It was 1968's album Waiting for the Sun that marked the appearance of a new aspect of Morrison's image, the Lizard King. A poem entitled “The Celebration of the Lizard,” in which he pronounced “I am the Lizard King,” was printed on the album jacket. Morrison later claimed that this poem was meant to be partly in jest, but it took on a life of its own and would play an important role in Morrison mythology. In a 1970 interview, Morrison respond to a question about being called a Lizard King: Stevenson: How do you feel about some of the magazine articles that used to come out calling you the Lizard King and things like that? Morrison: Oh, I liked it! I enjoyed it! I thought it was, you know, I always liked reptiles, I always had a fondness for them . . . We did evolve from reptiles . . . I used to see the universe as a mammoth peristaltic snake and I used to see all the people, objects and landscapes as pictures on the facets of their skin, their scales. I think the peristaltic motion is the basic life movement: swallowing, digestion, the rhythms of sexual intercourse. Even your basic unicellular structures have this same . . . Stevenson: Fluidity and motion? Morrison: Yeah!14 Morrison used the attribution of Lizard King to expand on his image, as seen in this interview, by molding it to his ideals of proximity to the earth, suggesting that the motion of a reptile mimics the basic motion of all life. He further used the Lizard King image in the theatricality of his on-stage performances and, whether consciously or sub-consciously, to contribute to his own, as well as the band's, image. At best, it is possible to distinguish between Morrison as shaman and Morrison as the Lizard King,... ... middle of paper ... ... difficult to confirm the cause of his death. Was it suicide? Murder? This uncertainty may have contributed to a Morrison-like image and myth. Now, that his physician has been convicted of negligence, the uncertainty is reduced. We will have to wait and see what develops. It is the public discourse, after the death of a celebrity, which results in the emergence of an icon. In books, films, and other media content about the celebrity, various narratives and central values become associated with the celebrity. After several years of continued public interest in the dead celebrity, the image and values associated with the celebrity become more significant than, and transcend, the factual details about the historical existence of the individual. The following section will outline elements contributing to the construction of the image of a celebrity, after their death.
Toni Morrison's novel “Song of Solomon" is an evident example of literary work that utilizes the plight of the African-American community to develop an in-depth and complex storyline and plot. Not only does Toni Morrison use specific historical figures as references for her own characters, she also makes use of biblical figures, and mythological Greek gods and goddesses. When evaluating Toni Morrison’s “Song of Solomon” you can relate each and every character to a specific historical figure or mythological being in history. But to focus on a specific character you would look towards one of the protagonists. Guitar and Milkman can serve as main individuals that can be symbolic of other political and civil rights activist involved in history.
Schinder, Scott and Andy Schwartz. Icons of rock : an encyclopedia of the legends who changed
The overall sound of the album was combination of rap lyrics over some rocking beats. The instrumentation used is electric guitar and bass. In the song (You Gotta) Fight for Your Right (to Party!), the guitar, and drums are clearly heard especially on off beats of the rap lyrics. The album has a very upbeat sound in general with some more traditional rock and roll guitars cords, but the rap lyrics is what made this album the first of its kind. The song (You gotta) Fight for Your Right (To Party!), was inducted into The Rock and Roll hall of fame’s 500 songs that shaped rock n roll. (Rolling Stones) Daniella Kohavy points out how in “Rhymin’ And Stealin,” the first track on the album, samples Led Zeppelin, The Clash, and Black Sabbath; the epitomes of rock and punk rock”. The album created in less than a year. They gained inspiration from the music of many rock bands, such as Kerry King from slayer.
Living up to his name, Hard Rock is shown to have a hard demeanor and appearance. “Split purple lips, lumped ears, welts above/ His yellow eyes, and one long scar that cut/ Across his temple and plowed through a thick/ Canopy of kinky hair” (lines 3-6). Knight presents Hard Rock as someone who has been abused often through the numerous thick scars on his face, as well as adding that he was “known not to take no shit” (line 1) to add to the imagery of Hard Rock having a tenacious
The history spirits of the black culture are intensified in these old songs. Milkman 's search for his ancestral roots finds meaning in such sources as the blues songs and especially in the Song of Solomon. He links himself with the past by unceasingly piercing it all together. Morrison recognizes that oral tradition or folklore can more directly convey the truth than relying on the analytical descriptions based on Western logic "and traditions. She wanted to utilize the black folklore, especially the magic and superstitious part of it, in her texts because black people believe in magic and it is part of their heritage. This, she says, is the reason for using flying as the central metaphor in Song of
In the early 1800’s, a new discovery that left paleontologists in awe was the fossil finding of the immeasurable amount of species of reptiles, Ichthyosaurs. Greek for “fish lizards”, these fossils were found all over the world. Because these large aquatic reptiles migrated just as whales do today, paleontologists have had the amazing advantage of collecting fascinating bone fragments throughout the past 177 years. Ichthyosaurs swam the ocean life from about 245 million until about 90 million years ago- approximately the same time dinosaurs ruled the land. The earliest Ichthyosaur fossil findings were in parts of Canada, China, Japan, and possibly Thailand. Countless fossils came from coatings of limestone produced out of the ocean-floor ooze that was predominantly superior at preserving very well facts of the creatures it digested (Perkins 2).
McLeese, Don. “The Spirit of a Rocker.” New York Times. 18 October 1987. Web. 11
"Authentic Hendrix - The Official Jimi Hendrix Online Store Home Accents | Shop the Authentic Hendrix - The Official Jimi Hendrix Online Store Official Store." Authentic Hendrix - The Official Jimi Hendrix Online Store | Shop the Authentic Hendrix - The Official Jimi Hendrix Online Store Official Store. Web. 05 Oct. 2011. .
Ultimately, to understand the development of a religious aura, surrounding Morrison, and Morrison as a “religious figure,” all aspects of his life and image must be accounted for. Historically, his life, self-propagated myth, image, death and potential as a commodity. Posthumously, his popular myth, pilgrimage to his gravesite and commodification of his image. Morrison as a shaman and Lizard King is only one reason for his religious aura; its contribution to the development of the popular myth, along with the central values contained in his image, contributed to the idea of Morrison as a “religious figure.”
The 1960's were turbulent years in America, and Jim Morrison created an image of himself that stretched the boundaries of popular culture and entertainment. He was the first musician to truly live the creed of the moment, " sex drugs and rock and roll." Morrison's complicated lyrics, wild behavior, and personal charisma attracted many fans that worshipped him as a rock and roll icon. Morrision left them with a lot of great music and some very bad memories. Like Janis Joplin and Jimi Hendrix, he destroyed himself in the process of becoming a star.
Jim Morrison is the lead singer of the classic rock and roll band "The Doors". Jim
Mammalian characteristics evolved gradually over a period of 200 million years. The early synapsids were the pelycosaurs. Some of them were herbivores. The others were predators. Thay showed skeletal adaptations for voracious life.
Movie stars. They are celebrated. They are perfect. They are larger than life. The ideas that we have formed in our minds centered on the stars that we idolize make these people seem inhuman. We know everything about them and we know nothing about them; it is this conflicting concept that leaves audiences thirsty for a drink of insight into the lifestyles of the icons that dominate movie theater screens across the nation. This fascination and desire for connection with celebrities whom we have never met stems from a concept elaborated on by Richard Dyer. He speculates about stardom in terms of appearances; those that are representations of reality, and those that are manufactured constructs. Stardom is a result of these appearances—we actually know nothing about them beyond what we see and hear from the information presented to us. The media’s construction of stars encourages us to question these appearances in terms of “really”—what is that actor really like (Dyer, 2)? This enduring query is what keeps audiences coming back for more, in an attempt to decipher which construction of a star is “real”. Is it the character he played in his most recent film? Is it the version of him that graced the latest tabloid cover? Is it a hidden self that we do not know about? Each of these varied and fluctuating presentations of stars that we are forced to analyze create different meanings and effects that frame audience’s opinions about a star and ignite cultural conversations.
This essay discusses the evolution of amphibians. Amphibians are classified into three orders (anura, caudata and apoda) and are in the superclass tetrapoda (Kolesova, et el, 2007). The Apoda is comprised of organisms with no legs, and these organisms normally live in barrows. Tretrapods are comprised of vertebrates with four limbs; and examples of tetrapods are reptiles and amphibians (Kolesova, et el, 2007). Tetrapods were the earliest vertebrates to be able to walk on land and that was during the Devonian period about 360-370 million years ago (Kolesova, et el, 2007). Before the existence of amphibians almost all vertebrates lived in water (Kolesova, et el, 2007).