Bust of Doors singer Jim Morrison that was stolen in 1988 is found
He was buried at Père-Lachaise, the city's cemetery that is the final resting place of scores of artists, writers and other cultural luminaries including Marcel Proust, Oscar Wilde, Gertrude Stein and Edith Piaf.
The 300-pound bust made by Croatian sculptor Mladen Mikulin was added to the grave in 1981 for the 10th anniversary of the singer's death.
Advertisement
The tomb on July 3, 2011.
Jacques Brinon/Associated Press
'I think it would be incredible if they put the bust back onto where it was and it would attract so many more people, but the cemetery wouldn't even be able to hold that many people,' Paris tour guide Jade Jezzini told The Associated Press. 'The amount of people who would rush in here just to see the bust to take pictures of it, it would be incredible.'
Known for his dark lyrics, wavy locks, leather pants, theatrical stage presence and mystical manner, Morrison has inspired generations of acolytes who congregate at his grave to reflect and sometimes to party, including a major gathering for the 50th anniversary of his death. The site has often been covered with flowers, poetic graffiti and liquor bottles left in tribute.
Advertisement
He was undergoing a cultural renaissance when the bust was stolen in the late 1980s, which peaked with the 1991 Oliver Stone film 'The Doors,' in which
London artist Sam Burcher recently returned to the now more subdued grave site that she first visited 40 years ago when the sculpture of Morrison was still in place.
'The bust was much smaller than all of these grand tombs. It was very modest, so I was quite surprised by that,' she told the AP. 'But the other thing was the atmosphere, it was buzzing. There were people partying, smoking, music, dancing, and then I brought strawberries and kind of gave them out to everyone ... it was just such an amazing experience.'
Morrison cofounded the Doors in Los Angeles in 1965 with Ray Manzarek. Robby Krieger and John Densmore joined soon after.
The band and its frontman burned brightly but briefly, releasing albums including 'The Doors' 'Strange Days,' and 'Morrison Hotel, whose The California site that gave that album its name and cover image was
After their final album, 1971's 'L.A. Woman,' Morrison moved to Paris. His cause of death was listed as heart failure, though no autopsy was performed as none was required by law. Disputes and myths have surrounded the death and added to his mystique.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
New York Post
13 hours ago
- New York Post
Flaco Jimenez, Texas accordionist who expanded popularity of Tejano music, dies at 86
Flaco Jimenez, the legendary accordionist from San Antonio who won multiple Grammys and helped expand the popularity of conjunto, Tejano, and Tex-Mex music, died Thursday. He was 86. Jimenez's death was announced Thursday evening by his family on social media. He was surrounded by family members when he died in the San Antonio home of his son Arturo Jimenez. 6 Flaco Jimenez, the legendary accordionist from San Antonio who won multiple Grammys and helped expand the popularity of conjunto, Tejano, and Tex-Mex music, died Thursday. AP 'Dad was in peace when he left. He started saying his goodbyes several days before. He said he was proud of himself for what he had done, and he just leaves memories for the public to enjoy. He said he was ready to go,' Arturo Jimenez told The Associated Press in a phone interview on Friday. Arturo Jimenez said a cause of death has not yet been determined. His father had been hospitalized in January after getting a blood clot in his leg. Doctors then discovered he had some vascular issues. Born Leonardo Jimenez in 1939, he was known to his fans by his nickname of Flaco, which means skinny in Spanish. He was the son of conjunto pioneer Santiago Jimenez. Conjunto is a musical genre that originated in South Texas and blends different genres and cultural influences. According to the Butler School of Music at the University of Texas at Austin, the development of conjunto 'began more than a century ago when Texans of Mexican heritage (Tejanos) took an interest in the accordion music of German, Polish, and Czech immigrants. 6 Flaco Jimenez accepts the Lifetime Achievement for Instrumentalist Award during the Americana Music Honors and Awards show Wednesday, Sept. 17, 2014, in Nashville, Tenn. AP The ensuing Tejano accordion music, accompanied by the bajo sexto (replacing the European tuba), soon came to represent the Tejano way of life, which was closely associated with working in the agricultural fields. The music remains unchanged and serves as a symbol that binds many Tejano communities in South and Central Texas.' Jimenez refined his conjunto musical skills by playing in San Antonio saloons and dance halls. He began performing in the 1960s with fellow San Antonio native Douglas Sahm, the founding member of the Sir Douglas Quintet. Jimenez would later play with Bob Dylan, Dr. John, Ry Cooder, and the Rolling Stones. Throughout his career, Jimenez added other influences to conjunto music, including country, rock, and jazz. 6 Jimenez (pictured) was surrounded by family members when he died in the San Antonio home of his son Arturo Jimenez. / MEGA 'He always wanted to try to incorporate the accordion into all sorts of different genres and how to make the accordion blend in. That was always a fascination of his, and he was able to,' Arturo Jimenez said. In the 1990s, Jimenez was part of the Tejano supergroup the Texas Tornados, which included Sahm, Augie Meyers, and Freddy Fender. The group won a Grammy in 1991 for the song 'Soy de San Luis.' Jimenez also won another Grammy in 1999 as part of another supergroup, Los Super Seven. 6 Throughout his career, Jimenez added other influences to conjunto music, including country, rock, and jazz. AP Jimenez earned five Grammys and was awarded a Grammy Lifetime Achievement Award in 2015. He was also inducted into the National Hispanic Hall of Fame and the NYC International Latin Music Hall of Fame and was named a Texas State Musician in 2014. Arturo Jimenez said his father was a humble man who never wanted to be a showman and was focused on playing music for his fans. 6 Jimenez earned five Grammys and was awarded a Grammy Lifetime Achievement Award in 2015. AP 'I've seen where fans come up to him and they literally cry and they thank my dad for all the good music and how dad's music has been there for them in multiple situations, either happiness or sadness,' Arturo Jimenez said. When Jimenez was named a 2022 National Medal of Arts recipient, the White House said he was being honored for 'harnessing heritage to enrich American music' and that by 'blending Norteño, Tex Mex, and Tejano music with the Blues, Rock n' Roll, and Pop Music, he sings the soul of America's Southwest.' 'We appreciate the gift of your musical talent, which brought joy to countless fans. Your passing leaves a void in our hearts,' the Texas Conjunto Music Hall of Fame and Museum said in a post on social media. 6 Jimenez was also inducted into the National Hispanic Hall of Fame and the NYC International Latin Music Hall of Fame and was named a Texas State Musician in 2014. / MEGA Kyle Young, the CEO of the Country Music Hall of Fame and Museum in Nashville, Tennessee, said Jimenez 'was a paragon of Tejano conjunto music' who 'drew millions of listeners into a rich musical world they might not have discovered on their own.' Jimenez lived all his life in San Antonio, a city that was 'very close to his heart,' his son said. 'They call him 'el hijo de San Antonio' and my dad always was proud of that,' Arturo Jimenez said, quoting a Spanish phrase that means the son of San Antonio. His family plans to have a private funeral service followed by a celebration of his life with the public.
USA Today
a day ago
- USA Today
Michael McDonald to join Doobie Brothers on new tour
The Doobie Brothers are headed back on the road. The band will launch its Walk This Road tour of North America on Aug. 4, celebrating a reunion for the ages. The tour comes on the heels of the June release of their "Walk This Road" album, a reunion for the legendary lineup of Patrick Simmons, Tom Johnston, John McFee and Michael McDonald. It's the first-ever studio album featuring all four principals – and the first in 40 years featuring McDonald, who returned to record with the band. The album, which has received rave reviews from critics, features throwback moments and cameos from the likes of Mavis Staples (on the fiery title track) and Mick Fleetwood. It "has something for everyone — honky-tonk, driving country, flirty Southern pop, moody folk and melodic rock," critics at the Associated Press wrote. Doobie Brothers celebrate new album with intimate, feel-good concert "Walk This Road" was recorded in the winter of 2024 with producer John Shanks and showcases the band members' songwriting process. All three of the songwriting members of the band worked individually with Shanks, bringing their own vibes to the trusted producer and then leaving it to him to meld everything into a cohesive work. The Doobies are in the midst of a whirlwind year, having recently returned from a July tour of the United Kingdom and Ireland and notching a spot in the Songwriters Hall of Fame on June 12. The group is already in the Rock and Roll Hall of Fame. "It's a big deal both times," Johnston told The Detroit Free Press, part of the USA TODAY Network. "The people you grew up listening to, the people that affected your music, kind of gave you direction that you latched onto, they're all in the Rock & Roll Hall of Fame." "It's really gratifying to be brought in," he added. "At the same time, it's a little humbling, or maybe a lot humbling." Doobie Brothers on new album, tour, hall of fame: 'You have to think beyond your age' As for the European leg of the tour, Johnson said the group had "a good time." "The crowds were extremely responsive. We've been in Europe a lot of times, but you never know when you leave the country, pushing a new album. It's kind of amazing how people are responding to this – the response has been killer," he continued. "I couldn't hope for a better outcome." That said, he and the other Doobies are excited to return to the U.S., saying specifically of their Detroit show: "We end up there about once a year … We've been playing Pine Knob since, like, 1973 – I mean back in the days when (the) crab shack was still in business, and the Hilton out there, both of which are long gone." Along with all the classic hits, Johnston said the Doobies are including four songs from the new album on the current tour. "That's something we never do," he said. "Having people respond the way they are tells me that they know what they're listening to, that they've heard it. That's huge. That's a big deal."
Yahoo
a day ago
- Yahoo
Michael Madsen's Best Acting May Have Been In This Quiet Moment from ‘Kill Bill Vol. 2'
Some actors pass on without a satisfying farewell performance. Others seem to have one locked and loaded for years, even decades, before they actually leave us. The latter was the case with the late Michael Madsen, an in-demand character actor probably best known for his roles in Quentin Tarantino films. He appeared in half of Tarantino's features, including a memorable role as the ear-slicing Mr. Blonde in Tarantino's debut, Reservoir Dogs. At the time, Madsen was more of a known quantity than his soon-to-be-famous writer/director pal. He appeared in WarGames and The Natural early on, and just before Reservoir Dogs in 1992, he had a pretty big 1991 with roles in The Doors and Thelma & Louise. Those combined with Dogs seemed to boost his career to the next level, particularly when a movie called for someone with similar vibes to Tom Sizemore but perhaps less likely to spontaneously stab you (the ear-slicing notwithstanding). He is definitely the only guy to have a major role in both the Species and Free Willy franchises. By the 2000s, he was a staple of direct-to-video movies but still a recognizable character actor, meaning his filmography is dotted both with stuff as mainstream as a James Bond movie and titles that sound like something Troy McClure might have boasted about on The Simpsons, like Vampires Anonymous. These titles overtook his bigger-studio work in the past decade-plus. The constant was his work for Tarantino, never in as big a part as Mr. Blonde, but still evocative – particularly his role in the Kill Bill saga. He played Budd, the only male member of the Deadly Vipers Assassination Squad besides their leader, his brother Bill. It's Bill who orders them to go after The Bride (Uma Thurman) when she leaves the group to have a child, earning her post-coma ire and a 'roaring rampage of revenge.' Split into two parts for its theatrical release (and yet to be reunited on home video, though it sometimes screens as a full film at Tarantino's theater in Los Angeles), Kill Bill saves Budd's confrontation with The Bride for its second volume. Madsen's Budd is not going to present the same formidable challenge to The Bride as characters played by Lucy Liu or Vivaca Fox. Both Madsen and Tarantino understand this from the outset, and so the Budd/Bride standoff has a craftier bent: When she comes for him, Budd (who has been tipped off by Bill) shotgun-blasts her with rock salt, knocks her out, and buries her alive. The glimpse we get of Budd's post-Viper life shows why he would need to go about this more methodically than his high-living fellow Vipers. He's working as a bouncer at a poorly attended strip club, and in a scene that doesn't further the plot but tells us plenty about Budd and his life, he's chewed out by his boss for showing up 20 minutes late – despite, as Budd laconically protests, a lack of customers ('there ain't no one out there to bounce'). He's then spitefully removed from the work schedule and somehow also assigned to clean up a mess in the bathroom before he goes. Madsen doesn't have a lot of lines in this scene, but he doesn't need them. The way that Budd stands his ground physically offers hints at his past as a brutal assassin, while his quiet, almost invisible frustration indicates that he has been forced this particular lot in life – taking orders from a malcontent, coke-sniffing jackass. The way he touches his cowboy hat when his boss dresses him down for wearing a 'shitkicker' hat to work, the way he keeps it off even after he's out of the boss's sight… it's all perfectly played by Madsen, drawing upon expectations based on his past roles as tough guys and heavies. Budd is also the most philosophical of the Vipers so far as The Bride's mission to kill them all, albeit in a shruggy fashion: 'That woman deserves her revenge, and we deserve to die,' he says to Bill, before pausing and laughing it off: 'Then again, so does she.' In his desiccated way, he's the character in the entire saga most accepting of what a bad person he's been. Yet he still has more than a glimmer of malice when he does rouse himself to trap The Bride in a horrific fate, more than enough to mitigate the sympathy Madsen generates for him. For all that acceptance, The Bride doesn't wind up actually killing Budd; he's offed by fellow Viper Elle Driver (Daryl Hannah), which almost feels worse; she sets a poisonous snake upon him to avoid paying him money for The Bride's sword, not out of any particular vendetta. He's beneath her contempt. Madsen never just sticks to Budd's contemptible side, however. He holds on to the most threadbare shreds of dignity, and in the process, makes him one of the most memorable characters in a sprawling, colorful film. It's no wonder Tarantino kept coming back to him. Jesse Hassenger (@rockmarooned) is a writer living in Brooklyn, podcasting at and contributing at Patse, The A.V. Club, Polygon, and The Guardian, among others. Solve the daily Crossword
