Hopkins and Sugerman (2006) and Stone (1991) developed the image of Morrison as a shaman and Lizard King based on Morrison's development of his role as a shaman and image of the Lizard King. This image was Morrison's “existing value structure” at the time of his death, despite attempts made by Morrison to change this image. Because “how the overall image grows determines or at least limits the direction of future growth,” Hopkins and Sugerman (2006) and Stone (1991) were working within the parameters of Morrison's image. Thus, the image of Morrison as a shaman and Lizard King became internally consistent and constant through repetition and served to organize both historical and posthumous ideas about Morrison, superseding reality. Peter Jan Margry (2008, 145), in “The Pilgrimage to Jim Morrison's Grave at Père Lachaise Cemetery: the Social Construction of Sacred Space,” writes of Stone (1991) “[giving] an entirely new impetus to this mythologizing [of Morrison ]”. “The film,” writes Margry (2008, 145), “partially confirmed the existing image but added powerful new iconography and narratives.” Popular biographies of Morrison, published since Hopkins and Sugerman (2006), have emphasized the mythical implications of Morrison's life. history, such as the development of myths surrounding Morrison during his lifetime, his mysterious death, and the development of a cult following, which included pilgrimages to his grave in Paris (see Davis 2005; Densmore 1990; Henke 2007; Hopkins 2010 ; Mazerak 1999; Riordan and Prochnicky 2006). The importance of understanding Morrison as a shaman relates to the origins of attribution. Morrison, self-characterizing himself as a shaman, instigated the assignment of a religious aura to... middle of paper ...personal autonomy and the archetype of rock star decadence. Given that Morrison has not been the subject of a study of commodification, as Presley has, then the study of Morrison as a commodity, and his religion, considering him as a “religious figure,” merits future study. a religious aura surrounding Morrison, and Morrison as a “religious figure”, all aspects of his life and image must be taken into consideration. Historically, its life, self-propagated myth, image, death and potential as a commodity. Posthumously, his popular myth, the pilgrimage to his tomb and the commodification of his image. Morrison as a shaman and Lizard King is just one reason for his religious aura; his contribution to the development of popular myth, together with the central values ​​contained in his image, contributed to the idea of ​​Morrison as a “religious figure.”