Our buddy Bones, after being stunned, as we all have been, with the depth of Megan Fox's "poetry", especially as delivered by incomparable Candace Owens, wrote some very important things, which cannot be ignored.
Let's put it this way--if not for Ray Manzarek and his intro nobody would really care what kind of fire Jimmy wanted to light on his wire. He could have, as well, sang the telephone book.
As Bonesey notes: "Loads of bad poetry, and some good............it has it's moments,
coupled with some poor musical choices for a post disco Doors release." And keep in mind, Jim was a son of admiral and his "struggles" have been "struggles" of this kind of kid:
But Bonsey makes a good case:
Rimbaud's life was real. He was not rich, he wasn't immediately popular in a big way. He didn't have the powerhouse of Elektra records behind him. Jim worked in a safety net. He had managers, handlers, lawyers, you name. Rimbaud didn't have any of these things. He really had no advisers at all and had he, would he have listened? Rimbaud lived his own life and carried very little, if at all, what others thought. For all his bluster, I think Jim cared very much about what others thought. His "revolutionary" image was well considered, well thought out, and calculated. Later in his career, via the live albums, you can hear Jim lose his power over the audience. You can hear them speaking over his poetry. To regain control Jim starts yelling at them to shut up. Jim ended his life in much the same way as the Fat Elvis did. Bloated, self absorbed, surrounded by idiots, and reduced to a caricature of himself.
And that's all you need to know about much of counter-culture of 1960s and 1970s, much of which, not all, was created by Fortunate Sons.
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