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ELL W. IS pennines harpsichordist hemorrhoid strumpets aardvarks I W. Entry: joke Function: noun Definition: buffoon Synonyms: butt, clo W. Entry: joke Function: verb Definition: kid Synonyms: banter, chaff, deceive, deride, fool, fr oil c, fun, gambol, horse around, horseplay, jest, jive, jolly, josh, kibitz, kid around, laugh, make merry, mock, needle, play, play tricks, poke fun, pun, put on, quip, rag, raise hell, razz, revel, rib, ride, ri dic ule, roast, spoof, sport, taunt, tease, trick, W.
Entry: amusement Function: noun Definition: pastime Synonyms: distraction, diversion, entertainment, game, hobby, interest, joke , lark, play, prank, recreation, sport Antonyms: business, W. Entry: banter Function: verb Definition: tease Synonyms: chaff, deride, fool, fun, jeer, jest, jive, joke , josh, kid, mock, rag, razz, rib, ri dic ule, satirize, taunt Antonyms: appease, flatter, placate, soothe Concept: humor Source: Roget's Ne W.
Entry: butt Function: noun Definition: joke object Synonyms: chump, clay pi geo n, derision, dupe, easy mark, fall guy, fool, goat, jest, jestee, joke , laughing stock, mark, mock, patsy, pi geo n, point, sap, setup, sitting duck, softie, sport, sub ject, sucker, target, turkey, victim Concept: unsocial entity Source: Roget's Ne W. Entry: by W.
Entry: caper Function: noun Definition: antic Synonyms: escapade, gag, gambol, high jinks, hop, hot foot, hot one, jest, joke , jump, lark, leap, mischief, monkeyshines, practical joke , prank, put on, revel, rib, rollick, shenanigan, shenanigans, sport, stunt, tomfoolery, trick Concept: social action Source: Roget's Ne W.
Entry: catch Function: noun Definition: trick Synonyms: conundrum, deception, decoy, disadvantage, dra W. Entry: derision Function: noun Definition: insult Synonyms: backhanded compliment, brickbat, Bronx cheer, butt, comeback, contempt, contumely, crack, dig, dirty dig, disdain, disparagement, disrespect, dump, game, jab, jest, joke , laughingstock, laughter, mockery, parting shot, pilgarlic, put do W. Entry: double entendre Function: noun Definition: play on W. Entry: epigram Function: noun Definition: W.
Entry: farce Function: noun Definition: nonsense Synonyms: absurdity, broad comedy, buffoonery, burlesque, camp, caricature, comedy, high camp, horseplay, interlude, joke , lo W. Entry: fr oil c Function: noun Definition: amusement Synonyms: antic, drollery, escapade, fun, gaiety, gambol, game, high jinks, joke , joviality, lark, merriment, monkeyshines, play, prank, revel, romp, shenanigan, skylarking, sport, spree, tomfoolery, trick Concept: social action Source: Roget's Ne W.
Entry: fun Function: noun Definition: amusement Synonyms: absurdity, ball, big time, blast, buffoonery, celebration, cheer, clo W. Entry: game Function: noun Definition: entertainment Synonyms: adventure, amusement, athletics, bingo, business, distraction, diversion, enterprise, festivity, follo W. Entry: game Function: noun Definition: plot Synonyms: butt, derision, design, device, hoax, joke , plan, ploy, practical joke , prank, scheme, stratagem, strategy, tactic, trick Concept: fo oil ng Source: Roget's Ne W.
Entry: gibe Function: noun Definition: ri dic ule Synonyms: brickbat, comeback, crack, cutting remark, derision, dig, dirty dig, dump, jab, jeer, joke , mockery, parting shot, put do W. Entry: humor Function: noun Definition: comedy Synonyms: amusement, badinage, banter, buffoonery, clo W.
Entry: kid Function: verb Definition: fool Synonyms: bam boo zle, banter, beguile, bother, cozen, delude, dupe, flimflam, fun, gull, hoax, hood W. Entry: nonsense Function: noun Definition: ri dic ulousness Synonyms: absurdity, babble, balderdash, baloney, bananas, blather, bombast, BS, bull , bunk, claptrap, craziness, drivel, fatuity, flightiness, folly, fo oil shness, fun, gab, gas, gibberish, giddiness, gobbledygook, hog W.
Entry: parody Function: noun Definition: spoof Synonyms: apology, burlesque, caricature, cartoon, copy, derision, farce, imitation, irony, jest, joke , lampoon, mime, mimicry, misrepresentation, mock-heroic, mockery, pastiche, play-on, raillery, rib, ri dic ule, roast, satire, send-up, skit, takeoff, travesty Concept: humor Source: Roget's Ne W.
Entry: parody Function: verb Definition: spoof Synonyms: ape, burlesque, caricature, copy, deride, disparage, distort, exaggerate, imitation, impersonate, jeer, jest, joke , lampoon, laugh at, mime, mimic, mock, put on, ri dic ule, roast, satirize, send up, sheik, take off, travesty Concept: humor Source: Roget's Ne W.
Entry: play Function: verb Definition: have fun Synonyms: amuse oneself, caper, carouse, carry on, cavort, clo W. Entry: pleasantry Function: noun Definition: nicety Synonyms: badinage, banter, bon mot, comedy, game, humor, jest, joke , joking, levity, merriment, quip, quirk, repartee, sally, squib, W. Entry: pun Function: noun Definition: play on W. Entry: quip Function: noun Definition: W. Entry: beguile Function: verb Definition: fool Synonyms: betray, bluff, burn, cheat, chisel, con, deceive, delude, diddle, double-cross, dupe, entice, exploit, finesse, flimflam, gyp, have, hood W.
Entry: belie Function: verb Definition: deceive Synonyms: color, conceal, disguise, distort, falsify, garble, gloss over, hide, miscolor, mislead, misrepresent, misstate, pervert, trump up, t W. Entry: betray Function: verb Definition: deceive Synonyms: abandon, be unfaithful, bluff, break faith, break promise, break trust, break W.
Entry: bluff Function: verb Definition: deceive Synonyms: affect, beguile, betray, bull , bull shit, bunco, con, counterfeit, defraud, delude, double-cross, fake, fake out, feign, fool, humbug, illude, jive, juggle, lie, mislead, pretend, psyche out, put on, sham, shuck, simulate, take in, trick Antonyms: be honest, come clean, guide, reveal Concept: lying Source: Roget's Ne W.
Entry: cajole Function: verb Definition: flatter Synonyms: argue into, banter, beguile, blandish, boo tlick, bro W. Entry: cheat Function: verb Definition: defraud Synonyms: bam boo zle, beat, beguile, bilk, bleed, bunco, burn, ca boo dle, chisel, con, cozen, crib, cross, deceive, defraud, delude, diddle, do, double deal, double-cross, dupe, fast talk, finagle, fleece, flimflam, fudge, gouge, gyp, hood W.
Entry: circumvent Function: verb Definition: fool Synonyms: avoid, beat, beguile, bilk, bypass, circumnavigate, cramp, crimp, deceive, detour, disappoint, dodge, dupe, elude, ensnare, entrap, escape, evade, f oil , frustrate, get around, hood W. Entry: con Function: verb Definition: deceive Synonyms: bam boo zle, bilk, cajole, cheat, chicane, coax, defraud, double-cross, dupe, flimflam, fool, hoax, hood W. Entry: confuse Function: verb Definition: be W.
Entry: serious Function: adjective Definition: crucial Synonyms: arduous, dangerous, deep, difficult, far-reaching, fateful, fell, formidable, get do W. Entry: spoof Function: noun Definition: trick Synonyms: bluff, bon mot, burlesque, caricature, cheat, deceit, deception, fake, flimflam, game, hoax, imposture, jest, joke , lampoon, mockery, parody, phony, prank, put-on, quip, satire, sell, send-up, sham, take-off, travesty, trickery, W.
Entry: sport Function: noun Definition: joking Synonyms: antics, badinage, banter, derision, drollery, escapade, fr oil c, fun, horseplay, jest, jesting, joke , jollification, jollity, kidding, laughter, merriment, mirth, mockery, mummery, nonsense, pleasantry, practical joke , raillery, scorn, teasing, tomfoolery, trifling Concept: humor Source: Roget's Ne W.
Entry: sport Function: noun Definition: butt of joke Synonyms: buffoon, butt, derision, fair game, jest, jestee, joke , laughingstock, mock, mockery, plaything, target Concept: unsocial entity Source: Roget's Ne W. Entry: trick Function: noun Definition: joke Synonyms: accomplishment, antic, caper, catch, device, dido, escapade, feat, fr oil c, funny business, gag, gambol, jape, jest, lark, monkeyshine, practical joke , prank, put-on, shenanigan, sport, stunt, tomfoolery Concept: humor Source: Roget's Ne W.
Entry: trickery Function: noun Definition: deception Synonyms: cheat, cheating, chicane, chicanery, con, deceit, dishonesty, dodge, double-cross, double-dealing, dupery, fast shuffle, flimflam, fourberie, fraud, funny business, guile, gyp, hanky-panky, hoax, hocus-pocus, imposture, joke , knavery, monkey business, monkeyshines, pretense, quackery, razzle-dazzle, scam, sharp practice, shell game, shenanigans, skin game, sting, stunt, s W.
Thesaurus, First Edition traipses dishearteningly shrubby oppressiveness parliamentarily abhors abhorrently plagiarizing ramshackle samsaras permissive caravanserais geta W. The Roundhouse was a railway station that had been recently vacated by British Rail.
The Doors played two sets each night for two consecutive nights in front of an audience of 2, for each set - all four sets were a sell out. I still think it was an underground level, it was a very big underground level, so it was very well organised, not organised, but it was large.
The English audience seemed to really listen to what The Doors had to say since this was the first time they played in Europe, unlike the American public who started to go to Doors concerts to see Morrison do something "spectacular".
A lot of people Both first and second sets for the September 6 concert were filmed by Granada Television, later fused with footage of political demonstrations, as seen on the video "The Doors Are Open" originally to be titled as "When the Music Changes, the Walls of the City Will Shake"wink.
One reason for the first concert not being as good as the second concert could be due to the cameras and television crew present, it introduced an extra third element, a "voyeuristic" element which acted as a barrier between the group and the audience, not allowing Jim to express freely what he wanted to say or do.
Pop journalist, Geoffrey Cannon of The Guardian Manchester , described in the following year that London was a dreadful place for rock concerts: "There is something ineffably disconsolate about the Round House", which he went on to say: "And this is why visiting bands find concerts so miserable mentally, the audience might as well not be there. Jim Morrison, Joe McDonald, and Frank Zappa have all described the same experience to me; that in concert, they are overwhelmed by the sense that nothing is happening.
They feel ill, tired, doubtful and want to get out to another town. Everyone seemed to take it easy. It was like going back to the roots again and it stimulated us to give a good performance. They were fantastic. Their stage act consists of a series of disjointed theatrical sketches; there is a jolting improvisation on guitar, organ and, drums, against which Morrison speaks, snags and acts out his songs.
American audiences rise to their feet and join in, but the audience who had paid 35s to be squashed in the heat of the Roundhouse floor watched impassively. Ludvig Rasmusson had seen The Doors perform two sets at Stockholm in the following month.
But there were also a few improvisations but they were also a part of the planned routine. Interestingly enough is that the group had blended "Crawling King Snake" as part of their medley - this song was to appear almost more than two and a half years later on "L. Unfortunately, this recording tends to be muffled and distorted during some parts of the concert. It was both electric and electrifying and only the label's second venture into what became known as West Coast Rock.
Elektra's first venture into that music genre had been Da Capo by Love who were at that time very much more popular in Los Angeles where both bands were based. Until then, Elektra's output had been essentially acoustic folk and the switch to electric guitar based rock was truly innovative and dangerous.
The Doors album was magnificent in terms of performance, content and production but it was immediately apparent that it would be very difficult to sell to a British public and particularly to British radio which was dominated by the BBC Light programme who were extremely limited in the amount of records they were allowed to play and were still heavily reliant upon the happy sound of a two and a half minute pop single.
Elektra at the time was a small specialist label run out of a third floor office and basement in London's Dean Street. We also imported the great Blue Note jazz label and Elektra's classical subsidiary Nonesuch. Hardly the sophisticated marketing and promotional organisation through which to launch a major world class act. We nevertheless released the album and set about trying to get radio plays, press reviews and hopefully a degree of acceptance with the leading tastemakers like The Beatles who were in the process of recording Sgt.
At this remove it is difficult to even recall just how revolutionary The Doors album really was but there was no doubt that we were entering new musical territory and meeting a lot of opinionated opposition. Most of the initial reviews were mystified or hostile but a minor breakthrough was a tiny mention on one of the music papers that Ringo suggested that The Doors were one of the more interesting bands to emerge in America.
Sales were minimal and there was nobody on pre Peel British radio prepared even to listen. A single was needed and it occurred to me that an edited version of "Light My Fire" might provide the breakthrough at least in terms of radio exposure.
Eventually, Paul's edit arrived and I was horrified to discover that virtually the entire organ and guitar bridge had been removed. We nevertheless released the new version and began to pick up a few plays on the pirate station Radio London which was broadcasting someone out in the North Sea and was becoming increasingly popular with a young audience who were being ignored or at best patronised by BBC radio.
Elektra was the hot new label and probably severely stretched financially. A million singles and a million albums have to be manufactured, distributed and paid for by the label before any money comes back and these costs, along with the recording, promotion and advances to a newly successful act, can surprisingly bring down a company without adequate financial resources.
Add to this the fact that most of the big retail chains in America only pay their accounts when they need to order more product and it becomes apparent why so many successful small labels end up in the hands of well funded multinationals or The Mafia.
It also illustrates the importance of the follow-up single or album since all too many times the label without a second hit may never be paid in full for the first - and still be stuck with all of the costs. Out of the blue, Jac Holzman arrived and informed us that he as closing down the UK operation having completed a deal to licence the label in Britain to Polydor Records who had the resources and no doubt some much needed funds. I was offered the job of running the label within Polydor as Label Manager with a welcome salary increase but the rest of the staff were "let go" and the office and the warehouse were closed.
The Canadian Managing Director, a kind and gentle man called Don Johnston died shortly after the event and it was years before his secretary forgave me for what she obviously saw as disloyalty and ambition. The move to Polydor was smoothly and quickly effected and I now had an office and secretary within a building humming with professionals.
Unfortunately, in the transition, "Light My Fire" flickered and died but interest in the band was growing at least among the hippie movement who now had a voice in the "underground" papers like OZ and IT. It was probably the most exciting and hopeful time for anybody under thirty and truly a golden age for those lucky enough to be in my business. We released "Alabama Song" as a follow up single without success but it helped maintain momentum for the band who were now superstars in America with Jim already becoming an icon as well as an iconoclast.
The Roundhouse, a converted train shed, was the only sizeable venue willing to book this new underground music in London and The Doors, who had just released "Strange Days" as their second album, agreed to appear there for two nights at the start of a short European tour to promote the new album.
The new single in the States was "Hello I Love You", which was possibly the weakest thing they had ever recorded, bore rather too much resemblance to a Ray Davies song. This was not surprising since Jim in particular was a great fan of The Kinks.
It was nevertheless another huge America hit and on the strength of that I was able to get the band booked on to Top Of The Pops which was the only meaningful television exposure available and pretty much a guarantee of a hit if the record had what it took. I also entered negotiations with Granada TV to film the tour and the performances for a hitherto unheard of one hour show devoted to the band. Even The Beatles or The Stones had not yet been accorded that level of exposure.
A footnote here to remind younger readers that most of the music world and virtually all of the established record companies hated this new music and hoped that it was a passing fad that would do away as quickly as it had arrived. As detailed in depth elsewhere Polydor were not convinced of the long term potential of The Doors and every penny of promotional support had to be gouged out with much kicking and screaming.
Jefferson Airplane were due to support us at The Roundhouse and their record company refused even to advertise their album in OZ or IT, who left blank pages in the publications where an advert had been expected. I learned later that Decca Records were unable to find the right weight of board on which to print The Stones' Satanic Majesties album and it fell to mighty Mick Jagger to scour the world for the several tons of board required to fill the demand.
Strange Days indeed. In the teeth of much opposition, I was able to arrange a number of record shop window displays in the West End, around The Roundhouse and along the route from Heathrow which, it turned out, impressed the band no end. The main task however was to find a dramatic and innovative venue from which to introduce the band to the media and here again my old mate Peely came to the rescue. At John's suggestion, I got in touch with The Institute Of Contemporary Arts in The Mall who were having an exhibition of Cybernetic Serendipity at the time no, I didn't know what it was either but it sounded right and they agreed to let us host a reception amid the robots and strange exhibits.
Invitations were sent to all the music media, who responded very favourably. The Doors arrived red-eyed from an overnight flight from Los Angeles and were met by the Granada team, who stuck camera and microphones in their faces and asked them to identify themselves as they stepped off the plane. Perhaps not the best possible way to enter a country for the first time but the lads were polite and good humoured and even in those trying circumstances their characters emerged.
Ray was quiet and studious, Robbie was so shy that he appeared stoned and inarticulate, John was slick and looking for aggravation and Jim was enigmatic and almost unbelievably beautiful.
They were accompanied by Bill Siddons, a former road manager now hired as a salaried manager. The band were shrewd enough even then to realise that they would always take the important decisions rather than pay a percentage of their now enormous earnings to a management team. As the limos transported the group into London, the camera crew recorded their first impressions and I was delighted to see how thrilled they were with the window displays along the route.
A point worth noting for any aspiring entrepreneurs is the value of window displays which are one of the most cost effective promotional items and I've yet to meet an artist who hasn't been bowled over by the sight of their face dominating a window. After a few hours rest the "freaks" were collected from their hotel with some difficulty as they had never heard British telephones ring and the wake up calls had them believing that the rooms were infested with grasshoppers.
Quite why they were so hostile I have never understood. The setting was superb with an abundant supply of food and drink amid great modern art and artifacts highlighted by a squadron of mobile robots moving silently among the guests - but hostile they were and none more so that the music press.
Perhaps they were intimidated by the band's reputation or by the surroundings or more likely by the group's obvious intelligence. With the exception of the representatives of OZ and IT, the press were actively anti and tried to trip the various members into making silly statements. The most obnoxious was the girl from the NME.
Jim was the obvious target and refused to be badgered into instant responses to daft questions like "How do you feel about God? He gave a slow well considered answer to every damn fool question which infuriated the scorps even more while the cameras popped and whirred. Perhaps it was his presence that upset them so. Who knows? The British press are with too few exceptions nasty, lazy, greedy, uninformed and too fond of the bottle.
Ray had brought his new young Japanese wife on the trop and she was both horrified and mystified. I was just ashamed. The next day was given over to a sound check at the Roundhouse and to recording Top Of The Pops, where the band posed for a picture with Sylia, my secretary, and me in the scruffy dressing room.
Again, the band were professional, turning up on time and enduring without complaint the endless false starts and general hanging around without which television appears to be unable to function. Following the television performance which, in those days, was recorded "live" on Wednesday for transmission on Thursday in time for the weekend rush to the record stores, the visitors had a night off and may well have sampled some of London's fairly legendary night life.
On the last day of the sold out shows at the Roundhouse, I collected the band for a sound check in the afternoon before they went off for an early dinner. Unfortunately, the Granada producer must have mentioned to them at some point that they would be required to open the show rather than close it to avoid the possibility of his crew being required to work beyond midnight when "golden time" i.
The Doors had naturally expected to close the show as headliners and were not about to be seen as a support to Jefferson Airplane on their first European concert. When the time came to start the show, The Doors were nowhere to be found and The Airplane were not ready to perform since they had been told by the television team that they would close the show for the opening night.
With Peely playing records to an increasingly restive audience, the minutes ticked by with no sign of The Doors. I then had a call from John Densmore who would not say where the band was but demanding to know if they were going to close the show. When I tried to explain the problems with the importance of the television coverage, he simply hung up.
Over the next hour or so, I received several such calls, each one with the same simple question and each time terminated by the dialling tone when I tried to explain the situation or enquire about the whereabouts of the band who, I later learned, were simply circling the venue in a limo, dropping off every few minutes to make the calls. The audience were very pissed off and slow handclapping, the television people were desperate, I was frantic and Peely was outraged by being left alone to amuse an increasingly mutinous mob who had not idea of the "problem".
The Airplane's manager thought it was hilarious. Despite the appearance, it now looked likely that they would be seen to headline over the mighty Doors.
Eventually, Densmore stayed on the line long enough to allow me to explain the situation and to point out that the eventual audience for the television documentary would far exceed and outweigh any immediate considerations.
They arrived and were quickly announced though by now I cannot recall if they opened or closed the show. The Roundhouse was a truly dark and rather dangerous place but it was full to capacity and I could find nowhere to stand that would give me a view of proceedings that I had spend to much time and energy arranging. The only viable spot was up in a disused balcony that was closed off to the public on safety grounds and guarded by a typically obdurate jobsworth.
My appeals, threats and offers of bribes fell upon deaf ears until out of the blue Jac Holzman arrived and with his usual authority and economy said to the guardian "That is my band. I intend to see them. If you don't get out of my way, I will cancel the show and you will have to explain your actions to a few thousand murderous fans.
You've got five seconds starting from now We went upstairs. It is a line I've subsequently tried on several occasions without success. A question of natural authority I guess. The Doors were in fact only OK. The band were terrific but Jim's performance appeared to me at least too overly studied and theatrical - probably as a result of playing to stadium audiences where everything needed to be on a larger scale. The were nevertheless very well received with a number of encores and the whole performance was captured on film for television.
Does that tell you something? The next stop for the band was Amsterdam where Jim literally died - and I don't mean just professionally. He apparently ate a huge chunk of hash washed down with a bottle of brandy and lapsed into a coma with all signs of life gone. Fortunately, he was rushed to hospital and a stomach pump saved his life but you have to wonder that the long term effects were. The next time I met Jim was in New York where he was attending a sales conference with sales people and distributors all eager to hear and order the next album.
He was in fine form. He looked fit, laughing and shaking hands with the commercial representatives. He even found time to try to "pull" my lovely wife Shirley who just smiled her enigmatic smile. I recall Jim cracking up when one of the enthusiastic salesmen referred to the album as the Doors third straight album and I pointed out that in my opinion they had yet to make even a first straight album.
The sales meetings across America were a huge success with orders pouring in but I wonder how many of today's pampered rock stars would make the effort to get to know the folks who would make them rich. At that time Jim was looking his best. He was fit, tanned, relaxed and very good company. It was clear right from the first that there was no love lost been the Doors and the Airplane.
The Doors had won - by the strategic use of stage lighting. Both bands had obviously approached the London concert determined to emerge as The Stars. The Doors simply had Jim. They did, however, have one other advantage.
This was the Doors ultimate answer. If anyone didn't give them what they wanted, they could cause a great deal of trouble. It was typical of Morrison's public personna that, as the Doors performance got under way, he slowly began to turn on the camera crew. At first he posed for the three big cumbersome outside broadcast cameras, then his narcissism started to plunge over the edge. He dodged them nimbly, jumping out of range each time they tried to focus on him. Finally, with a grand gesture of childish petulance, he flung out a dramatic arm and demanded the TV lights should be shut off.
He pulled the audience in behind as he warmed to the role of the star punk giving the finger to the old folks' medium. A storm of catcalls and booing broke out. During the second performance Morrison went a stage further.
Once that was achieved, he got back to business as usual. It was then that the idea first occured to me that there was something inside Morrison that forced him to push any relationship to the ultimate. With both individuals and audience he appeared to need to see how much they could take. To define, by practical experiment, how much abuse anyone would put up with before they ceased to adore him.
It was this willingness to go to the limit that set Morrison apart from the commond herd of posing, macho rock frontmen. It also created what was possibly the greatest problem. As he discovered the depth's of public masochism, just how much abuse these people were willing to accept without revolting, he became disgusted.
James Douglas Morrison, Superstar, Poet, and idol of America's rising generation, would be a perfect target for the satirist. That apart, he is not as black as he has been painted. Already prewarned by colleagues of Morrison's erratic behaviour to ward the British press during The Doors' recent and eventful stay here, it did not cool my apprehension any to read, on my way to see Mr. Morrison, his publicist's claim that he can be civil, polite, even erudite one day; yet gross or, as Jim says, "primitive" the next.
Which extreme was I about to face? I was ushered into a small room containing The Doors sundry people flitting back and forth with no apparent purpose. Most of them were hovering on the edge of Morrison's conversation and it was Jim, in open-necked shirt and tight black leather jeans, who dominated the room.
Among those present with some purpose were three gentlemen in a Granada Television team filming the whole Doors visit with a rare degree of dedication. A bored-looking Robbie Krieger, Doors' guitar man, was to tell me later that they had even followed one of them to the toilet! Next to Robbie was drummer John Densmore, an active Maharishi student, colourfully attired, who was sitting cross-legged on his chair, saying little and watching the chaos that was supposed to be a press conference.
In another corner sat Ray Manzarek with a polite smile on his face and a polite line in answers. Krieger, hiding behind dark glasses and an uncontrolled growth of beard had some interesting things to say about Morrison in the short interview which came to a sharp end at the sight of a Granada man crawling along the floor and pushing a huge mike up into our faces.
A camera was mean while probing the recesses of my left ear. What of Jim's reported moods? It is just the way he is. LibriVox volunteers record chapters of books in the public domain, and then we release the audio files back onto the net.
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