 Ibid., 3B.
253 Paul Levine, message under “Jim Morrison Crucified in a Miami Courtroom,” Naked Authors.com, www.nakedauthors.com/2007/04/light-my-fire.html (accessed on 7 September 2007). Here he described himself as a “wet–behind–the–ears criminal reporter for The Miami Herald, a once great newspaper.”

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Morrison did write about Miami, but not explicitly about his experience there or The Miami Herald. His
poem, “Miami,” opens with the questions “What can I read her// on a Sunday Morning” and “What can I do that
will/ somehow reach her on a Sunday Morning.” The woman could be someone Morrison is with (Pamela Susan
Courson) or it could be Miami herself. The poem is undated, but it was grouped in the posthumous collection
Wilderness: The Lost Writings of Jim Morrison, vol. 1, in “Poems 1966–1971.” He was clearly referring to a
newspaper without mentioning its title (The Miami Herald?). He decided in the poem that he will read to her about
news of the Indian Wars. Leaping back into history, he referred to blood and gore. The reference to the Indian
Wars may suggest his identification with Native Americans being sought and attacked, slaughtered on the ground of
their homeland. Within the context of his Miami experience, Morrison viewed himself as persecuted in his
homeland, Florida and the U.S. He always had an interest in Native Americans and their cultures and ritual
practices; his other connection to them was that when he was a child, he witnessed a gory fatal car accident with
dead and dying Indians on the road. The experience led him to believe that one of their spirits found his way into
him. A line later, the poem quickly shifts tone: Morrison suggested that he could also read her “stories to tame and
charm// and more.” He paid attention to the diversity of the newspaper’s Sunday edition here. The Sunday edition
Miami Herald stories were especially diverse. They ranged from the gory front pages focusing on global events, the
war in Vietnam, to the Ladies’ section (covering a combination of taming and charming interests like fashion and
domestic life, but also including articles of interest to feminists), and other sections focusing on real estate and
family friendly interests. The final couplet continues about other stories: wild fires and a “searchout” (his own
Miami experience?). The last line reads “Searchout// a dry kiss on leaving.” His attitude towards the city may be
summed up here: there was neither love nor hate towards her; the kiss may acknowledge his own mark on Miami
(and on Florida); he opted to leave there quietly, with appeals that would be handled by others; the dryness of the kiss perhaps signified a draining of passion, exhaustion upon departure from Miami.254
The coverage of Morrison and The Doors by The Miami Herald of the Miami concert, the aftermath, and
the trial, demonstrated Morrison’s distance from the newspaper. Other than words recorded at the concert, reported
at the trial, and taken out of context from an earlier time had any influence on The Miami Herald. Morrison’s
actions, gestures, and image were the main focus. Morrison did not develop a rapport with The Miami Herald like
254 The poem appeared in Jim Morrison, Wilderness: The Lost Writings of Jim Morrison, vol. 1 (New York: Villard Books, 1988), 68–69. It is included in a group of poems written between 1966 and 1971.

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Perspectives on Jim Morrison from the Los Angeles Free Press Sept 30, 2019 17:37:08 GMT -5

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the ones he had with the L.A. Free Press and Down Beat, despite his being from Florida. No interview appeared
during this time; Morrison very rarely had the chance to speak for himself or go as far––as he once expressed it––to manipulate the media.255 The Miami Herald coverage was a good example of the media exploiting and manipulating
Morrison, all so it seems without getting too up close and personal. In retrospect, what was at stake was not only
democracy, freedom of speech (and expression), accuracy of press coverage, Morrison’s right to a fair trial, and The
Doors’ image as concert performers, but interpretative issues about concerning authenticity, perception, and
representation (Did The Miami Herald ever represent the real Jim Morrison? Were the reporters truly interested in
what took place? How do some of The Miami Herald writers differ from other reporters and from critics who
distance themselves from the subjects they analyze and observe?).
A more dislikable portrayal of Morrison emerged from the Miami Herald writings than from the L.A. Free
Press and Down Beat. But readers have been convinced about viewing these charges from the same perspective as
Morrison. They are not convinced, partly because of information from other sources including member of The
Doors, that Morrison exposed himself at the Miami concert. Writers’ agenda were obvious in The Miami Herald,
and it is impossible to ignore such contrast between the willing writers who listened to Morrison’s side of the story
and The Miami Herald writers who nearly always remarked about him in third person. From the perspective of this
study, it is also impossible to ignore the difference of treatment Morrison received from an underground newspaper
(liberal or politically left), a highly specialized magazine for professional musicians (also liberal or politically left,
but less so than the L.A. Free Press), and a major newspaper with a corporate history (conservative or politically
right). But all offered writings that went beyond expectations of their readers: Liza Williams for the L.A. Free
Press identified Morrison as the ultimate Barbie doll; Michael Cuscuna did not hesitate in his interview with
Morrison to address the shortcomings of Waiting for the Sun and The Soft Parade; and The Miami Herald printed a
letter by Larry Arem of the University of Miami that praised Morrison for directly or indirectly waking a few people
up to consider more pressing needs in the world than complaining about a bad concert.
The Doors songs did not allude to Miami; however, their album L.A. Woman as well as the title song
signified a return to focusing on their city. The last album reflects the full circle of The Doors, and Full Circle
255 There is no source available that either suggests that Morrison or any member of The Doors was willing to speak with any staff writer at The Miami Herald or that the newspaper wished to interview them about the events that unfolded during this time.
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(1972) became the title of the trio’s final album together after Morrison died.256 They would collaborate again on
other projects, included accompanying recordings Morrison made of his poems. The 1978 album was An American Prayer.257 “L.A. Woman,” with its car or motorcycle musical sound effects and musical pedals, is an anthem to L.A.; for many fans of The Doors as well as writers, it is Morrison’s farewell to the city.258 Amusingly, the initial
pedal on ^1 eventually sounds like ^5, so this is a musical pun about going somewhere else even though Morrison’s
first line announces that he just got into town an hour ago. These same fans and writers have pointed out that one of
the song’s most famous lines, “Mr. Mojo Risin’” (a point of arrival and tempo change in the song), is an anagram
for Jim Morrison. The line, of course, signifies Morrison’s acknowledgement of another comeback after Miami as
much as it is a self reference device and a reference to the blues. Like his poem about Miami, Morrison is
addressing both a woman and the city as a woman. While “Miami” focuses on Sunday morning, “L.A. Woman” is
about Sunday afternoon. The song explores the topography of L.A. woman, offering a topography of
Doors’ texts and experiences in L.A.: the burning hills and the line “if they say I never loved you,// you know they
are a liar” (“Light My Fire”); the topless bars (where Morrison goes for one of his L.A. Free Press interviews or the
ones on the Sunset Strip); “midnight alleys roam” (evocative of “People are Strange” and “Soul Kitchen”).
“Riders On the Storm” also made no mention of Miami, but within the context of Morrison’s ordeal the
song is laden with additional meaning. The sound effects of the storm include rain and thunder, music concrète.
The keyboard’s right hand chords take up the voice of the storm. The sound in the introduction is purposely open,
evoking a barren landscape through an alternation of i and IV6/4 chords. The studio used echo and reverb to
intensify the effect along with an additional track of Morrison’s voice (he is slightly off sync with it). According to
Crisafulli, Morrison’s text was inspired by avant–garde poet Hart Crane’s “The Bridge” (written in 1930), which focused on the Brooklyn Bridge. Morrison borrowed Crane’s phrase, “riders on the storm.”259 The barren sound in
the beginning of the song also sounds reminiscent of a cowboy style song with a similar title: “Ghost Riders in the
Sky” (originally composed by Stan Jones in 1948). In 1949, Gene Autry sang the song in Riders in the Sky, and
since then there have been many other recordings of the song. “Ghost Riders” focuses on the ghosts of cowboys,
256 The Doors, Other Voices/Full Circle (1971 and 1972), CD Maximum CDM 1199–380 (2001).
257 Jim Morrison, An American Prayer, with music by The Doors, Elektra 61812–2 (1995), CD.
258 See Chrisafulli, When the Music’s Over, 130.
259 Ibid., 135.
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Perspectives on Jim Morrison from the Los Angeles Free Press Oct 1, 2019 7:36:20 GMT -5

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damned to be eternally chasing fire–breathing cattle across the sky. “Riders On the Storm” identified Morrison, The
Doors, and the listeners as the damned ones on earth. As mentioned in the Introduction of this thesis, “Riders On
the Storm” paid homage to those unlikely protagonists who persevere in the darkness of the present and continue to
travel, through the rain and down the road, to see what lies ahead. Within the context of Miami, Morrison appeared
to be riding out the storm. He was convicted, but the trial was behind him. The Miami Herald writers lost interest
in him. He could not manipulate the media in Miami, or position himself as a liminal figure with these writers, who
did not (or could not?) interview him. The reporters were unwilling to lend him their ears. He nevertheless found a
way to control and manipulate the impression The Miami Herald made through creating his own texts, even when he
did not allude to them. “Riders On the Storm” is about moving forward. Morrison did not allow The Miami Herald writers to have the last word.

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Perspectives on Jim Morrison from the Los Angeles Free Press Oct 1, 2019 7:37:29 GMT -5

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WORKS CITED

Writings and Song Texts by Jim Morrison and The Doors

The Doors. The Doors: The Complete Illustrated Lyrics. Compiled by Danny Sugerman. New York: Hyperion, 1991.

Morrison, Jim. The American Night: The Writings of Jim Morrison. Vol. 2. New York: Villard Books, 1990.

. The Lords and the New Creatures. Venice, Calif.: James Douglas Morrison, 1969. Reprint, New York: Simon & Schuster, 1987.

. Wilderness: The Lost Writings of Jim Morrison. Vol. 1. New York: Villard Books, 1988.

Reviews of Recordings and Performances by The Doors

Carpenter, John. “Carpenter Column.” Under “Zero.” The Los Angeles Free Press, 20 December 1968, 30 and 34.

Grace, Francine. “Vibrant Jazz–Rock Group at Gazzarri’s.” Los Angeles Times, 28 February 1967, pages unavailable. Reproduced in The Doors: The Illustrated History, Danny Sugerman. Edited by Benjamin Edmonds. Foreword by Jerry Hopkins. New York: William Morrow and Company, 1983.

Kaufman, Eileen. “Doors Set Night On Fire.” The Los Angeles Free Press, 26 May 1967, 16.

Pearce, Mike. “New Doors Album ‘Incredible.’” Under “Record Review.” The Los Angeles Free Press, 10 November 1967, 10 and 28.

Perr, Harvey. “At the Bowl.” Zero. In The Los Angeles Free Press, 19 July 1968, 39.

Vanjak, Gloria. “Absolutely Live, Doors.” Under “Records.” Rolling Stone (October 1, 1970): 44.

Williams, Liza. “Liza Meets infante terrible.” Zero. In The Los Angeles Free Press, 20 December 1968, 27 and 34.

Williams, Paul. “Rock is Rock: A Discussion of a Doors Song,” Crawdaddy!, no. 9 (May 1967): pages unavailable. Reproduced in The Doors: The Illustrated History, Danny Sugerman, Edited by Benjamin Edmonds. Foreword by Jerry Hopkins. New York: William Morrow and Company, 1983.

Artwork and Picture Books

Jones, Dylan. Jim Morrison, Dark Star. New York: Viking Studio Books, 1990.

Ruhlmann, William. The Doors. New York: Smithmark, 1991.

Conversations, Interviews, and Quotations

Anon. “This Way to the Egress.” Under “Music.” Newsweek (November 6, 1967): 101.

Densmore, John. “John Densmore Continues Post–Doors Musical Exploration with Tribaljazz.” Interview (2006) by Rahne Pistor. The Argonaut, 20 May 2006, www.argonautnewspaper.com/articles/2006/05/19/ entertainment/ wo1.txt (accessed 9 October 2007), 3 pp.

Doe, Andrew, and John Tobler. The Doors in Their Own Words. London: Omnibus Press, 1988. Reprint, New York: Perigee Books, 1991.

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Fong–Torres, Ben. The Doors by The Doors. Forewords by Henry Rollins, Perry Farrell, and Chester Bennington New York: Hyperion, 2006.

Members of The Doors, et. al. “Brecht and Weill at the Next Whisky Bar . . . Diaghilev to The Doors . . . Days of Morrison, Nights of Warhol . . . Eve of Destruction at Delmonico’s 1967.” Conversations with Jac Holzman, and Gavan Daws. Chap. 11 in Follow the Music: The Life and High Times of Elektra Records in the Great Years of American Pop Culture. Jac Holzman, and Gavan Daws. Santa Monica, Calif.: FirstMedia Books, 1998.

Morrison, Jim. “Behind The Doors.” Interview (1970) by Michael Cuscuna. Down Beat 37 (May 28, 1970): 13 and 32.

. “An Interview with Jim Morrison: The Lizard King Reforms: Taking the Snake and Wearing It.” Interview by Bob Chorush. Los Angeles Free Press, 15 January 1971, 23–24.

. “Jim Morrison.” Interview (1969) by Jerry Hopkins. Reprinted in The Rolling Stone Interviews: Talking with the Legends of Rock & Roll: 1967–1980. Edited by Peter Herbst. Introduction by Ben Fong–Torres. New York: St. Martin’s Press/Rolling Stone Press, 1981. Interview also reprinted in Rolling Stone (October 15, 1992): 42–43.

. “Jim Morrison’s Got the Blues.” Interview by Ben Fong–Torres. Rolling Stone (March 4, 1971): 22.

. “Morrison.” Interview by John Carpenter. Zero. In The Los Angeles Free Press, 19 July 1968, 38–39.

Tim, Tiny. “The Adventures of Tiny Tim.” Interview by Paul Eberle. Zero. In The Los Angeles Free Press, 21 June 1968, 26, 28, and 39.

News and Updates

Anon. “Decency Day.” Caption under photograph by Dave Didio. Under “Local News.” The Miami Herald, 23 March 1969, C1.

Anon. “Doors Drummer Sues Over Concert.” BBC News, 5 February 2003. Under “Entertainment: Music.” news.bbc.co.uk/1/hi/entertainment/music/2728301.stm (accessed 7 May 2007).

Anon. “Fantasy Faire to Rock.” Under “What’s Happening.” The Los Angeles Free Press, 7 July 1967, 2.

Anon. “Greater Miami.” Under “News Summary.” The Miami Herald, 21 August 1970, 2A.

Anon. “Judge to Rule on ‘Doors’ Injunction.” Under “Local News.” The Miami Herald. 23 March 1969, 4C.

Anon. “Jury Set for Trial of Singer.” The Miami Herald, 15 August 1970, 2B.

Anon. “Key West PTA Panel Scores ‘Doors.’” The Miami Herald, 7 March 1969, 6F.

Anon. “Morrison: Audience Cussed.” The Miami Herald, 17 September 1970, 3D.

Anon. “Morrison Jury May View Hair If Court Allows.” Under “The Tipoff.” The Miami Herald, 16 August, 1970.

Anon. “Movies Rated ‘X’ May Enter Trial of Rock Musicians.” Under “The Tipoff.” The Miami Herald, 2 August 1970, 34A.

Anon. “Teens to Rally For, Not Against.” Under “Editorials.” The Miami Herald, 22 March 1969, 6A.

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Associated Press. “Decency Rally Sparks National Drive.” Under “Gatherings Planned in Other Cities.” The Miami Herald, 29 March 1969, 1B.

Associated Press. “Rock Singer Release on $5,000 Bond.” Los Angeles Times, April 1969, page numbers unavailable. Reproduced as “Rock Singer Released on $5,000 Bond.” In The Doors: The Illustrated History, Danny Sugerman. Edited by Benjamin Edmonds. Foreword by Jerry Hopkins. New York: William Morrow and Company, 1983.

Carroll, Margaret. “Rockers’ Concert is Barred.” The Miami Herald, 20 March 1969, 2B.

Carroll, Margaret, and Georgia Marsh. “‘Rockers’ Concert OK––Where?” The Miami Herald, 22 March 1969, 2B.

Dangaard, Colin. “Singer Jim Morrison Guilty of Indecency.” The Miami Herald, 21 September 1970, 1B and 3B.

DeGroot, J. K., and Raul Ramirez. “Morrison Jury Expects Verdict Today.” The Miami Herald, 20 September 1970, 3C.

The Doors. The Doors’ Official Website, 2006. www.thedoors.com (accessed 7 May 2007).

Glass, Ian. “Doors’ Morrison in Court as Jury Selection Begins.” The Miami News [issue number unavailable] (1969): pages unavailable. Reproduced in The Doors: The Illustrated History, Danny Sugerman. Edited by Benjamin Edmonds. Foreword by Jerry Hopkins. New York: William Morrow and Company, 1983.

. “Fugitive ‘Door’ Surrenders.” Miami News Reporter, 4 April 1969, page numbers unavailable. Reproduced in The Doors: The Illustrated History, Danny Sugerman. Edited by Benjamin Edmonds. Foreword by Jerry Hopkins. New York: William Morrow and Company, 1983.

Harrington, Stephanie. “It’s Hard to Light a Fire in Miami.” Village Voice [issue no. unavailable] (1969): pages unavailable. Reproduced in The Doors: The Illustrated History, Danny Sugerman. Edited by Benjamin Edmonds. Foreword by Jerry Hopkins. New York: William Morrow and Company, 1983.

Levine, Paul. “Doors’ Singer’s Case Given Second Billing.” The Miami Herald, 11 August 1970, 1B and 2B.

. “Judge Rejects Morrison Plea for Acquittal.” The Miami Herald, 3 September 1970, 6D.

. “Jurors Hear Morrison Tape, But No Call to Join in Nudity.” The Miami Herald, 28 August 1970, 9C.

. “Morrison Blurred in Photos.” The Miami Herald, 20 August 1970, 3B.

. “Morrison’s Peers try for Glimpse at Trial.” The Miami Herald, 13 August 1970, 1E and 2E.

. “Movies, Play Barred as Morrison Defense.” The Miami Herald, 21 August 1970, 2C.

. “Officer: Morrison Fans Feared.” The Miami Herald, 26 August 1970, 2B.

. “Singer Exposed Self, Two Spectators Testify.” The Miami Herald, 18 August 1970, 1B and 2B.

Mahoney, Larry. “‘Doors’ Singer Faces Seventh Charge in Miami.” The Miami Herald, 25 March 1969, 3B.

. “Gleason, Anita Top Teen Decency Bill.” The Miami Herald, 12 March 1969, 11A.

. “Public Reacts to Rock Show.” The Miami Herald, 4 March 1969, 2B.

. “Rock Group Fails to Stir a Riot.” The Miami Herald, 3 March 1969, 1B and 5B.
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. “Rock Singer Charged.” The Miami Herald, 6 March 1969, 1B.

Mahoney, Larry, and Joe Averill. “Will Doors Open in Jacksonville on Sunday Night?” The Miami Herald, 5 March 1969, 2B.

Mahoney, Larry, and Ray Villwock. “Disorder Follows Pop Concert.” The Miami Herald, 2 March 1969, 2C.

Wardlow, Jean. “‘Decency Rally’ Rattles Orange Bowl to Rafters.” The Miami Herald, 24 March 1969, 1A and 25A.

. “Teens Preparing for ‘Decency Day.’” Under “Local News.” The Miami Herald, 16 March 1969, 1B.

Obituaries

Adams, Eddie. “In 1968, Doctors Said He was Through, But ‘Pops’ Came Back.” The Miami Herald, 7 July 1971, 11A (Final Edition).

Anon. “Armstrong’s Body to Lie in Armory.” The Miami Herald, 8 July 1971, 1A.

Anon. “By Thousands, They Say Goodbye to Satch.” The Miami Herald, 9 July 1971, 1–2A (Street Edition).

Anon. “Jazzmen Forgo Funeral Parade in New Orleans.” The Miami Herald, 8 July 1971, 24A.

Anon. “Jim Morrison, 25, Lead Singer With Doors Rock Group, Dies.” The New York Times, 9 July 1971, 34.

Anon. “Louis Armstrong is Borne to Rest.” The Miami Herald, 10 July 1971, 1–2A.

Anon. “Michael McClure Recalls an Old Friend.” Rolling Stone (August 5, 1971): 40–41.

Anon. “Rock Star Morrison Dies at 26.” The Miami Herald, 9 July 1971, 1A

Anon. “Singer for The Doors is Dead.” The San Francisco Chronicle, 9 July 1971, 2.

Anon. “Tribute to Satch On Par with Ike’s.” Under “European Farewell.” The Miami Herald, 8 July 1971, 24A.

Davis, Patricia. “‘It’s So Unlike Him’: Satchmo Laid Out in a Somber Hall.” The Miami Herald, 9 July 1971, 1–2A.

Fong–Torres, Ben. “James Douglas Morrison, Poet: Dead at 27.” Rolling Stone (August 5, 1971): 1; 34–39.

Mahoney, Lawrence [Larry Mahoney]. “Morrison Had Heart Attack, Officials in Paris Confirm.” Under “Singer Died in Bathtub.” The Miami Herald, 10 July 1971, 1 and 25A.

. “Morrison Show Here: Beginning of End.” The Miami Herald, 10 July, 1971, 2D.

Micklin, Bob. “Satchmo Is Dead; One of Jazz Greats.” The Miami Herald, 7 July 1971, 1A; 10A.

Jim Morrison Biographies and Related Autobiographies

Butler, Patricia. Angels Dance and Angels Die: The Tragic Romance of Pamela and Jim Morrison. Foreword by Jerry Hopkins. New York: Schirmer Books, 1998.

Davis, Stephen. Jim Morrison: Life, Death, Legend. New York: Gotham Books, 2004.

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Densmore, John. Riders On the Storm: My Life with Jim Morrison and The Doors. New York: Delacorte Press, 1990.

Hopkins, Jerry. The Lizard King: The Essential Jim Morrison. New York: Charles Scribner’s Sons, 1992. Revised edition with Foreword by Danny Sugerman. New York: Warner Books, 1980.

. No One Here Gets Out Alive. Revised ed. New York and Boston: Warner Books, 1995.

. “No One Here Gets Out Alive: Jim Morrison––The Fall of the Lizard King.” Rolling Stone (May 29, 1980): 47–50.

Riordan, James, and Jerry Prochnicky. Break On Through: The Life and Death of Jim Morrison. New York: William Morrow and Company, 1991.

Sugerman, Danny. “The Night the Lizard King Came to Dinner.” Rolling Stone (February 23, 1989): 31–32; 38.

. Wonderland Avenue: Tales of Glamour and Excess. New York: William Morrow and Company, 1989.

Literature and Criticism about Jim Morrison and The Doors

Anderson, Jack E. “Decency Teens On Today’s Today Show.” The Miami Herald, 28 March 1969, 2B.

Anon. “Disgrace at Dinner Key.” Under “Editorials.” The Miami Herald, 6 March 1969, 6A.

Anon. “The Lost Writings of Jim Morrison.” Rolling Stone (October 6, 1988): 69–70; following page number unavailable.

Arem, Larry. “Money for Doors, Not Biafrans.” Under “Letters to the Editor.” Edited by Don Shoemaker. The Miami Herald, 12 March 1969, 6A.

Birzon, Ralph, and Mrs. Birzon. “Too Much ‘Restraint’ Shown in ‘Doors’ Case.” Under “Letters to the Editor.” Edited by Don Shoemaker. The Miami Herald, 9 March 1969, 6A.

Bogen, Robert. “Beyond The Doors.” Master’s thesis, San Francisco State University, 1992.

Breslin, Rosemary. “Jim Morrison, 1981: Renew My Subscription to the Resurrection.” Rolling Stone (September 17, 1981): 31–32; 34; 96.

Campbell, Linda, “‘Grossed Out’ by The Doors.’” Under “Letters to the Editor.” Edited by Don Shoemaker. The Miami Herald, 6 March 1969, 6A.

Carpenter, John. “Mama Cass is Back. . . .” Under “John Carpenter Column.” The Los Angeles Free Press, 27 September 1968, 30.

Constantine, Alex. The Covert War Against Rock. Venice, Calif.: Feral House, 2000.

Covach, John. “The Doors.” The New Grove Dictionary of Music and Musicians. Vol. 7, 2d ed. Edited by Stanley Sadie. London: MacMillan, 2001.

Crisafulli, Chuck. The Doors: When the Music’s Over: The Stories Behind Every Song. Edited by Dave DiMartino. New York: Thunder’s Mouth Press, 2000.

Dalton, David. Mr. Mojo Risin’: Jim Morrison The Last Holy Fool. Foreword by Nick Tosches. New York: St. Martin’s Press, 1991.

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Diehl, Digby. “Love and the Demonic Psyche.” Eye (April 1968): page numbers unavailable. Reproduced as “The Doors’ Story” in The Doors: The Illustrated History, Danny Sugerman. Edited by Benjamin Edmonds. Foreword by Jerry Hopkins. New York: William Morrow and Company, 1983.

Fowlie, Wallace. Rimbaud and Jim Morrison: The Rebel As Poet. Duke University Press, 1994.

Freedland, Nat. “Wailing.” The Los Angeles Free Press, 30 August 1968, 30.

Gilmore, Mikal. “The Legacy of Jim Morrison and The Doors.” Rolling Stone (April 4, 1991): 30–34; 62.

. “The Unforgettable Fire.” Rolling Stone (August 30, 2001): 52–54; 56; 59–60; 136–38.

Goldberg, Michael. “New Jim Morrison Writings Discovered.” Under “Music: The News.” Rolling Stone (January 29, 1987): 11 and 53.

Goldstein, Richard. “The Doors Open Wide.” New York Magazine (19 March 1967): page numbers unavailable. Reproduced in The Doors: The Illustrated History, Danny Sugerman. Edited by Benjamin Edmonds. Foreword by Jerry Hopkins. New York: William Morrow and Company, 1983.

Hart, Eleanor, et al. “Decency Rally May Point The Way to Better Things.” In “Column with a Heart.” Under “For and about Women.” The Miami Herald, 19 March 1969, 1C.

Heimbold, John. “Parent Enraged Over Incident.” Under “Letters to the Editor.” Edited by Don Shoemaker. The Miami Herald, 12 March 1969, 6A.

Hodenfield, Jan, with Andrew Bailey, and Eithne O’Sullivan. “Wheeling and Dealing on the Isle of Wight.” Rolling Stone (October 1, 1970): 14–16.

Hopkins, Jerry. “Jim Morrison is Alive and Well and All Over the Place.” Rolling Stone (September 17, 1981): 33.

Kerby, Bill. “Pop: Toward a New Theatre.” The Los Angeles Free Press, 20 October 1967, 22.

Levine, Paul. Message under “Disorder in the Court.” Naked Authors.com. www.nakedauthors.com/ archive/2007_02_01_archive.html (accessed on 7 September 2007).

. Message under “Jim Morrison Crucified in a Miami Courtroom.” Naked Authors.com. www.nakedauthors.com/archive/2007_02_01_archive.html (accessed on 7 September 2007).

Love, Robert. “Still Hot, Still Sexy, Still Dead.” Under “Letter from the Editor.” Rolling Stone (August 30, 2001): page number unavailable.

Mahoney, Larry. “Concert of Religion and Rock is Banned.” The Miami Herald, 18 March 1969, 1B.

. “Should Do This Every Six Months.” The Miami Herald, 24 March 1969, 25A.

McIlvaine, Bill. “East Coast Clones of West Coast Bands.” BAM 8 (July 2, 1982): 24.

Morris, Jan E. “The Miami Incident.” The Doors Collectors Magazine. www.doors.com/miami/truth.html (accessed 28 August 2007).

Pond, Steve. “Jim Morrison’s Spirit Keeps The Doors Alive.” Rolling Stone (November 27, 1980): page numbers unavailable.

Preston, Janelle. “New Evidence in the Miami Incident.” The Doors Collectors Magazine. www.doors.com/ miami/truth.html (accessed 28 August 2007).

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Rockmine. “The Doors: Tape List.” In Rockmine: The Doors. www.rockmine.com/DoorsIC.html (accessed 7 September 2007).

Seymore, Bob. The End: The Death of Jim Morrison. Edited by Chris Charlesworth. London, New York, and Sidney: Omnibus Press, 1990.

Shaw, Greg. The Doors: On the Road. London: Omnibus Press, 1997.

Skinner, Quinton. Behind the Music: Casualties of Rock. VH1 Music First. New York, London, Toronto, Sydney, and Singapore: Pocket Books, 2001.

Sugerman, Danny. The Doors: The Illustrated History. Edited by Benjamin Edmonds. Foreword by Jerry Hopkins. New York: William Morrow and Company, 1983.

. Letter under “More Letters.” Rolling Stone (October 15, 1970): 46.

Sutherland, Katherine. “Jim Morrison’s Grave.” In Cemeteries & Spaces of Death: Inquiries into Their Meaning. Edited by Darnetta Bell and Kevin Bongiorni. Riverside, Calif.: Xenos Books, 1993.

Tobler, John, and Andrew Doe. The Doors. Edited by Kay Rowley. London: Proteus Books, 1984; Somerset, Eng.: Bobcat Books, 1987.

van Ness, Chris. “The Doors After Morrison.” The Los Angeles Free Press, 26 November 1971, 4–5.

Vanjak, Gloria. “State of Florida vs. Jim Morrison.” Rolling Stone (October 1, 1970): 12.

Wardlow, Jean. “Teens Preparing for ‘Decency Day.’” Under “Rally at Orange Bowl.” The Miami Herald, 16 March 1969, 1B.

Weinlein, Gregg Thomas. Under “Correspondence, Love Letters, & Advice.” Rolling Stone (October 29, 1970): 3.

Whited, Charles. “‘Door’ Reaction.” Under the column “Charles Whited.” The Miami Herald, 11 March 1969, 1B.

. “Get Rich Quick: Be Obscene.” Under the column “Charles Whited.” The Miami Herald, 6 March 1969, 1B.

Williams, Paul. “Music Without the Myth.” Rolling Stone (September 17, 1981): 34.

Youngblood, Gene. “Doors Reaching for Outer Limits of Inner Space.” The Los Angeles Free Press, 1 December 1967, 6 and 15.

. “Rock.” Zero. In The Los Angeles Free Press, 10 May 1968, 41.

Other Literature

Anderson, Jack. “The Honeymooners Return to Florida.” The Miami Herald, 15 September 1970, 1B.

Anon. “Away We Go, Decently.” Under “Editorials.” The Miami Herald, 25 March 1969, 6A.

Anon. “Clean Teens Can Use O[range] B[owl].” The Miami Herald, 14 March 1969, 4B.

Anon. “Forbidden Rock Festival Held; MD Counts 1,000 ‘Bad Trips.’” The Miami Herald, 2 August 1970, 28A.

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Anon. “Guidelines for Submissions.” The Doors Collectors Magazine. www.doors.com/magazine (accessed 29 August 2007).

Anon. “Michael Cuscuna.” In The Guinness Encyclopedia of Popular Music. Vol. 2, 2d ed. Edited by Colin Larkin. New York: Stockton Press, 1995.

Anon. “Teens Decency Rally Draws Rabbi’s Praise.” The Miami Herald, 28 March 1969, 4C.

Anon. “The Poets of the Angry Arts,” The Los Angeles Free Press, 23 June 1967, 12–14.

Anon. “Venice Poetry Den Raided.” The Los Angeles Free Press, 24 September 1964, 1–2.

Anon. “White House Letter Comes for Clean Teen.” The Miami Herald, 27 March 1969, 2C.

Bakhtin, Mikhail. “Discourse in the Novel.” In The Dialogic Imagination: Four Essays. Edited by Michael Holquist. Translated by Caryl Emerson and Michael Holquist. University of Texas Press Slavic Series 1. Austin: University of Texas Press, 1981.

Blake, William. “The Doors of Perception.” In The Portable Blake. Edited and compiled by Alfred Kazin. The Viking Portable Library. New York: The Viking Press, 1946.

Covach, John. “The Hippie Aesthetic: Cultural Positioning and Musical Ambition in Early Progressive Rock.” Available at Philomusica Online. Under “Proceedings of the International Conference ‘Composition and Experimentation in British Rock: 1966–1976’” (2005). www.unipv.it/britishrock1966-1976/ pdf/covacheng.pdf (accessed 2 October 2007), 10pp.

Cummings, Ridgely. “Ban on Bongos, Guitars at Beaches and Parks Proposed by City Council.” The Los Angeles Free Press, 3 December 1964, 1 and 9.

. “Bongo Drum Legislation Postponed by City Committee.” The Los Angeles Free Press, 29 January 1965, 1.

Cuscuna, Michael, and David Anthony Wild. Ornette Coleman, 1958–1979: A Discography. Ann Arbor: Wildmusic, 1980.

Cuscuna, Michael, and Michel Ruppli. The Blue Note Label: A Discography. New York and London: Greenwood Press, 1988. Revised and expanded ed., Westport, Conn.: Greenwood Press, 2001.

Cuscuna, Michael, Francis Wolff, Charlie Lourie, and Oscar Schnider. Blue Note Jazz Photography of Francis Wolff. New York: Universe, 2000.

. The Blue Note Years: The Jazz Photography of Francis Wolff. New York: Rizzoli, 1995.

Down Beat. “Archives.” Down Beat. www.downbeat.com (accessed on 25 July 2007).

Eberle, Paul, and Shirley Eberle. The Abuse of Innocence: The McMartin Preschool Trial. Buffalo, N.Y.: Prometheus Books, 1993.

. The Adventures of Mrs. Pussycat. Illustrated by Anthony De Rosa. Englewood Cliffs, N.J.: Prentice–Hall, 1972.

. The Politics of Child Abuse. Secaucus, N.J.: L. Stuart, 1986.

. Terror on the Highway: Rage on America’s Roads. Amherst, N.Y.: Prometheus Books, 2006.

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Eco, Umberto, Richard Rorty, Jonathan Culler, and Christine Brooke–Rose. Interpretation and Overinterpretation. Edited by Stefan Collini. Cambridge, New York, and Melbourne: Cambridge University Press, 1992.

Faria, R. “The Best News Around Lately.” Under “Letters to the Editor,” and “The Rally for Decency: For and Against.” The Miami Herald, 29 March 1969, 6A.

Fariña, Richard. Been Down So Long, It Looks Like Up to Me. New York: Random House, 1966.

Feather, Leonard, and Ira Gitler. “Charles Mingus.” The Biographical Encyclopedia of Jazz. New York and London: Oxford University Press, 1999.

Good, Sherry. “Who is to Say What is Decent?” Under “Letters to the Editor,” and “The Rally for Decency: For and Against.” The Miami Herald, 29 March 1969, 6A.

Hart, Virgil. “What Did It All Prove?” Under “Letters to the Editor,” and “The Rally for Decency: For and Against.” The Miami Herald, 29 March 1969, 6A.

Huxley, Aldous. The Doors of Perception and Heaven and Hell. London: Chatto and Windus, 1954.

. The Doors of Perception and Heaven and Hell. New York: Harper and Row, 1956.

Jazz Alliance International (JAI). “Michael Cuscuna.” Under “About JAI: Board of Directors.” www.jazzai.org/aboBio.html (accessed on 29 July 2007).

Jimenez, Michael F. “Real Obscenities are Overlooked.” Under “Letters to the Editor,” and “The Rally for Decency: For and Against.” The Miami Herald, 29 March 1969, 6A.

Keith, Mary F. “Only Way is Up for Entertainment.” Under “Letters to the Editor,” and “The Rally for Decency: For and Against.” The Miami Herald, 29 March 1969, 6A.

Lipton, Lawrence. Bruno in Venice West and Other Poems. Van Nuys, Calif.: Venice West Publishers, 1976.

. The Holy Barbarians. New York: Julian Messner, 1959.

. “The WASP.” The Los Angeles Free Press, 2 July 1965, page number unavailable.

The Los Angeles Free Press. “Year–End Greetings from the Free Press.” The Los Angeles Free Press, 28 December 1969, 12.

Maynard, John Arthur. Venice West: The Beat Generation in Southern California. New Brunswick, N.J.: Rutgers University Press, 1991.

Merritt, Davis. Knightfall: Knight Ridder and How the Erosion of Newspaper Journalism is Putting Democracy at Risk. New York: AMACOM, 2005.

Moldenhauer, Dorothy. “Great Coverage of Rally at Bowl.” Under “Letters to the Editor,” and “The Rally for Decency: For and Against.” The Miami Herald, 29 March 1969, 6A.

Paxson, Marjorie. “Women in Journalism.” Interview by Diane K. Gentry. Muskogee, Okla., 6 April 1991. Session 6, 153. Washington Press Club Foundation. wpcf.org/oralhistory/pax6.html (accessed 4 September 2007), 31 pp.

Pearce, Michael. “About Paul Eberle.” Pearce’s Perch. www.moonmac.com/About_Paul.html (accessed 4 October 2007)

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Sherman, Fred. “Rock Band at Beach Tonight.” The Miami Herald, 20 March 1969, 6F.

Smiley, Nixon. Knights of the Fourth Estate: The Story of the Miami Herald. Miami: E. A. Seemann Publishing, 1974.

Starr, Clinton Robert. “Bohemian Romance: The Beat Generation and Urban Countercultures in the United States During the Late 1950s and Early 1960s.” Ph.D. diss., University of Texas at Austin, 2005.

Wardlow, Jean. “Clean Teens Rally for Scour Power.” Under “Local News.” The Miami Herald, 9 March 1969, 1B.

. “Decency Costs Money, Clean Teens Find Out.” The Miami Herald, 18 March 1969, 2B.

. “Teens Beat Obstacles, Decency Rally Ready.” The Miami Herald, 22 March 1969, 2B.

. “Teens Stage Rally for Decency Today.” The Miami Herald, 23 March 1969, 1A.

Whited, Charles. Knight: A Publisher in the Tumultuous Century. New York: E. P. Dutton, 1988.

Yanow, Scott. “Michael Cuscuna.” AllMusic Guide. Available online at www.allmusic.com (accessed on 31 July 2007). Also available online at Verve. The Verve Music Group:Impulse!. www.vervemusicgroup.com (accessed on 31 July 2007).

Youngblood, Gene. Expanded Cinema. Introduction by Buckminster Fuller. New York: E. P. Dutton, 1970.

Scores

The Doors. The Doors: Anthology. Arranged and edited by the Hal Leonard Corporation. With Interviews of The Doors by Mark Etzkorn. Milwaukee, Wisc.: Hal Leonard Corporation, [2001].

. Waiting for the Sun. Edited by Leo Alfassy. New York: Nipper Music, 1969.

Sound Recordings

The Doors. The Doors (1967). Elektra 74007–2 (1988), CD.

. The Doors: Backstage and Dangerous: Private Rehearsal (1969). Bright Midnight Archives RHM2 7908 (2002), 2 CDs.

. The Doors: Essential Rarities. Elektra 62530–2 (1999), CD.

. The Doors: Greatest Hits. Elektra 61996–2 (1996), CD.

. The Doors Legacy: The Absolute Best. Elektra/Rhino R2 73889 (2003), 2 CDs.

. L.A. Woman (1971). Elektra 75011–2 (1999), CD.

. Live at the Aquarius Theatre: The First Performance (1969). Bright Midnight RHM2 7906 (2001), 2 CDs.

. Live in Boston 1970. Bright Midnight/Rhino R2 216124 (2007), 3 CDs.

. Live in Philadelphia ’70 (1970). Bright Midnight Archives RHM2 7912 (2005), 2 CDs.

. Morrison Hotel (1970). Elektra 75007 [n.d.], CD.

. “No One Here Gets Out Alive”: An Audio Documentary. 4 Parts. Bright Midnight RHM2 7903 (2001), 4 CDs.
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. The Doors. Other Voices/Full Circle (1971 and 1972). CD Maximum CDM 1199–380 (2001).

. The Soft Parade [1969, 1975]. Elektra 75005–2 [n.d.], CD.

. Strange Days (1967). Elektra 7559–74014–2 (1999), CD.

. Waiting for the Sun (1968). Elektra 74024–2 (1999), CD.

Morrison, Jim. An American Prayer. With music by The Doors. Elektra 61812–2 (1995), CD.

Video

The Doors. Dance on Fire (1985). On The Doors Collection. Produced by Rick Schmidlin. Directed by Ray Manzarek. 62 min.. Universal Studios 20542 (1999), DVD.

Jimmorrison

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