The age of thoughtful, compelling rock criticism has passed in favor of tweet-sized reviews. Great music deserves more than that. The Doors community boasts some of the most thoughtful, articulate fans in the world. Members of this community regularly take time to understand the art and to analyze the band’s message.
Here is the opportunity to share your thoughts with the world.
On the first of each month, we will announce a featured Doors song for analysis. Submit your essays to email@example.com. The Doors Team will select our favorites to be featured on the site. Anyone who submits an article will earn a 20% off coupon to use at The Doors Store.
- Articles must be about the featured song of the month.
- Articles may be in any language, but we will use Google Translate to post an English translation along with the original article if featured in a non-English language.
- Submissions should be between 100 and 1000 words.
- Please include the author's name and location with submissions.
If you need some inspiration, we recommend Greil Marcus, one of the greatest rock critics ever. Here is his analysis of "The End":
"Morrison's voice in the slides in the music that seem to matter most - at the beginning and the end, where "my only friend" is brought into the song and then banished, so the singer can contemplate the perfection of his own isolation, his own renunciations, his own beauty - is full, creamy, a deep well. You could drop a coin into the pool of this voice and never hear the splash. As the voice opens over words or syllables - "friend," "only," "die" - the words change shape, gliding out into the empty spaces in the sound...
The appearance of The Doors marked a verge in the history of Los Angeles rock 'n' roll, of Los Angeles, and of the United States. That is because in their music you could hear a portent that the future, the near future, contained stories no one imagined they would want to hear, that people would not be able to turn away from, that would keep people awake, worried at the slightest anomalous sound, terrified and disgusted by their own fantasies. After Charles Manson, people could look back at "The End", "Strange Days", "People Are Strange" and "End of the Night" and hear what Manson had done as if it had yet to happen, as if they should have known, as if, in the deep textures of the music, they had."
Read more in The Doors: A Lifetime Listening To Five Mean Years.
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