DOCSLIB.ORG

The Matrix – a Cyberpunk Parable?

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

A CYBERPUNK PARABLE? -1- THE MATRIX – A CYBERPUNK PARABLE? CONTENTS: Page # 0. “Spoiler” and Rating Warnings ..................................................................................... 3 I. Introduction ......................................................................................................... 3 II. The Many Ways of Viewing The Matrix ........................................................................ 4 III. The Matrix as a Cyberpunk Parable ............................................................................. 6 A. Overview ......................................................................................................... 6 B. The Parable 1. TRACKING: Confusion, Contact, and Conviction 1a. Apartment ................................................................................. 7 1b. Club ........................................................................................ 10 1c. Office ...................................................................................... 11 1d. Interrogation ........................................................................... 13 1e. The Road to Morpheus .......................................................... 14 1f. A Visit With Morpheus ............................................................. 16 2. TRANSFORMATION: Conversion, Conception, and Construction 2a. Red Pill ................................................................................... 19 2b. Reflection ............................................................................... 20 2c. Rebirth .................................................................................... 21 2d. Rejection ................................................................................ 22 2e. Rescue ................................................................................... 23 2f. Section Summary ................................................................... 24 3. TRAINING: Conscription, Concepts, and Conditioning 3a. Crew ....................................................................................... 25 3b. Construct ................................................................................ 26 3c. A History Lesson .................................................................... 27 3d. Combat Training ..................................................................... 29 3e. What is the Matrix? ................................................................ 31 3f. The Enemy ............................................................................. 33 3g. New Identity ........................................................................... 34 3h. The Oracle ............................................................................. 35 4. TRAPS: Contamination, Conspiracy, and Consequences 4a. A Parable of a Parable? ......................................................... 38 4b. Mouse..................................................................................... 38 4c. Cypher .................................................................................... 39 5. TRANSCENDENCE: Confrontation, Conflict, and Conquest 5a. The Mission ............................................................................ 43 5b. The Mayhem .......................................................................... 45 5c. The Murder ............................................................................. 46 5d. The Master ............................................................................. 46 C. Shortcomings in This Parable ............................................................................... 47 IV. The Matrix as Messiah Movie (Neo allegorized as Messiah figure) A. Jewish Messiah or Christian Messiah? ....................................................... 48 B. Cautions about Comparing Neo to Christ ................................................... 49 C. Allegory of Neo as a Christ Figure Part 1: The birth and earthly ministry of Christ ....................................... 49 Part 2: The betrayal of Christ .................................................................. 51 Part 3: The death, resurrection, victory, and ascension of Christ ........... 52 V. Conclusion and Personal Remarks .......................................................................... 54 -2- 0. “SPOILER” AND RATING WARNINGS (as a service to readers) SPOILER WARNING: This document is a detailed examination of the story and some allegorical possibilities of The Matrix. Readers not wishing to know such things before seeing the film may wish to see it before reading further. RATING WARNING: The Matrix film was rated “R” in the USA for: • intense scenes (medical, acupuncture, blood, burns, physical grotesquerie, the “bugging” of Neo, etc.) • violence (including a direct gunshot to the head when Trinity says “dodge this”) • language (19 scatological references, 4 “posterior” references, 11 variants of “God”, 7 vari- ants of “Jesus”). The film does not contain sex or nudity. I. INTRODUCTION The Matrix, a Warner Brothers film released in April of 1999 in the USA, was directed by brothers Larry and Andy Wachowski. The Matrix stars Keanu Reeves and Laurence Fishburne, among others. (Plot summary paragraph) Mankind created Artificial Intelligence (‘A.I.’), which in turn “spawned a race of machines” that defeated humanity in a great war. Because nuclear winter has darkened the sky, those machines required a substitute for solar power. The machines found a way to siphon the heat and bioelectricity from a human body, but they needed a way to keep captured humanity docile during the process. So the machines built a vast ‘power plant’ system of prison pods where humans float in a lifelong coma, their brains hooked up to a vast virtual reality called the ‘Matrix’. The Matrix is a simulation of 1999 earth, where people go about their illusionary lives oblivious to their true state of captivity. The machines have ‘sentient programs’ called ‘Agents’ who patrol within the Matrix simulation to ensure the mental prison runs smoothly. Neo, the protagonist, is a human in the Matrix who senses something is wrong with his existence. A tiny group of freed humans from outside the Matrix extracts Neo from the Matrix simulation then physi- cally rescues him from the machine ‘power plant’. From their hovercraft, they train Neo to over- come the rules of the Matrix. Neo must then use the socket on his skull to jack back into the Matrix simulation world so he can free other humans and fight the virtual Agents. Neo masters the Matrix world and destroys an agent at the end of the film, leaving us to guess the rest as he ascends into the simulated sky. On the surface, The Matrix is a polished, thinking man’s sci-fi action flick with big budget special effects, tech tunes, and cyberculture influences. But The Matrix mainly succeeds as a canvas for conjecture. The film pulsates with religious and philosophical nuances, provocative names, cul- tural commentary, and myriad metaphors, giving the perceptive observer a mental playground. Simply put, it seems that with a little effort, one can get just about anything out of this multifaceted movie. And for a thinker, that’s fun – which is one reason why the film quickly developed a dedicated fan base. Is The Matrix a commentary on man vs. technology? Or reality vs. illusion? Does Neo represent an anarchist? Or the antichrist? Or even Christ? Is Neo a nihilistic rebel? Or is he a parable of a Christian? Does The Matrix use eastern philosophy? The answer to all these questions is “Yes”, depending on how you choose to view the film! We will glance at some of the many ways to view the film, then analyze in detail two fascinating allegories of The Matrix: Neo as a lost person who finds truth, and Neo as a Messiah figure. As DuJour says, “Come on - it’ll be fun!” -3- II. THE MANY WAYS OF VIEWING THE MATRIX (If this list bores you, just skip ahead to the allegory in part III) To give you an idea of just how many ‘lenses’ are available to view The Matrix, here is a very incomplete (and purposefully so!) list of themes and influences that people are analyzing in the film: • Neo as man who becomes a Christian and learns to walk in faith • Neo as Christian Messiah • Neo as Jewish Messiah • Christ’s Second Coming (the hint from Morpheus that Neo came once before) • Neo as Antichrist (reverse all good/evil roles in the film) • Neo as Moses who leads people out of captivity • Neo as key figure or exemplary believer for various religions, philosophies, movements, govern- ments • Neo as man coming to enlightenment (Buddhism, some eastern philosophy) • Neo as man discovering himself and/or truth (many philosophies and religions) • Alice in Wonderland (white rabbit, looking glass, etc.) • Dorothy / Kansas / “Mr. Wizard” / Oz • The nature of reality • The nature of truth • The nature of identity • Philosophy vs. Religion • Man vs. Technology • Science vs. Faith • Fate / Free Will / Destiny • Illusion / Dreams • Conscious vs. Subconscious (Jung) • Superstition (Neo sees black cat = ‘bad luck’) • Man vs. “The System” • Nihilism • Social Rebellion / Anarchy / Nonconformity / Disestablishmentarianism (a fifty-cent word!) • Control / Authority (“You have a problem with authority, Mr. Anderson”) • Greek mythology (Morpheus, Oracle, etc.) • Mind over matter (‘Spoon boy’ bending spoons, girls levitating blocks) • Metaphysics • Humanism (a future with ‘no borders’, ‘the power is within you’, ‘free your mind’, etc.) • Evolution (cf. Agent Smith’s speech
Recommended publications
  • Archons (Commanders) [NOTICE: They Are NOT Anlien Parasites], and Then, in a Mirror Image of the Great Emanations of the Pleroma, Hundreds of Lesser Angels

    Archons (Commanders) [NOTICE: They Are NOT Anlien Parasites], and Then, in a Mirror Image of the Great Emanations of the Pleroma, Hundreds of Lesser Angels

    A R C H O N S HIDDEN RULERS THROUGH THE AGES A R C H O N S HIDDEN RULERS THROUGH THE AGES WATCH THIS IMPORTANT VIDEO UFOs, Aliens, and the Question of Contact MUST-SEE THE OCCULT REASON FOR PSYCHOPATHY Organic Portals: Aliens and Psychopaths KNOWLEDGE THROUGH GNOSIS Boris Mouravieff - GNOSIS IN THE BEGINNING ...1 The Gnostic core belief was a strong dualism: that the world of matter was deadening and inferior to a remote nonphysical home, to which an interior divine spark in most humans aspired to return after death. This led them to an absorption with the Jewish creation myths in Genesis, which they obsessively reinterpreted to formulate allegorical explanations of how humans ended up trapped in the world of matter. The basic Gnostic story, which varied in details from teacher to teacher, was this: In the beginning there was an unknowable, immaterial, and invisible God, sometimes called the Father of All and sometimes by other names. “He” was neither male nor female, and was composed of an implicitly finite amount of a living nonphysical substance. Surrounding this God was a great empty region called the Pleroma (the fullness). Beyond the Pleroma lay empty space. The God acted to fill the Pleroma through a series of emanations, a squeezing off of small portions of his/its nonphysical energetic divine material. In most accounts there are thirty emanations in fifteen complementary pairs, each getting slightly less of the divine material and therefore being slightly weaker. The emanations are called Aeons (eternities) and are mostly named personifications in Greek of abstract ideas.
  • BEFORE the PHILOSOPHY There Are Several Ways That We Might Explain the Location of the Matrix

    BEFORE the PHILOSOPHY There Are Several Ways That We Might Explain the Location of the Matrix

    ONE BEFORE THE 7 PHILOSOPHY UNDERSTANDING THE FILMS BEFORE THE PHILOSOPHY I’m really struggling here. I’m trying to keep up, but I’m losing the plot. There is way too much weird shit going on around here and nothing is going the way it is supposed to go. I mean, doors that go nowhere and everywhere, programs acting like humans, multiplying agents . Oh when, when will it end? – SparksE The Matrix films often left audiences more confused than they had bargained for. Some say that their confusion began with the very first film, and was compounded with each sequel. Others understood the big picture, but found themselves a bit perplexed concerning the details. It’s safe to say that no one understands the films completely – there are always deeper levels to consider. So before we explore the more philosophical aspects of the films, I hope to clarify some of the common points of confusion. But first, I strongly encourage you to watch all three films. There are spoilers ahead. The Matrix Dreamworld You mean this isn’t real? – Neo† The Matrix is essentially a computer-generated dreamworld. It is the illusion of a world that no longer exists – a world of human technology and culture as it was at the end of the twentieth century. This illusion is pumped into the brains of millions of people who, in reality, are lying fast asleep in slime-filled cocoons. To them this virtual world seems like real life. They go to work, watch their televisions, and pay their taxes, fully believing that they are physically doing these things, when in fact they are doing them “virtually” – within their own minds.
  • MUSIC 351: Psychedelic Rock of the 1960S Spring 2015, T 7:00–9:40 P.M., ENS-280

    MUSIC 351: Psychedelic Rock of the 1960S Spring 2015, T 7:00–9:40 P.M., ENS-280

    MUSIC 351: Psychedelic Rock of the 1960s Spring 2015, T 7:00–9:40 p.m., ENS-280 Instructor: Eric Smigel ([email protected]) M-235, office hours: Mondays & Tuesdays, 3:00–4:00 p.m. This is a lecture class that surveys psychedelic rock music and culture of the 1960s. Psychedelic music played an important role in the development of rock music as a predominant art form during one of the most formative decades in American history. Emerging along with the powerful counterculture of hippies in the mid-1960s, psychedelic rock reflects key elements of the “Love Generation,” including the peace movement, the sexual revolution, the pervasive use of recreational drugs (especially marijuana and LSD), and the growing awareness of Eastern philosophy. The main centers of countercultural activity—the Haight-Ashbury district of San Francisco and the London Underground—drew a high volume of media exposure, resulting in the famous “Summer of Love” and culminating in popular music festivals in Monterey, Woodstock, and Altamont. Students in this course will examine the music and lyrics of a selection of representative songs by The Grateful Dead, The Jefferson Airplane, Big Brother and the Holding Company, The Beatles, Pink Floyd, The Jimi Hendrix Experience, and other bands closely associated with the burgeoning psychedelic scene. Students will also consult primary source material—including interviews with several of the musicians, influential literature of the period, and essays by key figures of the movement—in order to gain insight into the social, political,
  • The Matrix Trilogy's Postmodern Movie Messiah

    The Matrix Trilogy's Postmodern Movie Messiah

    Journal of Religion & Film Volume 9 Issue 2 October 2005 Article 7 October 2005 He is the One: The Matrix Trilogy's Postmodern Movie Messiah Mark D. Stucky [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Stucky, Mark D. (2005) "He is the One: The Matrix Trilogy's Postmodern Movie Messiah," Journal of Religion & Film: Vol. 9 : Iss. 2 , Article 7. Available at: https://digitalcommons.unomaha.edu/jrf/vol9/iss2/7 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. He is the One: The Matrix Trilogy's Postmodern Movie Messiah Abstract Many films have used Christ figures to enrich their stories. In The Matrix trilogy, however, the Christ figure motif goes beyond superficial plot enhancements and forms the fundamental core of the three-part story. Neo's messianic growth (in self-awareness and power) and his eventual bringing of peace and salvation to humanity form the essential plot of the trilogy. Without the messianic imagery, there could still be a story about the human struggle in the Matrix, of course, but it would be a radically different story than that presented on the screen. This article is available in Journal of Religion & Film: https://digitalcommons.unomaha.edu/jrf/vol9/iss2/7 Stucky: He is the One Introduction The Matrix1 was a firepower-fueled film that spin-kicked filmmaking and popular culture.
  • Breaking the Code of the Matrix; Or, Hacking Hollywood

    Breaking the Code of the Matrix; Or, Hacking Hollywood

    Matrix.mss-1 September 1, 2002 “Breaking the Code of The Matrix ; or, Hacking Hollywood to Liberate Film” William B. Warner© Amusing Ourselves to Death The human body is recumbent, eyes are shut, arms and legs are extended and limp, and this body is attached to an intricate technological apparatus. This image regularly recurs in the Wachowski brother’s 1999 film The Matrix : as when we see humanity arrayed in the numberless “pods” of the power plant; as when we see Neo’s muscles being rebuilt in the infirmary; when the crew members of the Nebuchadnezzar go into their chairs to receive the shunt that allows them to enter the Construct or the Matrix. At the film’s end, Neo’s success is marked by the moment when he awakens from his recumbent posture to kiss Trinity back. The recurrence of the image of the recumbent body gives it iconic force. But what does it mean? Within this film, the passivity of the recumbent body is a consequence of network architecture: in order to jack humans into the Matrix, the “neural interactive simulation” built by the machines to resemble the “world at the end of the 20 th century”, the dross of the human body is left elsewhere, suspended in the cells of the vast power plant constructed by the machines, or back on the rebel hovercraft, the Nebuchadnezzar. The crude cable line inserted into the brains of the human enables the machines to realize the dream of “total cinema”—a 3-D reality utterly absorbing to those receiving the Matrix data feed.[footnote re Barzin] The difference between these recumbent bodies and the film viewers who sit in darkened theaters to enjoy The Matrix is one of degree; these bodies may be a figure for viewers subject to the all absorbing 24/7 entertainment system being dreamed by the media moguls.
  • Read Book the Matrix

    Read Book the Matrix

    THE MATRIX PDF, EPUB, EBOOK Joshua Clover | 96 pages | 12 Jun 2007 | British Film Institute | 9781844570454 | English | London, United Kingdom The Matrix – Matrix Wiki – Neo, Trinity, the Wachowskis And the special effects are absolutely amazing even if similar ones have been used in other movies as a result- and not explained as well. But the movie has plot as well. It has characters that I cared about. From Keanu Reeves' excellent portrayal of Neo, the man trying to come to grips with his own identity, to Lawrence Fishburne's mysterious Morpheus, and even the creepy Agents, everyone does a stellar job of making their characters more than just the usual action "hero that kicks butt" and "cannon fodder" roles. I cared about each and every one of the heroes, and hated the villains with a passion. It has a plot, and it has a meaning Just try it, if you haven't seen the movie before. Watch one of the fight scenes. Then watch the whole movie. There's a big difference in the feeling and excitement of the scenes- sure, they're great as standalones, but the whole thing put together is an experience unlike just about everything else that's come to the theaters. Think about it next time you're watching one of the more brainless action flicks If you haven't, you're missing out on one of the best films of all time. It isn't just special effects, folks. Looking for some great streaming picks? Check out some of the IMDb editors' favorites movies and shows to round out your Watchlist.
  • Matrix Reloaded Explained

    Matrix Reloaded Explained

    Matrix Reloaded Explained Matrix Reloaded Explained The Matrix Explained 1 The Matrix: Reloaded Explained.........................................................................................................................1 1.1 Contents...................................................................................................................................................1 2 Forward on disobedience.......................................................................................................................................3 3 Foundation of criticism..........................................................................................................................................5 4 The Architect..........................................................................................................................................................7 5 The rave scene......................................................................................................................................................11 6 The Oracle.............................................................................................................................................................13 7 Agent Smith..........................................................................................................................................................15 8 Story arc................................................................................................................................................................19
  • The Matrix Revolution, Part I

    The Matrix Revolution, Part I

    The Matrix Revolution, Part 1 by Ben Sibelman with an excerpt from The Matrix and excerpts from two versions of The Matrix Reloaded script, by Larry and Andy Wachowski (Bold text in the excerpts indicates added material. Strikeouts and ellipses indicate skipped material.) Sources The Matrix transcript: http://www.ix625.com/matrixscript.html The Matrix Reloaded draft script: http://www.imsdb.com/scripts/Matrix-Reloaded,-The.html The Matrix Reloaded shooting script: http://www.horrorlair.com/movies/scripts/matrixreloaded.pdf The Matrix, its sequels, and all related characters, plots, images, and concepts are the property of the Wachowski brothers, Warner Brothers, and/or Village Roadshow Pictures. Consequently, this script cannot be used for commercial gain. It is free for your use and may be copied and distributed at will. SCENE 1 Total blackness. NEO (V.O. from the end of The Matrix) I know you're out there. I can feel you now. Down into the black screen comes a single column of glowing green symbols. It is quickly joined by many others as the camera closes in. NEO (cont’d) I know that you're afraid. You're afraid of us. You're afraid of change. 19 of the columns terminate in the letters of “THE MATRIX REVOLUTION.” The camera passes through the U, which extends back into a canyon of smaller symbols with gaps in its walls. 1 NEO (cont’d) I don't know the future. I didn't come here to tell you how this is going to end. I came here to tell you how it's going to begin.
  • Let-Down of the Year Awarded to “Matrix Revolutions”

    Let-Down of the Year Awarded to “Matrix Revolutions”

    The Pendulum A & E Thursday, November 13, 2003 wPage 19 Let-down of the year awarded to “Matrix Revolutions” Sean Hennen humanity and no amount of tired- “cineophile” should still feel Reviewer ly endless philosophic babble the loss. about choice, love and destiny can An addictive cycle of reclaim the feeling of the original. metaphoric introspections Everything that has a begin­ It’s all mere lip service and unfor­ and gunfights isn’t all that ning has an end, reads the tagline tunately the writing/directing attracted viewers way back for “The Matrix: Revolutions.” team of Larry and Andy when. It was the story of a This is a very apt statement, but Wachowski think they can gloss fallible hero named Neo one would have hoped that the over this absence with intellectual who was as uncertain about filmmakers behind “Revolutions” overkill. They can’t. his ability to save the day as would have strived for a superior For viewers who haven’t seen the audience. Say what you ending, instead of merely an ade­ the other movies, you have a lot will about Keanu Reeves’ quate one. of homework to do before you acting, but in that first At this point, it is safe to say think about sitting down for “The movie, he forced the audi­ that each film in the series has Matrix: Revolutions.” The movie ence to learn to believe in become successively tired and - doesn’t even consider pausing him as his character learned though it is hard to say - unorigi­ before diving right back into the to believe in himself.
  • Born to Be On-Line: Cyberpunk, Cyborgs and the Matrix Trilogy

    Born to Be On-Line: Cyberpunk, Cyborgs and the Matrix Trilogy

    Hacettepe Üniversitesi Edebiyat Fakültesi Dergisi 2006 / Cilt: 23 / Say›: 1 / ss. 257-267 Born to Be On-line: Cyberpunk, Cyborgs and the Matrix Trilogy Kader YILMAZ* Abstract Films of science fiction, such as The Matrix (1999), and its sequels The Matrix Reloaded (2003) and The Matrix Revolutions (2003), are often categorized as cyberpunk which is a subgenre of contemporary science fiction. As typical examples of this type of science fiction, The Matrix and its sequels illustrate the concern of cyberpunk to envision a near future world where information technologies reign supreme, and shape the lives and affairs of societies including the lives and the very existence of individuals. More specifically, The Matrix trilogy depicts a future world that is populated with cyborgs, or posthumans, and run by a globally networked artificial intelligence called the matrix. In this respect these films do not only speculate on a highly technological near future but also on mankind`s changed existence in this environment. Especially, the image of the cyborg serves as a means to address the issue of the human and machine interface in these films. More importantly, the cyborg, or the post-human, in The Matrix and its sequels is not only emblematic of the human and machine interface but also of man’s very dependence on this technology as a means to survive in a highly mechanized environment. This paper argues that The Matrix and its sequels subvert the man vs. technology dichotomy and speculate on the altered existence of humans by envisioning and affirming the coexistence of man and the machine in the near future.
  • An Audio Fingerprinting System for Live Version Identification Using Image Processing Techniques

    An Audio Fingerprinting System for Live Version Identification Using Image Processing Techniques

    AN AUDIO FINGERPRINTING SYSTEM FOR LIVE VERSION IDENTIFICATION USING IMAGE PROCESSING TECHNIQUES Zafar Rafii Bob Coover, Jinyu Han Northwestern University Gracenote, Inc. Evanston, IL, USA Emeryville, CA, USA zafarrafi[email protected] fbcoover,[email protected] ABSTRACT the same rendition of a song, and will consider cover versions (e.g., a live performance) to be different songs. For a review Suppose that you are at a music festival checking on an artist, on audio fingerprinting, the reader is referred to [1]. and you would like to quickly know about the song that is be- ing played (e.g., title, lyrics, album, etc.). If you have a smart- Cover identification systems precisely aim at identifying phone, you could record a sample of the live performance and a song given an alternate rendition of it (e.g., live, remas- compare it against a database of existing recordings from the ter, remix, etc.). A cover version essentially retains the same artist. Services such as Shazam or SoundHound will not work melody, but differs from the original song in other musical here, as this is not the typical framework for audio fingerprint- aspects (e.g., instrumentation, key, tempo, etc.) [9]. ing or query-by-humming systems, as a live performance is In [10], beat tracking and chroma features are used to neither identical to its studio version (e.g., variations in in- deal with variations in tempo and instrumentation, and cross- strumentation, key, tempo, etc.) nor it is a hummed or sung correlation is used between all key transpositions. In [11], melody. We propose an audio fingerprinting system that can chord sequences are extracted using chroma vectors, and a deal with live version identification by using image process- sequence alignment algorithm based on Dynamic Program- ing techniques.
  • The Doors Summer's Gone Copy.Indd

    The Doors Summer's Gone Copy.Indd

    Table of Contents: v Dedications xi Introduction: Carol Schofield xiii Prologue: Harvey Kubernik 1 Steven Van Zandt, 2015 2 Guy Webster Interview, 2012, Treats! magazine 6 Dr. James Cushing, 2017 7 Eddi Fiegel, 2017 8 David N. Pepperell, 2017 10 Peter Lewis, 2017 12 Ram Dass, 1999 12 Roger Steffens, 2017 17 Ray Manzarek - Harvey Kubernik Interviews: (1974-2013) in Melody Maker, Goldmine, HITS, MOJO, THC Expose, RecordCollectorNews.com and CaveHollywood.com 47 The Doors London Fog, 1967 48 Kim Fowley, 2007 50 Dave Diamond, 2009 51 Jac Holzman Interview, 2017 52 The Doors Live at the Matrix, 1967 54 Dennis Loren, 2017 56 Dr. James Cushing, 2007 57 Paul Body, 2007 58 Mark Guerrero, 2016 58 Rick Williams, 2017 59 David Dalton, 2018 60 Chris Darrow, 2016 61 John Densmore Interview, MOJO ’60s magazine, 2007 71 Jim Roup, 2018 74 Heather Harris, 2017 75 Stephen J. Kalinich, 2015 vi 76 Alex Del Zoppo, 2017 85 The Doors, Marina Muhlfriedel, April 19, 2017 87 DOORS LIVE AT THE BOWL ’68, 2012 90 Paul Kantner, 2012 90 Marty Balin, 2017, Record Collector News magazine, 2017 91 Grace Slick Interview, 2002 93 Carlos Santana Interview, Record Collector News magazine, 2017 93 JanAlan Henderson, 2015, BRIEF ENCOUNTERS WITH THE LIZARD KING 95 Bill Mumy, 2017 95 Gene Aguilera, 2017 97 Burton Cummings, 2016 102 Rob Hill, 2017 103 Rodney Bingenheimer, 2017 106 Rob Hill, 2017: WHEN MORRISON MET LENNON 107 Kim Fowley in MOJO magazine, 2009 109 John Densmore Interview in MOJO magazine, 2009 110 D.A. Pennebaker Interview, Treats! magazine, 2012 111 Doors Live in New York, 2007 114 Michael Simmons, 2006 114 Dr.