by Amy Bortner


This is a transcript of a channeling session held by Amy Bortner on June 18, 1992 at the Ascordia Center in Chestnut Hill, Pa. In this session, Jim McStravick, a friend and student is speaking to Amy's Guides and during the session, The Guides decide to bring in Jim Morrison, former rock star and leader of the band, The Doors, to speak to him. The following is the conversation between Jim McStravick and (the former) Jim Morrison. The session up until this point is not included:



(Jim Mc Stravick): "Why does Jim Morrison, Jimi Hendrix and John Lennon want to speak to the public right now?"

(Guides): "Give us a moment then, and we'll ask them directly..." 

JM: (Clearing of the throat)…."Well, we're both named Jim"

J. McS.: "Jimmy Morrison or Jimi Hendrix?"

JM: "Jim Morrison. Jim Morrison."

J.McS: "How do you do?"

JM: "How do you do?"

J.McS: "It's a pleasure to meet a poet."

JM: "Indeed. That's how I wanted to be known, in my epithet-rather-epitaph. Indeed. Well, it is a little difficult, in the beginning, isn't it, to communicate through another person. And I only did this once before so give me some time here to re-establish the connection. I'm not so sure I can do this real well, but I will try my best. I was just given the call to come through at this time to tell you a few things 'cause I understand now that there is a question about me and others like me who were rock stars not too long ago and the question seems to be, "why are we back?' (pause) "why are we here" and I'd say (to that question) 'We never left!; we never left!' We just left our bodies and we're still here and why we're back, say, in bodies again (in a manner of speaking) is to say that we can render a change in attitude, in the public eye, of the validity of the understandings about life after death and re-incarnation. That we can embody these concepts literally by showing that we can come in and out of bodies; that we are spirits that can come in and out of lifetimes; that we are entities that can come in and out of situations, at our free will disposal.

As a poet, I wanted to make that clear too, to people, that they had always a choice to look at themselves at a deeper level. That they had a choice, that they could always see the depths of their being, meaning then, that they could see that they were 'spirits in flesh', in forms, in ways, not only in this time but in other time periods as well. As I had said before, when I had come through before, I was a Greek man, a student of Aristotle and I wanted to re-impose this image, then, in my present sixties rocker persona. So that it was said that I looked like a Greek god or a Greek man. And this was my way of allowing people to associate me with that time period, that intellectual climate of questioning, of examination and of analysis. And this is what I wanted people to do with my music and my poetry, was to question and examine and analyze basic presumptions of their everyday life. To see beyond the superficial to see beyond, (pause) to see the depths of their involvement with life; to see the symbology of meaning in everything they did!

And we are back, then, because ..... (we want to say that we left our bodies but we've been here since the sixties observing the seventies and the eighties and the nineties.) We want to come back now in the nineties, because we feel that this a better time, that many people would be willing and able to open themselves up; to "suspend their disbelief"; to observe phenomenon that they have never observed before, just like in the sixties, when people suspended their disbelief and took drugs so that they could open up their minds. This time, now, they don't have to take drugs but they can listen to channelers instead. It's the same thing (channeling), it's the same kind of drug, it's the same kind of effect that drugs have on the body, in a way, in that it stimulates the pineal gland. So that's another reason why we decided to come through again, so that we can have a similar effect as drugs did in the sixties, hallucinogenic without the damaging side effects, if you know what I mean!"

J.McS: "I certainly do!"

JM: "I was quite damaged by the time I died and it's unfortunate because I didn't really think I was damaged that much, because, you lose your sense of judgment, you know, after a while, so your judgment says to you, you're o.k., even though you're not and so I kept taking drugs even though I knew that I wasn't o.k. (but most of me thought I was o.k.) So, I was split, too. You were talking about schizophrenia, weren't you, before, Well, I was sort of split, too, by the end of my life, split down the middle and I had a good side and a bad side too. And...well, that's not relevant here, but to say that we also want to show people that we are now on the good side, that we don't have, necessarily, a bad side to work with anymore but the good/bad differentiation is part of the human experience and not of the spiritual experience. So, in a way, we're back also to show you that you can unify all experience into a love experience, into an experience of love. Love, then, integrates the good and the bad together. It's seems like that's what the Guides were saying to both of you, earlier, to observe phenomena that seems bad with loving eyes so that it can lose its bad-ness, its bad qualities."

Do you have a question for me?"

J.McS.: "Yes. Are you still working or do you still think about language and the way language can change content if it emphasizes certain lyrical and rhythmic qualities?"

JM: "Sure, sure." I'm not doing too much poetry now but I can say to you that anything that will emphasize a beat is good, because it entraps your interest, it entraps your... It entrains, rather, your brain wave patterning, if you establish a beat with the rhythms of the sounds of the words. I don't know if you know this but there are ways in which the body can hypnotize itself, -rather- the brain or the mind can hypnotize the personality. It can create a hypnotic effect on the personality through the use of the repetition of sounds; through the use of a certain rhythm of sound; in the use of certain words and lyrics and punctuation. So that, once you get the brain/mind in a certain framework of consciousness, then you can "zap" it... you can throw in concepts that would otherwise not be understood as easily. So, with a poem (or song), you start out on an 'even keel', pure and simple, with a lot of heavy rhythm and then in the body or framework of the poem itself, you alter the rhythm but (also begin to) alter the concepts, as well, so that they become more complex or intricate, so that they build on earlier, more simpler concepts. Concepts take on a more symbolic form in this middle section of the poem. And then you want to "retrace back", through repetition  of sounds and rhythm, again, so that the mind is re-entrenched with these concepts. That's how I created a lot of my poems for my music, in this way... So I could entrain the mind in a certain, - I'd call it alpha state or even the beta state , so that concepts could be introduced more quickly into the mind. Do you understand that...about what I'm saying?"

J.McS: "Yes, yes."

JM: "It may be a different approach than what you were thinking
of..." 

J.McS: "My own, my own approach is...I don' t know if it's that interesting, but certain tones ... it would be more tonal with me..." 

J.M.: "Yes, you can do tones, too, you know. That's also a very appropriate approach to poems, to poetry..." 

J.McS.: "I was told to stick to Gaelic, you know, because there was some connection between ancient Druid priests and certain sounds that are made in Gaelic." 

J.M.: "Yeah, I think that's probably a correct assessment. I am not interested in that subject myself, but it does sound very intriguing and would probably be a good thing to do. I would say, then, as I would say about any poem, that you start out simple enough, you start out with certain key images, that are very powerful images that will again, bring you in, bring the person in to the body of the poem. It's like, what I would say is, a woman, you know. You see the outer shell first, you know, you see the clothes and you see the hair and you smell the perfume and then you take it off and then you see the body itself, the core of the being of the person as you explore her, say, through sexual interplay, or through encounter and then, you put the clothes back on, put the (outer shell) back on, and it's complete, the process is complete." 

J. McS: "Yes, I understand now."

J. M.: "Yeah, that's why I was kind of interested (also) in women as they, to me, were the apt metaphor for my poems, you know. "L.A. Woman" was, then, a poem about a woman but it was also about Los Angeles which I thought was a city that had very feminine qualities. very highly intuitive, feminine qualities, which I was rather captivated by. Or captured by, if you will." 

J. McS.: "I thought it was a great song. And such a great album." 

J. M.: "I liked it very much. I liked all my songs a lot. They all seemed to represent for me a synthesis of a lot of work I did at other levels, in other lifetimes. This was kind of a culmination of several lifetimes of work as a poet and a musician that this lifetime, as Jimmy Morrison, was like bringing it all together. And so, I'm particularly proud of this lifetime, for this particular reason, for this reason only"

J. McS.: "Is there anything else you'd like to say? To talk about?"

J. M.: "Not much really, um, I could talk a lot more about my poetry but I think you could talk to me about that in a separate session. I 'm just observing now, a lot of people in the rock scene and observing what's going on in terms of the kinds of ideas that are being promoted. And actually, the deep conservatism that is spreading out now in all areas of society has hit the music scene too. So, I say not too much is going on and so I'm just kind of watching and waiting for a time when music will begin a renaissance again.  But that will only come about when people are really ready to open up to new ideas. And so, that's another reason why we come through, now, so that we can get people ready to experience new and creative art forms, it's another reason. It's another reason so that we can say "Hey, we're thinking about it, we are helping others to do it, to create new and better art forms; to express the development of consciousness as it's coming into it's own now, towards the close of this century.

J.McS.: "That's great. I know my, uh, I think that's so important because I thnk there seems to be more of an emphasis on the purely visual or dance numbers in rock now. It seems to be pretty much the MTV, which seems to have pretty much set the tone with the music scene. There seems to be an emphasis on the production rather than the content."

J.M.: "Yeah, yeah, they're more like musical productions, musical shows or little musical theater pieces. And again, you'll notice they're very hypnotic."

JMc.S: " Yes, they are. they're quite effective, I mean Madonna's stuff is, well, it's incredibly well produced."

J.M.: "It's got a purpose too, in that it does produce a certain state in the brain, a brain wave activity, that is narcotic, ultimately it's sedative. And that's not "my bag", but what the bag is right now. So, again, our "coming through" will allow for new forms to come through that will wake consciousness up, rather than sedate it. (which is what I see is happening now.)
  

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