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You may remember my recent post about the possibility of the State of Florida pardoning Jim Morrison for his indecent exposure conviction. Well, Florida officially pardoned Jim Morrison today. This is great news.

Here are Governor Crist’s comments on the topic, courtesy of the New York Times Arts Beat Blog.

Remarks by
GOVERNOR CHARLIE CRIST
to the Florida Board of Executive Clemency
Tallahassee, Florida

December 9, 2010

James Douglas Morrison – we know him as Jim Morrison – appealed the judgment and sentence he received after being convicted 40 years ago of two misdemeanors. However, he died before his appeal could be heard.

Because he us unable to state his case for clemency before this board today, I offer to do so for him.

The charges against Mr. Morrison stemmed from his alleged actions at a now-famous 1969 musical performance by The Doors in Miami. During the trial, the prosecution attempted to prove that Mr. Morrison indecently exposed himself, simulated indecent acts, and uttered profanities.

Mr. Morrison admitted to using some of the alleged profanity; however, he denied the other charges.

During the trial, some witnesses testified they saw the alleged acts for which he was charged; however, many others testified they observed the entire concert and never saw them. In fact, so many witnesses corroborated Mr. Morrison’s testimony that the judge eventually stopped the defense from presenting any more – because their collective testimony became, what is known in legal terms as, “cumulative testimony.”

Nevertheless, a jury convicted Mr. Morrison. The judge then sentenced him to six months of hard labor.

Much controversy surrounds this conviction, and not only because many witnesses testified they did not see Mr. Morrison expose himself.

Controversy also exists because Mr. Morrison was not arrested until four days after the concert. A case was brought against him only after newspaper articles recounted the alleged events at the concert, based on a complaint filed by an employee of the state attorney’s office who attended the concert.

In addition, Mr. Morrison may have been improperly prevented from presenting evidence of “community standards” of other rock performances of the era. Such testimony would have offered cultural context for the allegations against him.

Perhaps most importantly, Mr. Morrison himself did not exercise his right to remain silent. Instead, he forcefully denied the charge that he exposed himself on stage.

Mr. Morrison appealed his judgment and sentence; however, he died before the appeal was heard. His death prevented him from exercising his right to a direct appeal, a right given to every American by the United States Constitution. If his appeal had been heard, a reviewing court could have resolved the controversies surrounding his conviction.

In addition, at the time of Morrison’s death, a convicted defendant who died before his appeal was heard was entitled to have the conviction dismissed so that he was again presumed innocent. This doctrine, known as “abatement ab initio,” wiped the slate clean – as though the conviction had never taken place. A pardon corrects the fact that Mr. Morrison is now unable to take advantage of the presumption of innocence that is the cornerstone of the American criminal justice system.

The words of an appellate judge, penned a decade before Mr. Morrison’s trial, provide insight into the question before us today: When death prevents the accused from appealing his judgment, the conviction is “a nullity” and “[j]urisdiction to determine the issue of guilt or innocence is now assumed by the ultimate arbiter of human affairs.”

In this case, guilt or innocence is in God’s hands, not ours. That is why I ask my colleagues today to pardon Jim Morrison.

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Outgoing Florida governor Charlie Crist has hinted at giving Jim Morrison a posthumous pardon for his Florida indecent exposure conviction.

I’d rather see Jim Morrison pardoned than acquitted, honestly. An aquittal would be an attempt to legally say “Jim Morrison did not do that,” and I don’t think that’s right. Jim pushed the boundaries intentionally. It’s what he was all about, the influence of Dionysus, the god who steps over the boundaries and pushes us through–breaks on through, even–to the other side.

As human beings and as a human society we have a deep need for that kind of channeled transgression. We need rules and order to survive and prosper, but we also need a way to break through and shatter those rules completely, to remind us of who we really are and what is really going on. We have to be able to grapple with darkness, to embrace the shadow side of our existence, to shake off constraints and boundaries. Pushing us to our limits, pushing us past those boundaries in every way, is what Jim Morrison’s life was all about.

And so I say hell yes he exposed himself on stage. I say hell yes he simulated fellatio. And good, and well done, and do it again.

But he should be celebrated, not condemned. If our society expressed through the state can not understand the context and the importance of Dionysian transgression, and the role it plays in keeping us sane and healthy, then we are all Pentheus, and we are setting ourselves up for a violent and savage downfall.

So nothing could be more appropriate than a pardon. Try him if you want, convict him if you must, but punish him? Smear his name? Nonsense. We’re not talking about a pervert in the parking lot, we are talking a high priest of Dionysus, a prophet of the God Who Comes. Jim Morrison brought the law of liberation written on tablets of vinyl. I can think of few better ways to honor him than to wipe his name clear.

So, hail the Lizard King triumphant! Euoi!

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You may wonder why, on a blog that’s ostensibly about spirituality, I post so often about music. The fact is, to me, music is inseparable from spirituality. Music is transcendent. Through music, I touch the universe, the ultimate reality, God. I take music seriously. It’s a hobby, and that’s important to me because its a hobby that my unreasonably demanding job can’t take away from me, but its more than a hobby. I enjoy it so much precisely because it is a window into the sublime.

Music fanatics have been accused of worshipping rock stars. This is usually meant pejoratively, to make the level of devotion shown by music fans look ridiculous. But I embrace it. Do I worship Jim Morrison? You bet your ass I do. And Johnny Cash. And Ronnie James Dio. And Waylon Jennings. And Jimi Hendrix. I’m a polytheist, and I embrace a tradition that includes deifying heroes. And I think these men are heroes worthy of worship. Even gods. Not gods of the same magnitude as Dionysus or Aphrodite, and certainly not of the same magnitude as the ultimate one cosmic unity, whatever you like to call that. But gods no less, and I treat them as such.

Some days I pour out a libation to Zeus, and some days I pour out a libation to Dio.

With that in mind, a friend of mine just put up a blog post about how thankful she is for music, and I want to echo her sentiments. Music makes the world just a little bit better. Music makes life a little easier to live.

My friend also posted YouTube videos of some of her favorite songs, as a part of this post. And I want to do that, too. So I give you, in no particular order, ten of the greatest fucking songs in the whole world.

1. Johnny Cash, “I Walk The Line”

This is my favorite song of all time, and it has been since I first knowingly heard it. I’m not afraid of complicated arrangements, but something about the stripped-down simplicity of this song just pieces me to the core. Johnny Cash wields his guitar like a rifle, and in a few spare words, he says all that anyone ever needs to say. This is the best, most important song ever written. If I had to pick one single piece of music to be all that survived of human civilization, I would not pick Beethoven, Mozart or Bach. I would pick this.

2. Pink Floyd, “Wish You Were Here”

An intense, emotional song with absolutely brilliant lyrics. Nothing more even needs to be said. Also, Wyclef Jean’s version is amazing as well.

3. Jimi Hendrix, “All Along The Watchtower”

This was already one of my favorite songs in the universe before Colonel Tigh started mumbling the lyrics at the end of the third season of Battlestar Galactica. I pretty much just pissed myself when I realized what it was he was saying. And using the song the way they did was perfect, because “All along the Watchtower” is like a fucking rock and roll window into the supernal realms. The opening guitar riff knocks my socks off and I’m not able to put them on again until the song is over. Also, don’t miss Apuleius Platonicus’s amazing analysis of the spiritual significance of this song.

4. Jimmy Durante, “As Time Goes By”

Another song beautiful in its simplicity. A romantic classic for a reason. It will always make me think of my beautiful and sexy wife and the absolutely amazing life we have had together so far. It may not be “our song,” but to me it is nevertheless a song about us.

5. Black Sabbath, “Heaven And Hell”

The world lost a god when Ronnie James Dio died. The two albums he recorded with Black Sabbath in the early 1980’s are some of the best heavy metal albums ever. Tony Iommy shines all over the place like he never was able to with Ozzy, and Ronnie’s lyrics are timeless, creative, and iconic: They say that life’s a carousel, spinning fast, you’ve got to ride it well. The world is full of kings and queens who blind your eyes and steal your dreams, its heaven and hell.

6. Led Zeppelin, “Stairway To Heaven”

This song is ubiquitous for a reason. I wrote a post about its spiritual significance a couple months ago, so I won’t repeat myself unnecessarily except to say this song is not a cliché. This song is just that good. It builds from a soft, mystic, poetic beginning into a massive sublime onslaught. If you don’t love this song, you have never paid attention to it.

7. Joy Division, “Love Will Tear Us Apart”

The best of all new wave and post-punk songs, a perfect blend of synth instrumentation and earnest, passionate and dark lyrics. There is nothign here not to like.

8. The Doors, “L.A. Woman”

Somewhere I wrote a poem about this song, but now I can’t find it. “L.A. Woman” is a perfect example of all four of the Doors working together in synergy. The other great thing about this song is that the beat of the opening movement is exactly the right beat for me to run to and pass an Army AFPT. For the record, I have been out of the Army for about four days now, and I am not really okay with that.

9. Dio, “Holy Diver”

My kids love this song as much as I do. They know all of the words, and they know how to do devil horns with their hands. It’s the most cute-awesome thing ever. Also, if I could make every Dungeons and Dragons adventure I ever ran feel exactly like this song and its goofy music video, I would be a happy man.

10. Highwaymen, “The Highwayman”

Reincarnation and country music. Four outlaw country gods walking among men.

11. Mazzy Star, “Into Dust”

I have loved this song for more than a decade. To me, it is the most intense song I know of.

12. Waylon Jennings, “Rough and Rowdy Days”

Another one for my beautiful and sexy wife. And for me.

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I think I might like the Doors more than I like Led Zeppelin.

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“Walk The Line” – Johnny Cash
“All Along The Watchtower” – Jimi Hendrix Experience
“L.A. Woman” – The Doors
“As Time Goes By” – Jimmy Durante
“Take On Me” – A-Ha
“Holy Diver” – Dio
“Stairway To Heaven” – Led Zeppelin
“The Number Of The Beast” – Iron Maiden
“Love Will Tear Us Apart” – Joy Division
“Wish You Were Here” – Pink Floyd
“Have You Ever Seen The Rain” – Creedence Clearwater Revival
“Let It Be” – The Beatles
“A Few Hours After This” – The Cure
“Battle Against Time” – Wintersun

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I came across a pretty cool essay on Jim Morrison and Dionysus, and the pagan spiritual implications of Morrison’s life, music, philosophy, and his unique and fascinating madness. It gets a little closer to what I was trying to write a few days ago about the Lizard King. With all due respect and entirely without permission, I am reprinting it here in entirety:

THE CULT OF THE LIZARD KING
by Delia Morgan

I. The Rock God:

Jim Morrison–rock star, poet, prophet, electric shaman, and god incarnate. The lead singer of the 1960’s acid rock band known as The Doors, Jim Morrison identified himself very strongly with Dionysos. The Doors were the first group to really do rock concerts as ritual, as a means of taking the audience on a psycho-religious trip. They took their name from Aldous Huxley’s quote (here paraphrased) that “When the Doors of perception are cleansed, we will see things as they truly are–infinite.” Morrison described their mission in terms of trying to “Break On Through” to a bigger reality: “There are things that are known, and things that are unknown, and in between are the Doors.”

Morrison, with his “Greek God” beauty, his fiery passion and dark mysterious persona, has been considered a Dionysos incarnate. He certainly tried to bring something like shamanism and Greek drama to rock music and to the stage; he tried to shock people out of their complacency and into a terrifying and liberating ecstasy. Since his death at a young age in 1971, a cult has grown around him; many people, myself included, sense his presence as a guiding force, build altars to him, etc. There was even a “First Church of the Doors” at one time.

Morrison himself was, by all accounts, a man as brilliant as he was daring. At a young age he had read extensively on shamanism and ancient mythology, including James Frazer’s “The Golden Bough” (much of which is about Dionysos); he was also quite taken with Friedrich Nietzsche’s passionate vision of Dionysos as portrayed in “The Birth of Tragedy.” One of the last books he had been reading before his death was Jane Ellen Harrison’s voluminous and challenging “Prolegomena to the Study of Greek Religion” which is also mostly about Dionysos. It seems to me that Morrison let himself be completely possessed by Dionysos, until the man and the god were irrevocably merged; he carried the torch of his mythic Dionysian vision all the way to his death.

Unfortunately, most people never quite ‘got’ what he was trying to do at the time, which was religion. Rock critics called him pretentious for taking himself so seriously; few of them knew enough about myth and religion to put the pieces together. Ray Manzarek’s recent book “Light My Fire” is a personal history of the Doors, and also talks about Morrison as Dionysos.

Here are just a few quotes from Morrison’s songs and poetry where the dark and Dionysian mystic slips through:

“I call upon the dark hidden gods of the blood…”

“Where is the wine we were promised, the new wine…?”

“We could plan a murder, or start a religion…”

“I promised I would drown myself in mystic heated wine…”

“Let us reinvent the gods, all the myths of the ages;
celebrate symbols from deep elder forests…”

“I am a guide to the labyrinth.”

II. Perspectives on the Morrisonian mythos:

Some perceptive authors and music critics at the time caught on to the Dionysian element in Morrison’s philosophy and in his performances; others have come to realize this in retrospect. (Still others never caught on, and can’t understand what all the fuss is about.)

The following excerpt from a Doors website makes explicit the Doors’ connection to Pagan spiritual sentiment:

http://www.elektra.com/rock_club/doors/bio.html

During the late 1960’s bands sang of love and peace while acid was passed out. But for The Doors it was different. The nights belonged to Pan and Dionysus, the gods of revelry and rebirth, and the songs invoked their potent passions–the Oedipal nightmare of “The End,” the breathless gallop of “Not to Touch the Earth,” the doom of “Hyacinth House,” the ecstasy of “Light My Fire,” the dark uneasy undertones of “Can’t See Your Face in My Mind,” and the alluring loss of consciousness in “Crystal Ship.” And as with Dionysus, The Doors willingly offered themselves as a sacrifice to be torn apart, to bleed, to die, to be reborn for yet another night in another town.

The pagan/Dionysian theme is expanded upon by Danny Sugerman in the following excerpts from the introduction to the famous biography of Jim Morrison, titled “No One Here Gets Out Alive.”

http://www.thedoors.com/beta/mythos.htm

DOORS MYTHOS
by Danny Sugerman

“Though the favorites of the gods die young, they also live eternally in the company of gods.”
— Fredrich Nietzsche, The Birth of Tragedy

An account of initiation into the mysteries of the goddess Isis survives in only one in-person account, an ancient text that translated reads: “I approached the frontier of death, I saw the threshold of Persephone, I journeyed through all the elements and came back, I saw at midnight the sun, sparkling in white light, I came close to the gods of the upper and the netherworld and adored them near at hand. ” This all happened at night. With music and dance and performance. The concert as ritual, as initiation. The spell cast. Extraordinary elements were loosed that have resided in the ether for hundreds of thousands of years, dormant within us all, requiring only an awakening.

Of course, psychedelic drugs as well as alcohol could encourage the unfolding of events. A Greek musicologist gives his description of a Bacchic initiation as catharsis: “This is the purpose of Bacchic initiation, that the depressive anxiety of people, produced by their state of life, or some misfortune, be cleared away through melodies and dances of the ritual.”

There is a strange tantalizing fascination evoked by fragments of ancient pagan mysteries: the darkness and the light, the agony and the ecstasy, the sacrifice and bliss, the wine and the ear of grain (hallucinogenic fungi). For the ancients it was enough to know there were doors to a secret dimension that might open for those who earnestly sought them. Such hopes and needs have not gone away with time. Jim Morrison knew this. Morrison was the first rock star I know of to speak of the mythic implications and archetypal powers of rock ‘n’ roll, about the ritualistic properties of the rock concert. For doing so, the press called him a pretentious asshole: “Don’t take yourself so seriously, Morrison, it’s just rock ‘n’ roll and you’re just a rock singer.”

Jim knew they were wrong, but he didn’t argue. He also knew when the critics insulted him they demeaned his audience. Jim knew that music is magic, performance is worship, and he knew rhythm can set you free. Jim was too aware of the historical relevance of rhythm and music in ritual for those transforming Doors concerts to have been accidental.

From his favorite philosopher, Friedrich Nietzsche, Jim took solace and encouragement in the admonition to “say yes to life.” I never believed that Jim was on a death trip as so many have claimed, and to this day still find it difficult to judge the way he chose to live and die. Jim chose intensity over longevity, to be, as Nietzsche said, “one who does not negate,” who does not say no, who dares to create himself. Jim also must have been braced to read the following Nietzsche quote: “Saying yes to life even in its strangest and hardest problems; the will to life rejoicing over its own inexhaustibility even in the very sacrifice of its highest types-this is what I call Dionysian, that is what I understood as the bridge to the psychology of the tragic poet. Not in order to get rid of terror and pity, not in order to purge oneself of a dangerous effect by its vehement discharge, but in order to be oneself the eternal joy of becoming, beyond all terror and pity. ”

It was Jim’s insatiable thirst for life that killed him, not any love of death.

III. Morrison Today

Why, among all stars in that infamous rock-n-roll heaven, is Jim Morrison uniquely qualified as an avatar of Dionysos? It’s no doubt true that various worthy and charismatic figures in rock-n-roll have gained something of a fanatical cult following. Visions of Elvis, etc. One recent translation of Euripedes’ play “The Bacchae” even put Elvis on the cover. But, really, it should have been Jim.

Morrison was, as far as I know of, the first or only rock performer to actually identify with Dionysos, and to express (sometimes subtly) the stated intent of trying to bring back the old pagan religions. He was also the only one to do serious research on the cult of Dionysos, and to attempt to recreate the cathartic experience of Greek tragedy as a ritual on the stage. He forged a connection between shamanism and Dionysiac cult: the shaman, by going on a spirit journey, could heal the tribe; then the rock performer, by making the presence of Dionysos manifest, and by bringing the audience with him, could create a healing breakthrough for both himself and the spectators/participants. He was brilliant, and possibly mad.

He was also the performer who (in my view) best expressed the enigmatic, mysterious qualities of Dionysos himself – the paradoxical juxtaposition of sweetness and violence, ecstasy and agony, deep masculinity and androgynous beauty, orgasmic chaos and graceful precision. Etc., etc.

I have no doubt that the spirit of Dionysos permeated the world of rock music in the 60’s, and even somewhat today. But it remains that Jim Morrison alone gave himself to Dionysos, entirely and without reservation, to the very end; and all for the purpose of bringing back Dionysian religion to a world without a clue.

And since his death, he has become a real and guiding presence for many devotees; in other words – a god. Doors fans have built altars and web shrines, conducted rituals in his honor and written poems about their spiritual encounters with Jim. He was certainly a powerful force in my own pagan awakening. This point came home to me, in many ways over the years; I’ll relate one.

One evening, I was sitting on the couch reading Jane Ellen Harrison’s “Prolegomena to the Study of Greek Religion,” a book which deals extensively with the religion of Dionysos. I was at the section where she describes how the dead hero becomes transformed into a god. I got very excited, and was scribbling notes in the margins, about how I saw this process of heroic deification as applying to Jim Morrison. (Snakes figured largely into this process, as they did in the cult of Dionysos; and Doors fans know all about Jim and “the ancient snake.”)

Suddenly, for no reason, I had a strong urge to turn on the television. (I almost never watched it; my roommate did.) When I did so, there was a program about the history of rock music, and they were doing a short segment on Jim Morrison. Then they interviewed the Doors keyboardist Ray Manzarek, on the subject of Jim’s death and/or possible continued existence. Ray said (paraphrased): “Jim isn’t here on earth anymore. Dionysos returned to Olympus, and he’s sitting up there laughing at us.”

This statement, coming right after my reading the same idea in Harrison’s book (and my relating it to Morrison), seemed like a remarkable coincidence to me at the time. I’m sure it was Jim who prompted me to turn the TV on at that moment. A few years later, I learned that (according to Jim’s girlfriend, Wiccan priestess Patricia Kennealy) that Harrison’s book on Greek religion was the very same one that Jim was reading just before he left for Paris, where he died a few months later.

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“Calling on the Gods…
Cobra on my left, leopard on my right…”
– Jim Morrison, from the album “The Soft Parade”

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I have been tossing around this idea for awhile, but haven’t written much about it because I haven’t really done the research to write something good, something that will capture the idea that is looming in my head. But I want to jot down the idea now. Later on I will flesh it out.

It has become increasingly apparent to me that Dionysus is the god of rock and roll, and that Jim Morrison is his prophet. What is rock and roll if not rebellion, liberation, and ecstasy? Rock and roll is not Apollo’s music. It belongs to the Liberator. Real rock and roll, not the complete shit that gets peddled as rock nowadays, but real rock and roll is a thing of incredible, monstrous power. It channels a spiritual well that is overwhelming and intoxicating. Real rock and roll is awesome. It is mystical. It is a kind of black magic. And it belongs utterly to Dionysus.

Jim Morrison was posessed of something. He was a classic tortured genius, and he was in touch with something that was too intense for him-for any human being-to handle. It was like he was taking a drink from a power main, and there was only so much he could do with it before it used him up. In the end, it was so powerful that it devoured him and left him dead in a bathtub in Paris. But while he was alive he was a shaman, a prophet. He knew that rock was the purview of Dionysus–he said as much in his own writings and poetry.

Dionysus is the god of rock and roll, and Jim Morrison is his prophet. Wherever he is now–in the land of the dead, in Elysium, or wherever he has been taken by the god–he is reaching out to us, and inviting us, calling us to “meet him at the back on the blue bus.” We listen, we let it posess us, and we invite the god in to bring us into a new kind of life, if only for a few moments.

EDIT: I came across an awesome essay about Dionysus and Jim Morrison on the internet the other day. Check it out.

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Last night I had a dream about Jim Morrison. It was long, vivid, and disconnected, so this might not make a lot of sense. I also don’t remember it perfectly (sometimes I remember dreams better than others), but here goes.

I was going for a run at night, maybe in New York City, and my plan was to listen to L.A. Woman while I ran one way, and then to turn around and listen to it the other way, but someone stopped me, some friends of mine stopped me for some reason and it interrupted my run. I had a tattoo of Jim Morrison’s face on my leg (in my dream, that is; in real life I have a rad tattoo of Odin riding on Sleipnir on my leg), but I don’t remember when that really came into the picture.

I went with these friends over to an apartment where a bunch of other friends of mine were hanging out, including Jim Morrison. I was really nervous because in this dream he was theoretically my friend, but I completely hero-worshipped him, and I wanted him to like me, but I knew it was chancy.

In short, he let me down. He ignored me. He was busy hanging out with my other friends, having fun with them. He didn’t even wave or say hi, he was so wrapped up with having a great time that he did not even notice I was there. Later on, I kept trying to hide the tattoo of him, because I did not want people to know how I felt about him and thus how hurt I probably was because he ignored me.

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When I went running this afternoon, I saw some of the Mormon missionaries doing street contacting outside my apartment complex. As per my usual, I began to have a lively discussion/argument with an imaginary missionary in my head. This time, our argument was about the Book of Mormon (I didn’t bring my iPod, so I had nothing else to do but suffer for three miles; otherwise I would have probably been listening to the Doors).

One of the most frustrating things to me about Mormonthink–and something that I think is evidence of cultlike behavior and cultlike thought in the Mormon church and culture–is how complicated, intermeshed ideas get blurred together into a simple question of “true or not true” that winds up really obscuring and distorting the ideas that are being manipulated.

Specifically, when a Mormon talks about the Book of Mormon being “true,” they mean at least three different distinct things. First, there is the question of whether or not the Book of Mormon is a faithful translation of an authentic ancient document written by Hebrew religious leaders in the western hemisphere. Second, there is the question of to what extent the religious and spiritual concepts expressed in the Book of Mormon (regardless of its authorship) reflect eternal truths. Third, there is the question of whether Joseph Smith Jr. found and translated the Book of Mormon by God-given supernatural means.

In my experience Mormons often conflate these three issues, or insist that they are logically linked so that you can’t have any one without the others, and so they just wind up bearing their testimonies about how the Book of Mormon is TRUE. It’s imposing black-and-white thinking on a potentially nuanced and relatively controversial set of issues, and as such it honestly pushes the boundaries of brainwashing tactics.

Of course I am generalizing here. Plenty of Mormons have thought through all of the questions I have raised here, and have an answer–even possibly a really nuanced answer–for each. Nevertheless to the extent that they simply use the shorthand of talking about the Book’s truth, generally, they are truncating the issues and contributing to a paradigm that discourages or disables critical thinking. And that’s no good.

NOTE: At one time I down comments on this post because it was kind of swallowing my blog and dominating the traffic, but enough time has passed that I decided to open it again, especially since Jonathan Blake has since closed down the comments on his “Convince Me” thread.

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