When Lana Del Rey compared herself to Jim Morrison
Known for referencing numerous artists in her work, melancholic pop star Lana Del Rey once made a lyrical comparison to The Doors frontman Jim Morrison.
(Credits: Far Out / Polydor)
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Mon 17 March 2025 20:30, UK
There are at least two songs that explicitly mention The Doorsâ charismatic frontman Jim Morrison. Radioheadâs Thom Yorke spits an acidic riposte against the mythos that surround the countercultural archetype on 1993âs acerbic âAnyone Can Play Guitarâ. 20 years later, sultry melancholy-pop queen Lana Del Rey also weaved Morisson into her âGods & Monstersâ track from 2012âs Paradise EP: âNo oneâs gonna take my soul away / Iâm living like Jim Morrison / Heading towards a fucked up holidayâ.
Thereâs no cynical quip at play for Del Rey. âI just feel good when I listen to Jim Morrison,â she revealed to Electronic Beats in 2012. Many have observed strange similarities that may or may not be consciousâboth experienced early awkwardness live before eventually commanding the stage, shared thematic fascination with death, a history of addiction, and a mutual affinity for Mad Magazine and Beat poetry.
Yorke dissected the heritage institute that props up Morrison as an eternal poster boy from a sardonic bent. On the other hand, Del Rey too explores The Doorsâ enigmatic singer as less a human and more an icon that piques her fascination with Americaâs cultural landscape.
Morisson is viewed by many as a paragon of ecstatic authenticity. A performer shaped by rockâs greatest moment and guided by the mind-expanding clarity found through lysergic-soaked bohemia and a hell of a lot of free love.
Thereâs truth to all this, but he was also prone to bouts of gobsmacking arrogance, a harbinger of stress with his unreliability on band duty, and reportedly a terrible drunk. He was a young guy swept up in extraordinary musical and social upheaval that became an idyll that he perhaps wavered on believing. Yorke tore that apart, but Del Rey sees the humanity.
The painful death of the hippy dream began its sad unravelling following the death of Jimi Hendrix, Janis Joplin and Morrison in quick succession across the early 1970s. This potent symbol of countercultureâs passing inspired Patti Smithâs Horses, a 1977 adrenalin shot of a debut that sought to exorcise the Woodstock generationâs radicalism back into a rock sphere that had disappeared into progâs lofty excesses.
âI wish it was the â60s, I wish I could be happy,â Yorke later sang on The Bendsâ title track, knowing full well the eraâs artifice propped up by a rockist vanguard still dwelling in the 20th centuryâs cultural shadow, yet torn with a spiritual need to get stuck in the dropped-out exploration and hedonism. As the neoliberal age has lurched on, itâs a mythos that grows ever more appealing despite its haze of clichĂŠs and propped-up narratives.
Del Reyâs wander through Americanaâs spectral realm navigates these cultural dilemmas, similarly referencing long-gone heroes of old from David Bowie, Tom Petty, Eddie van Halen, and Lou Reed, smattering their presence all over her unique brand of vintage pop thatâs forever wedded to a musical world that exists half in reality and our collective dreamscapes. âNo oneâs gonna take my soul away,â she purrs on âGods & Monstersâ as if expressing two concernsâthe threat of pop mystiqueâs slow erosion clashing with the staving off to meet musicâs manufacture of who you are.
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Jim MorrisonLana Del Rey