dazzled maniac Jim Morrison drowns out the haunting whimper of a coyote dying on the road by his dreadful death-scream into the abyssal sun ... HWY 01:23:47
At 01:23:47 in HWY the Ηνίοχος James Douglas Morrison replies and drowns out the whimpering of a dying coyote hit by a car that in excess of ten seconds (@ 01:23:35) before he had witnessed lying on the highway - not after he had drained his tin to the dregs (@01:23:38) - by his own dreadful death-scream (MHOY=negation of the negation in greek tragedies). - A few seconds later (@ 01:23:54) he will throw the emptied tin out the opened window.
He is performing those actions while driving his 1967 Ford Mustang GT 500 ('Blue Lady') like a beatnik dazzled by the abyssal sun.
This is a still from the experimental film HWY: An American Pastoral, produced by Jim Morrison and Paul Ferrara. The 50-minutes in Direct Cinema style were shot during spring and summer of 1969 in the Mojave Desert (San Jacinto Mountains) and in Los Angeles.
Jim Morrison driving his 1967 G.T. 500. This clip-still is from the new Doors film "When You're Strange" (directed by Tom DiCillo) which is in turn borrowed from the movie "HWY"..
A 'HWY' Guide by John Kolak
Then Jim arrives at the accident scene with the dying coyote. Tourists pass through like he and his family in his childhood. A frightened dog reflects his statement that he felt fear for the first time. In the shamanism section of "Break on Through," Riordan and Prochnicky state that after the hero breaks on through to the other side, an animal guide often accompanies the hero on his journey, which agrees with Joseph Campbell's work, as I recall. The shamanism section also discusses the importance of intense drumming, and as the camera zooms in on the coyote, the drumming reaches a fever pitch, and when the coyote gives his death scream, Jim also screams with the madness of its spirit entering him.
The other point in the shamanism section is that two of the three modes of the spiritual creation of a shaman occurs with the shaman's encounter with death, either his own near-death, or in an encounter with another's death. At this point Jim begins to use a technique of using double iterations to illustrate meanings.
For example, on the theme of an animal guide, we have first the dead coyote, then we have the soundtrack feature a song about a "strange black bird," "circling over me," "gonna set me free." On the theme of an encounter with death, first we have the dying coyote, then we have the driver of the Mustang that he killed. On the theme of a guide, again we have the song about the bird, then we have Jim reading a map to illustrate guidance.
FLASH OF EDEN (Autobiography Paul Ferrara, AuthorHouse, 27.11.2007 - 400 Seiten)
Cameraman Ferrara is misinterpreting Jim's shamanistic behaviour as an 'acting thing'
I got into the car and shot through the windshield as Jim drove. One great shot of Jim driving the car shows him throwing an empty can of Budweiser beer throwing out the window. His head tilted back, his eyes were on fire, and he let out a tremendous scream. Right then he had become the killer on the road. He was experiencing the acting thing. He knew it had happened after the fact. He smiled.... (page 149)
The 'Coyote Scene':
We were ex-Film students, high on drugs, killing time and having fun. We shot all the film he had, improvising various scenes as they happened. We were driving on the highway as we stumbled upon the coyote scene. A car had hit a coyote, a seemingly benign event that turned into a big deal with helicopters flying overhead, policemen and spectators on the side of the road. The lady that had hit the coyote was crying. The wild dog wasn't dead but mortally wounded. He was struggling to breathe and whimpering. We instinctively jumped from the car as I started shooting over Jim's shoulder as he leaned over the coyote and attempted to console it. It became a two-shot, Jim and the dying dog.
Jim looked so good: the hair blowing, the San Jacinto Moutains in the background. Jim had included a song written by Georgia and I called 'Bald Mountains' as the music under the driving scenes in the Blue Lady. That sounded good to have a songs of ours on the track.
'Bald Moutains': .... up in the sky what did I see circling over me strange blackbird gonna set me free (page 152)
Don't let me die in an automobile
I wanna lie in an open field
Want the snakes to suck my skin
Want the worms to be my friends
Want the birds to eat my eyes
As here I lie
The clouds fly by
"The End; Live in New York" (1970), "The End; Live at The Hollywood Bowl" (1968)
Elektra Records was so pleased at the success of the first album by The Doors that they reportedly gave lead singer Jim Morrison a brand new 1967 Night Mist Blue Ford Mustang GT 500 in appreciation. But, what happened to that priceless star car remains a mystery to this day.
Some interesting stories do exist.
One story claims that Morrison was driving the car up Sunset Strip one early morning, likely drunk or even wasted, and then crashed the car into pole on the street. Morrison simply got out of the wrecked car, and walked up to The Whiskey A Go Go, where the band had often performed, never bothering to look back.
Some stories are that the car was towed, and may have been sold to a few different owners over time, and was eventually crushed by the early 80's.
Another story also exists that the priceless star car was left at the Los Angeles International Airport when the band took a flight out to start a long tour schedule. The car was eventually towed, but Morrison never bothered to retrieve the car. Yet, no records can found of the where-abouts of the car. What happened from there remains a mystery.
Someone out there knows the history of this priceless star car which would would be worth a massive fortune today. Some perfect examples of the car have sold for up to $500,000 at car auctions such as the exclusive one's run by Barnett's.
After Morrison's 1971 Paris death in a bath tub, some documents from the controversial singer's life were recovered including the registration for the car. Did the singer still own the car at some American location, but it mysteriously disappeared after his death, and possibly end up in some collector's garage.
Morrison's idea of a good time was to terrify anyone who was brave or stupid enough to ride with him. He would drive his Shelby GT 500 Mustang at top speeds, often on the wrong side of the road. He nicknamed his car the "Blue Lady" and called the front passenger seat "the death seat." He eventually wrecked the car, but nobody got hurt.
For 1967, the Mustang retained the original body structure but styling was refreshed, giving the Mustang a more massive look overall. Front and rear end styling was more pronounced, and the "twin cove" instrument panel offered a thicker crash pad, and larger gauges. Hardtop, fastback and convertible body styles continued as before. A host of Federal safety features were standard that year, including an energy-absorbing steering column and wheel, with thick center pad, 4-way emergency flashers, and softer interior knobs.
[_silent generation, beat generation, baby boomers_]
The Beat Generation, a popular American cultural movement that most social scholars say laid the foundation of the pro-active American counterculture of the 1960s. It consisted of Americans born between the two world wars who came of age in the rise of the automobile era, and the surrounding accessibility they brought to the culturally diverse, yet geographically broad and separated nation. The Beat Generation is between the Silent Generation and the Baby Boomers.
The Beat Generation is a group of American post-WWII writers who came to prominence in the 1950s, as well as the cultural phenomena that they both documented and inspired. Central elements of "Beat" culture included experimentation with drugs and alternative forms of sexuality, an interest in Eastern religion, a rejection of materialism, and the idealizing of exuberant, unexpurgated means of expression and being.
Allen Ginsberg's Howl (1956), William S. Burroughs's Naked Lunch (1959) and Jack Kerouac's On the Road (1957) are among the best known examples of Beat literature. Both Howl and Naked Lunch were the focus of obscenity trials that ultimately helped to liberalize publishing in the United States. The members of the Beat Generation developed a reputation as new bohemian hedonists, who celebrated non-conformity and spontaneous creativity.
The original "Beat Generation" writers met in New York. Later, the central figures (with the exception of Burroughs) ended up together in San Francisco in the mid-1950s where they met and became friends with figures associated with the San Francisco Renaissance.
In the 1960s, elements of the expanding Beat movement were incorporated into the Hippie counterculture.
Origin of the name 'beat generation':
Jack Kerouac introduced the phrase "Beat Generation" in 1948 to characterize a perceived underground, anti-conformist youth movement in New York. The name arose in a conversation with writer John Clellon Holmes. The adjective "beat" could colloquially mean "tired" or "beaten down", but Kerouac expanded the meaning to include the connotations "upbeat," "beatific," and the musical association of being "on the beat".
Der an sich bedeutungsgleiche Begriff Beatnik bezieht sich im heutigen Sprachgebrauch vor allem auf die weißen Angehörigen der Subkultur. Dagegen kommen ältere Varianten wie hep, hepcat usw. im Zusammenhang mit den (schwarzen) Vorläufern der Hipster aus den 30er Jahren vor, wie sie etwa von dem Sänger Cab Calloway verkörpert werden (siehe auch „hip“).
Eine breitere Öffentlichkeit lernte den Begriff durch ein 1956 veröffentlichtes Buch von Norman Mailer kennen, The White Negro: Superficial Reflections on the Hipster (deutsch 1957 unter dem Titel Der weiße Neger):
... „The source of Hip is the Negro, for he has been living on the margin between totalitarianism and democracy for two centuries.“ ...
Die weitgehende politische Indifferenz der Hipster zeigt sich besonders deutlich im Vergleich zur etwa zeitgleichen Subkultur des Existenzialismus in Westeuropa, der maßgeblich an einer Politisierung der „Bohème“ mitwirkte und letztlich in der 68er-Bewegung mündete.
Im Sprachgebrauch der Hipster war „Hippie“ eine herabsetzende Bezeichnung für einen Möchtegern-Hipster; der Bedeutungswandel zur eher positiven Besetzung des Begriffs begann erst in den 60er Jahren mit einer neuen Form der Jugendkultur.
... Aram Lintzel beschrieb den Hipster in der taz kürzlich als den „Obervirtuosen der Distinktion“, als geschickten Kulturtechniker der Adaption von Trends und Vollstrecker „ästhetischer Kleinstunterscheidungen“. Kurz: Als rebel consumer – die Mogelpackung der landläufigen “Kapitalismuskritik” schlechthin.
Alles so schön authentisch hier. (PHILIPP GOLL) hate.magazin 17. Feb. 2011
The Silent Generation is a label for the generation born from (1925–1945) notably during the Great Depression (1929–1939) and World War II (1939–1945). While the label was originally applied to people in North America, it has also been applied to those in Western Europe and Australasia. It includes most of those who fought during the Korean War.
The label "Silent Generation" was first coined in the November 5, 1951 cover story of Time to refer to the generation coming of age at the time, born during the Great Depression and World War II, including the bulk of those who fought during the Korean War. The article, (which defined the generation at the time as born from 1925 to 1945), found its characteristics as grave and fatalistic, conventional, possessing confused morals, expecting disappointment but desiring faith, and for women, desiring both a career and a family. The article stated:
Youth today is waiting for the hand of fate to fall on its shoulders, meanwhile working fairly hard and saying almost nothing. The most startling fact about the younger generation is its silence. With some rare exceptions, youth is nowhere near the rostrum. By comparison with the Flaming Youth of their fathers & mothers, today's younger generation is a still, small flame. It does not issue manifestos, make speeches or carry posters. It has been called the "Silent Generation."
The phrase gained further currency after William Manchester's comment that the members of this generation were "withdrawn, cautious, unimaginative, indifferent, unadventurous and silent." The name was used by Strauss and Howe in their book Generations as their designation for that generation in the United States of America born from 1925 to 1941. The generation is also known as the Postwar Generation and the Seekers, when it is not neglected altogether and placed by marketers in the same category as the G.I., or "Greatest", Generation.
In England, they were named the "Air Raid Generation" as children growing up amidst the crossfire of World War II.
The Baby Boom Generation is a term that portrays the people born during the middle part of the 20th century. The birth years of the Baby Boom Generation are the subject of controversy. Historically, everyone born during the post–World War II demographic boom in births was called part of the Baby Boom Generation. This article deals with the Baby Boom Generation from a cultural perspective, while a separate article deals with the "Post–World War II baby boom".
maniac @ wiki.answers.com A maniac might be a driver who isn't so great on the road, or simply someone whom (to other people) is different, or crazy.
A maniac is someone who is obsessed and cant controll himself...
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