Chords for Jim Morrison in "Prime Mover", Photo Exhibit by JIM COKE

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_ _ _ _ _ [A] Hi, we're here with Jim Koch and his [Em] photo exhibit [A] called Prime Mover of photos of Jim
Morrison in 1967.
Right?
Tell me the [G] story.
It feels great to see the pictures up [A] again and they were in the garage _ _ lost for [Em] 25 years
and I never saw them until after the Doors movie came out.
I didn't realize they even existed.
I [A] shot them when I was 20 years [D] old and _ somebody asked me, hey, you shoot pictures, do you
have any [G] from back [A] then?
And [G] _ [A]
I found [Em] them.
Why is Jim larger than life or at least life size?
Yeah, he's about life size because I wanted to do a mural of Jim Morrison. _
[A] And these are all the pictures of him that show him _ [G] performing, _ going from a silence
to [A] a scream.
So this is called the scream sequence.
And [G] so the mural wouldn't have him life [A] size, the whole screen sequence as a life size.
Yes, that's right.
And _ when I looked at all the pictures, I found that I had just so many that showed him from
head to toe.
[Em] _
[A] And I put them together [D] in a [A] sequence [Bm] that showed some sort of rhythm.
Like _ _ [Em] _ that's what this is.
In fact, the stills, these are the [Am] stills on the opposite wall.
They're all the original black and white [Em] pictures.
[C]
This [G] is the first picture you [Am] took on that day?
It's the first one in the sequence.
So it shows him in silence.
And he [Em] didn't say a word to the [Am] audience that day.
He was _ _ very controlled, very much into the music, _ [Dm] _ not [Bm] playing around with the [D] audience at all.
And as you see, the audience is sitting on the stage.
People were having a good [A] time, [Bm] being up close.
[Em] People trusted each other.
And [A] here you have _ the drummer, obviously, John [Bb] Densmore, Ray [A] Manzarek, Morrison, and Robbie Krieger.
That's a great photo.
You've got them all in there.
It's [Am] great.
And you're just right on the side of the stage.
[Eb] There's no guard holding you back or about to [A] hit you on the head.
As [Bb] you see, the shadows are straight [D] down.
So the [A] sun was high noon.
And it's unusual that the _ overcast coastal light of California was filtering the light.
So it ended up being very well lit, _ indirect lighting almost.
And this is the second shot where he looks right at me.
[N] He's looking right at the camera. _ _ _ _
And so is this [Gb] girl here.
_ [Bb] Yeah. _
_ _ [B] You know, people started watching me.
[Bb] And I'm kind of [N] twisting it.
You can see where I'm not just shooting straight.
I'm trying to get a different angle.
And then same [B] here, _ _ [Gb] _ [B] same [Bbm] angle. _ _
[Bm] And just [Bb] right [G] across through here, [Bb] this is the ninth one.
That's the most [F] dynamic one.
That's the one that's [A] on the poster and on the T [Bbm]-shirt.
_ _ _ [N] Yeah, that's great.
Why did you pick that one as the most dynamic?
It shows the most motion [B] and most emotion.
[N] And then this is the scream.
This is what I call the scream sequence.
Because [B] he's actually yelling.
You know, he's so into it, his heels are off the [Db] ground.
I mean, if you turn this [B] one sideways, he actually looks like he's flying.
Oh, [Gb] okay.
[Db] Ah.
_ _ [F] But Densmore is really, I mean, I like [B] seeing the blur of the sticks.
I like [C] always getting the [Em] hands of the musicians if I can.
And showing how musicians play.
And then this is sort of the come [B] down.
You know, after he's exhausted himself, [Bm] he's sort of really gasping [Bb] _ _ _ for air.
_ _ _ [A] You know, this [F] is the one, the closest shot I have of [A] him.
And I'm [G] sure I changed lenses too.
I probably used a [D] 135.
_ I didn't get [Em] up in his face.
I had a telephoto lens.
[D] _ _
And as [Em] we go across.
That's a [A] great shot.
What's going on with the [Dm] horn?
I don't know.
Nobody's been [G] able to explain it.
When I showed Ray Manzarek that, he didn't remember what it was about either.
[E] _ [A] But _ [G]
he was [B] getting some effect.
[E] Is that a flower?
Yeah, [A] they're flowers.
[Em] And then the gas mask on the mannequin is in the next [A] picture more clearly. _
_ [G] And here he's kind of dreaming [Em] away.
And taking a [B] breath between screams, I guess. _
There are two [G] different color slides.
And I just [Bb] took them out of their holders and put them back together.
[Dm] And put the scans [G] together.
_ [Bb] And then these are collaborations with a good friend of mine, [Em] Victor Rafael.
And he put the gold leaf [B] on these.
_ [G] So he made like an iconic image.
Almost like a religious icon.
_ [D] _
_ _ [B] _ _ And he [E] put this metal and [Eb] gold leaf on that [Em] one.
And then _ that shot of the flag is the same [Bb] as the one we looked at earlier.
[Dm] But it's cropped.
And [Eb] there's gold leaf coming out of his head.
It looks like [B] there's.
You can see it actually, can't you?
[G] So if people want to see more of your [Eb] work or find [Em] you.
Is there a way they can contact you?
Yeah, they can go to my website.
Jimcoke.com.
Great.
C-O-K-E.
Dot com. _ _ _
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