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Skin on show: The actress flashed the flesh in her low-cut and split to the thigh black dress. The Crazy Heart star took the time to stop and sign autographs for her loyal fans waiting outside the building before she made her way inside. While she is currently promoting her work on the big screen, the mother-of-two is gearing up to hit the stage.

They love her, they really love her: Maggie happily signed autographs for fans waiting outside the studios. From the screen to the stage: It has been announced that Maggie will star in off-Broadway play The Village Bike next year.

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The erotic drama premiered at the Royal Court Theatre in London in Simple style: Maggie, pictured in June L and April, often favours much dowdier outfits. That's not like you! Share or comment on this article: Maggie Gyllenhaal shows her sexy side in low-cut and split black dress to promote White House Down e-mail.

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At a glance, it reveals the breadth of The Doors performance repertory.

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The final album of the four Doors was L. Woman released in April It proved that the band was continuing its upward turn on the hits charts and record sales since Morrison Hotel. Today L. The obituary appeared three days after the first of several for Armstrong. Mahoney also explained the concert, trial, and outcome, giving some detail about being buried in France. Mysteries and rumors of his death and the possibility that he faked it became known worldwide. Though he coughed up a small amount of blood, he told her not to call a doctor and that he would have a bath to relax.

When she woke up again, she noticed he was still in the bathroom. The official cause of death was cardiac arrest following pulmonary congestion. If he died at a nightclub, why would no one call the police or an ambulance to the scene? Why was an autopsy unnecessary and the coffin sealed immediately? Reports of Morrison sightings were frequent despite the official report and alternative accounts of his death. Free Press. Morrison may have inhaled the several lines of a white substance she had placed on the table for herself because he believed it was cocaine, or perhaps he knew it was heroin and, as the result of his depression, he took the opportunity to commit suicide.

Katherine Sutherland observes, note the graffiti, for instance: a perfectly post—modern palimpsest of spray paint over spray paint, practically begging for playful deconstruction. Check the tombstone itself, where the bust of Jim Morrison, first grotesquely painted, then finally stolen, sits permanently under erasure. The place for just meeting people, partying, or to worship Morrison is policed and cleaned up constantly.

Why do people go to his grave? Some go because they do not believe he is there or is because they know it is his final resting place and they wish to pay their respects. Others go to see if they could find him and talk to his ghost. Most of the public equated him onstage and offstage with the dark aesthetics or world of the Doors.

Successful at breaking through the boundaries, Morrison commenced his own game of interpretation by writing poems and songs, and composing music. He interacted with everyone who was witnessing, watching, and listening to him. He continuously found ways to describe the game differently.

The interpretation games of the writers, filmmakers, and the media also had limits and rules. Sometimes their role was to explain what happened at a Doors concert or in a studio. Those who forgot their roles as sound recording critics or stretched the truth about Morrison with the aim to captivate readers and audiences either to criticize or to encourage their readers to buy books, novels, or videos violated these rules.

At the same time The Doors and Morrison himself were writing and creating projects positioning Morrison as the focus of attention, tapping into the desires of Doors fans, and permeating boundaries between art and real life; they especially Morrison were also inciting the disapproval of authority figures, other performers, and writers. All this raises a few questions: Do these works about Morrison have any real direction? On a cultural level, why should scholars care? The critics were often very aware of how their writings positioned themselves as authors.

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The result of their writings, legend and myth construction, appears like a web: The authors affirm the intense dislike for Morrison and The Doors, or show their academic coolness through announcing their indifference to them, or demonstrate their love of the music and daring energy of Morrison and the band. For various reasons, they revisit biographical details or perspectives on the band. Many writings by and about Morrison and The Doors, however, also reveal interactions sometimes relationships with the authors, the mainstream, and the counterculture. The players of this game, including Morrison himself, are 25 These reactions often change over time.

The question is, what are they trying to achieve? Underlying this study are a few important questions: Why do most of the works about Morrison and The Doors ignore the music itself?

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Is the lack of analysis and discourse about the songs significant? What devices are being used to single out Morrison? What are the limits of interpretation? Does the icon represent the thing that is being signified?


The literature about Jim Morrison and The Doors is strongly influenced and thus dominated by Rolling Stone and writers affiliated with the magazine. These writings are certainly essential resources for scholarship about The Doors.

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He also interviewed Jim Morrison for Rolling Stone in Despite these efforts in Rolling Stone to give intimate details about Morrison as a learned person and beloved mentor, who wanted more than anything else to become best known for his poems, the passional readings leave the strongest and most lasting impressions. So much attention has been given to the Rolling Stone and literature by and associated with the Rolling Stone writers that the entire body of literature about Jim Morrison could be perceived from the views presented in these publications alone.

In other words, part of the literature can and has been understood to represent the whole. The Rolling Stone authors also called attention to their own writings by making them at times the main focus of their work. If the entire body of literature has more than one voice, why not pay attention to other writings? Why transpose a single voice of popular music criticism onto an orchestra of writings found in magazines, newspapers, and journals?

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Why ignore other voices when several important players can be identified and can offer other fascinating interpretations of Jim Morrison? Michael Holquist, trans. These writings and the entire experience of Miami influence just one kind of listening of their final album L.

The Los Angeles Free Press, the most widely circulated underground newspaper in the history of journalism, offered many glimpses into the bohemian life there. There has been a steady stream of biographies of Morrison, some more reliable than others, but none has surveyed the L. Free Press literature or considered its impact on Morrison and viewpoints of him during life and after his 34 The newspaper began on 23 May , first as a broadsheet called the Faire Free Press for the Southern California Renaissance Faire, and then as The Los Angeles Free Press with its first issue appearing on 25 May It became a weekly underground newspaper by The newspapers usually cost about ten cents per issue.

In the s and s, it was generally easy to obtain free copies of the L. Copies were available at various establishments in the L.