it's as if he's suddenly realized he's not invincible. like morrison, the country's innocence is being tested as well.

a spasm of violence ripples throughout the decade, and it continues to be reflected in the doors' music. morrison believes violence is an american tradition. its citizens are addicted to it and enchanted by it. ♪ the devil was wiser depp: the doors had passed on woodstock, so in 1970, while still waiting on their miami appeal, they fly to a small island off the coast of england. the concert at the isle of wight is intended to be a fusion of spirit and the world's best rock musicians, but fans feel the concert should be free. police and promoters disagree. [ shouting ] [ whistle blows ]

♪ this is the end ♪ beautiful friend ♪ this is the end ♪ my only friend ♪ of our elaborate plans ♪ of everything that stands ♪ i'll never look into your eyes again ♪ [ gunshot ]

♪ can you picture what we'll be ♪ ♪ so limitless and free ♪ desperately in need ♪ of some stranger's hand ♪ in a desperate land ♪ come on, baby, yeah my thanks to all of you, and now it's on to chicago, and let's win there. [ gunshot ] ♪ come ride with me

♪ across the sea ♪ endlessly ♪ woke up this morning, got the crossroads on my mind ♪ ♪ well, i woke up this morning, got the crossroads on my mind ♪ ♪ take a walk with me, everything will work out fine ♪ ♪ well, i woke up this morning, got the h-bomb on my mind ♪

♪ take a walk with me ♪ and everything will be all right ♪ ♪ all right! ♪ ride at train, yeah!

[ crowd cheering ] depp: by late 1970, the dream that had stirred an entire generation officially ends. charles manson's use of lsd had not led him to enlightenment, but into madness, and a new president removes all hope for change. jim's deeply affected by the deaths of hendrix and joplin. he jokes to friends "they're looking at number three." michael mcclure helps change his mood. with his support, simon & schuster publishes the first collection of jim's poems. the book becomes one of morrison's

proudest accomplishments. "nothing," he says, "is as eternal as poetry and song." man: ignition sequence start. liftoff, we have a liftoff. depp: as the country enters the new decade, the doors start over. "morrison hotel" had been another step away from the mainstream. it took them back to their roots -- the blues. it went gold in two days. despite the disaster of miami, jac holzman encourages them to make another album. but some things stay the same. jim shows up late and drunk, only now, he's added cocaine to the mix. the band is alternately bored and furious at jim.

rothchild falls asleep at the console. he tries to motivate the band by accusing them of playing cocktail music. rothchild finally realizes it's time for him to leave, his parting words to the doors, "the only way you'll survive is if you make this record yourselves." shocked by his departure, the doors turn to bruce botnick. botnick urges the band to just play. ♪ so alone ♪ so alone depp: to john, it's like they're back in the garage, back to the four of them just playing music. ♪ let's change the mood from glad to sadness ♪ depp: it's john's idea to slow down the middle of "l.a. woman." jim comes up with a phrase he wants to repeat

over and over. after they record it, jim scribbles something on a piece of paper and shows it to the group. ♪ mr. mojo risin' ♪ mr. mojo risin' ♪ mr. mojo risin' ♪ mr. mojo risin' ♪ mr. mojo risin' ♪ mr. mojo risin' ♪ mr. mojo risin' ♪ got to keep on risin' ♪ risin', risin' ♪ risin', risin ♪ hey, risin', risin' ♪ oh, woo! yeah!

depp: they record quickly, doing several songs a day. to help keep morrison interested, botnick brings in jerry scheff, elvis' bass player. the band wants "love her madly" to be the first single, but robby resists, calling his own song too commercial for the doors. his choice is "riders on the storm." ♪ riders on the storm ♪ riders on the storm ♪ into this house we're born ♪ into this world we're thrown ♪ ♪ like a dog without a bone, an actor out on loan ♪ ♪ riders on the storm

♪ there's a killer on the road ♪ ♪ his brain is squirming like a toad ♪ ♪ take a long holiday ♪ let your children play ♪ if you give this man a ride ♪ sweet memory will die ♪ killer on the road ♪ yeah

♪ yeah depp: it takes just over a week to record the entire album. once again, all songs are credited to "the doors." on december 8, 1970, jim morrison celebrates his birthday by recording his own poetry. morrison: he was no private, for he could not be sold. he was only a man, and his dedication extended to the last degree. poor, pretentious soldier, come home. depp: he's 27. friends can't believe the change in only two years. the poetry session snaps him out of a depression,

and he agrees to perform live with the doors again. on december 12th, they play new orleans, introducing the new songs from "l.a. woman." ♪ don't you love her madly depp: for a moment, the old morrison appears. then he sits down on stage and doesn't get up. it is here ray says he sees all of jim's psychic energy leave his body. a few days later, pam courson returns to l.a. from a vacation in paris. she discovers jim sleeping with a woman who claims they were married in a pagan witch ceremony, but the witch flies back to new york and jim goes back to pam. she still envisions a life for the two of them that starts with jim leaving the doors.

he'll stay home and write poetry while she runs an exclusive clothing boutique. just after the band finishes mixing "l.a. woman," jim announces he and pam are moving to paris. he'll relax for a while. he'll quit drinking. he'll concentrate on his poetry. ray asks when he's coming back. jim just shrugs. on april 17, 1971, with the miami conviction still hanging over him, jim flies to paris. ♪ you're lost depp: for a while, things go according to plan.

jim does concentrate on his poetry. he shaves his beard. he wanders the streets alone, visiting the cemetery at pere lachaise, where chopin, oscar wilde, and edith piaf are buried. he develops a persistent cough. back home, elektra releases "l.a. woman." critics call it the doors' comeback album. when his cough worsens, pam takes him to the doctor, who strongly urges morrison to quit drinking. as he roams the city, he carries his notebooks in a white plastic shopping bag. they're filled with fragments of song lyrics and poetry. but the solitude of the writing offers little of the kick he knows so well.

[ crowd cheers ] one day, jim makes a phone call home. john densmore is surprised to hear from him. jim says he's thinking of coming home to make another album with the doors, but john can tell his voice is slurred. and one night, after hours of heavy drinking, jim says he doesn't feel well. he takes a bath. after calling out to pam, "are you still there?" he dies in the bathtub. ♪ before you slip into unconsciousness ♪

♪ i'd like to have another kiss ♪ ♪ another flashing chance at bliss ♪ ♪ another kiss ♪ another kiss ♪ the days are bright and filled with pain ♪ ♪ enclose me in your gentle rain ♪ ♪ the time you ran was too insane ♪ ♪ we'll meet again

♪ we'll meet again depp: the vietnam war finally ends. the youth movement fades away, not to reappear. but that flash of protest, however brief, was real. it forged the consciousness of a whole generation. ♪ oh, tell me where your freedom lies ♪ ♪ the streets are fields that never die ♪ ♪ deliver me from reasons why you'd rather cry ♪ ♪ i'd rather fly depp: to some, jim was a poet, his soul trapped between heaven and hell.

to others, he was just another rock star who crashed and burned. but this much is true -- you can't burn out if you're not on fire. ♪ the crystal ship is being filled ♪ ♪ a thousand girls, a thousand thrills ♪ depp: it would take his father another ten years to say, "my son had a unique genius which he expressed without compromise." ♪ when we get back, i'll drop a line ♪ depp: the doors were together for 54 months. they've sold over 80 million albums worldwide. they still sell a million albums a year.

as of this date, none of their songs has been used in a car commercial. ♪ i wanna tell you about texas radio and the big beat ♪ ♪ comes out of the virginia swamps ♪ ♪ cool and slow, with plenty of precision ♪ ♪ and a back beat narrow and hard to master ♪ ♪ i'll tell you about texas radio and the big beat ♪ ♪ yeah, i'm bringing home some good news ♪ ♪ got some things you'll be glad to hear ♪ whoo! ♪ oh ♪ yeah, i'm bringing home good news ♪

♪ good news, got some good news for ya ♪ of the national endowment for the arts, because a great nation deserves great art. and by the corporation for public broadcasting. additional funding for "american masters" provided by... and by contributions to your pbs station from viewers like you.

thank you. ♪ whoo! come on! ♪ keep your eyes on the road, your hands upon the wheel ♪ ♪ we're goin' to the roadhouse ♪ gonna have a real good time to learn more about the doors, visit pbs.org. ♪ yeah, back of the roadhouse they got some bungalows ♪ ♪ yeah, back of the roadhouse they got some bungalows ♪

available now on shoppbs what about a little makeup? yes, mr. selfridge. we will make shopping brilliant! brilliant. madness. the biggest and the best department store in the whole world. nice. they said we couldn't do it... good morning mr. selfridge. but we are going to prove them wrong. to order visit shoppbs. also available on itunes. this summer, pbs is the place for mystery... woman:"an englishwoman has disappeared from the train." man:"i'm a good detective!" 2nd man:"a single drop can kill a man within seconds." (gunshot) (gasp) ...for discovery... vo: "the relics appear to be those of the buddha himself." sfx: (gong) ...and for celebration bergeron: "you are a party crowd, aren't you?"

(cheers) (fireworks) all summer long, come to the one place - that can take you...anyplace. pbs

bruce: trawling the "antiques roadshow" archives has been a fascinating exercise. sometimes we're laughing with the experts, other times the finds are really quite moving. tonight, stand by to see everyday objects from the past in a totally different light. it's why we call this program "priceless antiques roadshow." ( theme music playing )

here at kenwood house in london, many important historical figures have been recorded for posterity in these imposing portraits. but in this program, we meet some very down- to-earth heroes whose wartime endeavors might have gone unnoticed were it not for a trip to the "antiques roadshow." the "roadshow" is very good at turning up unsung heroes. i remember one year we were at rugby. my mother's first husband was a balloon sergeant. he had to draw the enemy lines to try and get rid of the enemy guns. it must have been one of the most dangerous jobs during the war. also, miscellaneous expert bunny campione steps back in time to her first appearance at a "roadshow." campione i had this tea with the producer

and he said, "you can't just do dolls. you've got to do miscellaneous." so i said, "i'll do my best." and he said, "and another thing, you've got to lose the plum in your voice." this is quite an unusual doll. it was made in about 1910, in france, obviously. and ceramic specialist john sandon tries to recreate a bit of potting history. you're going to be digging terracotta clay out of your fingernails for weeks. sandons have a reputation for being the worst potters imaginable. i don't think this is gonna be a masterpiece on a future "antiques roadshow." for our first trip to the "roadshow" archives, we don't need to go back in time. more and more we're encountering examples of modern design on the show. and these are items you might remember from your grandparent's home or even your own childhood home. they're becoming very collectible. katherine higgins and paul atterbury feel there's definitely room for a bit of retro on the "roadshow."

what we often see are domestic objects that have actually changed people's lives. whether it's an early washing machine or a washstand or a hairdryer, it doesn't matter. these are things that suddenly made life easier. and i think one of the strange things the show does is track those sociological and technical changes. higgins: i'm pretty passionate about postwar home style and particularly things in the late '60s and early '70s, the use of new materials and how those really revolutionized our lifestyles. i really noticed a couple of pieces that paul did of, you know, great plastics-- the use of plastics and how that changed our lives in the late '60s and early '70s. one memorable one was the garden egg chair. - it's an amazing object, isn't it? - yeah. it's obviously-- i mean, it shrieks '60s attitude.

these incredible colors. it's so sort of dynamic and vibrant. atterbury: i think also we track changes in attitudes to manufacture and design. plastics suddenly appear as something you can use for furniture, you can use for clothing, you can use in all sorts of new ways. 1968 is when it was first produced. and the idea was that because you can shut it it's waterproof. it can live out of doors, it can come in the house. it was all to do with that move of bringing the garden into the house, the house into the garden. informal open living, which was very much part of the 1960s. if ever there's an antique for the future, - here it is. - thanks very much. but equally there are lots of extraordinary backwaters of technology where somebody thought, "i've got it. i'm going to save the world and make a fortune by making a machine that does something completely ridiculous." and of course it doesn't work. he patents it, nobody buys it, it disappears into some black hole of history. and when those come on, that's a great moment

'cause you look at it and think, "i can't believe somebody ever thought this was going to change the world." bruce: the sinclair c5 rode into u.k. towns in 1985 and quickly became iconic, but failed to capture the public interest. i was fairly fairly surprised to see-- in fact shocked to see a young guy bringing in-- wheeling in a sinclair c5 in edinburgh. whoa, stop. i think if this had been launched today i think it would have been a success, don't you? i don't know. i don't think we'd think it was cool nowadays to go about in that. in the 1980s, this was the car of the future, or the vehicle of the future, wasn't it really? i like to take it off road. there was plans of two- and four-seater versions of it. but it had a lot of problems. yeah, i've experienced some myself.

when it's raining, that's got to be the worst one. but you can buy a jacket and they clip over here. i don't fancy one of them. doesn't look cool. i think that, you know, here we are, i actually drive a hybrid car. so i'm not that far away from what the sinclair c5 was all about. and i think that, sadly, it's not going to be relaunched. but i think that if it was i might even buy one. and the brakes are a bit dodgy. yeah, they're not working. the right one is. but i just need to shove my feet out of the car to stop. atterbury: i think a lot of domestic equipment is fun. it's never going to be hugely valuable 'cause it doesn't have that intrinsic quality. it has nostalgia appeal, it's quirky, it's quaint, it's entertaining. good heavens, did they use those? did you buy this in the 1970s? no, i'm afraid i could never have afforded it. these are wonderful examples of weltron products. and what we've got here is a radio, a tape player, a gramophone.

all combined, it looks like a space station. and you can imagine it sort of flying through space. the impact of space and space technology has been huge since the 1950s. partly, it really has given us a better life. we've got things like non-stick saucepans. we've got hugely improved domestic electronics. we've also got this strange fascination with space style. we've got table lighters that look like sputniks and satellites. we've got radios and televisions that look like space helmets and flying saucers. i've seen a sort of alarm clock radio. - yes, i've got one of those. - have you? they look like the control panel of a spaceship. yes, that's right. yes. and this, the space ball, plays something very long forgotten called an 8-track cassette. most domestic equipment is ephemeral. you buy it, you buy it largely for style reasons. and you use it and then you either get a better one

or the technology changes. and what happens of course is things that are left behind, they may become collectable. but of course they become very rare. the classic is something called 8-track stereo. nobody in their right mind today would listen to 8-track stereo. but you did at the time because it was the latest thing. and therefore all the equipment built for 8-track stereos is now completely redundant. but people collect it for that reason. - do you still have some? - i've got a few, but unfortunately they're jolly hard to get hold of. and the only one we've got that plays well is "down mexico way" by tijuana brass. - hard luck. - it's absolutely marvelous. higgins: if we kind of wind fast-forward the clock, i think that we'll probably see a lot of electronics that are around us today coming into the "roadshow." i suspect we'll see a lot of apple products. i think the fact that we've got such dinky little portables in lots of different colors-- 10 years time i might be seeing those and people will be going, "i've collected every different color