Actors in history’s grand stage play (Part IX)

The concept of death doesn’t hold the same significance for the ruling elites that it would for the proletariat.

Family members of the ruling elite bloodlines may live several lifetimes to the so-called commoners one. While holding on to a primary identity, elite family members often serve as host actors in the portrayal of many characters over the span of a single lifetime, dying and resurrecting into new characters when one becomes no longer profitable or when its character arc has fulfilled its political or social purpose.

Though conceptually, this may be difficult for many to consider when encountering the sort of information discovered here at, understanding the concept of how the masses perception of reality is routinely manipulated in such ways is crucial in developing a rational understanding of the illusory nature of the world one lives in.

As one of pop music’s most seminal performers, and the subject of today’s piece, once proclaimed to the world through the gift of song, one must ‘break on through to the other side’.

As one shall soon observe, some of history’s most prominent public figures, both in the world of pop music and the US military, are indeed, not who they say they are.

‘The American Dream’

How many aspiring musicians and actors, true believers invested in the ‘American Dream’ that anyone possessing a modicum of talent, diligence, patience, and perseverance can ‘make it’, spend inordinate amounts of time to master their craft, only to find heartache and disillusionment awaiting them at the end of their long journey, rather than the glory of super stardom they so desperately desire? Tomes the width of doorstops could be penned detailing the number of these tales of abject woe. If only someone had bothered to inform, or perhaps if they had first been given opportunity to peruse the material  found here at, a lifetime of such abject sorrow could perhaps have been averted.

In truth, success in the very profession for which they struggled so long to excel is based not on talent, or merit, nor diligence or perseverance, but nepotism. Since the inception of Hollywood and the music recording industry in the early twentieth century, the Rothschild and Rockefeller elite ruling families have enjoyed a monolithic and virtually impenetrable monopoly. Considering the staggering revenues from both the motion picture and music recording industries, the gross profit from these two titanic industries over the decades has exceeded the combined GNP of most third world nations. As shall soon be observed, the elite ruling families not only own and operate every major movie studio and recording corporation of note, but cull from their own ranks the pop and movie stars the masses so rabidly adore.

Has one never considered, why would the ruling elite families scour the hinterlands of America to ‘discover’ talent, when they possess ample numbers of aspiring young artistic dilettantes among their own brood?

The likes of Madonna, Gaga, Britney Spears, and scores of other such stars having eclipsed elusive super stardom, are all, unbeknownst to the public, relatives of the ruling elite families operating under pseudonyms. One such example from pop music’s so-called classic rock era, would be none other than the self-professed ‘Lizard King’, Jim Morrison. And folks, as one shall soon learn, there is a great deal more to this pop icon’s story than has thus far appeared in official biographies.

‘Light my fire’

Recently, one had the opportunity to read ‘No one gets out of here alive’, the so-called biographical account of James Douglas Morrison penned by Danny Sugerman, of the young man who would become known to American teens in the turbulent 1960’s as the brooding poet and lead singer of mega-selling pop group the Doors. At first glance, and perhaps not surprisingly, the book is rife with anomalous accounts. The first of these, is the author’s mythical account of the initial formation of the pop group that in 1967, the year dubbed to posterity as the ‘summer of love’, came to be known as the Doors.

Despite the fact the Doors future front man had ‘no prior interest in music or formal musical training’, Sugarman claims Morrison began to write what would become the batch of classic songs soon to be debuted to the American pubic while still a student at UCLA film school. Stranger still, ‘Morrison’ was not proficient on any musical instrument, nor did he own one. One does not have to be Leonard Bernstein to see this may represent an anomalous detail.

Conveniently enough, Morrison’s classmate at UCLA, Ray Manzarek, the Doors would-be keyboardist, happened upon Morrison while slumming as a vagabond on Venice beach. Odder still, if one is to take the birth dates at face value provided by his biography, Manzarek was a bit long in the tooth for suddenly desiring to start a pop group. At the time of the group’s inception, Manzarek was in his late twenties, and almost pushing thirty. Judging from the band’s promotional photographs released during that era, it appears as if Manzarek may have been even older than thirty. In fact, Sugarman points out in ‘No one gets out of here alive’ that the taciturn and mild mannered Door’s keyboard player oftentimes acted as the bands elder statesman, not only during scheduled press conferences, but acted as a liaison between the band and Jac Holtzman, the president of Electra records, the Doors recording label.

In fact, there is every indication Manzarek may have acted as Morrison’s handler, for he often appeared quite defensive and protective of Morrison whenever harsh criticisms were launched by the press towards the singers self-published collection of poems. It must also be pointed out that, UCLA film school has been often cited by other researchers as a hot bed of recruitment for CIA and other similar federal agencies.

The tale of Manzarek’s chance meeting with Morrison on Venice beach smacks of the same straining of credulity evinced by the mythical tale of Brian Epstein’s initial ‘discovery’ of the Beatles during lunchtime at Liverpool’s Cavern club.

But, one has learned the creation of legends is often accompanied by such mythical and often improbable tales, much like the story of America’s so-called founding father, George Washington and the chopping of the cherry tree.

Soon after the release of the group’s self-entitled debut recording, the band rocketed to fame solely on the strength of its first issued ‘single’, ‘Light my fire’. Given the nature of most of the popular music common to this era, the instant popularity of the album, and the band’s debut single issue, seemed unusual in a significant number of ways. First, the band’s music was not similar in any way to the electric guitar driven offerings of other popular acts such as Jefferson Airplane, the Grateful Dead, or even the Beatles. It also differed stylistically, rhythmically, and in terms of overall musical arrangement.

This analysis is pertinent to the bands first single, ‘Light my fire’, in so far that the musical arrangement was not typical in comparison to traditional music forms evident in the popular arena up until that point. Indeed, the Door’s debut recording featured an almost world weary sophistication in its presentation, a sophistication almost seemingly beyond the callow grasp of a fledgling and previously unknown act.

Indeed, there seemed to emanate from the Door’s recorded music, and Jim Morrison in particular, a worldly sensibility and almost cavalier confidence. This seems certainly unexpected from a college film student whose neophyte songwriting abilities Sugarman, and Morrison himself, admit were elementary at best.

However, Morrison’s lack of significant instrumental abilities and prior professional vocal experience, nor his lacking any previous experience working with musical composition of any kind within a professional context, did not seem to impede or hamper his progress on the fast track to mythical pop stardom.

In truth, if one listens to ‘Light my fire’ and the Doors debut with a keen ear, one can detect similarities in comparison to other popular songs of this era written by Burt Bacharach, the heralded and world renowned composer who had penned several top ten hits for Gene Pitney, Cilla Black, Dionne Warwick, Marty Robbins, the Carpenters, and many others. From the standpoint of musical analysis, the chord voicing, phrasing, and arrangement of Light my fire, and other songs heard on the Doors debut, had more in common with modern jazz than the blues based arrangements of other contemporary 1960’s rock acts.

In fact, upon more than cursory examination, the compositions demonstrated on the Doors debut seems more similar to the style of atmospheric ‘lounge pop’ Bacharach was renown for producing during this era. Astonishingly, although Morrison is credited with having penned most of the lyrics for the Doors songs, guitarist Robby Krieger, according to Sugarman in ‘No one gets out of here alive’, was solely responsible for the lyrics appearing on the bands debut recording of ‘Light my fire’.

This too, presents a minor anomaly, in that, if one combs through the lyrics to Light my fire, and other chart topping Doors songs, the unique phrasing, overall feel, and style, ring eerily similar to Bacharach’s award winning lyricist Hal David.

Could it be, given ‘Light my fire’ was the bands debut single, it had been decided to give Krieger sole writing credit, to dissuade the public from making any conclusive and obvious comparisons to the popular work of Bacharach and David?

But, referring back to the bands earliest promotional photographs for a moment, one notices Manzarek donned with extremely dark framed sunglasses.

What was it, Manzarek may have been trying to hide?

Could it be, Manzarek (ManZarek, Z=Zayin in the Kabbalah, or 7 hoax code) was Burt Bacharach in disguise, operating under a manufactured pseudonym?

It is also curious, given Bacharach was a classically trained pianist, the Doors sound mix is both dominated and anchored by Manzarek’s fuzz toned Wurlitzer organ.

If memory serves, towards the beginning of Sugarman’s tome, there are interesting references to Morrison acting in the role of ‘crowd actor’ while at UCLA during some of the on-campus protests against America’s ongoing conflict in Vietnam. There is even a passage in Sugarman’s book, where Morrison explains to his fellow student protesters how ‘we can change it’, in reference to the emotional complexion of the crowd of students gathered on campus.

This smacks of psychological crowd control methods developed by intelligence, specifically CIA.

Given that Morrison was later to become the focal point of a pop group reaching for a mass audience, this is particularly trenchant. For, the stage persona Morrison later developed proved deliberately anarchic, as if he were playing the role of a crowd agitator. Sugarman’s book even goes on to describe Morrison’s staged theatrics during performances in New Haven, Connecticut, and still later in 1969 while performing at an engagement in Miami, Florida. The former incident found Morrison deliberately agitating the crowd of concert goers into riotous behavior. The latter incident described by Sugarman gained Morrison national notoriety, or infamy, as it were, when it was claimed the singer exposed his genitals to the crowd after once again deliberately agitating the crowd to confrontational violence from the stage.

Most telling, is the testimony of the bands manager Bill Sidon, who said in recollection of the incident, “Jim knew exactly what he was doing.”

Could it be, the Doors, like the Beatles, were an intelligence project, deliberately designed to create mass chaos and even rioting to discredit the counter-culture movement? The fact the band’s chosen moniker was derived from William Blake’s ‘Doors of Perception’ proves also trenchant, in that distorting the public’s perception towards the mounting counter-culture movement could have been the ostensible purpose behind the band’s creation and subsequent placement in the public eye.

Jim Morrison ‘Rockefeller’?

Though, the fact Jim Morrison’s ‘father’, Admiral George Steven Morrison, was commanding the Gulf of Tonkin fleet during the inception of the Vietnam war has been pointed out by more prominent researchers, it bears repeating. But, there is more to this story that travels well beyond the parameters already popularly edified and established by these so-called prominent researchers in the alternative news community.

What they don’t tell you, is both Admiral ‘George Steven Morrison’ and his alleged son were both portrayed by host actors, the former a close Rockefeller associate, and the latter the son of John D. Rockefeller III, John D. Rockefeller IV.

For, it is not just at the highest levels of politics and show business one shall discover host actors operating under pseudonyms and portraying more than one character, this practice also extends to the highest levels of the military.

Yes, folks, believe it or not, this massive deception, the practice of ruling elite family members and their associates serving as host actors portraying characters while operating under pseudonyms has permeated the whole of American society, and has therefore shaped one’s distorted perception of reality.

Thus, allow one to set American history straight.

The Morrison’s, like the Kennedy’s, were, and are, a fake family.

In 1965, while America had an actor portraying President Lyndon B. Johnson, yet another actor, Rockefeller associate David Pace, head of the Rockefeller established National Institute for Social Sciences, posed as two star Admiral Morrison, involved in the hoax known as the Gulf of Tonkin incident. This makes forensic examination of the details of Jim Morrison’s death unnecessary, since both comparative facial analysis and ear bio-metrics between photographs of Hollywood actor Chevy Chase, John D. Rockefeller IV, and the ‘Lizard King’ demonstrate a more than plausible match. Yes folks, the host actor portrayed the mythical’Lizard King’, a fake counter-culture hero/controlled opposition agitator, went on to become SNL comedian Chevy Chase.


The ruling elites love to mock the American public with their play on words and silly pseudonyms. It should be noted that the late David Rockefeller was president of Chase Manhattan bank in New York (Get it folks, Chevy CHASE).

To put the short-lived pop phenomenon of the Doors into proper historical perspective, what one witnessed was a concerted effort by a ruling elite family seeking to agitate the counter-culture movement into self-destruction. In employing the creative genius of one of America’s finest song writing talents, and in transforming one of their own marginally musically talented siblings into a pop superstar while operating under a pseudonym as a means to an end, the Rockefeller ruling elite family achieved the nefarious goals of their social, political, and economic agendas.

This is the same family, established by family patriarch John D. Rockefeller, who taught his children the ways of philanthropy to be the highest of virtues.

And why?

What the media sorcerers don’t tell you, this is one of the ways ruling elite families such as the Rockefellers stay rich and powerful. Philanthropic foundations are set up as tax free and interest bearing asset money shelters that, due to gaping loopholes in federal law, cannot in any shape, form, or manner, be subjected to audit from the IRS, or scrutinized by the prying eyes of legal probate.

So, folks, how does that light your fire?





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