No One Here Gets Out Alive by Jerry Hopkins is the directorial debut of one of the most well-known biographers of the rock-and-roll era. Hopkins tells the story of one of music's greatest and most notorious pioneers, Jim Morrison and his rise and fall to fame. Through interviews, archival research and personal accounts, Hopkins examines the life of the enigmatic and captivating Morrison, who has become a larger than life figure since his death in 1971.
The book starts with an analysis of the tactics and methods used by Jim Morrison in creating his own unique persona, one that blended performance with an on-stage mixing of political and poetic subversion. From these early experiments at UCLA, in conjunction with classmate Ray Manzarek, to his days as the frontman for The Doors, Hopkins examines Morrison's struggles to fuse eroticism and nihilism. By understanding the vision and voice that developed out of Morrison’s drug-fueled sessions in Paris, Hopkins reveals the origin of his confrontational and complex performances, that propelled him to the top of the rock-and-roll world.
It wasn’t a smooth ride to success, however, and Hopkins carefully details the various struggles of Jim Morrison, most notably with alcohol and drugs, as well as his fading creativity and diminishing musical appeal. Despite an admirable attempt to alter his style, Morrison slid further into the depths of his alcohol and drug-dependent lifestyle. As a result of his increasingly erratic behavior, combined with The Doors’ growing popularity, condemnation and censure overwhelmed Morrison and the group, leading to mounting tensions between the group’s members.
Hopkins then recounts Morrison’s undying obsession with death, which corresponded to his corporeal decline, tied to his prolonged alcohol and drug abuse. Pop culture experts, critics and acquaintances all take their turn commenting on the causative factors of Morrison’s eventual demise, and what spurred him to create such a powerful image of himself. Through their insights, Hopkins assembles an inspiring, albeit sad picture of the man who burned bright and faded suddenly.
The conversation doesn’t end at Morrison’s death, however. In the final section of the book, Hopkins addresses how Morrison’s legacy continues to remain intact as an iconic symbol of rock-and-roll. In particular, the author interviews those close to Morrison and those in his network, to gain insight into the man’s troubling legacy. Through their words and reflections, the idea that Morrison has transcended the bounds of mortality and mortality-mindedness come to the fore.
No One Here Gets Out Alive is an insightful and often poignant look into the life and times of one of the most popular musicians of the 1960s and 70s. Through archival material, personal memories and journalistic accounts, Hopkins creates an unforgettable portrait of Morrison, a man who both inspired and defeated himself. This book is essential reading for anyone interested in the key players of the rock-and-roll era, Morrison’s crucial contribution to it, and the powerful impact he had on the music world.
