A Psychoanalytical Study of the Nature and Appearance

A PSYCHOANALYTICAL STUDY OF THE NATURE AND APPEARANCE OF CHARACTER BY ANALYSING 6 SONGS EACH OF JIM MORRISON, KURT COBAIN AND JANIS JOPLIN (MEMBERS OF THE FAMOUS CLUB 27)

SUKANT MUKHERJEE Registered Number: 1424062

A dissertation submitted in partial fulfilment of the requirements for the degree of

Master of Arts in Media and Communication Studies

CHRIST UNIVERSITY Bengaluru

2016

Program Authorized to Offer Degree: Department of Media Studies

CHRIST UNIVERSITY Department of Media Studies

This is to certify that I have examined this copy of a master’s thesis by

Sukant Mukherjee Registered Number: 1424062

and have found that it is complete and satisfactory in all respects, and that any and all revisions required by the final examining committee have been made.

Committee Members:

______[RAJESH A]

______

Date:______

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I, Sukant Mukherjee, confirm that this dissertation and the work presented in it are my own achievement. 1. Where I have consulted the published work of others this is always clearly attributed. 2. Where I have quoted from the work of others the source is always given. With the exception of such quotations this dissertation is entirely my own work. 3. I have acknowledged all main sources of help. 4. If my research follows on from previous work or is part of a larger collaborative research project I have made clear exactly what was done by others and what I have contributed myself. 5. I am aware and accept the penalties associated with plagiarism.

Date:

CHRIST UNIVERSITY

ABSTRACT

A Psychoanalytical Study of the Nature and Appearance of Character by Analysing Six Songs Each of Jim Morrison, Kurt Cobain and Janis Joplin (Members of the Famous Club 27)

Sukant Mukherjee

To understand how character could be understood by analysing the greatest works of the above artists. This research is to find a possible connection to show that the songs written by the artist is not just a form of expression but also to show the world who they are, and their ideologies and most importantly what they feel about themselves. Keywords: Character study, Psychoanalysis Jim Morrison, Kurt Cobain, Janis Joplin, Club 27.

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ACKNOWLEDGEMENT

My sincere gratitude to my Guide, Professor Rajesh A and our Course Co- Coordinator Fr. Biju, for their constant guidance encouragement and support. I also thank the Head of the Department Prof. Naresh Rao for his support. I wish to extend my heartfelt thanks to Suparna Naresh, Aasita Bali, Amutha Manavalan,., Kannan S. Shantaraju S. Ivory Lyons and Chandrasekhar Vallath for their valuable feedback and restless assistance in bringing out this research. I also would like to thank the Dean Dr. Andrew Kennedy, my family and friends for the encouragement and devotion, without whom this thesis would never have been completed.

TABLE OF CONTENTS

List of Tables………………………………………………………………………...xii Chapter 1 Introduction...... 1 1.1 Background of the Study ...... 1 1.2 Statement of Problem ...... 4 1.3 Objectives of Research ...... 5 1.4 Rationale...... 5 Chapter 2 Review of Literature ...... 7 2.1 The Idea and Appearance of Character ...... 7 2.2 Psychoanalysis theory ...... 10 2.3 Applied Psychoanalysis...... 18 2.4 The Artists ...... 25 2.5 Messages Through Music...... 33 Chapter 3 Methodology ...... 37 3.1 Rationale...... 38 3.2 Overview of Personality Theories: ...... 41 3.3 The Trait Approach ...... 42 3.4 Limitations and Shortcomings ...... 43 3.5 Operational Definition...... 46 3.6 Research Design ...... 47 Chapter 4 Findings and Analysis...... 53 4.1 Janis Joplin ...... 53 4.2 Kurt Cobain ...... 59 4.3 Jim Morrison ...... 69 4.4 Summary ...... 77 Chapter 5 Conclusion ...... 79 5.1 Introduction ...... 79 5.2 Relation to the Literature and the Field ...... 79 5.3 Discussion of the Results ...... 80 5.4 Scope for Further Research ...... 82 5.5 Limitations of the Study ...... 83 5.6 Conclusion ...... 83 Bibliography...... 84

LIST OF TABLES

Table 4.1 Janis Joplin ...... 77 Table 4.2 Kurt Cobain ...... 77 Table 4.3 Jim Morrison ...... 77

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Chapter 1

INTRODUCTION

1.1 Background of the Study

1.1.1 Psychoanalysis

Psychoanalysis is a set of psychological and psychotherapeutic theories and associated techniques, created by Sigmund Freud and stemming partly from the clinical work of Josef Breuer and others. Over time, psychoanalysis has been reviewed and advanced in different directions and its contributors are some of Freud's colleagues and students, such as Alfred Adler and Carl Jung. They went on to develop their own ideas independently and are credited as different schools of psychoanalysis The basic doctrines of psychoanalysis include:  A person's development is determined by often forgotten events in early childhood rather than by inherited traits alone.  Human attitude, mannerism, experience, and thought is largely influenced by irrational drives that are rooted in the unconscious.  It is necessary to bypass psychological resistance in the form of defence mechanisms when bringing drives into awareness.  Conflicts between the conscious and the unconscious, or with repressed material can materialize in the form of mental or emotional disturbances, for example: neurosis, neurotic traits, anxiety, depression etc.  Liberating the elements of the unconscious is achieved through bringing this material into the conscious mind (via e.g. skilled guidance, i.e. therapeutic intervention). (wikipedia, psychoanalysis, n.d.) Freudian psychoanalysis refers to a specific type of treatment in which the "analysand" expresses their thoughts verbally, including free associations, fantasies, and dreams, from which the analyst or psychotherapist infers the conflicts causing the patient's symptoms and character problems, then he construes them for the patient to create insight for resolution of the problems. The analyst generally then confronts the

1 patient's pathological defences, wishes and guilt. Through the analysis of conflicts, including those contributing to resistance and those involving transference onto the analyst of distorted reactions, psychoanalytic treatment can hypothesize how patients unconsciously are their own worst enemies: how unconscious, symbolic reactions that have been stimulated by experience are causing symptoms. Freudian psychoanalysis relies on the concept that it is only after having a cathartic (e.g. healing) experience can a person be "cured". Psychoanalysis has also received widespread criticism from a comprehensive variety of sources. It is regarded by some critics as a pseudoscience. Nonetheless, it remains a strong influence within the realm of psychiatry, and more so in some quarters than others

1.1.2 Character and Character Traits

Character is defined as the mental and moral qualities distinctive to an individual.” Another says it is “the complex of mental and ethical traits marking a person.” In still another dictionary, character is said to be “the stable and distinctive qualities built into an individual’s life which determine his or her response regardless of circumstances.” (What is character?, n.d.) Character could also be seen as a pattern of behaviour, thoughts and feelings based on universal principles, moral strength, and integrity. Character is evidenced by virtues of one’s life. It is evidenced by the actions of all living beings in both the moral and performance areas. Experts have divided character into two parts – “performance character” (maximizing one’s performance in every area of his or her life) and “moral character” (always choosing to do the right, honest and ethical thing). A character trait on the other hand is a word that describes a person or his personality. Just like how a physical trait describes a person's physical features attributes similarly a character trait focuses on the “character's” personality/demeanor. For example, one physical trait would be “tall” and one character trait would be “funny.”

1.1.3 Janis Joplin

Janis Lyn Joplin was an American singer-songwriter who first rose to fame in the late 1960s as the lead singer of the psychedelic/acid rock band Big Brother and the

Holding Company, and later as a solo artist with her own backing groups, The Kozmic Blues Band and The Full Tilt Boogie Band. Joplin was well known for her performing ability and was a multi- instrumentalist. Her fans referred to her stage presence as "electric"; at the height of her career, she was known as "The Queen of Psychedelic Soul". Janis Joplin was also a painter, dancer and music arranger. Rolling Stone ranked Joplin number 46 on its list of the 100 Greatest Artists of All Time in 2004 and number 28 on its 2008 list of 100 Greatest Singers of All Time. She was inducted into the Rock and Roll Hall of Fame in 1995. Joplin remains one of the top-selling musicians in the United States, with Recording Industry Association of America certifications of 15.5 million albums sold in the USA. (wikipedia, Janis Joplin, n.d.)

1.1.4 Jim Morrison

James Douglas "Jim" Morrison was an American singer, songwriter and poet best remembered as the lead singer of The Doors. Because of his song writing, wild personality and performances, he is regarded by critics and fans as one of the most iconic and influential frontmen in rock music history, and because of the dramatic circumstances surrounding his life and death, in the latter part of the 20th century, he was one of the popular culture's most rebellious and oft-displayed icons, representing generational gap and youth counterculture. He was also well known for improvising spoken word poetry passages while the band played live. Morrison was ranked number 47 on Rolling Stone's list of the "100 Greatest Singers of All Time", and number 22 on Classic Rock Magazine's "50 Greatest Singers In Rock". To this day Morrison is widely regarded as the prototypical rock-star: surly, sexy, scandalous, and mysterious. The leather pants he was fond of wearing both onstage and off have since become stereotyped as rock-star apparel. In 2011, a Rolling Stone readers' pick placed Jim Morrison in fifth place of the magazine's "Best Lead Singers of All Time". (wikipedia, Jim Morrison, n.d.)

1.1.5 Kurt Cobain

Kurt Donald Cobain was an American musician who was best known as the lead singer, guitarist, and primary songwriter of the rock band Nirvana. The band found breakthrough success from its second album Nevermind (1991). And thereby was subsequently labelled as "the flagship band" of Generation X, and Cobain hailed

3 as "the spokesman of a generation". Cobain, however, was often uncomfortable and frustrated, believing his message and artistic vision to have been misinterpreted by the public, with his personal issues often subject to media attention. Since their debut, Nirvana, with Cobain as a songwriter, has sold over 25 million albums in the U.S., and over 75 million worldwide. Cobain was posthumously inducted into the Rock and Roll Hall of Fame in 2014. Cobain has been remembered as one of the most iconic rock musicians in the history of alternative music. In 2003, David Fricke of Rolling Stone ranked him the 12th greatest guitarist of all time in 2005, a sign was put up in Aberdeen, Washington, that read "Welcome to Aberdeen – Come As You Are" as a tribute to Cobain. (Wikipedia, Kurt Cobain, n.d.)

1.1.6 Club 27

The 27 Club is a term that refers to a number of popular musicians who died at age 27 often as a result of drug and alcohol abuse, or violent means such as homicide or suicide. The number of musicians who have died at this age and the circumstances of many of those deaths have given rise to the idea that premature deaths at this age are unusually common. Brian Jones, Jimi Hendrix, Janis Joplin and Jim Morrison all died at the age of 27 between 1969 and 1971. At the time, the coincidence gave rise to some comment, but it was not until the death of Kurt Cobain, about two and a half decades later, that the idea of a "27 Club" began to catch on in public perception. (Wikipedia, Club 27, n.d.)

1.2 Statement of Problem

While looking for material to refer to in the past the researcher has found that very less has been researched on understanding character of these artists. What further confounded the researcher was and applying psychoanalytical principles on this form of art/media. Artists have never been subjected to be studied into what and how their psyche played a part in their music writing, and what aspects of their character traits were on display either significantly or by ways of deception understanding these tactics would allow other researchers and experts in determining the roles and impact of these artists in their respective fields.

1.3 Objectives of Research

The researcher has the following objectives in mind which he hopes to fulfil as he goes about his research.  To study the Freudian principle of the mind and see its application in various other literary and art fields,  To read and understand the impact of all the three artists, and also construct a psychobiography of them,  To know how effectively psychoanalytical technique can be used and applied to music of these three artists and if their minds could be studied and understood through this technique.

1.4 Rationale

The researcher aims to show how the use of the psychoanalysis plays an important role in determining the character traits of a person, especially of the musicians in contentions the way song is sung and its compositions matters a lot and goes a long way in understanding the psyche of the persona. One can say a lot things in a manner that can go unnoticed even if it is repeated several times over and interestingly even if they are displayed in a fascinating manner. It means that how literary works can persuade and create a perception on the consumers or in this case the “fans” and also determine how people perceive and process the information presented i.e. the song. It’s more than a matter of mere aesthetics, as demonstrated by a number of investigative experiments that proved how music can affect the way people listen to, understand, and perceive information. The researcher wants to research on how an artist creates a relationship between the verbal languages and establish certain character traits through music. When an audience is listening to a song, they subconsciously or consciously relate with it, and go further into being able to establish a connection with the artist, not always is the message that the song tries to convey grabs the attention of the viewer, but also how the song has been composed and structured is what holds an important place. The artists used, absurd lyrics, deep emotions, erotic verses, insults, musical experimentation with instruments, rhythms, pitch, etc. together in junction to create a persuasive appeal that makes a lasting impression in the minds of the listeners or the

5 audience. What more is in contention is the fact than principles of psychoanalysis by its father Sigmund Freud can go a long way in understanding the outcome of the artists doing what they did. Also the fact of the matter that the three artists in contention have in a large part influenced the media and its culture and all have left a lasting impression and they are still celebrated or denounced in the modern society, none of the three artists have been forgotten and their art is still very prevalent, with it being used in various movies and other media, and present day bands covering their songs, not to mention they constantly feature in various lists. The researcher would research on these elements and bring about the role of their music in forming their character. The researcher would shed light on it elaborately.

2 Chapter 2

REVIEW OF LITERATURE

2.1 The Idea and Appearance of Character

The purpose of the idea of character is to communicate personality of an individual, people evaluate the character of another person to find out about compatibility. The very basic function of character is to communicate about one element to another. The culmination of all the character traits in an element makes an identity statement about the element. It is thus important to understand the concept of character to not only effectively communicate about one's identity, it will provide a holistic understanding about one's own self. The communication would only be successful when one is completely aware of one's self, and when the individual knows what to expect from the other end. There is a constant effort made by everyone to express themselves, in many different ways. An entire academic institution known as 'arts' has been found to understand this very expression of mankind. This expression has been the reason for the evolution of humanity. It is believed that, as the network of humanity gets more sophisticated, the evolution of mankind gains more pace. For the healthy binding of this network, understanding one another's character and making space for it becomes most important. Jean Paul Sartre's Transcendence of Ego (Sartre J.-P. , 1937) and Being and Nothingness (Sartre J. P., 1943) are among the most important works that discusses the core of ideology of Character by investigating the constructing principles of phenomenology and noumenon. To study the metaphysical characteristics of attributes such as character, it is imperative to understand ontological concepts of beings, and the layers of the existence these beings. Sartre, along with expounding his views on character, discussed the theories of Kant and Edmund Husserl regarding phenomenology and noumenon. The book Being and Nothingness could be said to be an extended version of Transcendence of Ego,

7 which he had written earlier. His philosophical ideology was formulated as Transcendence of Ego and its detailed enlarged structure was Being and Nothingness. In his book, Transcendence of Ego, Sartre discusses the concepts of phenomenology and noumenon as these form the basis through which he evaluates all the attributes of a being. These concepts provide both the perspectives regarding the idea of 'being' itself, of which character is just a part of. In this book, he says that the object of the mind or the intentional objects which is an object of consciousness like physical objects, value and the psyche must be studied independently. He primarily disputes Edmund Husserl's theory of Phenomenology in his book, as both of them subscribe to the concept of Phenomenology, A fundamental difference between Husserl and Sartre regarding the dualistic nature of the identity of the consciousness’s has been made evident by Sartre. Husserl believed that transcendent objects are established by the transcendental ego, by means of complex acts of syntheses. Husserl, thus reveals the anonymous activity of an extemporaneously constituting consciousness and remains responsive to the world just as it is experienced. Sartre, believed that consciousness is a pure spontaneity, however, he rejected the idea of the existence of an anonymous segment that controls consciousness. The concept of character, its understanding and its image fits into the framework of the theory of Phenomenology. The questions raised by both Sartre and Husserl with respect to Phenomenology are fundamentally the same and applies to identify character. Phenomenology studies the nature, functions and structures of consciousness. Character by essence is a product of consciousness, without understanding the core basic functionalities of consciousness, jumping to study character would an incomplete study. The reason why the debate of Phenomenology by Sartre, Husserl and Kant is important to understand character will be understood once we understand the debate itself, for which, we need to understand each of their point of view. The argument on the dualistic nature of the identity of the consciousness made by Sartre and Husserl that was mentioned earlier, very much applies to understand the nature of character itself. The dualistic nature that challenges the common notion is that, what exactly is character? Is it what is? Or, what one's identified as? How is identity differentiated from character? From which point of view must one look at to understand the true value of the nature of one's character? These questions are nothing

8 but the queries that arises not just from the dualistic nature of character, but the dualistic nature of consciousness itself. The nature of consciousness is made clear when Sartre introduces Kant's perspective to the debate to refute Kant's ideology, which firmly discloses the stance of Sartre, and the whole debate becomes clearer and it gains a definitive shape and direction. Kant's theory of noumenon perhaps is the most direct and the most definitive take on the existence of dualism with respect to consciousness. Immanuel Kant was of the opinion that two realms exist, noumenal and phenomenal. Phenomenal realm is a sensory reality that can be accessed by the senses of an individual. In other words, anything that resides in our sensory reality, everything that our senses can comprehend is Phenomenon. Noumenal realm is that which is beyond the reach of our senses, something that our senses cannot fathom, it is beyond human reach. The significance of distinction made by Kant is that he questions the fundamentals of reality as scrutinized by our senses itself. In other words, the true nature of 'character' is everything that is formulated by our senses. All accessible ideas and perception that has become generic and obvious today is also an establishment of our senses. Kant, simply questions how we've taken the information (compiled by our senses) for granted without realizing its limitations. Kant does not enforce the idea of noumenon, but he simply says that something beyond senses may exist, his theory emphasizes that there are things that stretches beyond the comprehensible ability of our senses, and questions how one must understand and acknowledge the 'characteristics' of those things that are above our senses. Sartre, on the other hand, dismisses Kant's idea of noumenon in his book Being and Nothingness. He does not subscribe to the theory of duality. This is the fundamental difference he has with both Husserl and Kant. Both Husserl and Kant acknowledged dualistic nature of consciousness, whereas Sartre rejects the idea of duality and says that nothing exists to an individual beyond the world that is created by his senses. Sartre describes sensory reality as the ultimate reality. Now, it is important to understand the concept of reality in order to understand the idea of character because it is imperative to have a time and space establishment in one's consciousness for the senses to impart properties to the character of an element. The value proportion of these properties most definitely change with different realities or in other words in different mixtures of time and space. The

9 challenge here is, whether character must be understood as our senses present it to us, or does it exist in the element itself, which may or may not exist in our realm. This is one of the major conundrum of character, does it exist in the perception of the beholder, or does it exist in the element itself outside of the beholder’s perception. The three important aspects that was noted from the two texts of Sartre are - first, why is it important to understand the concept of reality to understand the idea of character. Second, how does the dualistic nature affect the idea of character? Third, what is character and where does it make its entry, and why has it become necessary for the mankind.

2.2 Psychoanalysis theory

Psycho analysis is a method of understanding and then solving problem of the said patient through these techniques. It has been “discovered” by one the most influential minds of the 20th century “Sigmund Freud” and subsequently klein and lacan have further elaborated debated and negated few of the theories put forth by the Sigmund Freud. Though Freudian theories are debated and some have been criticized to the point of it being disregarded, Freud continues to be referred to as the father of psychoanalysis. The researcher in order to understand the psychoanalytical theories and concepts has referred to 3 books them being understanding psychoanalysis by Matthew Sharpe, psychoanalytical theory: an introduction by Anthony Elliot and psychoanalysis: a critical introduction by Ian Craib. Meaning of Psychoanalysis, The term 'psychoanalysis' has two accepted meanings. Firstly, it means a method of treating mentally disordered people. Secondly, it also goes to mean the theories on human mind and its various complexities (craib, 2001). The former is what the researcher would focus upon. The father of Psychoanalytical theory is undisputedly Sigmund Freud and the ones to follow the theory are henceforth known as his children (lacan, klien, etc.). According to the book Understanding psychoanalysis by Matthew Sharpe and Joanne Faulker, in his long devotion to medical practice he came to realize that many of the abnormal behavior and mental disease of his patients were owing to the nervous abnormalities. Though his discovery is called a chance discovery, wherein his colleague Bruer treated a patient called “Anna o”. This chance discovery is what he based his entire life’s work upon and gradually he was more interested in the study of psychology and more particularly psychology of the unconscious mind. His main theoretical concepts

10 of psychoanalysis is what this chapter would primarily focus on. The researcher for this chapter has also referred to books written and critiquing Freud’s psychoanalysis. According to the book psychoanalysis: a critical introduction Freud based that there are three regions of mind, i.e. our mind has three distinct regions. He did this on the basis of his first discoveries that was primarily concerned with the psychology of psychoneurosis (which means a mental or personality disturbance), dreams (which he referred to as the gateway of the unconscious), slips of tongue (more popularly known as Freudian slips) jokes and, association of the memory all of what he called the psychopathology of everyday life. Freud also suggested these three region as a division of the mental activity and together he termed them as “systems”. One he called the system of unconscious, second preconscious and a third conscious. His ideas were first represented in "The interpretation of Dreams" published in the year 1900, it has often been assumed that the evidential basis for these theories came from his study and interpretation of dreams. He concurred that the elements in our dreams are generally inaccessible to consciousness, or are accessible to it only with difficulty, and because dreams are a representation of our inner desires, we are inherently consumed to realize this, (pleasure principle) and due to social norms we condemn ourselves (reality principle) hence these desires get stored in our unconscious, and hence dreams are the reflection of our deepest desires thereby they form a pathway to the unconscious. It is the mind in which all our pleasant and unpleasant experiences are accumulated, synthesized and organized.

2.2.1 Instincts and Drives

According to (craib, 2001) instincts is simple and it comes down to the physical side, while our drives has more psychic elements attached to it, that is there is physical energy coupled with mental representations. According to (Sharpe, 2008) and (Elliot, 1994) the most important drive to every human mind is sexuality. Though there is misconceptions about this drive, and it is not genetically directed towards any particular object i.e. we can (and do) take almost everything as a sexual object and he said that “our sex is as much in our heads as it is between our legs”. This then leads to the development of our libido which is referred to the life instinct or eros. And is the primary condition which drives our psychological development. Life instinct is associated to creation be it in the formation of relationships, or copulation to produce children or for recreation. In short the communication of life. And as there is a life

11 instinct, there is also its foe, the death instinct or thanos. This originated from difficulty in understanding how humans could put themselves through so much misery without rebelling, the death instinct works to release the anxiety or tension forever. This instinct can be attributed to our natural destructive impulse which is built into our physical movements and ability, this instinct help build our anger towards both ourselves and the world around us. Freud maintained that life and death instincts come from the same roots and have the same objectives, and that both these instincts are closely entwined. And these two drives can be seen as providing the energy for psychic life and forms the base for the psychic structure.

2.2.2 Unconscious

According to Faulkner and Sharpe before the chance discovery of Anna o, psychology was devoted to the study and analysis of the conscious mind alone. Which means that the patients were treated to more or less physical torture but the talking cure or the psychoanalysis method formulated by Freud had clearly attempted at the exploration of the unconscious mind and its various complexities. To understand these complexities Freud split the mind into 3. They being, the conscious, preconscious and the unconscious. Our conscious mind is what we are aware of any time, the preconscious mind is a huge storehouse of memories and knowledge, upon which we can draw without too much difficulty, and our unconscious mind is that part which contains idea attached to the most primitive drives. According to the book psychoanalytical theory: an introduction the conscious mind is a thin slight of the total mind like the tip of an iceberg. The larger portion of it exists below the surface of consciousness. The unconscious is therefore credited to be the larger part of the total mind which is why this method becomes so complex. Yet the term unconsciousness cannot be said as devoid of consciousness, because it has its own mode and nature of functioning. The unconscious generally has repressed ideas which are unacceptable to the individual and/or the culture and/or the society that individual is residing in. Freud argued that a lot of our actions was accredited to our unconscious, but because we were not keen observers we tend not to notice it and believed that in order to understand the causes of human behavior our eyes should be directed towards this “hidden chamber”

2.2.3 Evidence of the Function of Unconscious

The researcher may has till now determined the importance of unconscious, but upon further reading it is found that Freud through his studies also tried to prove its existence and accounted for it by arguing that, The unconscious mind and its natives constantly want to climb to the tip of the ice berg i.e. come up to the level of consciousness. But because the adult human is now controlled by the reality principle, the conscious region does not allow their indulgence and easy entrance to it (be it due to social qualms, or because of a traumatic experience in the past). The reality principle or an apt term would be "the censor" or "watch dog" acts as the gateway of consciousness against the intrusion of unpleasant elements. Because of this “blockade” it is believed that we cannot observe the function of unconscious mind in the state of our consciousness. Yet Freud had evidently proved with the following points the presence of the unconscious mind and its function. a) The post hypnotic condition (though Freud argues that for psychoanalysis to work, hypnosis must not be a tool used) suggests the function of unconscious mind. b) Documentation of dreams and their subsequent interpretation. c) The muttering of the people in anesthesia and bodily action in somnambulism also indicate the activity of unconscious mind. d) Solution of problem in dream indicates the unconscious mental function. e) Various mistake committed in our daily life like slip of pen, slip of tongue, misreading, faulty action etc. are owing to the activity of the unconscious mind. f) Moreover, he believed that the psychoanalytic treatment and its remarkable success achieved in the field is the growing evidence of the unconscious mind.

2.2.4 Laws and Dynamics of the Unconscious.

Freud called the unconscious feelings “a potential feeling which is prevented from developing” the unconscious ideas are not subjected to the laws that govern our conscious rationale, they do not work themselves out rationally, these ideas do not take notice of the restrictions of the outside world, what they do is, only accept the reality of the internal world. And part of this primary working out of ideas is through making “irrational” connections between ideas and images (free association) through the process of condensation and displacement.

The unconscious as mentioned before do not recognize the laws of contradiction that we hold in our “natural rational lives”. According to (craib, 2001) the laws governing the unconscious are.  Unconscious do not work themselves out rationally and does not take notice of the outside world i.e. they only accept the reality of the inside world.  The ideas in the unconscious demand immediate satisfaction, hence it tends to negate any obstacles to its desires, and because for the conscious to function, these ideas get repressed  As mentioned before it makes irrational connections.  The unconscious doesn’t understand the laws of contradiction for example it is difficult to love and hate the same person at the same instance, but the unconscious has no such problems, love and hate can intimately be intertwined,  Finally, the unconscious is timeless and doesn’t develop, change or mature.

2.2.5 Infantile Sexuality

Freud believes in the early sexuality or sexual life of children. It had contradicted the general notion that sex instincts appear only at the onset of puberty. A child has his sexual instinct and activities from the very early stage and after an important course of development passing through many stages they lead to what is known as the normal sexuality of the adults. In this regard, the phases of psychosexual development may be mentioned below. (a) Oral stage: From birth to one year of life of the child, the mouth is the principal region of the, dynamic activity. It is the first major area of excitation and energy. Early gratification of sex occurs through sucking of breast, thumb sucking, biting etc. (b) anal stage: This stage generally ranges from two to three years. During this period, stimulation is focused on eliminative functions through either holding back or letting go of the body's waste material. There is erogenous zone located in the anus. (c) Phallic stage: This phase starts from the age of four years. At this stage the child is aware of his genitals and feels the pleasure out of it. (d) The latency period: The latency period starts from five years of age. When the child enters into this stage, there is lessening of the sexual urge. Boys take interest in masculine things and ignore the opposite sex. (e) Genital period: The beginning of this period is characterized by reawakening of sexual urges due to physiochemical changes associated with sexual maturity.

2.2.6 Theory of Repression

Theory of repression is a very bold and convincing idea of Freud's psychoanalysis. Sex urges or libido which is the vital source of life cannot be realized in the reality owing to the prevailing social and cultural barriers. A person's illicit sex craving cannot be allowed to realize in its own way and he is rather ashamed of it in the society. He is therefore forced to repress or to remove the idea from his conscious mind. But the problem does not end there. This struggle or striving continues to operate in our unconscious mind for whole life. The effort of our mind to remove unpleasant experiences from the conscious mind to the unconscious continues to operate in life. Repression is described as driving a desire deep into the region of unconscious mind. All the painful unpleasant and socially unacceptable tendencies are driven back to the unconscious by way of repression. It guards the conscious mind against inclusion of unpleasant experiences. So repression may be described as a defense mechanism of mind. According to Freud's theory, repression is the major pillar upon which rests the edifice of psychoanalysis. Most of the repressed elements and tendencies are derived out of sex instinct or libido.

2.2.7 Libido and Various Complexes

According to psychoanalytical theory, sex urges or the libido is the vital force of life. "Libido" is a comprehensive term which includes all forms of love including love for the opposite sex. It concerns all race preserving the instincts of man. It is also known as "elan vital" or life force. Freud had maintained that libido forms various complexes in mind as an individual continues to grow and develop. Such complexes are the result of thwarting of the natural flow of the libido due to the cultural and social barrier. The father, mother, son, daughter relationships in the family life develop Oedipus complex and Electra complex in mind which are the manifestations of libido. Freud had described Narcissism or self-love as the derivation of libido which is found to be active at the stage of infancy. Other two manifestation of libido are Masochism and Sadism. Masochism denotes "Sexual deviation in which an individual obtains sexual gratification from having pain inflicted upon him” while in sadism sexual gratification is obtained by the infliction of pain upon others".

2.2.8 The Role of Id, Ego and Superego in Formation of Personality

One of the valuable concepts of psychoanalysis is the threefold system in the organization and building up of a man's personality. They are id, ego and super ego - constituting the psychic world of man. These may be known as the New Testament of Freudian scripture. The psycho- social build-up of a man's personality is nothing but the result of these three systems. In the year 1923, Freud proposed to divide the mental activity into id, ego and super ego instead of unconscious, preconscious and conscious. In the new theory, it is recognized that the three systems merge into one another and form a co-operative whole, except when there is conflict. Freud conceived the id to be what he called the vital layer of the mind. He describes Id as chaotic and a cauldron of seething excitement. It contains everything that is inherited, that is fixed in the constitution and is completely unconscious. Id is full of excitement and directly associated with somatic or bodily processes. Cut off from the external world, everything which goes on in the id is unconscious and remains so, having no correspondence to space or time. In the year 1933, Freud noted that the id contains sexual and aggressive energies, their discharge taking place with the help of the ego. The study of the id derivatives indicates that there are many contradictory impulses present in the id and the ego is required to put them in order. This "kingdom of the illogical" as Freud (1940) called it, is completely unconscious containing various instinctual impulses. The id is only interested in the discharge of instinctual tension and is always guided by 'hedonism' or the pleasure principle. The activity of the id is governed by the so called primary process, in which there is no recognition of good and bad, or yes or no. The principal feature of the primary process is a tendency to the complete discharge of mental energies - without delay. The id has no connection with the external world, but opens towards the ego. It is separated from the ego by its censor, which controls the flow of id derivatives. In addition to communicating with the ego, the id also communicates with the super ego. The id supplies both ego and super ego with the energies with which they operate. Id is inherited and fixed part of the personality which contains the instinctual, elemental or emotional drives that provide the psychic energy for human behavior. These forces are modified and transformed by other parts of the personality which develop out of the id, notably the ego and super ego. The ego represents the self and is concerned with external reality and decision making. The ego is in constant contact

16 with time, space and with physical reality. It has organizational and critical capacity. Its function is to establish relationship between the individual organism and the outer world. The contact with reality compels the ego to adopt the reality principle and to abandon the pleasure principle which dominates the id. The ego is an adjuster between the wishes of the id on the one hand and the demands of external reality on the other. At the same time, it has to obey the demands of the super ego. So the ego has to serve three harsh masters at a time. Due to this reason, there is always conflict among these three systems. It the ego cannot fulfil the demands of the id, it takes help of some indirect method called defense mechanism. Defense mechanisms are the mode of behavior to relief the ego from tension. The third system, the super ego may be defined "as the group of mental functions having to do with ideal aspirations and with moral commands and prohibitions". The super ego provides moral conscience and ideal model which the person may seek to emulate. It is primarily sociologically and culturally conditioned and strives for perfection rather than pleasure.

2.2.9 The Defenses

Freud maintained that, our mind in order to cope with the surroundings, have certain defense mechanisms in order to cope with the growing threats or stresses, as we know the ego which resides primarily in our unconscious, deals with theses stresses in the possible 6 ways, and Freud maintained that a person may inhibit all the qualities or a few, but every mind always has a certain dominant defense mechanism Repression and sublimation- repression is the unconscious act that keeps the threatening idea out of the conscious, but this act does not put the idea to rest, rather this threatening idea is constantly trying to make its way to the conscious, and it uses all possible routes, while sublimation is a form where the energy of the idea gets associated with some other object (free association of the mind is based on the principle of sublimation). Freud maintained that act of suppression, the process of completely putting to grave the idea is not possible, because it tends to either climb back or give itself another form. The reason being that the ego is constantly trying to satisfy the id. Introjection and projection- the second defense classification of the mind tells us that, we either “swallow something” (the idea that is causing the mind distress externally is absorbed by the mind and then put into the conscious in such a way that

17 the idea no longer puts the mind into distress) this is introjection, while projection is precisely the opposite, we associate an internally disturbing thought to the “outside” Splitting:- to put it minimalistic words, as the ego experiences more and more pressure from a certain thought or idea, in order to cope with this threat, the mind “splits” or “deallocates” this anxiety by subsequently making it smaller and supposedly easy to deal with. Denial- this could be taken to be the most harshest defense mechanism put into place by our unconscious, one should not get confused between the terms denial and denying, the latter is a form of lying, while the former is a prose and arrives when the both the feeling and the idea attached to the feelings are not available to conscious, yet it gets “read” or “picked up” by those around the person. Reaction formation:- denial tends to completely try and put the thought or idea in a land of complete exile, where its very existence cannot be traced, but sometimes the fear impulse gets so strong that in order to fight this impulse, the conscious of our mind starts embracing its “opposite” with all possible strengths at its disposal. Rationalization: - this being a much more sophisticated form of defense mechanism, rationalization is the constant attempt to reason out, clarify, explain ones actions, or ones feelings. Yet rationalization has connotations of dishonesty, because if the mind is trying to rationalize, it is trying to reasonably bring down the fear impulse by associating it to an idea that seems justifiable to the conscious. So it does not give the real reason behind an action.

2.3 Applied Psychoanalysis

The present topic the researcher would like to learn more about is the application of psychoanalysis in the region of media, and the following is an elaboration of the materials available. The first is a research article which is titled A Psychoanalytic Study of Form in The Great Gatsby this research was a psychoanalytic interpretation of the novel in terms of its dichotomous form as a modern fairy tale romance revolving around Jay Gatsby, and as a modified detective story probing narrator Nick Carraway's growth from naiveté to cynicism. The author in order to achieve his goal decided to carry out an extensive study of the novel's form which served as the basis for his judgments and is, in his words, “essential to an under-standing of The Great Gatsby!” The author’s analysis intends to argue that the story of Gatsby is, in actuality, the story of Nick. He

18 also explored the connection of the writers reoccupation with the water imagery of a displaced womb and of Gatsby's projected fusion with the "fresh, green breast of the new world" and with the oedipal phantasies that both shape and find gratification in the fairy tale-detective story forms of the novel. An important teaching of this article was the concise application of the Freudian concept of form to literature in “The Dynamics of Literary Response”. The psychoanalytic theory of literature holds that the writer expresses and, disguises childhood fantasies. The reader unconsciously elaborates the fantasy content of the literary work with his own version of these fantasies, both his own and the works that permits their partial gratification and gives literary pleasure Another aspect from this thesis was the skeletal structure it gave on the psychoanalytic approach to form and said it demands a study of.., disguised authorial phantasies which unconsciously appeal to the reader who can identify with them, exercise an aesthetic creativity in determining the nature of the repressed wishes they comprise and experience a pleasurable release in the process. The research also said that psychoanalytic study of a work is conducive to the element of scholarly creativity The paper then touched on what Freud identified that the four factors of dream work were attributed to condensation. The paper saw that in The Great Gatsby hostility was projected onto the landscape and thereby released, and also how the characters are often split into two separate persons in order that the writer may avoid recognizing their singular Ambivalence. This implied that form is the pseudo-logical transformation of repressed desires achieved by the writer's secondary revision of their more threatening aspects. Thus, by defending, via the gratification of unconscious wishes, against the anxieties an unsatisfactory reality may induce in man, literary form exists as a "compromise-formation" according to psychoanalytic theory. While the past may be preserved as good experiences are relived, and improved as bad experiences are censored, an unconscious security is derived from the reader's consequent capacity for consolation and self-defense. The paper then puts forth an interesting theory by Julius Heuscher, in his A Psychiatric Study of myths and Fairy Tales, who noted that "the reality value of the immediate experience is shunned on account of our natural scientific, analytical orientation which aims to objectivity everything including the human being, to reduce everything to measurable items interrelating in complicated causal chains. Thus

19 materialism has split our world in two: one world which is real because it is measurable, and one which is illusory because it is only subjective” The last aspect from the paper that helps build on this subchapter is how Freud describes one particular condition of love as the 'love for a harlot'", whereby "a virtuous and reputable woman never possesses the charm required to exalt her to an object of love; this attraction is exercised only by one who is more or less sexually discredited r whose fidelity and loyalty admit of some doubt Because the man needs to feel jealous in order to experience love, his desire is not for the exclusive possession of the woman (MODER, 1977) The next research paper the researcher has considered is Richard M. Waugaman’s paper titled A Psychoanalytic Study of Edward de Vere’s The Tempest. Here the author tried to prove that Shakespeare was not the man who penned his play but rather it was the then earl of oxford Edward de vere. The goal of the study was in linking de Vere’s life with The Tempest which the author believed mattered very much who the author of the world’s greatest literature is and hoped to achieve this by putting the play under a psychoanalytical study. Waugaman after reading the tempest found that exile, imprisonment and confinement are central themes that get repeated in several ways throughout the plot of The Tempest. The below excerpt from the paper helped in a thematic understanding of how to conduct a psychoanalytical study “Recall that Prospero has been on the island for 12 years when the play takes place. Ariel was imprisoned in the pine tree Sycorax put him in for 12 years. And Prospero threatens to punish Ariel by imprisoning him in a tree again for another 12 years. I do not think these repeated references to “twelve” are accidental. De Vere was 12 when his father died; that was a major loss and a major turning point in his life. His grief over his father’s death was probably revived by losing the Queen and facing his own death. A person’s age when a parental figure dies often becomes a crucial span of years for them in later life” An important aspect is finding recurring themes, recurring numbers, obsession with certain facts and figures and then asking “why was this done?” and thereby trying to unearth this and give a non-ambiguous conclusion Another aspect is extensive back study of the person in question, which in this case was Edward DeVere. For example, by reading this excerpt from the paper

“It is easy to imagine that de Vere identified with Christ. De Vere was the only Elizabethan arrogant enough to have put himself in God’s place when he used God’s reply to Moses in Exodus, “I am that I am,” on two occasions. He used this phrase in a letter to his father-in-law. It was an angry tirade because he thought William Cecil was paying de Vere’s servants to spy on him. In Sonnet 121, the speaker uses that same phrase “I am that I am” in anger. [And Iago says in Othello, “I am not what I am” (Act I, Scene 1).] If the Elizabethan seudonym “Ignoto” belonged to de Vere, it was yet another example of his hubris, since that word was previously used nearly exclusively in the Latin phrase “Ignoto Deo,” or “the unknown god.” In summary, the author reviewed the evidence and found that Freud was correct in believing Edward de Vere wrote the works of Shakespeare. He then explored some implications of de Vere having been the writer of The Tempest. He believed that the psychoanalytic perspective is vital to help overcome the powerful psychological forces that perpetuate traditional but erroneous assumptions that Shakespeare’s works were written by Shakespeare of Stratford. He believed that one of the worst distortions is the disavowal of a fundamental psychoanalytic understanding of the irreducible connections between a work of art and the artist’s life experiences and conflicts. He used Freud’s authorship theory to bring The Tempest into line with our usual psychoanalytic understanding of literature, which takes into account the ways in which a great writer’s imagination weaves a new creation out of the threads of his or her life experiences. (Waugaman) The next literature is an essay titled film and psychoanalysis by Barbara creed. The essay gives a brief introduction of how cinema and psychoanalysis are intertwined and how in the 1970s psychoanalysis was a key discipline to explain a series of diverse concepts. The essay then says that the first artistic movement to draw on psychoanalysis was the surrealist movement of the 1920s and 1930s. There was a quest for new modes of experience that tried merging the boundaries between dream and reality, the Surrealists extolled the potential of the cinema and that they were deeply influenced by Freud's theory of dreams and his concept of the unconscious. The paper then highlights the fact that Many of Freud's theories have been used in film theory: the unconscious; the return of the repressed; Oedipal drama; narcissism; castration; and hysteria. The paper believed that Freud’s most important contributions to understanding film through psychoanalysis were his accounts of the unconscious, subjectivity, and sexuality. The paper then mentions Freud's take that

21 repression is the key to understanding the neuroses. Repressed thoughts can manifest themselves in dreams, nightmares, slips of the tongue, and forms of artistic activity (all of which go in according to the findings in 2.1). Some psychoanalytic critics explore the 'unconscious' of the film text - referred to as the 'subtext' - analysing it for repressed contents, perverse utterances, and evidence of the workings of desire. The essay then speak about how writers applied the oedipal trajectory to the narrative structures of classical film texts. They pointed to the fact that all narratives appeared to exhibit an Oedipal trajectory; that is, the (male) hero was confronted with a crisis in which he had to assert himself over another man (often a father figure) in order to achieve social recognition and win the woman. The essay then put forth Margaret Tarratt analyses of the science fiction film. She argued that previous writers, apart from French critics, all view science fiction films as 'reflections of society's anxiety about its increasing technological prowess and its responsibility to control the gigantic forces of destruction it possesses'. Her aim was to demonstrate that the genre was 'deeply involved with concepts of Freudian psychoanalysis and seen in many cases to derive their structure from it'. In particular, science fiction explores the individual's repressed sexual desires, viewed as incompatible with civilized morality. Utilizing Freud's argument that whatever is repressed will return, Tarratt discusses oedipal desire, castration anxiety, and violent sadistic male desire. The essay then talks about the apparatus theory wherein the cinema, makes present what is absent. The screen offers images that suggest completeness, but this is purely imaginary. And though the spectator is aware that the offer of unity is only imaginary, he is forced to deal with a sense of lack, and is an inescapable part of the viewing process. An analogy was then drawn between this process and the experience of the (male) child in the mirror phase (child infantile phase). When the boy looks in the mirror and identifies for the first time with himself as a unified being he is also made aware of his difference from the mother. She lacks the penis he once thought she possessed. Entry into the Symbolic also involves repression of desire for the mother. So, apparatus theory emphasizes the way the cinema compensates for what the viewing subject lacks; the cinema offers an imaginary unity to smooth over the fragmentation at the heart of subjectivity.

In conclusion the essay drawing on Freudian theories of scopophilia, castration, and fetishism, and Lacanian theories of the formation of subjectivity, tried to decipher film through psychoanalysis (Creed, 1998) The final paper the researcher undertook in order to gaze upon the application of psychoanalysis in the field of art and media is titled “the painting of Pablo Picasso: a psychoanalytic study” by Daniel E. Schneider This study aims at proving that Picasso did indeed try to showcase all his findings but bulk of his paintings were created in order to search for something that is lost, and the author believed that Picasso could never search for it consciously but rather through unconscious and relentlessly compulsive. That being said the paper states that there is no accident that Picasso's innovations show all the essentials of an attack upon conventional pictorial concepts of reality. Which makes two characteristics psychoanalytically important: first, an infusion of an inordinately high psychic tension achieved pictorially by various methods of distortion; and second, a playing with time and space in relationship to the mass and dimensions of the body”. The author of the paper believed that these gross characteristics of his innovations will help define what the "periods" are,-namely, episodes of relief of tension in which the compulsive internal threats of failure are turned into successfully externalized attacks upon his world, challenging and disturbing. The author then focusses on Picassos use of narcotics who had on several occasions apparently taken "hashish" or marihuana, and though he did consume drugs, it did not add up to conscious research, it just indicated another attempt to seek relief. And here, the psychiatrist is on sure ground. But then the author said that it did not mean that Picasso's paintings are in any way “drug” paintings; it rather meant that the experiences of marihuana intoxication became part of a much larger and essentially Inherent need to crash through the borders of reality. Picasso’s attempts to seek relief, made him create a new world of "reality” behind or beyond reality. This the author believed to be one part of Picasso's great contribution. Which stems, from a deep sense of failure and loss, and is the result of the transformation of compulsive internal threats of failure and loss into artistically successful though disturbing externalized attacks upon the castrative reality of his world.

The research then goes on to build upon its literature by consulting Freud's famous study of Leonardo da Vinci. Where Freud stated: "Psychoanalytic investigation gives us a full explanation" (of children's compulsive' questioning) "in that it teaches us that many children, at least the most gifted ones, go through a period beginning with the third year, which may be designated as the period of infantile sexual investigation. As far as we know, the curiosity is not awakened spontaneously in children of this age but is aroused through the impression of an important experience, through the birth of a little brother or sister, or through fear of it endangered by some outward experience wherein the child sees a danger to his egotistic interests (the father). The investigation directs itself to the question where he is from, as if the child were looking for means to guard against such an undesired event. It investigates in its own way, and even at that time it has a vague conception of the sexual act which appears to the child as something hostile, as something violent. But as its own constitution is not yet equal to the task of producing children his investigation must also run aground and must be left in the lurch as unfinished. The impression of failure at the first attempt of intellectual independence seems to be of a persevering and profoundly depressing nature.” Another inspiration from Freud's study of da Vinci will help to explain the various consequences to the adult whose infantile investigations are so traumatic. That it results in three main types of resultant change. In the first type: "The investigation shares the fate of the sexuality, the curiosity henceforth remains inhibited and the free activity of intelligence may become narrowed for life; this is especially made possible by the powerful religious inhibition of thought.”, In a second type “the intellectual development is sufficiently strong to withstand the sexual repression pulling at it. Sometime after the disappearance of the infantile sexual investigation, it offers its support to the old association in order to elude the sexual repression, and the suppressed sexual investigation comes back from the unconscious as compulsive reasoning; it is naturally distorted and not free, but forceful enough to sexualize even though itself and to accentuate the intellectual operations with the pleasure and fear of the actual sexual processes. The feeling of settling the problem and of explaining things in the mind is put in the place of sexual gratification this reasoning never ends and the desired intellectual feeling of the solution recedes into the distance." "By virtue of a special disposition the third, which is the most rare and perfect type, escapes the inhibition of thought and the compulsive reasoning. Here too, the

24 investigation becomes more or less compulsive, but owing to the absolute difference of the psychic process behind it (sublimation in place of the emergence from the unconscious) the character of the neurosis does not manifest itself, and the impulse can freely put itself in the service of the intellectual interest, avoiding all sexual themes” Schneider then concluded that it was clear from this that Picasso belonged to the second type and that da Vinci to the third. And the justification given was that “For Picasso, solution recedes always further and further into the distance. One "period" follows another, endlessly. In each, it is true, "something new" is "found" but these are only pieces of a total thing lost -the tender mother surrendered to the father- the tender mother whose name Picasso chose to take (his father's name was Ruiz) - just as he chose exile from his motherland; and only once, in Guernica, did he express a specific political rage against a nightmare-come-true: fascism. The author then made clear a very significant myth of applied psychoanalysis and said it does not aim to judge art; on the contrary, it learns from art. And the greater the artist, the more the analyst has to learn, in all scientific humility. Psychoanalysis can aid in the understanding of the arts; it cannot tell what makes genius, and what makes mediocrity. That would remain to be an unsolved problem (Schneider, 1948)

2.4 The Artists

Under this topic the researcher would build upon the psychobiography profiles of the three artists which is essential in order to perform a psychoanalytical study, though the lives of these artists do not help the researcher determine their personalities, but rather helps in constructing a base to determine their inspirations and their aversions to certain topics.

2.4.1 Jim Morrison

Jim Douglas Morrison was born on 8 December 1943 Jim was given the middle name Douglas after Douglas MacArthur, “the flamboyant and controversial World War 2 general.” It was not because the family owed any sort of debt to this general, but rather was because. His father was in U.S. Navy and it was expected that Jim will continue with the military tradition once he grows up. Morrison’s parents had moved and changed homes four times before he was four years old this led to a lot of

25 insecurities and emotional difficulties for the mother as well as for the children as they rarely saw their father who was in The War. four year old Morrison who was in isolation, living in a family disturbed by the war, was then subjected to what is referred to ‘the most important moment’ of Jim Morrison’s life took place. In Morrison’s own words: “It was the first time I discovered Death. Me and my mother and father and my grandmother and grandfather were driving through the desert at dawn. A truckload of Indian workers had hit another car or something there were Indians scattered all over the highway, bleeding to death, it was the first time I tasted fear and I do think, at that moment, the soul or the ghost of those dead Indians maybe one or two of ‘em were just running around, freaking out, and just leaped into my soul, and I was like a sponge ready to just sit there and absorb it. And they are still in there”. This incident is said to have worked on various levels. The fascination for death after this moment never left him, psychologically it left him disturbed and he found escape in poetry and films and music and “lower level” ventures of alcoholism and drugs. This incident did something more profound, on a spiritual level he thought he was possessed by the spirit of a shaman. (Ruhil, 2014) By his son's early teens, the family had settled in Alexandria, Virginia. And in 1 966, the 22-year-old Morrison was enrolled in film classes at the University of California at Los Angeles (UCLA) but soon after joining UCLA. The plans he had of becoming a film maker would all be sidelined. (Cuscuna, 1995) He hailed himself as a poet, and there can be no doubt that Morrison wrote at a time of spiritual and intellectual awakening, a time in which younger Americans began to explore and expand their reality through a myriad of social and cultural practices: drugs, sexuality, communal living, Eastern religion and philosophy, to name some important examples. And there is no doubt that American youth’s rebellion against conventional Western practices (conservatism, materialism, Christianity) inspired Morrison to form the Doors, allowing him to participate in the intellectual movements that came to define the 1960s. (Erkel, 2011) To understand the poetic tradition from which Morrison built, we need to first understand Morrison’s philosophy of the human form, which can be credited to the theories developed by William Blake. Blake was Morrison’s greatest poetical influence, most notably, Blake’s poetry had an overwhelming impact on Morrison’s

26 understanding of the human form and it’s potential. In so doing, Blake’s poetry inspired Morrison to categorize humanity into two parts: a state where people live within a system of order that produces how they perceive their identities and reality, what I am calling “closed form,” and, in opposition to this state, Morrison posits that people have the capability to liberate themselves from this oppression to “open form,” a state in which people can live free from the confines of a fixed existence and begin to see the infinite in all things. (Erkel, 2011) Morrison, drawing from the theories of Blake, once famously stated that: “there are things that are known and things that are unknown and in between are The Doors” Morrison, like Blake, glorifies the imagination precisely because it does not abide by the principles of a physical world; as a result, when we separate ourselves from every influence, structure, or binary that may dictate how we perceive reality, our imagination becomes free, free to achieve “endlessly anything,” precisely because nothing stops our imagination from accomplishing what it can accomplish. (Erkel, 2011) Morrison’s creative output––on his own and with The Doors––leads to questions about his transformation from legend to mythical character and his interactions with the local counterculture of his time. Morrison simultaneously loved and hated his transformation: the Changeling identified himself as the Lizard King in his song “Not to Touch the Earth” (a song that was extracted from the longer recording “Celebration of the Lizard” on the album Waiting for the Sun); he soon discovered he could do anything but shed this mythical persona. Most of the public equated him onstage and offstage with the dark aesthetics. Morrison’s image was that of a troublemaking singer, who may or may not be dead, whose issues with being “Lizard King,” drunken poet, rail thin or bloated, make him a perpetually misunderstood artist. (Goldsmith, 2007) Cuscuna compared Morrison to bassist Charles Mingus––not musically, but in respect to their misunderstood public images—certainly praise for Morrison as a person, he said that he found Jim Morrison to his surprise a beautiful human being who, not unlike Charles Mingus, has been a victim of sensational publicity and harassment by silly journalists. This same Jim Morrison seems trapped in the routine of success, with a public image to live up to, while his best musical and cinematic talents and ambitions remain stifled and/or untapped. This very reason was seen as the downfall of their music, wherein Jim Morrison was primarily living a life he had not

27 envisioned for himself, he never considered himself to be a rock star, but rather a film maker or a poet, but never a rock star. (Cuscuna, 1995) During the recording of their final album L.A. Woman, Bob Chorush interviewed an old and weathered Morrison. His aged and bearded appearance surprised Chorush, Morrison spoke to him about his return to music and also explained his talents of “self-image propagation” and “manipulating publicity” or the media. And said that these talents were part of his own game: “I was very good at manipulating publicity with a few little phrases like ‘erotic politics.’ (And) Having grown up on television and mass magazines, I knew instinctively what people would catch on to. So I dropped those little jewels here and there––seemingly very innocently––of course just calling signals.” Morrison also spoke about his insecurities and that he believed his voice still to be very underdeveloped “I really want to develop my singing. You know, I love the blues, like Joe Turner and Freddie King. I would like to get into that feeling and sing some old standards like ‘St. James Infirmary” (Morrison, 1971)

2.4.2 Kurt Cobain

Kurt Donald Cobain, an individual recognized as being the front-man of the band, Nirvana, which gained popularity, and as a result, alternative rock became a dominant genre on radio and music television in the United States during the early-to- mid-1990s. Nirvana also brought along with it the subgenre of alternative rock to a new form of subgenre, grunge. Kurt Cobain found himself referred to in the media as being the spokesman of a generation (Pieterse, 2009). Kurt Cobain was born in Hoquiam, a small town 140 kilometers from Seattle on the 20th Cobain was for most of his childhood a sickly bronchitic child and began his lifelong dependency on drugs in 1974, when he was prescribed first Ritalin, and then sedatives to help him sleep. This medication did not help Cobain and it only caused him to swing from mania to despair (Sandford, 1995). His parents got divorced in 1975 when he was seven years old, and by his own account, he said that he never felt loved or secure again. In a 1993 interview, Cobain stated that he remembers feeling ashamed of his parents, and that he could not face some of his friends at school anymore, as he desperately wanted to have the typical family, with a mother (Sandford, 1995).

His mother was a cocktail waitress and his father was an auto mechanic (Ronson, 1996). They soon moved to nearby Aberdeen, a depressed and dying logging town. In 1970, his sister, Kimberly was born, and that night, Cobain went missing from home, and was found by a neighbor crying under a bridge. Cobain also used to write poetry when younger, and dedicated all his poems to his mother, and none to his father, which Cobain later described as a sense of betrayal (Ronson, 1996). He wanted that security, therefore he resented his parents’ for quite a few years because of their divorce. In 1978, Cobain’s father re-married and inherited two stepchildren, which Cobain experienced as a shock similar to that of his parents’ divorce. His mother remarried in 1984, to a man who was opposed to accepting Cobain as his new stepson (Sandford, 1995). He became increasingly difficult, anti- social and withdrawn after his parent's divorce. His mother noted that his personality changed dramatically (Ronson, 1996). He was also known as a bully and loner, and then at other times, he was described as weak and clingy. (Sandford, 1995) After living with his mother for a year after the divorce, he moved to Montesano, Washington, to live with his father, but after a few years his youthful rebellion became too overwhelming and he found himself being shuffled between friends and relatives, and at one stage, homeless (Sandford, 1995). From the early age of two years old, Cobain began to develop an interest in music. For his fourteenth birthday, his uncle gave him the option of a guitar or a bicycle as a gift and he chose the guitar. He started learning a few cover songs, and soon began working on his own songs (Sandford, 1995). In high school, Cobain was more interested in art and music than in sports, and he did not have many friends (Sandford, 1995). However, his father insisted that he play sports, therefore he joined the junior high wrestling team, where he was good at it, but despised it. His father also signed him up for a local baseball league, where Cobain would strike out intentionally to avoid having to play. Cobain preferred to focus on his art courses, and he often drew during classes, including objects associated with human anatomy. (Sandford, 1995) Cobain became friends with a gay student at his school, which resulted in him being bullied at the hands of homophobic students. That friendship led some to believe that he himself was gay. In one of his personal journals, Cobain wrote that he was not gay although he wished he was, just to upset homophobes (Sandford, 1995). In a 1993 interview, Cobain claimed that he used to spray paint ‘God is Gay’ on a church, and he was given a monetary fine, as well as a thirty-day suspended sentence

(Sandford, 1995). In the middle of tenth grade, 1983, Cobain moved back to live with his mother in Aberdeen. Two weeks before his graduation, he dropped out of high school however, after realizing that he did not have enough credits to graduate. His mother then gave him the option of either getting a job or leaving home, and after a week or so, Cobain found his clothes and other belongings packed away in boxes. Cobain was forced out of his mother's home, and therefore often stayed at friends' houses and sneaked into his mother's basement occasionally (Sandford, 1995). Cobain later claimed that when he could not find anywhere else to stay, he lived under a bridge over the Wishkah River, an experience that inspired the Nevermind (1991) track, "Something in the Way". In 1986, Cobain moved into his first house where he lived alone and paid his rent by working at a coastal resort twenty miles from Aberdeen. As a teenager, Cobain eventually found escape through the thriving Pacific Northwest punk scene, attending punk rock shows in Seattle. He then met Krist Novoselic, a fellow devotee of punk rock, and they would occasionally play their instruments together. In 1986, Cobain, the lead singer, and Novoselic, on guitar, formed the band Nirvana (Ronson, 1996). They had many rotating drummers, however, they eventually settled with Dave Grohl, with whom the band found their greatest success in 1991 (Sandford, 1995). Nirvana then went on to become a multi-platinum grunge band that redefined the sound of the nineties. (Ronson, 1996) Cobain had a number of relationships before committing to Courtney Love in 1992. They were introduced at a concert in Los Angeles in 1991, and began to pursue an on-again, off-again relationship. However, the two found themselves together on a regular basis, often bonding through drug use (Sandford, 1995). In 1992, Love discovered that she was pregnant with Cobain’s child, and the two got married on the 24 February 1992 in Hawaii (Ronson, 1996). Their daughter, Frances Bean, was born on the 18 August 1992. (Sandford, 1995). Cobain had his first drug experience with marijuana at the age of thirteen in 1979. He also experimented with LSD, and his first experience with heroin occurred in 1986. By 1990, Cobain had developed an addiction to heroin. His addiction eventually began to affect the band negatively. The substance abuse deteriorated over the years, and he made his first attempt at rehab in 1992. However, when returning home after a tour in 1992, his heroin use resumed (Sandford, 1995). The period of 1992 to1994 is marked with Cobain suffering heroin overdoses and attempting suicide

30 several times. One attempt involved him drinking an estimate of fifty prescription painkillers (Rohypnol) with champagne, and another suggestion of an attempt involved him locking himself up in a room with a gun and a bottle of pills. Though in a 1992 interview with rolling stones magazine he said "I don't even drink anymore because it destroys my stomach, my body wouldn't allow me to take drugs if I wanted to, because I'm so weak all the time. All drugs are a waste of time, they destroy your memory and your self-respect and everything that goes along with your self-esteem. They make you feel good for a little while, and then they destroy you. They're no good at all. But I'm not going to go around preaching against it. It's your choice, but in my experience, I've found they're a waste of time''. (Azzerd, 1992) In 1994, Cobain agreed to undergo a detoxifying programme, but subsequently escaped from the facility (Ronson, 1996). On the 8 of April 1994, Cobain’s body was found in his home. Cobain had pumped his veins with heroin and had a self-inflicting gunshot wound to the head (Sandford, 1995). All he left was a suicide note written in red ink addressed to Courtney Love and their 19 month old daughter (Ronson, 1996). Two days after Cobain's body was found, 6000 people gathered in Seattle for a candlelight vigil. The distraught crowd filled the air with profane chants, burnt their flannel shirts and fought with police. They also listened to a tape made by Love, in which she read from his suicide note. Several distressed teenagers in the United States of America and Australia killed themselves when they heard about Cobain’s death, and the mainstream media was lambasted for its lack of respect and understanding of youth culture. (Ronson, 1996) Cobain was viewed by the media as an influential human being, as he formed the generation for grunge music, and was also viewed by the youth as someone inspirational, allowing them to relate to an older figure, and allowing them to express their own personal values and beliefs without feeling badly for doing so. Cobain was also a highly complex individual with many elements to him. (Pieterse, 2009)

2.4.3 Janis Joplin

Janis Lyn Joplin was born on January 19, 1943, in Port Arthur, Texas. Developing a love for music at an early age, Joplin sang in her church choir as a child and showed some promise as a performer. Joplin was a good student and fairly popular until around the age of 14, when some side effects of puberty started to kick in. She got acne and gained some weight. At Thomas Jefferson High School, Joplin

31 began to rebel. She eschewed the popular girls' fashions of the late 1950s, often choosing to wear men's shirts and tights, or short skirts. Joplin, liked to stand out from the crowd, and therefore became the target to teasing as well as a popular subject in the school's rumor mill. She was called a "pig" by some, while others said that she was sexually promiscuous. Musically, Janis Joplin gravitated toward blues and jazz, admiring such artists as Lead Belly. Joplin was also inspired by legendary blues vocalists Bessie Smith, Ma Rainey and Odetta, an early leading figure in the folk music movement. By her senior year of high school, Joplin had developed a reputation as a ballsy, tough-talking girl who like to drink and be outrageous. A blues aficionado, Janis Joplin was drawn to the purest source material while living a lonely adolescence she sang with feverish power. (The Rock and Roll Hall of Fame and Museum, 2007) In the summer of 1962, Joplin fled to the University of Texas at Austin, where she studied art (Janis Joplin Biography, 2015). She began singing in bars and coffeehouses, in Austin, where she spent most of a year at (Willis, 1976). In Port Arthur, she'd been a misfit: ever the right thing in a wrong place. She never really fit in at Austin, either, except with her fellow hippies (Hendrickson, 1998 ). She wasn't so much a writer of blues songs as she was a practitioner, an interpreter (Hendrickson, 1998 ). But she made them her own in a way few singers dare to do. She did not sing them so much as struggle with them, assault them. (Willis, 1976). Janis Joplin did not initially see herself as a big-time performer or a major talent (Doyle, 2007). In 1966, she went to San Francisco and got together with a rock band in search of a singer. Big Brother and the Holding Company (Willis, 1976). At the June 1967 Monterey Pop Festival she captured national attention with a stunning blues performance of “Ball and Chain.” From that point on, she became something of national phenomenon. (Doyle, 2007) Joplin belonged to that select group of pop figures who mattered as much for themselves as for their music; among American rock performers she was second only to Bob Dylan in importance as a creator/recorder/embodiment of her generation's history and mythology. She was also the only woman to achieve that kind of stature in what was basically a male club, the only Sixties culture hero to make visible and public women's experience of the quest for individual liberation, which was very different from men's. Joplin's metamorphosis from the ugly duckling of Port Arthur to the peacock of Haight-Ashbury meant, among other things, that a woman who was

32 not conventionally pretty, who had acne and an intermittent weight problem and hair that stuck out, could not only invent her own beauty (just as she invented her wonderful sleazofreak costumes) out of sheer energy, soul, sweetness, arrogance, and a sense of humour, but have that beauty appreciated. (Willis, 1976). But not everyone loved Janis Joplin. Her stage antics and whiskey-swilling, devil-may- care style put many people off. Some were convinced she had a death wish and was killing herself slowly with each performance and each day’s excesses. (Doyle, 2007) Following a long struggle with substance abuse, Joplin died from an accidental heroin overdose on October 4, 1970, at a hotel in Hollywood's Landmark Hotel. Completed by Joplin's producer, Pearl was released in 1971 and quickly became a hit despite her untimely death, Janis Joplin's songs continue to attract new fans and inspire performers (Janis Joplin Biography, 2015). Although California – and in particular San Francisco – is the place the world associates with her name, Texas, and especially Austin, is the better place to try and make contact with her ghost (Hendrickson, 1998 ). Dubbed the "first lady of rock 'n' roll," Joplin has been the subject of several books and documentaries (Janis Joplin Biography, 2015). Joplin was remembered as a musical force and an icon for her own times as well as the ages. (Doyle, 2007)

2.5 Messages Through Music

The last theme of this section is on secret messages spread through music and how the significance of breaking down the verses, and the significance of verses alongside how music can be utilized for diverse motivation and not pretty much as excitement or for delight. From the diary titled "is there an impact of subliminal messages in music on decision conduct?" it clarified that it is a boundless conviction that worded messages can be installed and covered up in music with the goal of controlling the audience's conduct and that numerous have guaranteed that subliminal systems are utilized for promoting and promulgation purposes. (Egermann, 2006) While the diary titled "the shrouded messages of music" expressed that separated from music's external structures kind, verses, and so on each bit of music has more unobtrusive and intense variables that impact us on more profound than-cognizant levels. While the other diary titled "subliminal messages between the villain and the media" said that in any event some stone music has been back conceal to contain sinister and medication

33 related messages and that the substance of these subliminal messages impacts the audience (Vokey, 1985). There are five approaches to implant worded messages in music: • First, the objective words or messages are set in the music underneath the sound-related edge and are, therefore, conceal by the music; • Second, it is conceivable to utilize words with a modified time-structure (supposed in reverse veiled messages) and blend them. Over the perceptual edge • Third, in reverse veiled messages can likewise be utilized subliminally; • Fourth, high pass filtered worded messages (containing frequencies above 15 kHz) can be utilized (purported "noiseless subliminal"); • Finally, time-contracted subliminal messages (played back twice as quick as recorded) can be covered up in the music Subliminal discernment is portrayed by recognition without mindfulness. This trademark is likewise underscored in the meaning of "subliminal message" which is "any circumstance in which unnoticed boosts are seen" For instance, such jolts may be quiet to the cognizant personality yet capable of being heard to the intuitive or more profound personality, or they may be pictures transmitted so brief that they are seen just subliminally Researchers chipping away at psychoanalytic hypothesis are particularly intrigued by this subject (Egermann, 2006). The advocates of back masking contend that the impacts of most prominent concern are not the intentionally seen implications of in reverse messages yet rather those impacts emerging from oblivious or subliminal anxiety of the (forward) which means of the material (Vokey, 1985). Music is an intense apparatus in such manner on the grounds that it follows up on awareness more specifically than most different mediums of correspondence. Music is a vibration that effortlessly sidesteps any mental and discerning resistances to influence us on lively and passionate levels, regularly paying little respect to things like sort and verses (Brockschmidt, 2005) The inquiry stays in respect to how words in music can impact individuals in the event that they can't really hear them. Two answers can be given to this inquiry: In the first place, from an advanced mental viewpoint there is proof that the minor confidence in the presence of subliminal messages is adequate to instigate impacts. As often as possible, we can watch that subjects' conduct is impacted by their assumptions about subliminal messages and not by the data conceal by the music.

Second, boosts beneath the listening limit can bring about physiological responses (e.g., change of heart rate, galvanic skin reaction, and so on.). Indeed, even on account of oblivious recognition, data preparing on a physiological level can't be rejected. Physiological responses likewise rely on upon the substance of messages: Contrasted with nonpartisan target words, on account of target words with sexual intentions, physiological responses neglected to show up (Egermann, 2006) Every kind has a tendency to polarize comparable cognizance to itself, so most music of a class tends offer a comparative vibration to the point that a few speculations can be made. There are dependably exemptions, be that as it may, contingent upon cognizance and ability of particular specialists. (Brockschmidt, 2005) And well known music verses take after social patterns, and verses account new societal improvements. An expert subject in society is independence since mainstream culture and famous music are unequivocally connected, "The presence of the one is a sound sign of alternate" (Dukes, 2003) What's at last conveyed through any bit of music is the cognizance and attraction of both writer and entertainers: their mentalities, their feelings, their yearnings (or scarcity in that department), and their way to deal with life's difficulties (Brockschmidt, 2005). Musicians send exceptional complex gadgets to fabricate their verses (Fell, 2014) While music's belongings may be widespread, that is, whether they are valuable or destructive is an individual concern. (Brockschmidt, 2005). The sexual symbolism of numerous tunes is powerful to the point that it at last characterizes what is manly and what is ladylike. (Dukes, 2003) when an arranger knows about the internal message and backings it with the external message and the very types of the music, the outcome is a high level of clarity and force. (Brockschmidt, 2005) There are three measurements through which one can comprehend the message of a bit of music. To begin with are the characteristics of feeling as inborn in the music itself. Elegantly composed music can prompt pretty much any disposition or feeling: fearlessness, trust, outrage, nervousness, peace, and so forth. This is proficient through musical components like tune (rising, falling, lilting, choppy,etc.), beat (relieving, enacting, fomenting, and so forth.), mood (unfaltering, scattered, substantial, light, and so on.), amicability (which offer profundity to feelings), the particular decision of instruments (strings, metal, woodwinds, and so on.), and playing styles (culled, bowed, and so forth.)

The second measurement includes the characteristics of feeling that emerge from our own passionate reactions. Certain music—particularly surely understood tunes, songs of devotion, and so forth.— bring back particular recollections for us The third measurement is the nature of vitality communicated in the music. There are three essential characteristics of vitality: stifling (substantial or impeding), initiating (stimulating or occupied), and lifting (light or clarifying).Music can express one of these qualities unmistakably, or contain a blend of them. This said, the diary titled "shake and move soundtracks and the creation of wistfulness" composed that Music assumes a focal part in the generation of sentimentality in the wistfulness film sort. Each of the movies broke down in the paper utilized music and sentimentality to diverse political finishes, however, when taken together, they raise doubt about the relegating of a specific governmental issues to the wistfulness film or to sentimentality itself (Shumway, 1999) It finished up by saying that every film spoke to the adolescent by method for the recorded music utilized on its sound track and that in these movies youth is the favoured site of wistfulness The last a portion of this theme tries to highlight the significance of verses and from the diary titled "Verses based examination and grouping of music" it said that verses are regularly less demanding to acquire and handle than sound information, and non-performers, specifically, frequently depend emphatically on verses In addition, verses don't just add semantic substance, they can serve as an (easily discernible) intermediary for the melodic, basic and cadenced properties of the sound sign. Tune and beat, while a tune's general structure is reflected in the request of literary components, for example, melody, verse and scaffold. Mental research likewise gives prove the sound and literary substance are without a doubt prepared freely in the cerebrum and subsequently are correlative for our energy about things. Thus through a thorough reference of all this journals, papers, books and miscellaneous works the researcher has been able to vividly see and understand the potential of his own research. The researcher has been able to reflect and link his research to several topics that he has come across in the process of going through the ROL.

3 Chapter 3

METHODOLOGY

Research supports and contradicts numerous possible characteristics for musicians, but has yielded little, if any, sound empirical support for believing that there are characteristics unique to musicians. Research appears to have neglected the possible relation between the musician’s personality and factors such as the venue or context in which the music is performed, the particular musical genre, the presence or absence of career success, and culture. "Qualitative research" does not designate a specific approach. Rather, it signifies development of a coalition of interests and a movement toward diversity of inquiry. This movement rejects the view that practice knowledge is derived from scientific research and holds practice knowledge as achievable in many ways, including some that are subjective, interpretive, and case specific. Some qualitative researchers ("advocates") promote a pluralistic view, rejecting the view that there should be one set of criteria for all scientific work. Quantitative science and qualitative research are viewed as incommensurable. Other qualitative researchers ("traditionalists") believe that the research question suggests whether quantitative or qualitative methods are appropriate, and they see these as commensurable. Traditionalists hold to common standards against which all knowledge is judged. The soundness of its knowledge base is critical to the profession's effectiveness and its survival. The profession must carefully consider the consequences of a movement toward subjectivity research in a society that increasingly applies scientific criteria to knowledge claim. These qualitative themes centre on notions that empirical reality should be approached as potentially multiple realities, constructed by perceivers, and frequently acted on as if there were one objective reality. Empirical reality-what researchers set out to capture as data and understand in terms of abstraction-is complex, intertwined, understood most fully as a contextual whole, and ultimately inseparable from the individuals "knowing" that reality. The issues of perception, meaning, and multiple

37 realities discussed here were not "discovered" by qualitative researchers, nor are they completely ignored by other research traditions. However, in qualitative research, these concerns move centre stage. Many of the practices that have become hallmarks of qualitative research-for example, semi structured and unstructured interviewing- have arisen as ways to conduct trustworthy inquiry in a world of complex and interwoven constructed realities. The Researcher as Interpreter Within the context of the qualitative themes mentioned above, the idea of an "objective" researcher is suspect. To be human in this world is to interpret: to assign meaning to experience and view that meaning as objective. Emergent Nature of Qualitative Research practices vary greatly in the amount of predefined, or pre-specified, structure and strategy that shapes the research process. These pre-specified structures and strategies range from theory, constructs, and operational definitions guiding data collection to analytical methods driving data analysis. In much qualitative research, these structures and strategies are viewed as suggestive and tentative rather than as directive and rigid. Understanding is expected to emerge as part of the research process and guide the modification of pre-specified constructs and strategies or the creation of new ones. The process is an iterative one, where tentative understandings-sometimes called "hypotheses"-are formulated and then "tested" against the data. Testing and extending these new understandings may also involve a return to the field for additional data.

3.1 Rationale

The exploration led for this study can be delegated by a Psychoanalytical Study with a psycho-anecdotal interest as the core. This included the systemic utilization of a particular mental hypothesis to recognize, understand and document the lives of Kurt Cobain, Jim Morrison, and Janis Joplin into an intelligent, educational story that is an exact representation of who they were, and how they have been seen for the duration of their life. The life history material that has been gathered is transcendently subjective in nature. They were picked as the exploration subject by method for purposive testing on the premise of the specialist's advantage and on his uniqueness and persuasive impacts on the overall population. The biographies and histories of celebrated and cryptic people have enamoured and interested researchers in the different controls of life story and investigative brain science. The expanding mindfulness of both the abstracting

38 memoir and brain research make fundamental commitments to the comprehension and unravelling of the lives of the individual and is shown by the way that analysts keen on individual improvement have drawn on historical wellsprings of data. This has hence brought about a harmonious relationship between brain science and life story, and psychobiography mirrors this union Psychoanalytical study examination considers an inside and out investigation of an individual and yields applicable knowledge and results while looking at a person completely. This methodology permits the analyst to catch the uniqueness of a subject and in this manner give an intriguing comprehension of that person. The researcher knows that it is impractical to totally clarify any singular character. Then again, an exertion has been made to give a portrayal of the subject's character altogether as could be expected under the circumstances inside of the requirements that using ones hypothesis may force. Note that the analysis makes utilization of solid confirmation and uses the calculated structures of the theory and identity brain science with a specific end goal to clarify the particular examples of human conduct for improvement. Psychobiography, Psychoanalytical investigations and psychoanalytical Psycho-diagnostic studies are all types of individual Psychoanalytical study that look into and allow comparisons between the characters for a more extensive exploration. Psychoanalytical study examination has been utilized for a long time over an assortment of orders. The meaning of psychoanalytical study research system as an exact examination of a contemporary wonder inside of its genuine connection, when the limits in the middle of marvel and setting are not plainly clear, and in which numerous wellsprings of proof are utilized. In the past it was considered to some degree unscientific, commentators of Psychoanalytical study exploration trust that the investigation of a little number of Psycho-analyticals can offer no premise for building up dependability or speculation of discoveries, and the extraordinary introduction to investigation of the Psychoanalytical inclinations the discoveries. Acknowledgment of its worth was likewise progressively lost as excitement developed for the advancement of quantitative philosophies. Some release Psychoanalytical study research as helpful just as an exploratory apparatus. On the other hand, the feedback that was levelled at the methodology has turned out to be less regular as of late. The explanation behind this has been mostly because of a more prominent accentuation on a wide range of exploration to be essentially material.

A Psychoanalytical study methodology takes into consideration a top to bottom investigation of a person which can yield important knowledge and results while taking a gander at the individual comprehensively. Numerous supporter logical advancement which takes into consideration an increment in educational and intriguing comprehension of people. In any case, exploration approaches that are quantitative and exploratory may by-pass the uniqueness of a singular's life. Psychoanalytical study exploration is typically non-test in that it needs control and control of the variables being concentrated on, as it is the investigation of mental wonders inside of the normal connection that uses subjective devices and methods for information gathering and examination. Triangulation, which is a procedure of utilizing numerous recognitions to clear up significance, checking the repeatability of a perception or an understanding, advances psychoanalytical study research as it empowers the specialist to approach the Psychoanalytical from various points of view. This accordingly encourages a valuation for the different measurements of the Psychoanalytical too, as it includes different social, physical, typical and mental connections. Psychoanalytical study research further gives a commitment to information by relating discoveries to generalizable hypothesis. Thus, this considers the testing of a current hypothesis or the definition of another hypothesis. Rather than psychobiography, a Psychoanalytical study manages the documentation of particular occasions or mental scenes inside of a sure period in a singular's life instead of an expanded timeframe. Psychobiography has a solitary Psychoanalytical examination outline, in any case. This means to give another depiction and a top to bottom investigation of an individual life to affirm or disprove existing mental hypothesis. The historical strategy for Psychoanalytical study has turned into a critical way to deal with social examination. This can be credited to an assortment of variables incorporating an expanded enthusiasm for the life course and worry with a lived experience, and how best to uncover it. The real claim of personal examination is that it can investigate, in different methodological and interpretive ways, how singular impression of encounters inside of an existence can be comprehended inside of a socially various society.

3.2 Overview of Personality Theories:

The Various theories have endeavoured to clarify human identity. The most broadly perceived mental hypotheses are introduced beneath.

The Psychoanalytic Theory In his psychoanalytic elucidation, Sigmund Freud trusted that the human personality could be partitioned into three noteworthy segments, in particular the id, the sense of self or ego, and the superego, which either cooperate, or clash, to shape identity. Analysis underlines oblivious inspirations and the contentions between primitive desires and learned social foundations, focusing on the significance of age or on the time the child encounters these factors is decisive in developing identity. A singular's musings, missteps, dreams and different practices are consequently inspected with a specific end goal to decide their fundamental significance and meaning. Different scholars that have been emphatically impacted by Freud like Anna Freud and the sense of self clinicians, of whom Erik Erikson is the best known. Erikson trusted that identity created through a progression of stages, with specific clashes emerging at every stage. Accomplishment in any stage relied on viably beating these contentions. Jung is another scholar with a more transpersonal point of view, which has an a great deal more otherworldly centre, and the social mental perspective was investigated by scholars, for example, Alfred Adler, Karen Horney, and Erich Fromm. The Behavioural Theory Exponents of behaviourism, for example, B. F. Skinner, propose that a singular's identity is produced through outside boosts, and in the behaviourist model, identity can change essentially with a change to another environment. Social-learning scholars, for example, Albert Bandura, additionally stressed natural impacts however proposed that these work in conjunction with strengths, for example, memory and emotions to decide identity. Behavioural scholars hence additionally contemplate detectable and quantifiable practices. Behaviourists, and additionally their cutting edge relatives the cognitivists, likewise lean toward quantitative and trial routines. Hence, the qualities of the three primary ways to deal with behavioural hypothesis, which incorporate radical-behaviourism, social learning and the psychological behavioural methodology, are that their speculations are generally tight-fisted, they minimize the utilization of hypothetical develops, and minimize derivations. They additionally contrast from different techniques by the

41 significance they put on learning and encounter, and the situational specificity of conduct. The Humanistic Theory: the Humanistic methodology is frequently in light of a response to psychoanalytic and behaviouristic speculations, as the basic conviction is that the answers are to be found in cognizance or experience. Phenomenological routines are favoured by most humanists. Humanistic scholars incorporate Abraham Maslow, Carl Rogers, and Viktor Frankl. Humanist speculations highlight the significance of through and through freedom and individual involvement in the advancement of identity. Humanist scholars stress the idea of self-completion, which is a natural requirement for self-improvement that rouses conduct. In this way, humanists trust that every individual endeavours to add to their natural, maximum capacity, to enhance themselves and their circumstances, though the existentialists trust that people coordinate their own particular life through the standards they set for themselves, in this way, assuming liability for themselves and discovering significance in their lives.

3.3 The Trait Approach

Notwithstanding the framework used to arrange identity and identity speculations, the investigation of characteristic and sort hypotheses stays one of the regular components over each of these frameworks. Costa and McCrae venture to propose that psychology of traits, which stresses singular contrasts, as a fourth school of brain research. They hold that each of alternate schools joins the attribute model to some degree as every school endeavours to represent in any event some individual contrasts. Taking after is a brief outline of the attribute and sort hypotheses. Most identity scholars are worried with characteristics, as qualities are what make people who they are. They are the moderately perpetual parts of every person and are confirmed by the consistency in their connections. In this way, what makes these attributes to deal with comprehension of identity is not quite the same as alternate speculations can be investigated underneath. While most speculations speak at endeavours to better comprehend the improvement of identity, though quality scholars are less worried about advancement also foreseeing a singular's conduct in a given circumstance is additionally not a worry of attribute scholars. Not similar like numerous other hypothetical introductions, quality scholars are occupied with the examination of people in view of angles, as well as degrees, and attribute hypothesis

42 does not basically give a medium of identity change. The quality way to deal with identity is likewise centred around contrasts in the middle of people, and how the blend and communication of different attributes join to shape an identity that is one of a kind to every person. Attributing hypothesis is in this manner concentrated on recognizing and measuring these individual identity qualities. In 1936, Gordon Allport found that one English dialect lexicon alone contained more than 4,000 words portraying diverse identity attributes. He accordingly sorted these qualities into three levels, to be specific cardinal attributes, focal characteristics, and optional characteristics, which will be further examined beneath: Cardinal Traits: attributes that manage a singular's entire life, frequently prompting the circumstance where the individual gets to be known particularly for these characteristics. People with such identities may turn out to be so recognized for these attributes that their names are regularly synonymous with these qualities. Allport proposed that cardinal attributes are uncommon and have a tendency to grow further down the road Focal Traits: The regular attributes that shape the essential establishments of identity. These focal qualities, while not as ruling as cardinal attributes, are the principle qualities used to depict another person. Terms, for example, savvy, genuine, modest and on edge are viewed as focal characteristics. Attributes that direct a singular's entire life, regularly prompting the circumstance where the individual gets to be known particularly for these characteristics. People with such identities may turn out to be so distinguished for these attributes that their names are regularly synonymous with these qualities. Allport proposed that cardinal characteristics are uncommon and have a tendency to grow sometime down the road. Optional Traits: Traits that may identify with states of mind or inclinations and regularly develop just in specific circumstances or under particular circumstances. A few illustrations would be getting on edge when writing an exam, or anxious while holding up in movement

3.4 Limitations and Shortcomings

Before undertaking a Psychoanalytical study, the scientist must contemplate the conceivable constraints or inadequacies of the methodology. These deficiencies, and additionally conceivable recommendations for decreasing their impact, are talked about underneath. In any Psychoanalytical study, potential issues may exist. It is the

43 obligation of the specialist to know about these issues and figure answers for manage them before they emerge. In this point, the analyst orchestrates the work that has been done on the requirements and deterrents intrinsic to the philosophy of the Psychoanalytical study methodology, and the way to overcome them. These troubles are portrayed as key methodological contemplations that should be succeed, or if nothing else minimized, all together for the Psychoanalytical study to qualify as perfect. Methodologies are prescribed as an approach to deal with the challenges and to diminish the error between the potential and execution of the Psychoanalytical study approach. Specialist Bias and Countertransference In the investigation of an individual Psychoanalytical, there is a plausibility of scientist inclination and countertransference might regularly be experienced. There may be times when the researcher romanticizes with the subject and appreciates the status of being joined with such a commended figure, and at different times, the specialist may discover flaw with their subject. These passionate responses are more often than not of an oblivious or non-purposeful nature, and the analyst may trust that they are just recognizing and portraying the subject's identity. These ought to be countered through consistent mindfulness and examination of emotions toward the subject, for example, portraying their sentiments about the subject, their predispositions, and the way they have chosen to expound on that specific subject. The researcher ought to additionally keep up sympathy for the subject, as it is particularly helpful as a shield against the inclination to be opposing, And, finally the analyst ought to stay open to articulations in regards to the way of the association with the subject. The researcher may accomplish this by asking their directors, or other Psychoanalytical study experts to peruse the original copy. In this stride, specific people who are personally familiar with the subject's identity, and researchers who have some expertise in the investigation of lives, are asked for to remark particularly on the specialist's association with the subject. Reductionism, numerous psychobiography’s don't consider the intricate, verifiable, social and social setting inside which the singular's life occurred, despite the fact that the subject's life is firmly formed by the way of life and sub-society. Another feedback is that traditionally, psychobiography’s put a great part of the emphasis on psychopathological procedures and give little regard for ordinariness and wellbeing. A third kind of reductionism as being occurrences in which the scientist

44 clarifies grown-up character and conduct solely as far as youth encounters, in this manner fail to incorporate later impacts. Analysts ought to make utilization of numerous wellsprings of reference. Along these lines various types of information from different sources ought to be utilized to pick up a right translation, as understandings would not be legitimate if the data whereupon it rests is erroneous. Translations of the singular's identity need to coordinate mental viewpoints including both the recorded and the social angles. Different wellsprings of reference have been made utilization of in this concentrate, for example, a memoir composed of the lives of these three specialists, different books and diary articles expounded on them, data acquired from the web, individual data from their diaries and interviews, and a third individual spectator report identity stock. The analyst will likewise make utilization of the verses of their tunes, the melodies picked include their highs and lows amid their limited ability to focus distinction in the business before their passing at 27 years old. Along these lines, the analyst has endeavoured to keep up a steady utilization of dialect which is justifiable all through the study. It is likewise prescribed that the subject of the study be viewed as comprehensively as a person in the connection of their socio-verifiable setting. Legitimacy and Reliability The nature of the Psychoanalytical study configuration can be measured by four tests, specifically: inside legitimacy, outside legitimacy, develop legitimacy and unwavering quality. The methodologies and precautionary measures proposed to meet these tests are talked about in the accompanying area: Inner Validity Multiple wellsprings of information, ought to be utilized and as a part of profundity exploration of the material ought to be performed keeping in mind the end goal to check for mutilations Outer Validity this involves the degree to which conclusions drawn from the study can be summed up outside of the cases being concentrated on. On the other hand, because of the way of the study being exploratory and clear, the point is to speak to the subtle elements of the singular's cases with no desperation to sum up to different cases. Build Validity the scientist ought to precisely select and conceptualize the variables to be considered, which ought to be with regards to the points of the study. Any potential issues will be overcome by triangulation of information whereby the numerous sources will give various measures to accept the builds.

Dependability The target of unwavering quality is to guarantee that if a later examiner took after the same method and led the same Psychoanalytical study over once more, the later agent would land at the same discoveries and conclusions. So as to build up dependability and legitimacy inside of the study, target specialists in the field of brain science, and also an autonomous master in subjective examination approach, for example, the scientist's administrators, will affirm and accept the outcomes and topics of the study distinguished by the analyst. Expanded Expectations Some psychoanalysts trust that psychoanalytical studies are the answer for various issues. Psychoanalytical clarifications ought to be perceived as theoretical rather than them being the last decision around a particular subject. Analysts using the psychoanalytical methodology must know about the inadequacies of the methodology, and must realize that mental clarifications don't supplant, however add to, different clarifications As talked about beforehand, identity is a mind boggling idea and there are different hypotheses that an analyst can use with a specific end goal to look at a person. It is in this way unrealistic to hope to comprehend identity completely, in any case, the present study provides the open door for broad investigation by considering the lives of the craftsmen which was both novel and intriguing. The analyst needs to define practical limits keeping in mind the end goal to meet the necessities of an expert's treatise in media and correspondence studies, and it ought to be noticed that investigation of this point past the discoveries of this specific study is conceivable

3.5 Operational Definition

The research has been done keeping in mind some of the keywords that constitute the basis for the research. These words act as the operational definition for the research:  Psychoanalysis  Character and Character traits  Jim Morrison  Janis Joplin  Kurt Cobain

3.6 Research Design

Exploratory research is research conducted for a problem that has not been clearly defined. It regularly happens before we know enough to make theoretical qualifications or place an informative relationship. Exploratory examination decides the best research plan, information accumulation system and choice of subjects. It ought to reach complete inferences just with compelling alert. Given its central nature, exploratory research frequently reasons that an apparent issue does not really exist. Exploratory research frequently depends on optional research, for example, surveying accessible writing and/or information, or subjective methodologies. (Porta, 2008) When the reason for examination is to pick up nature with a wonder or obtain new knowledge into it keeping in mind the end goal to define a more exact issue or create speculation, the exploratory studies (otherwise called formulated examination) prove to be useful. In the event that the hypothesis happens to be excessively broad or excessively particular, a theory can't be detailed. In this manner a requirement for an exploratory examination is felt to pick up experience that will be useful in formulated pertinent theory for more unequivocal examination The aftereffects of exploratory examination are not normally helpful for choice making without anyone else's input, but rather they can give noteworthy knowledge into a given circumstance. Despite the fact that the aftereffects of subjective exploration can give some sign as to the "why", "how" and "when" something happens, it can't let us know "how frequently" or "what number of". Exploratory examination is not commonly generalizable to the populace on the loose. The goal of exploratory examination is to assemble preparatory data that will characterize issues and recommend speculations. The exploration in this research is to bring out the idea and appearance of the nature of character, this means that the researcher will try to look into traits and understand the perception of these traits, which will then help the researcher give a holistic understanding of one’s own self or determine and chalk the outline and perception of character through the five factor model. A broad overview of the attributes or character traits the researcher will try to observe highlight and unearth are integrity, portrayal of love, discipline, political affiliations, religious affiliations, satisfaction, humour, bliss, rage, optimism, pessimism, respect, wickedness, obnoxiousness, selfishness, forgiveness, leadership, self-cantered, rude, wildness, informed, stubbornness, deceptiveness, psychotic, sociopathic elements, murderous

47 traits, sexual libido, admirable, eccentric, balance, charisma, clear headed, compassion, confidence, cultured, dignity, eloquent, energy, synergy, flexibility, heroism, antagonism, idealistic, utopia, dystopia, imaginative, independence, masculinity, feminist, methodical, chaotic, modesty, authoritarian, objective, subjective, principled, profanity, realism, sanity, Self-critical, Self-defacing, Self- denying, Self-reliant, Self-sufficient, self-demeaning, sensitivity, seriousness, systematic, sympathetic, dogmatic, vivacious, arrogance, civilized, brutality, callous, crass, cynical, destructive, egocentric, erratic, hedonistic, hostility, loquacious, moody, monstrous, narcissistic, opinionated, perverse, pugnacious, scheming, scornful, unctuous, unlovable, vindictive, aggression, artful, effeminate, enigmatic, hypnotic, iconoclastic, modern, mystical, physical, predictability, sarcastic, sceptical. In order to achieve the afore-mentioned goal, the researcher will used the method of “psychoanalysis”. It is an institution which even after a century of its inception, has a professional impact on psychotherapy, continues to be of interest to the general public, to other sciences, and to represent a challenge to philosophers. Currently the method of psychoanalysis is being practised by a lot of great thinkers but for the sake of simplicity, the researcher will not consider other schools in the psychoanalytic tradition, as well as later therapies - such as client-centred therapy, family and system therapy – and limit the discussion to the Psychoanalytical of Freud’s classical psychoanalysis, due to its historical priority and theoretical significance. The focus is on the concrete descriptive and interpretative knowledge derived from the psychoanalytic situation to holistically study and identify these traits and hence determine the nature of the appearance of character. Through the literature review the researcher determined Psychoanalytical therapy to be an intensive Psychoanalytical study of individuals with repeated controls of observations and interpretations. And the samples for this research are three artists from the infamous club 27, namely Jim Morrison, Kurt Cobain and Janis Joplin. The researcher will use 6 of their songs to build the profile. The aspects that the researcher will put under the scanner would be the song lyrics, the topic/topics it covers, its relationship to other songs, the change in tempo and rhythms also the researcher will try to analyse the pronunciation of words, though the emphasis of the analysis would be in the song lyrics and the style of presentation The songs that are selected are from the original albums, and the remixed or re cut versions will not be considered. Though live songs would be the best form of

48 documents for analysis, it is difficult to find as two of the artists were active only till early 70’s. The songs chosen are: “Ball and chain” was originally written by Willie Mae "Big Mama" Thornton, but the song was made famous by Joplin and was one of her signature songs during her performance. There was a lot of modification between “big MAMA”’s version and Joplin especially in the places where Joplin used spoken word, and that the music is only used at intervals and not throughout the song. The meaning of the term ball and chain is an anagram for a heavy metal ball secured by a chain to the leg of a prisoner to prevent escape. "Summertime" is an aria originally composed by composed in 1934 by George Gershwin for the 1935 opera Porgy and Bess. Joplin recorded this song with her band “the big brother holding company” in the year and was part of their album “cheap thrills” in 1968. Joplin for this song made almost no lyrical changes, but the melody of the song was absolutely different than the original. The melody showed a lot of psychedelic rock elements, with a mixture of blues-rock. “Piece of My Heart” is a song written by Jerry Ragovoy and Bert Berns and originally recorded by Erma Franklin in 1967. Big brother and the holding company covered the song in 1968, and it came to greater limelight after their version, so much so that in In 2004, the Big Brother and the Holding Company version of this song was ranked Number 353 on Rolling Stone's list of the 500 Greatest Songs of All Time (The 500 Greatest Songs of All Time, 2004). “Kozmic Blues” is a song from Janis Joplin's “I Got Dem Ol' Kozmic Blues Again Mama!” album, her first after departing the Big Brother and the Holding Company, this song is written by Janis Joplin and Gabriel Mekler, the producer of the album. This song provided the title for the album. Joplin as seen does not write many of her songs, but when asked about this she had this to say “I can't write a song unless I'm really traumatic, emotional, and I've gone through a few changes, I'm very down”. (KOZMIC BLUES by JANIS JOPLIN, n.d.) “Mercedes Benz” The song is written by Richard Barrett first recorded by The Chantels on October 16, 1957, Joplin recorded this song in 1970, and though it was a cover, she made numerous changes to the original lyrics, and made it her own by adding and removing certain elements. The song was performed in the form of a cappella, which is essentially the format used for hymns in a chapel, with no instruments to accompany the vocalist. In this case, there is only a basic beat in order

49 to maintain the rhythm. It was written by Janis Joplin, and poets Micheal McClure and Bob Neuwirth. “Smells like Teen Spirit” the song is written by Kurt Cobain though all the three members of the band were credited. It is the opening track and lead single from the band's second album, Nevermind (1991) the song uses a verse-chorus form where the main four-chord riff is used during the intro and chorus to create an alternating loud and quiet dynamic. In the wake of Nirvana's success, Michael Azerrad wrote in a 1992 Rolling Stone article, "'Smells Like Teen Spirit' is an anthem for (or is it against?) the 'Why Ask Why?' generation. Just don't call Cobain a spokesman for a generation. (AZERRAD, Nirvana: Inside the Heart and Mind of Kurt Cobain, 1992) The music press awarded the song an "anthem-of-a-generation" status, placing Cobain as a reluctant spokesman for Generation X (Garofalo, 1997) “Come as You Are" is also written by Kurt Cobain. It was a part of the second studio album “Nevermind” released in the year 1992, there was a distinct similarity between the main riff of "Come as You Are" and English post-punk band Killing Joke's 1984 single "Eighties", Although members of Killing Joke claimed the main guitar riff of "Come as You Are" plagiarized the riff of "Eighties", the band reportedly did not file a copyright infringement lawsuit. "Lithium" is a song by American rock band Nirvana. Written by frontman Kurt Cobain. Released as the third single from Nevermind in July 1992. Lithium is a drug used by doctors and psychiatrists to treat patients with manic-depressive disorder, also known as bipolar depression. This is a very volatile mental condition, and Lithium often helps regulate the mood of the patient. Cobain said the song is about a man who, after the death of his girlfriend, turns to religion "as a last resort to keep himself alive. To keep him from suicide" (Maity, 2011) Nirvana biographer Michael Azerrad described the song's title as a reference to Karl Marx's statement that religion is the opiate of the masses. (Azerrad, 1994) "Rape Me" is a song by American rock band Nirvana, written by frontman Kurt Cobain. The song was released as the second single from Nirvana's third album In Utero in 1993, Ranked #90 in Kerrang! Magazine’s "100 Greatest Rock Tracks Ever!" (Rape Me, 2015). The song was frequently played by the RTMLC radio station prior to and during the Rwandan Genocide to encourage rape of the Tutsi population (Sherwood, 2012)

“All Apologies” was written by frontman Kurt Cobain, the song featured in the band's third album “In Utero”. The song was included on the Rock and Roll Hall of Fame's list of "The Songs That Shaped Rock and Roll" and in 2011, Rolling Stone magazine ranked the song at number 462 on its list of the 500 Greatest Songs of All Time (All Apologies, 2015). “Heart-Shaped Box" is a song by American rock band Nirvana, written by vocalist and guitarist Kurt Cobain. The song was released as the first single from the group's third and final studio album, In Utero, 1993. The song's name came from a heart-shaped box Love had given Cobain (Heart-Shaped Box, n.d.). Journalist Gillian Gaar described "Heart-Shaped Box" as "the Nirvana formula personified, with a restrained, descending riff played through the verse, and building in intensity to the cascading passion of the chorus. (Maity, 2011) “Light My Fire" is a song by the Doors, which was recorded in August 1966 and released in January 1967 on their self-titled debut album. . The song was largely written by the band's guitarist Robby Krieger, but credited to the entire band. The song is number 35 on Rolling Stone's list of the 500 Greatest Songs of All Time. (jay- z, 2011) This became The Doors' signature song. Released on their first album, it was a huge hit and launched them to stardom (Light my fire by the doors, n.d.) “The End” is a song by the Doors, the lyrics of which are written by Jim Morrison. The song featured on their debut album “the doors”. "The End" was ranked at number 336 on 2010 Rolling Stone’s list of The 500 Greatest Songs of All Time. “People Are Strange” it is a single released by The Doors for their second album Strange Days, it was written by Jim Morrison and Robby Krieger although credit was given to The Doors evenly. Jim Morrison may have addressed the song both to the hippie culture, to outsiders in general or to users of drugs such as LSD, or both. (Planer, The Doors people are srange, n.d.). “When the Music's over” which is the last track of Strange Days, the second album by the American psychedelic rock band The Doors. The song was credited to the entire band. The theme is music being the fire of life. When it stops, so does life's spirit. When The Music’s over” remained one of their most consistently riveting live performance staples. When The Music’s Over” became a vehicle for the quartet to quite literally propel themselves into the heady and rarefied space that true improvisation will construct for both performer and audient alike. (Planer, The doors when the musics over, n.d.)

“Hello, I love you” was written by Jim Morrison this in 1965 but the song was recorded only 3 years later for their third studio album the single also became the band's first big UK hit, peaking at number fifteen on the chart. “L.A. Woman” is the title track on their album L.A. Woman, the final album to feature Jim Morrison before his death. "L.A. Woman" was penned by Jim Morrison. Many Doors insiders also consider it to be a direct peon to one particular “L.A. Woman” their publicist Diane Gardner. (Planner, n.d.). A key theory of psychoanalysis is “free associations” and the analyst is thought to be giving it "evenly-hovering attention" in which one proceeds " aimlessly, and allows oneself to be overtaken by any surprises, always presenting to them an open mind, free from any expectations" But these interpretations are open to ambiguity and contradictions, and to the multiple layers of meaning, hence the researcher will only be identifying the nature and appearance of the characters through objectively placing meaning on the various parameters that would be analysed through these songs

4 Chapter 4

FINDINGS AND ANALYSIS

4.1 Janis Joplin

4.1.1 Ball and chain (1968)

The song starts with a Jazz-rock instrumental introduction, and when Joplin starts there is a lot of fragmentation and crumbling in her voice, and during this part there seems to be a gradual build up which then explodes when she says “honey like a ball and chain you know what I mean”. After this point she delivers the song in a stern and commanding manner. After the line “Just because I got to want your love, please leave me be” (till which she was still commanding), the music stopped and there comes a touch of vulnerability when she says “this can't be just because I got to need ya daddy”. After which the music again resurfaces but this is contrasted by fragmented sentences with a lot of authority. At this point the second musical riff starts, and this one had more elements of blues and rock. “Whoa honey, this can't be Not anything I ever wanted from you, daddy. Tell me now now now now (emphasized). tell me now Whoa honey, this can't be. Na Na Na (x4) yeah. I wonder if someone if they could tell me. Tell me why?” This entire passage was emphasised by a sense of urgency and psychoticism that is every line suggests instability both mentally and emotionally. After this the song leaves its blues-rock genre and transforms completely into a monologue or spoken word. It starts with the same fragmentation in delivering the sentences, but as it moves forward her voice starts trembling at the word “try” which is repeated 7 times, and this suggests both confusion and suffering, the next paragraph of the song is more in line with her helplessness and hopelessness and implies a sense of mental torture inflicted upon her Till this point the song is primarily focussing on the ills that she is facing, now she starts expressing her own views when she says “I don't understand why half the world is still crying, man when the other half the world is still crying too, man”, this

53 is followed by advise, her sense of righteousness and her philosophies. Another aspect from this section of the song is what she perceives to be utopic in a dystopic environment “If you got it today, you don't wear it tomorrow 'Cause you don't need it As a matter of fact, as we discovered on the train Tomorrow never happens. It's all the same fucking day, man” After this point Joplin starts singing again, but there is no musical support to her voice, and this final section of the song is reflective of the beginning with fragmented speech and crumbling vocals with moments of clarity and ends with a warning and a sense of eventuality to the person who is causing her this trauma. Applying Freudian principles to this song, one can easily identify both the working of the id, ego and super ego. The id is where she brings in urgency and her suffering and confusion is noticed and talks clearly about satisfying her needs, while her superego is evident during the spoken word section of the song. The ego works itself through introjection and can be seen as satisfying both the id and superego in the final verse. Of the five stages of psychosexual development, Joplin is fixated on the third stage i.e. the phallic stage by constantly reiterating the word “daddy” which implies that she has an unresolved Oedipus complex. There is also a significant display of “eros” or the life instinct throughout the song, and the trembling in her voice is suggestive of sexuality and her object of sexuality is the object that is causing her pain and suffering.

4.1.2 Summertime (1968)

In the opera the song is sung to a baby, but Joplin’s version of this song is much more cryptic and looks to be more addressed towards a crowd or an audience. What is noteworthy is how Joplin has added the word child which wasn’t in the original composition “summertime, time, time, Child, the livings easy.” “You're gonna spread your wings, Child, and take, take to the sky”. Joplin sang with the authority of a very old spirit. The song has a very natural progression. A stark difference between the original composition and Joplin’s cover is in the last sentence wherein in the original composition it says “But till that mornin’ There's a-nothin’ can harm you With daddy an’ mammy standin’ by.” While in Joplin’s cover “But until that morning, Honey, n-n-nothing's going to harm you now, No (x41), Don't you cry, Cry.” Joplin

54 throughout the song laid a lot of emphasis on the words “Don't you cry” which the researcher believes is the prime motive of the song. When applying Freudian principles to the song, there is very little evidence of either the Id, Ego, or Superego coming to front, but rather there was display of her troubled past, Joplin again used sarcasm as an element to the song “And your ma is so good-looking, baby. She's looking good now.” This is suggestive of unresolved issues with her parents, and very little dependency upon them. The execution of the song seemed more personal, than targeting elements of the outer world. Maybe in this manner, her ego seems to be surfacing to put to rest the thoughts that are causing distress in her mind, and her solution or her method of satisfying the id is through convincing it by saying there is no point of crying, and we will become Self- dependant. The Oedipus complex can only be seen when there is a magnifying glass put on the song, Joplin does bring in themes of being envious and again the mention of the word “lord”, but the evidence of a clear Oedipus complex surfacing in this piece is difficult to spot.

4.1.3 Piece of my Heart (1968)

The lyrics of the song did not change much when compared to the original but the structure, form, execution, delivery and performance had stark changes. There was exuberance of confidence and a lot of power when Joplin performed this song, there was anger, hopelessness, tolerance, acceptance and a sense of numbness to pain that could be inflicted upon her “But each time I tell myself that I, well I can't stand the pain, But when you hold me in your arms, I'll sing it once again.” More than singing the message across she was screaming the message across “Have another little piece of my heart now, baby. You know you got it - whoahhhhh!!” there are effectively 2 stanzas and a chorus, the chorus gets repeated 5 times, unlike the original where it was repeated twice. When seen the song through a psychoanalytical perspectives, all possible aspects can be seen, the Id Ego and Superego play a crucial part, the unfiltered wrath and anger (which is evident throughout the performance of the music) is the Id coming out, and the ego doing very little to control it, while the contrast (self-pity and hopelessness) is the superego showing itself, the entire song is a conflict between the Id and the superego, and it remains unresolved even at the end. The unconscious also surfaces here when the “Freudian slip” principle is applied i.e. the first line of the

55 song is said to be “Didn't I make you feel like you were the only man” but when Joplin says it, it sounds a lot closer to “didn’t I make you feel like you wanna own me”. Thanos is more evident than eros i.e. the song can be attributed to her natural destructive impulse and it has been built into her actions and physical movements, the death instinct helps build anger towards both ourselves and the world around us. “And each time I tell myself that I, well I think I've had enough, But I'm gonna show you, baby, that a woman can be tough.” Her sexual drive as evident here is not with the actual act, but rather she believes it to be fulfilled by being close and near to her dear one. Irrespective of the atrocities she has to go through, this is her libido acting up. The defences of the unconscious is not evident, i.e. there is no denial, introjection or repression. Joplin can also be seen as neurotic, i.e. it may seem normal to the outside world but when the thought of such self-destruction, helplessness and haplessness is residing in her mind “Break another little bit of my heart now, darling, yeah, yeah, yeah. Oh, oh, have a! Have another little piece of my heart now, baby, you know you got it if it makes you feel good, Oh, yes indeed.”

4.1.4 Kozmic Blues (1969)

Joplin starts the song in a very melancholic manner, and talks about themes of being lonely, and that she never had friends to rely on. The next stanza is a maze, (no change in tonality, but a significant change in the theme), “Twenty-five years, honey just in one night, oh yeah. Well, I'm twenty-five years older now”, Joplin would be around this age in 1969, she believes that something that should’ve lasted for twenty five years lasted only for a very short while, and then goes on to say, that she might get older by 25 years but this hasn’t bettered her nor can she help the external being “baby” than when she was significantly younger. The song as soon as it hits the first note of the chorus changes its mood, “Aww, but it don't make no difference, baby, no, no, And I know that I could always try” and Joplin goes back to using her powerful and authoritative vocals, and commanding persona, there is again recurring themes of self-pity “I better hold it now, I better need it, yeah, I better use it till the day I die, whoa.” The next paragraph she again captures a melancholic tonality, and uses a deeper voice especially when she says “Don't expect any answers, dear” but during

56 this stanza she progressively goes back into her aggressive and powerful vocals and this rise is peaks when she says “Well, ain't never gonna love you any better, babe” After this she maintains the same energy, vigour and dynamism throughout the song, the chorus is very similar, but at the end of this stanza, there is no exaggeration on the word “die” rather she quickly shifts on to the next paradigm of the song, which primarily talks about repentance, “I said you're gonna live your life And you're gonna love your life Or babe, someday you're gonna have to cry. Yes indeed, yes indeed, yes indeed, Ah, baby, yes indeed.” By this time Joplin goes into her screaming best, and starts highlighting all she had predicted “I said you, you're always gonna hurt me, I said you're always gonna let me down”, and finally ends her message by issuing a warning “I said you know it ain't gonna be there When you wanna reach out and grab on.” The music throughout is a mixture of psychedelic and blues-rock and supplements and emphasizes on Joplin’s vocals The song initially starts with the superego working its mechanisms through being self-critical, and wallowing in self-pity and loneliness and disturbing the stability of the mind. The second paragraph could be associated to Freud’s “free association” theory, where in Janis Joplin is making connections and fuelling her superego to take over. In order to satisfy this the ego bursts out, and that is the reason for the stark difference in her delivery of the chorus, it seems as an outlet to nullify the superego, but at the word die, the superego was again triggered where again the theme of self-pity and the inability to achieve is seen as the major elements “Don't expect any answers, dear, For I know that they don't come with age, no, no.”, here the ego quickly takes over and in order to nullify the threatening feelings being instilled in the mind by the superego, it takes over and her authoritative vocals are back along with solutions and consequences, which by the end of the song seems to have negated the feelings being put forth the superego and hence has bought back stability. The Oedipus complex that is so evident at the beginning of the song, (need of approval, attention, and cry for love and to be taken care of) tends to dissipate by the end of it, that is she no longer needs either of these elements, and in a way resolves it when she brings about eventuality in the music. Joplin clearly uses introjection as her defence mechanism, i.e. first she absorbs the external idea causing her grief into her mind and then puts into the conscious in such a way that the idea no longer puts the mind into distress.

4.1.5 Maybe (1970)

The entire song is a plea for a person (most likely a man or a child or her lover, but positively a person who she is affectionate about). The song presents a number of situations under which she believes that if they are fulfilled, the person who has moved away from her might return to her. In the first stanza she sings about praying as a means to bring him back, the second is gestures of endearment, the third stanza is about repentance, the fourth is about being unable to divert her attention i.e. completely indulged in that thought and the final stanza is an outright plea and request. The entire performance of the song is an attempt made by the ego to try and satisfy both Id and superego, the Oedipus complex again resurfaces, (constant approval and though sex is not the theme, the longing to be with the person is a show of her libido of life instinct). The theme of this song is very simple and the structure is also straightforward. The music to emphasises the vocals and is not a parallel entity like it was in the previous two songs. Her desire and yearning are the primary themes of this piece, and that’s why the researcher believes that this is primary an outlet for her ego and superego to be satisfied. The word “maybe” is repeated a total of 29 times throughout the song and the terms of endearment used are “honey” and “babe”, rather than her usual “daddy”.

4.1.6 Mercedes Benz (1970)

There is very little change in tonality and pitch, each verse follows the same rendition form or is repetitive, throughout there is a metaphor for the rejection of popular social beliefs and this is done through a lot of sarcasm, exaggeration and irony. The entire structure could be seen as ironic. The song begins with her trying to convince a higher authority, in this case, “lord”, to buy her a Mercedes Benz, the reason is to seem more superior to her friends, the same friends who haven’t helped her and hence wants the “lord” to grant her wishes The next verse talks about how one could make money through watching T.V. (a reference to the show “dialling for Dollars”) and that she is waiting patiently for the T.V to arrive.

The next verse of the song requests the “lord” to give her a enough means to spend a night on the town, the artist says that she is counting on him and also tells him to prove his love for her. The final verse is the same as the first verse and ends the song abruptly. Applying Freudian principles to this song the Oedipus complex can be noticed once again, by constantly referring to the higher power as the “lord” and not “god” and makes him the only dependant figure for her, and this is implied by “Worked hard all my lifetime, no help from my friends”. She is also seeking for reassurance from this authority, and also approval. The next aspect is Freudian slip where “Dialling for Dollars is trying to find me.” Sounds a lot like “darling four dollars is trying to find me”, where her unconscious is coming to front in saying that money suddenly is no more an issue for her, this adheres with the fact that by 1970s she was a popular figure and had a huge fan base. The artist also shows signs of being delusional (deterioration of the mind) “I'm counting on you, Lord, please don't let me down. Prove that you love me and buy the next round”. And this song shows more of neuroticism especially by the way of its rendition, because if rejection of consumerism was of prime importance then the song would not be this short and abrupt, but here Joplin is trying to project onto paper things that are otherwise disturbing, if the elements of sarcasm and irony are removed. She displays a lot of self-doubt, and has low Self-dependency coupled with escapism, the monotony of the song highlights a circular pattern, i.e. it could be repeated countless number of times, without break in flow; this could be a representation of the superego which is trying to say that she is stuck in an endless cycle with no way to escape and the ego tries to nullify or satisfy the superego by giving into the societal factors, and then being the better than the rest (everyone else drives a Porsche, hence she would drive a Mercedes benz)

4.2 Kurt Cobain

4.2.1 Smells like teen spirit (1991)

The lyrics to "Smells Like Teen Spirit" were often difficult for listeners to decipher, both due to their nonsensicality and because of Cobain's slurred, guttural singing voice. When discussing the song in Michael Azerrad's biography come as

You Are: The Story of Nirvana, Cobain revealed that he felt a duty "to describe what I felt about my surroundings and my generation and people my age. (Azerrad, 1994) The book Teen Spirit: The Stories behind Every Nirvana Song describes "Teen Spirit" as "a typically murky Cobain exploration of meaning and meaninglessness. This was the first "Alternative" song to become a huge hit, and in many ways it redefined the term, (Smells like teen spirit by NIRVANA, n.d.). The song is a split into 3 major parts verse pre chorus and chorus, and it has three verses all different than each other while the pre chorus and chorus remains the same. The first verse is an invitation, with him not really telling us where or when, but talks about how “Load up on guns, bring your friends” and why “It's fun to lose and to pretend”. And then ends it with a sentence absolutely unrelated to the first three where he speaks of the knowledge of some dirty word, it then goes into the pre chorus where the music rhythm and tempo remains the same, and its lyrics are “Hello, hello, hello, how low?” Once the chorus begins there is a significant change in vocals, where Cobain goes from calm and subtle to screaming his lungs out. The chorus in itself is a clear distinction of the soul of the song yet its ambivalence is prevalent, it starts out with him saying its safer in the dark, and since they have arrived it’s time to entertain them, and then he feels stupid and hence contagious and reiterates the same fact i.e. it’s time to entertain them, and then he brings about absolute incongruity by saying “A mulatto, An albino, A mosquito, My libido”. The second verse is again calm and subtle, just like the first, but here Cobain’s lyrics are more in tune to thanks giving, he accepts hat what he does best is a vice to him yet he feels it to be a gift and thereby feels blessed, and talks about his group or more specifically his band members and believed it to last for ever. This is then followed by the pre chorus and the chorus. The third verse, talks about his state of confusion wherein he forgets as to why he tastes, and maybe because it gives him pleasure and then he contradicts himself “I found it hard, it's hard to find” and finally decides to just let it be. Again the pre chorus and chorus follows suite, but then the song ends with Cobain screaming “a denial” nine times The video concept was that of a school concert which ends in anarchy and riot. The video featured the band playing at a pep rally in a high school gym to an audience of apathetic students on bleachers, and cheerleaders wearing black dresses with the

Circle-A (anarchist symbol). Occasionally, the scene would cut to a janitor wearing a navy blue jumpsuit and dancing with a push broom handle. The video ends with the assembled students destroying the set and the band's gear. The demolition of the set captured in the video's conclusion was the result of genuine discontent Coming to the psychoanalysis of the song, Cobain’s energy and vigour was noticeable throughout, he seemed to be a leader of sought. Very comprehensively his ego was just there to check his id, but his id was the most substantial he made connections in his mind that are otherwise deemed disengaged, yet upon more focus these connections seem more glaring, for example “A mulatto, An albino, A mosquito, My libido” at first seems detached from each other, but the first three are ethnonym’s all of minority races, and among them his libido who should all be “entertained” Because Cobain’s id is so significant, he is not at ends to hide his psychoses, and because it’s the medium of art, his psychosis are not seen as something unfitting to the society and his reality principle along with his pleasure principles are not at harm, i.e. there is nothing really distressing the mind. When it comes to his libido, which he feels is befitting to be entertained by an outside entity in order to pleasure himself, i.e. it gives the impression that he is looking out for a sexual partner, it is more obvious when it comes to the third verse, where it could all be a reference to his sexual pleasure, taste could mean his affinity towards oral sex. Hard could be a reference to his phallic and yonic states and that finally it is all fine that he is not that bothered about it, maybe the ego trying to supress his Id Another notable portion of the song is the final two words, which he repeats nine times i.e. “a denial”. This right after he says his libido, which could mean that he has always denied his libido, or that he has used denial as a defence mechanism and now he is writing with much more conviction and freedom or ever more simply that he believes his reality is a denial to other social illusions.

4.2.2 Come as you are (1992)

The song lyrics are not just contradicting but confusing also with one line rebutting the next, for example “As a friend, as a friend, as an old enemy” or “Take your time, hurry up, the choice is yours, don't be late”. It has in total 4 verses out of them two being the chorus.

The song starts off with a short solo by Cobain, and starts off with “Come as you are, as you were, as I want you to be”, contradicting and confusing. Then he talks about friends and enemies, and asks them to arrive eventually. He sings the word “memoria” over and over again, the word is said to mean memory. The next line is “Come doused in mud, soaked in bleach” were taken from a campaign in Seattle that encouraged heroin users to soak their needles in bleach after injecting to reduce the risk of spreading HIV. The phrase for the campaign was actually "If doused in mud, soak in bleach." (Come as you are by Nirvana, n.d.). And the verse again ends with the repetition of the word memoria… Once the band reaches the chorus, the song reaches full volume. The shift in dynamics is a technique Nirvana used on many of its songs. And it is just repetition of the same line “No, I don't have a gun”. The gun could be a reference to a time when Cobain's mother got mad at her husband (Kurt's stepfather) and threw his guns in a river. Cobain says he recovered some of them, sold them, and used the money to buy his first guitar when he was 15. (Come as you are by Nirvana, n.d.) Coming to the video of the song, Cobain had no direct shot, rather every time a band member was seen they were shot through water and used other devices to obscure their faces. The song starts with a gun sinking in water, and it is dominated through surreal and absolutely random visuals… few of them being a baby chasing a dollar bill under water, microscopic view of sperms, a dog wearing a cone, and Cobain hanging on the roof. The present song is a again a clear indication of the unconscious working, i.e. the laws of contradiction that are maintained in our natural rational lives are not recognized, “Come doused in mud, soaked in bleach, as I want you to be”, again the working of the id is evident. I.e. the song is like a cauldron seething for excitement. Because the unconscious and the Id are so prevalent, there is very little to do with the superego. The ego contact with space and time also gets subdued, and because there is very little to do with the reality principle, i.e. primarily the pleasure principle is in charge… there is no form of defences that originate. This is even seen from the video, it has very dreamlike sequences, where everything is just there and nothing really make too much sense. Cobain’s libido or the lack of it is more evident in this video, the thanos has been his governing life force, his naturally destructive instincts have directed the lyrics, the music along with video. One scene is the human egg exploding into many tinier bits.

4.2.3 Lithium (1992)

The song starts in an ambivalent manner, Lithium features shifts in dynamics from quiet to loud sections the lyrics are not contradictory or confusing but its theme are. The protagonist/antagonist of the song is first happy that he has found his friends… all of them are imaginary. He then says that he doesn’t care of being ugly and because so is the opposite person and they broke their mirrors. It then shifts to talking about church mass which could be every day and this wouldn’t fathom him. And that he would light all his candles in a jiffy because he has discovered a higher power. There was an air of calmness, which is destroyed for a brief while the riff of the song is played. And this is accompanied by Kurt cobain saying “yeah”. The song then smoothly transforms into the second verse. Here the lyrics are again random and structure less, it’s absurd but the theme is progressive, i.e. he is lonely, accepts all the blame, there is nothing to look forward to, sex might be a salvation. But uses a lot of diversionary elements to get this message across “I'm so lonely, but that's okay, I shaved my head ... And I'm not sad” or “I'm so excited, I can't wait to meet you there... But I don't care” The song again goes back to its riff and this time goes into the chorus, the chorus is bizarre, and the primary message he is trying to give is, irrespective of the precondition… he will not allow himself to fissure. The preconditions being, liking it, missing someone, loving someone and killing someone. The song then goes to its first verse and repeats itself to the chorus and ends. From the last few songs taken into account, this song is a rarity as finally Kurt Cobain’s ego is the most strongest of the three preconditions. The ego is very systematically trying to satisfy both the ids and superego’s needs. Each sentence had a disturbing thought, a thought to put the mind into distress (reality), there was an opposing or conflicting thought to that distressful thought (pleasure), and finally a reasonable solution. The solution being given by the ego to put to rest these two conditions at rest for example “I'm so excited, I can't wait to meet you there... But I don't care” Kurt Cobain captured the idea of having incredibly powerful feelings about not having feelings, There is a lot of self-loathing going on in this song, as Kurt Cobain sings, and takes the voice of a man on the brink of killing himself -

63 dysfunctional, random and then able to rediscover himself and able to keep himself going by numbing his pain, either through religion “'Cause I've found god” or not cracking “I killed you - I'm not gonna crack” or through sex “I'm so horny, but that's okay ... My will is good” Cobain’s perceives his sexuality or libido to be innately justified because he believes that his spirit in innocent… and that can be another element that can save him from his predicament. Because Cobain’s ego is dominating this song, be it lyrically or methodologically, one can see a mixture of his various defences coming out the most evidently being denial “I'm so lonely, but that's okay, I shaved my head ... And I'm not sad”, denial which is one of the harshest defences that the mind employs still cannot completely destroy the thought causing anxiety and thereby the next phase of defence comes on which is reaction formation, i.e. the fear impulse gets so strong that in order to fight this impulse, the conscious of our mind starts embracing its “opposite” with all possible strengths at its disposal . The accompanying music video, directed by Kevin Kerslake, is a montage of concert footage

4.2.4 Rape me (1993)

The track is a small track, it has two verses one bridge and a chorus. It again starts off subdued and melancholic, with Cobain singing rape me, rape me my friend. At the end of the first verse, the sound is lifted for the chorus which is just one sentence “I’m not the only one” and this is repeated 4 times. The next verse is “hate me, do it and do it again. Waste me, rape me my friend” it is on the lines of the first verse, with the tonality, music and mood being similar, but the concepts absolutely different. The first one was about rape, this one about hate and ruining him. The song again goes off to its chorus. The bridge of the song again brings back randomness, it says “My favourite inside source, I'll kiss your open sores, Appreciate your concern, you’re gonna stink and burn” Cobain went from being caring to obliged and finally rude and insolent. It then repeats the first verse and the chorus, the ending of the song is very similar to others, where he repeats the same line over and over again, in this case “rape me”.

Cobain through this song, could be expressing his superego or his lack of it! The song seems primarily sociologically and culturally conditioned to strive for pleasure through pain. Rape which is generally considered a heinous act, and for someone to be asked to be raped shows a high elements of masochism, his “elan vital” primarily was working through the thanos. This entire indifferent feeling, he has reached a point where, nothing makes an alteration of his condition, i.e. a broken persona has resigned to being physically and socially dominated to a point where even 'forced intimacy' does not seem as bad as no intimacy. The second verse is also imperitive of the same condition, where even hate is better than no love at all, where destroying him is better than having any use of him. The chorus talks about the fact that he is not the only one “suffering” through this condition. It seems like a cry for assembly of all those who are feeling the same. The bridge is again something that is seen in few of Cobain’s previous songs, i.e. free associations, unconnected juxtapositions. And again the working of the Id where illogical, and irrational connections are made, and the predicament sorted through an absurd reasoning “Appreciate your concern, you’ll always/you’re gonna stink and burn” The ending of the song where he repeats the words “Rape Me” 9 times, are for the first time in the song with anger, fury and resentment. Again, because the ego has taken a back seat, working of the Id and Superego are dominant thereby Cobain displays almost zero defences. His mind is no longer portraying the same contradictions and reactions of a normal mind.

4.2.5 All Apologies (1993)

Cobain dedicated "All Apologies" to his wife Courtney Love and their daughter, Frances Bean Cobain. The songwriter told biographer Michael Azerrad that while the lyrics had nothing to do with his family, the song's mood, which Cobain summarized in the words "Peaceful, happy, comfort," was intended for them. (Azerrad, 1994) The song starts in a laid back tone, randomness is very prevalent throughout the song. “What else should I be, All apologies. What else could I say, Everyone is gay. What else could I write, I don't have the right.” The lyrics went from being apologetic, to discourteous, and then saying that he his basic privileges are not with him, and the first stanza ends with him being apologetic again.

The music for this verse gets picked up significantly (the only time in the song), and the lyrics is “In the sun I feel as one”. And after this Cobain says, “Married Buried”. With this the songs tempo is returned to its melancholic and whimsical tune. In this stanza, Cobain uses a lot of “made up words”, i.e. words not existing in the dictionary, and sentences that seem proverbial but are absolutely unheard of. The verse starts of by his envy to not be easily amused, and then he says “Find my nest of salt” (there is nothing known as nest of salt) after which he says “Everything is my fault” the next line is imperative of this where he says that he shall take all the blame and then again, something the seems to be existing from time immemorial, but is an absolute fiction of words “Aqua seafoam shame, Sunburn with freezer burn” and this verse ends with the line “Choking on the ashes of her enemy”. The song again takes to “In the sun I feel as one”, where the tempo and rhythm are increased and this time after “married buried” the song didn’t go back to its mood in a hurry. He says “All in all is all we are” for a total of 13 times, and only by the 7th times does the song gets back to its roots and fades out with him still repeating the line. When one applies Freudian principle on the songs, the most prevalent aspect is the lack of structure in writing, the musical aspect of the song is very strong which as per Cobain captures the mood of the song, but the lyrical structure is haphazard. There is very little evidence of the oedipal complex, nor is there evidences of psychoticism. Cobain seems to be at a point beyond feeling guilty and is smug and borderline arrogant. His apology is not sincere and is mixed with other elements. His libido can be seen in two sentences “Everyone is gay” “Choking on the ashes of her enemy”. Though gay could have its old English meaning associated to it, but that seems unlikely. His writing has a lot of surreal elements, which is a lot of dream sequences. He jumps and makes connections that are illogical and irrational “Aqua seafoam shame, Sunburn with freezer burn”. These imply that his ego has taken the back seat and let his ID dominate the proceedings, as previously mentioned his guilt is almost redundant, the superego primarily non-existent throughout the piece…. “I wish I was like you, Easily amused. Find my nest of salt, Everything is my fault” this entire statement is not said with any regret or penitence. But he says it in a cold, remorseless and indifferent manner, the Id has been given all the liberty to govern the environment.

The very ending of the song where he repeats the line “All in all is all we are.” Could be seen as an attempt made by his ego to finally supress the Id, till this point the song was wild. The line “Married, Buried” comes after “In the sun I feel as one”, this could be attributed to the free associations theory, he has made connections where only a faraway place would he feel safe and secure, and marriage would mean his death… this is a very surface interpretation of the lyrics… but its implications are seen to be in his real life also.

4.2.6 Heart Shaped box (1993)

The song again follows a pattern prevalent from previous songs i.e. shifts in dynamics from quiet to loud sections. It starts in a very hesitant manner and uses another unheard expression “She eyes me like a Pisces when I am weak”. The next two lines talks about entrapment where he is first locked in the heart shaped box, and is attracted to continue to stay into this predicament and the first verse finally ends with him wishing to “eat your cancer when you turn black” The song then consecutively picks up as it enters the chorus which is him saying that he has another grumble and that he is “Forever in debt to your priceless advice” Again Cobain’s lyrics are abstract and borderline nonsensical not to mention it is intangible. He starts by saying that carnivorous plants haven’t forgiven anyone till now, then he injures himself on all things serene and tranquil and then he says that all this is a result of broken hymen that he has as his trophy and the solution in his words is to “Throw down your umbilical noose so I can climb right back” The song again goes into the chorus by significantly picking up on tempo and rhythm and also the pitch. Then it had a short riff which was hardly a few seconds followed by the first verse and then the chorus came back and the song ended with Cobain repeating “your advice” thrice. The video is rather odd it starts by the three band members sitting in front of a patient and an inverted cross is seen the patient is then seen on a field of orchids and tying himself to a cross with the hat of Santa Claus, and at each end of the cross there are three crows. As soon as the verse enters the chorus blue skies turn into red, the man disappears and the band is in front of the cross with constant super close ups on the face of Cobain for the next verse it depicts a little girl in what seems to be a Ku

Klux Klan uniform standing in front of a tree from which babies are hanging It also shows a rather large woman wearing a suit of meat, the old man is also prevalent but for this verse his Santa hat is replaced by a much more imperial one, a hat generally worn by a religious patron of the church and the child seems to be admiring and reaching out to it, the chorus again has a very dystopian look and feel to it as the video progresses the child’s uniform turns black and she tries to snatch unborn babies from a tree. before applying the principles Freud, there were proponents of the song that were out rightly evident of Kurt Cobain’s suicidal tendencies “Throw down your umbilical noose so I can climb right back” the above statement directly means he wants to restart his life from his mother’s womb, it has very little to do with the oedipal complex and is more evident of his neurosis this is very evident by him overly following social norms “Hey! Wait! I've got a new complaint Forever in debt to your priceless advice” though his mind was constantly in duress and distress. The song seems to be an outlet to his stifled and suffocating Id and also that he is unable to escape this, because he is borderline fixated to his quandary “I've been locked inside your heart-shaped box for weeks I've been drawn into your magnet tar- pit trap” the id is also constantly playing its part be it through defying the laws of contradiction “Cut myself on angel hair and baby's breath” or by invention of phrases that only makes sense to its neurosis “Meat-eating orchids forgive no one just yet”. The super ego almost seems non-existent, and though there is self-loathing and self- destructive precursors throughout the song, it is because the id is trying to break its shackles it believes to be imposed upon it “I've been locked inside your heart-shaped box for weeks” There is also an instance of “Freudian slip” when Cobain sings the opening line of the song “She eyes me like a Pisces when I am weak” because he is slurring the words it sounds as though he is singing “she has me like a Pisces when I awake” which talks about him being a helpless fish who is getting consumed. Funnily enough when he sings the line again i.e. after the second chorus, it is much clearer and mimics the sentence word to word. Cobain’s libido is also very evident throughout this song, and there is constant references to what could be seen as women genitalia, more specifically the vagina, “I've been drawn into your magnet tar-pit trap” “Meat-eating orchids forgive no one just yet”. His libido or his actions in order to full fill his libido or basic sexuality is in

68 his mind making him enslaved and because he has her “hymen” he believes it to be a trophy that will always follow him, and in order to get rid of it, he shall wait for the umbilical noose in order to restart his life, a way of “tragic release”

4.3 Jim Morrison

4.3.1 Light my fire (1966)

The lyrics of the songs are a simple two verse and a chorus. The first verse is a blatant drug reference where he proclaims that his words would be untrue and would be deemed a liar if he were to say “Girl, we couldn't get much higher” the chorus is hence is something that should follow suite, and that is to light his fire and thereby try and set the night on fire. The next verse talks more about getting rid of baggage’s “No time to wallow in the mire” and that and that trying now would only result into a loss and it would result into the grandeur of a pyre. Then the chorus repeats after which there are some definitive psychedelic solos. Ray Manzarek melodically swirls his eerie and intricate leads through the spaces opened up in John Densmore’s fluid jazz and Eastern-influenced drumming. Krieger follows suit with some incendiary fretwork that challenges and ultimately steers his solo into a staccato phrase that instrumentally reunites the trio as they reconvene for the final verse and chorus. Jim Morrison’s ego was the highlight of this piece, he was affirming his dominance, and it seemed to a point that his id was trying to satisfy his ego and not the other way around. He uttered each syllable of each word in a manner of confidence and grandeur. This piece is less of a creative outlet to his psyche, but was more an invitation to enter his state of mind. The lyrics were direct and straight forward and Jim Morrison with his rendition was not the only front runner as his band members did have their spotlight, but what brought out an absolutely different persona to the song was the blatant sexual connotations, drugs or more specifically weed was just a stepping to fulfil his sexual desire but it was not nearly enough. He had to set the entire night on fire. His libido was so strong, and his ego or his reality principle in no ways did anything to condemn or correct its action, the libido ran free charging and discharging as it when it pleases. He also talks about his perfect situation, where trying something would only make him loose, sexually speaking it could be his virginity or the final climax but whatever it is it would be either as grand or as solemn as a funeral pyre.

4.3.2 The end (1966)

The song has a very haunting and hallucinogenic feel to it, Morrison uses the first several verses of The End to describe a break-up of a relationship and to introduce his premise. He says it is the end of everything, all the elaborate plans signifying the life’s journey, he talks about the society in a very nihilistic manner in short Morrison believed it to be the end of child-like innocence and therefore the conscious dawning of life's immense pain and suffering which he is evident when he says “Desperately in need of some stranger's hand In a desperate land” after this there is a small musical duel and Densmore’s drumming gives it the feel that a new section is coming, and it did… it seemed as though Jim Morrison entered a trance, and started enacting a play. He starts by saying “Lost in a Roman...wilderness of pain” and that the children are insane, and waiting for the summer rain. He then ventures into the journey of a man, and asks him to ride the kings highway to the west and then to riding an old and long snake. Then Morrison looks to be trying to hypnotize his listeners with him first inviting them to the “west” because it is the best, and then he says that there is a blue bus that is calling “us” but they don’t know where it is heading. Jim Morrison then talks about a killers awakening, who “took a face from the ancient gallery” and he stopped over to his siblings, and continued his “walk down the hall”. And when he found is father he proclaimed he wanted to kill him, and then he goes to his mother and implies that he wants to have a sexual relationship with her. Till now it was spoken word, the instruments led by Densmore take over, before Morrison starts saying “C'mon baby, take a chance with us” and asking her to meet him at the back of the blue bus, doing a blue rock, which refers to sex and drugs. After this a lot of cymbal playing and staccato notes are played by the both Manzerick and Krieger, and to every staccato note, Morrison emphasized it with the word “fuck” and to every melody he filled it with “come on baby” or “fuck me baby”. After the 19th time he uses the word “fuck”, his band members take it to another level where they reach the peak in both tempo and rhythm not to mention madness and chaos. After which it slows down considerable and Morrison gets back to proclaiming that this is “the end”. He brings about Bittersweet nostalgia in the face of the true end. As it is about his girlfriend it shows that the whole thought of “free love”

70 was a “soft lie” for him, and also the end of the many nights of fights or the romantic planning to die together Jim Morrison’s rendition of this piece could be of one the most ghastly experiences about maybe his most traumatic experience of all his life at that point. Merely saying his ego id or superego were doing this would seem to be an inadequate explanation. He used all the complexities of his mind, be it using his unconscious/subconscious, his pre-conscious and his conscious. He seemed to have used the laws of the unconscious and the laws of the conscious at the same instant. He seemed to have transcended Freud’s explanation of a man being bound by his reality principle, his mind seemed to take whatever route it felt like while trying to get to terms with the thought causing so much threat. Morrison could be seen to have used almost all defence mechanisms in this 12 minute drama of sought, he tried splitting it, he introjected and projected, he used tricks to divert his attention, he connected his energy to a killer and many other aspect to come to terms with it being the end, but there was no instance of him being in denial, he had accepted his fate. Though Jim Morrison speaks of the Greek tragedy of Oedipus, it doesn’t show him to be deranged and wanting to court his mother, because he could say it without any form of guilt either means he had not only gone beyond the third stage, but also accepted the fact of his infantile sexuality, thereby throwing light that his reality principle was not formed after this stage, because his pleasure principle never really had to succumb to the external environment. Another take could be by Jim Morrison bringing in this verse of the killer he wanted to symbolically mean that Killing the father was to destroy (or kill) all of those things within yourself that are not of yourself, the alien concepts which are not yours must die. And “mother” could be a reference to Mother Nature, and thereby the natural. By “fucking” the mother, one is returning to natural concepts and hence, reality. Morrison’s psyche through this excerpt could be telling him that it is “the end of alien concepts, and the return to personal concepts.”

4.3.3 People are strange (1967)

The song is about alienation and being an outsider. The song’s composition is simplistic, it is the repeat of verse and chorus and it has in effect nine sentences. The lines are a blatant form of expression, with no hidden meanings but a lot of hidden juxtapositions and dark associations, though the music is upbeat, its subject is more eerie and this contradiction of sought is one of the highlights of this piece. This is

71 punctuated by the abrupt stop-start rhythm preceding the line “when you’re strange”. After a repeat of the sole verse, the first instrumental break features a spirited, yet reserved, solo from the guitarist Robbie Kriegar. The first verse is a perceived notion on where you find things unpleasant when you yourself are disagreeable, and that you become inherently negative when you are just by yourself, the pleasurable becomes forms or deceit when you seem undesirable and when you have fallen upon the floor you see the flaws The chorus reiterates that all this is only applicable when you're strange and that no takes the time to register your name, and that though you find people at every corner it is of no effect because you are odd Here Jim Morrison’s ego is the driving factor, by him performing this piece he is giving an outlet to all those emotions that are causing his mind threat that is the thought of being alone. His ego finds a way to calm all the daemons in his head, by using one of the more refined and sophisticated defence mechanism i.e. rationalization meaning there is constant attempt to reason out and clarify his feelings. His ego is so strong in bringing down the fear impulse that his “explanations” don’t just seem justifiable but a step further that they are “it” meaning his reasons are the “absolute”. Jim Morrison’s ego is so strong in satisfying both his Id and especially his superego that by the end all the “threats” seem to be acceptable and to a large extent no more a “threat” itself because he is “strange”. The ego in no form is demeaning his personality, and is not asking for either his reality or pleasure principles to work themselves out, rather it is re affirming to all his mental aspects that it is not him, it is his surrounding and the ego was just boosting his idea of self Jim Morrison’s libido is more in the form of narcissism or self-love, the line “Women seem wicked when you're unwanted” is followed by “Streets are uneven when you're down” which could imply that when he is performing oral sex onto a women he finds it to be uneven and that the pleasure derived from the opposite partner is unsatisfactory if she has no feelings for him, yet it is all right because he himself is strange and doesn’t need an external factor to satisfy himself.

4.3.4 When the music’s over (1967)

The track begins with a funky staccato strut from Manzarek and Densmore under which Morrison can be heard muttering the invocation “yeah, come on …” Following a few additional bars of off-kilter and syncopated instrumental banter,

Densmore’s resolute snare flourish evokes a primal scream from Morrison which is further accompanied by some equally harrowing guitar runs courtesy of Krieger. This modest sonic flare-up foreshadows similar dynamics later in the song and is quickly evened out by a solid melodic repetition eventually settling behind Morrison’s impending and ominous lead vocals. The first verse is fairly straightforward which is just saying when the “music’s over turn out the lights” until the sudden dramatic musical suspension preceding the line “until the end.” This is followed by some intense open-ended interaction between the instrumentalists, led once again by Krieger’s ferocious fretwork Then Morrison enters into more of a spoken word scene, where he speaks more than sings and the lyrics are absurd yet powerful, it is more in the form of a poem and has a haunting undertone to it and brings in concepts of religion, mental asylums, an abnormal psyche, death, experiencing the rarerist of the rare, melancholy, lost love, impatience, and finally environmental abuse. The most emphatic section from this section of the song was the building of tension and quizzical angst “what have they done to the earth?/what have they done to our fair sister?” in an eruption of apocalyptic proportions as Morrison decrees -- “We want the world and we want it… Now!/Persian night!/See The Light!/Save Us!/Jesus!/Save Us!” as if his very soul were being tested. There was a form of mass spread hysteria, all the instrumentalists were in complete harmony yet there was an air of chaos, frenzy and panic. It comes down slowly for Jim Morrison to restart his powerful vocals, which starts softly but erupts again just before the end. The song ends with Jim Morrison emphasizing the word “end” and Densmore equally backs him up. When seen through a Freudian lens, the first and most noticeable aspect of the piece was the subsequent transcendence of the Id and how for a while the ego went almost non-existent. The first few verse is again the ego trying to satisfy all the thoughts causing distress by using rationalization, wherein he says when the music is over, one must walk away. and he calls music to be his special friend, and this friends intentions are not pristine but rather more convoluted and complex, but as soon the song goes into spoken word section, his verses start taking a turn, he first denounces religion and says he belongs more in an asylum and suddenly the unconscious starts playing its part, or more specifically the song starts following dream logic where there are irrational and nonsensical lucidity. Be it when he proclaims “Alive! she

73 cried, Waitin' for me outside!” or when he says “I want to hear The scream of the butterfly”. His connection to heads on the ground was a gentle sound for which he waiting impatiently. And then he starts talking about a subject absolutely unrelated to the topic previously, and that being how unfairly the environment is treated and that it is men who have done the same. Then it goes back to the gentle sound and finally him wanting the world. This kind of random connections can only be seen to be made through the unconscious because of the free association theory. But his ego does return, with a shrill of explosion when he say now, and his Id is hidden, Jim Morrison then suddenly takes to the religion and calls upon Jesus to save “us” not as a cry for help but more as a challenge, and the us here would refer to his Id and his Ego who are two different personas trapped inside the same spectral space. Once the Ego takes over, it again tries to reiterate the same thought that is music is his all. Jim Morrison in this one song shows signs of both neurosis psychosis, it brings about extreme volatility with thrilling stability. He is at constant odds trying to evoke wonder and surprise himself “We want the world and we want it... Now Now? Now!” He has denounced and accepted the same concept, but nowhere is there is a solution. He constantly shifts energies from threat to another, till the point of explosion and hence just releases it through a scream and issuing a challenge to an entity that is supposed to be greater than man himself. Again Jim Morrison’s libido or his elan vital is more narcissistic, he looks to fulfil his sexuality more by self-love and self-loathing than look beyond and to another person, he only shows a little vulnerability when he is deep into his “dream” when he asks his object of sexual pleasure to return, but there he shows shades of sadistic pleasures. He seems to be beyond the oedipal phase and is well into the fifth phase i.e. the genital phase, one could also say that Jim Morrison went beyond this phase and entered the realms of a 6th and more complex phase, where he is more asexual content being than a sexually charged entity, though his contentment of the pleasure principle only makes it want to keep growing than take a stop to it.

4.3.5 Hello, I love you (1968)

The song talks about a “shy” Jim Morrison with a very upbeat and more pop than rock or psychedelic tune. Who is crumbling at the thought of approaching the woman? The songs structure is chorus, verse1, chorus, Verse2, and then outro. The chorus is as on your face as it can get. Wherein he says that he loves her, and wants to

74 know name and “jump in her game”. The verse talks about the aura she has around her, that she is “Blind to every eye she meets “and challenges the men out there if they think they can make her sigh. The song then again goes back to the chorus. And the musical mood in the second verse is also the same. And now addresses the “queen of angels” more directly, in the sense he starts describing her, both physically and as an emotional entity. And that her movement makes him scream out this song. He continues saying that even an inanimate object tends to crumble at her feet, and that she evokes the desperation of a dog into the male persona, and then he question if you can make her notice you and if you have enough in you to “pluck this dusky jewel”. The song the ends by Morrison constantly screaming hello, but does say he wants her and needs her and goes to call her his “baby” Hello, I love is a perfect example of the literary release, his Id (the little child) wants to go up and have a liaison with a stranger, but his superego given enough self- doubt and hyphens rejection to the point of it causing distress. So the ego finds its release through this piece. Jim Morrison’s ego in no way demeans himself, but objectifies the woman to being beyond attainable, thereby satisfying his Id and superego “She holds her head so high like a statue in the sky”. This song is also an example to him being aware of his “reality” and has succumbed and his pleasure principle has taken a back seat. He is driven by his sexual urges, not one verse or line is devoid of a sexual undertone. He shows clear examples of being in the 5th phase of sexuality i.e. the genital period. Also Jim Morrison uses repression as a means to cope with his sexual urge to be able to “pluck this dusky jewel” and though he manages to cope with it, it does manifest itself to come out just before the end where he shows his vulnerability, where he longs for her.

4.3.6 L.A. Woman (1971)

The opening of the track is quite unusual as it incrementally builds into a full- throttle journey through the underbelly of the City of Angeles. The instrumental intro begins with Robbie Krieger (guitar) impersonating the sound of an accelerated automobile engine coupled with an ominous stringed dissonance Ray Manzarek (keyboards) bubbles the motoring tempo, which is joined by John Densmore’s icy cymbal ride. Once Jim Morrison comes in with his vocals which is a lot coarser, rough, increasingly worn and a little craggy. The song starts more like a ballad, and

75 the first paragraph is about him arriving and looking to the “cool” places, and looking for “the little girls in their Hollywood bungalows”. He then opens the floor for a direct discourse with these little girls, and questions her existence i.e. if she is a lost angel or a lucky little lady. He then goes into his chorus of sought where he constantly repeats L.A. woman and then he tells her to drive through the suburbs into her blues. The music has remained constant with the three of them playing in the same harmony and upbeat tempo and rhythms. Before entering the next paragraph the music slows down and Jim Morrison enters more into delivering the words than singing them. And he continues to address this “woman”. And now he talks about her driving through her freeway, and finally ends the paragraph with him telling her that he never saw a woman so alone. The next section of the song is completely unconnected, he enters it by saying “Let's change the mood from glad to sadness” and then he repeats the phrase “Mr. Mojo Risin” which is an anagram for Jim Morrison, and the music halts and starts picking up slowly as he keeps singing Mr. mojo rising, and then goes into full-fledged frenzy with all the instruments harmoniously playing into the madness. And once the storm settles, Jim Morrison returns with the first paragraph and ends the song by proclaiming that the L.A. woman is his woman. Jim Morrison in this song again displays his mental psyche of being greater than the good. His mind seems to have a peaceful coexistence of each of the three psyches, i.e. Id Ego and superego. The entire song he talks very little about himself and seems to run a discourse for someone he finds intriguing. The display of his unconscious coming out is very prevalent when he keeps repeating his name or the anagram of his name after he wants the mood of the song to be more glum. A sign of him proclaiming that he evokes unhappiness. But then his conscious subsequently takes over with his antics of screaming and raising the tempo of the song. As far as Jim Morrison’s libido is in question, it is on the loose, it does all possible antics in order for it to be reclosed from the situation and expects the opposite to come and please him by playing tricks in order to uplift her or demean her or make himself an object of great mystery and even more intrigue. The song on face value seems direct, and maybe it is. Jim Morrison is just making a call to be wanted to be seen as the shaman he always believed himself to be. He again shows signs of great self-love and even more self-confidence, his self- loathing is in no way a sign of causing distress, but rather a form of masochistic

76 pleasure. He never questions his psyche, he doesn’t use this song as a form of release but rather he seems to be imploding

4.4 Summary

The below tables describes the character of the mind of the artist, whether it is the Id, Ego or Superego, or is his unconscious preconscious that is the most prevalent aspect as seen in the song, the next domain talks about the sexual phase the artist is seen to be portraying, and finally the last domain is about the defence mechanism that was identified from the songs

Table 4.1 Janis Joplin

Song Dominating Mental Sexual Phase Defence Mechanism Phase Used

Ball and Chain Ego Oedipal Stage Projection Summertime Ego Oedipal Stage NIL Piece of my heart Id, Super Ego Genital Stage Sublimation Kozmic blues Super ego Oedipal Stage Introjection Maybe Ego Oedipal Stage Introjection Mercedes Benz Ego Oedipal Stage Sublimation

Table 4.2 Kurt Cobain

Song Dominating Mental Sexual Phase Defence Mechanism Phase Used

Smells Like Teen Spirit Id Latent Phase NA Come As You Are Id Genital Phase NA Lithium Ego Genital Denial Rape Me Id Latent Phase NA All Apologies Id Genital NA Heart Shaped Box Id Genital NA

Table 4.3 Jim Morrison

Song Dominating Mental Sexual Phase Defence Mechanism Phase Used

Light my fire Ego Genital NIL The End Unconscious NA Introjection, projection, sublimation, and splitting

People are Strange Ego Latent Stage Rationalization When the music’s over Unconscious Latent Stage Introjection, projection, sublimation, and splitting Hello, I love you Ego Genital Stage Repression L.A. Woman Unconscious Genital Stage Introjection, projection, sublimation, and splitting

5 Chapter 5

CONCLUSION

5.1 Introduction

The research has been all about determining the character traits of Jim Morrison Janis Joplin and Kurt Cobain through 6 of their most famous songs through using the method of psychoanalysis and wheatear it is a suitable manner in to be able to see the appearance of these traits. All the songs under contention have shown a significant basis in order to understand the psyche, the mental state and thereby be able to capture their mood and hence identify their character traits. The researcher has been able to understand the different concepts of psychoanalysis, and its relation to understanding the appearance of character traits by the end of his research. The researcher’s main objective of finding out the nature and appearance of character of Jim Morrison, Kurt Cobain and Janis Joplin has been successful.

5.2 Relation to the Literature and the Field

The review of literature has allowed the researcher to get a better insight to many of the concepts that have supported her research directly and indirectly. The most significant works being that of Jean Paul Satre’s being and nothingness and transcendence of ego and also the books psychoanalysis by Matthew Sharpe and psychoanalysis: a critical introduction by Ian Craib. When a comparison was drawn between the literature reviewed especially to those studies pertaining to the application of psychoanalysis by the researcher and the findings of the research, it was comprehended that the research’s findings and analyses returned results that were in harmony with the existent literature that was studied. It was found that this new study re-established the facts mentioned in the existing ones. Much of the reviewed literature spoke of cases where the artist found a manner of release to allow his pent up emotions to come out, and this was seen as something evident throughout the findings, also the fact of hidden juxtapositions that

79 gave the researcher insight into their mental health was similar to those reported in the study of both the great Gatsby and Pablo Picasso. However, they all spoke in terms of trying to determine a why and when, which is a process that has a lot more subjective overtones and their works was mostly on a sub-conscious level, whereby the artist’s work were scrutinized to find why they did so, the researcher had a deviation from this and tried studying the what, in the sense because of their psyche what implications did it have to their audience and what character traits stood out from the rest. The analysis was the main highlight of the research since only through this means was the researcher able to analyse the thoughts, ideas and perceptions of all the artists that actually shaped and moulded the research. It was through this that the various strategies, tools, approaches, etc. were easily identified and examined in the process.

5.3 Discussion of the Results

5.3.1 Janis Joplin

Out of the six song that the researcher took to analyse what appeared to be her character, all of them showed a high display of her ego working in order to satisfy both her Id and Superego, her ego was constantly at wits to resolve the issues at hand and the most significant defence mechanism it used was “introjection”. Janis Joplin showed clear signs of unresolved oedipal complexes and her sexuality or her libido or her Eros as she indicated was not to be fulfilled by perform the sexual act, but more by means of closeness and approval, she seemed to have the best possible display of an ego that is constantly working between the Id and the Superego, torn at every interval but it couldn’t rest, hence most of her songs spoke about a solution. The next fact is her constant repetition of the word “daddy” which again reiterates her complexes with her parents, as even documented in the psychobiography. Her superego always poked at her being alone, it made her wallow in self-pity, and more importantly spoke very self critically and entrapment. Now her Id was a stark opposite to this her Id was more in the form wrath and anger, she had unfiltered rage be it against her parents, her friends who she iterated that they never helped her Id was extremely powerful and more so difficult to deal with. Her ego is a classic case of strife, it made its presence felt by making Joplin at every interval shriek and scream thereby asserting its presence and establishing its dominance. More ironically, Joplin

80 never spoke of her physical appearance, she never referred to her being beautiful or ugly, in this aspect she seemed stable. She had a very strong sense of the reality principle, and almost always her pleasure principle was compromised. The character traits that appeared with certainty were:- Cardinal: - aloofness, humble, god fearing, perverse, submissive and feminine. Central: - optimistic, self-critical, dependent, stubborn, neurotic, sensitive, sympathetic, forgiving, taciturn and needy Secondary traits: - destructive, egocentric, pugnacious, scornful, neurotic and predictable.

5.3.2 Kurt Cobain

There was stark difference in Cobain’s songs, his superego was almost never on display, his traumatise childhood so deeply repressed into his unconscious, that its very existence seems bleak. His songs are not a sign of emotional release, rather it was a playground of his Id to come and flaunt itself it makes connections that are absolutely illogical in the “real” world, his Id talks about topics and subjects without filters and rationalizations. His Id was so prominent on his display of emotions through the songs, that the ego to a large extent decided that, in order to fulfil it or satisfy his Id it has to be unchecked and let wild. Coming to Cobain’s libido, it was one the strongest and most significant drive, he was masochistic and a lot of his song writing and performance gyrated around hiding his sexuality. He blamed the outside world for his present misgivings and almost never took it upon himself, he showed very little of defences, and showed a high level of acceptance to each situation, it seemed Cobain could easily cope with situations because of his ability to implode. Because his Id was on display, his most secret fears and outcomes were always on display, he had shown suicidal tendencies in at least 3 songs, and if not that, then he showed his unadulterated anger, angst, pervasiveness among others, but it was almost always pure. Cardinal traits:- rebellious, leader, pugnacious, charismatic, integrity callous, dogmatic, perverse and uncivilized. Central:- iconoclastic, vindictive, enigmatic, erratic, deceptive, destructive, sexually available, crass, self-independent, imaginative and wild Secondary traits:- Scheming, mystical, scornful, opinionated, self-reliant, self- confident

5.3.3 Jim Morrison

He proved to be one of the most complex minds, his ego was not there to satisfy his Id or superego, but it used to fuel itself, he used his unconscious and id to show the power of his ego, the fact that he first let it run wild, and then at any point stunted its very existence and established itself as the most supreme, he cared very little of the reality principle, maybe because the pleasure principle was intertwined with his ego and thereby his libido or his sexuality was a lot more overt and out there. Jim Morrison throughout cared very little about what the world thought of him, but was more inclined to making the world think what he thought about himself. He constantly used himself as the epicentre to all things around him, yet he did this in an overt and more thorough covert manners. Jim Morrison was well read, in the sense he had a lot of literary knowledge and used that to great effect in order to communicate himself. Cardinal traits:- shaman, hypnotic, monstrous, mystical, narcissistic, sexually charged, chaotic, idealistic, animal like, hedonistic sociopathic and authoritative. Central traits:- modern, undisciplined, scornful, charismatic, enigmatic, confident, crass, masculine, self-sufficient, aggressive, vindictive, uncouth, rude and moody Secondary traits:- unctuous, loquaciousness, iconoclastic, callous, arrogant, unsympathetic, and eloquent.

5.4 Scope for Further Research

The study could be taken to a whole new level considering the constraints it faced during the research phase. Due to lack of time only a few personalities could be analyzed> therefore the number of personalities can be increased could be taken under the scanner for a better understanding. Moreover only one of media or art was taken into the study that is Music. Other personalities from a varied field of media may be approached too. Also only the Freudian school of thought was applied, for further studies different approaches of psychoanalysis could be used and understood in order to give a more dynamic feel to the research.

Also a focus group interview could be conducted from the results tabulated in order to seem the impact on a mass audience and their direct perception of the character traits of these artists.

5.5 Limitations of the Study

During the process of the research the researcher faced certain limitations.  The biggest limitation of the research is that there have been no possibility to get in touch with experts from this field  Because these artists were of such great stature, finding material of substance was difficult. Also access to a few articles and books was restricted  Another factor that needs to be considered is the educational background of the researcher and the present subject under contention are significantly different  It has also been difficult for the researcher to accurately analyze the extent to which some of the structure of the song and composition of music has taken place Despite all the above limitations the researcher has been able to complete his research that fulfils all the objectives that had been laid out.

5.6 Conclusion

The three artists in contentions showed and displayed emotions and personas that are very different to each other, each ones persona and personality has been very dissimilar and diverse, but all of them have left a significant mark in the same art field. Their songs still go onto inspire a generation, and they are continued to be celebrated.

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