No One Here Gets Out Alive - Jerry Hopkins and Danny Sugerman
Jim Morrison is the kind of iconic and mythical character that draws the curiosity. From his intriguing lyrical choices to his legendary alcohol and chemical intake, he occupies a place of deep fascination in the collective psyche. And, like Jimi and Janis, his untimely departure begs speculation about what might have been.
But did I need to know more about Mr Mojo Risin’?
I assumed I already knew enough. I'd seen his potted history in Ollie Stone's contentious film. I'd read Ray Manzarek's excellent autobiography. I'd listened to all the albums. I even learned to play a few of the songs.
What else could there be?
There were a few factors that tilted me toward No One Here Gets Out Alive. It had a name taken from one of my favourite Doors songs, Five to One. It had contributions from Doors insider Danny Sugerman, giving it an aura of authenticity. And it was $6. So I gave it a go.
It was worth it. Hopkins and Sugerman have done a great job creating a compelling narrative out of Morrison's ill-fated trajectory. They maintain a page-turning sense of urgency without dwelling too much on their subject's impending demise.
Thanks to the myth and the movie, I expected a lot of mysticism and psychedelic shenanigans. I also assumed hedonism and misogyny, so you could forgive my apprehension. Of course, it was the 60s and it is Jim Morrison, so those things are here. But they don’t take centre stage in the way I thought they would. They’re more colours in the palette than the full-blown portrait.
What does emerge is an intriguing image of an accidental icon. It’s a tough sell at first, and even Hopkins tinges the observations with doubt. But it is conceivable that Jim Morrison never intended to become a rock star, much less a cultural icon. It is perhaps this naivety that endears Jim as a character, allowing the reader to forgive some, if not all, of his more obnoxious behaviour.
Something else that made revisiting the myth worthwhile, at least for me, was the insight into Morrison’s other artistic pursuits. His desire to be accepted as a poet was familiar, but I wasn’t aware of his interest in film. According to Hopkins and Sugerman, film studios were pursuing the possibility of an Elvis-like transition to acting. Morrison however, appeared to be more interested in writing and directing. This adds to the notion that his fame and notoriety were unexpected and unwelcome burdens.
Published 10 years after his passing, this was the first Jim Morrison biography. Apart from the terrible binding on my cheap second-hand edition, it was easy to read and quite compelling. It was one of those reads where I found myself putting things off to finish the next paragraph, page and then chapter. Highly recommended.
Buy No One Here Gets Out Alive on Amazon US
Buy No One Here Gets Out Alive on Amazon Australia
Buy No One Here Gets Out Alive on Book Depository
References to the Doors in No One Here Gets Out Alive are surprisingly limited. It includes key ‘Jim’ moments, but doesn’t really explore the cultural impact and artistic development of the band. Doors fans should check out Ray Manzarek’s excellent autobiography, Light My Fire: My Life With The Doors.
Buy Light My Fire: My Life With The Doors on Amazon US
Buy Light My Fire: My Life With The Doors on Amazon Australia
Buy Light My Fire: My Life With The Doors on Book Depository