New Dawn – World's Most Unusual Magazine

Author: Andrew Arnett

  • Lifting the Veil: The Occult Technology Behind UFOs

    Lifting the Veil: The Occult Technology Behind UFOs

    From New Dawn Special Issue Vol 19 No 4 (Aug 2025)

    The field of ufology has been getting a lot of media coverage, especially since the publication of The New York Times article “Glowing Auras and Black Money: The Pentagon’s Mysterious U.F.O. Program” (16 December 2017).

    This effectively “broke” the UFO story into the mainstream. Since that time, a steady stream of leaks has trickled out to the public via government whistleblowers and witnesses. Governments of many nations, including the United States, have been taking the subject seriously, creating official programs dedicated to finding out more, while rebranding the term “UFO” as UAP (Unidentified Aerial Phenomena). The US Congress holds regular hearings on the topic, most recently in June of 2025. Invariably, they are seeking evidence proving that UAPs are physical craft and the government has advanced technology, reverse-engineered from retrieved UAP wreckage.

    What is not discussed directly but hinted at in sound bites and cryptic notes concerns UAPs as being non-material and interdimensional in nature. This information seems to be suppressed by the powers-that-be, though some are trying to leak it out, even at great risk to their own well-being.

    Such is the case with former intelligence official David Grusch. In his testimonies before Congress, Grusch claims the US government possesses non-human spacecraft as well as “non-human biologics” retrieved from crashed UAPs. He accuses the government of actively concealing information about UAPs and “extraterrestrials.” Grusch also used the term “interdimensional” to describe a potential origin for some of these UAPs, suggesting the craft can travel between dimensions of space and time. 

    A more recent example involves Mathew Brown. Brown is the newly minted whistleblower on the block, making his public debut appropriately enough on Jeremy Corbell and George Knapp’s Weaponized podcast this past May. Brown authored the Immaculate Constellation Report, which was submitted into the Congressional Record in November 2024. Immaculate Constellation, or ImCon, was a super-secret government program using artificial intelligence to scour classified servers operated by intelligence agencies and the military, searching for data on UAP encounters. Brown, a former border patrol agent, told Corbell that he had first informed his superiors about the UAP monitoring program but wasn’t taken seriously. That’s when he decided to go public, releasing never-before-seen UFO footage shot on military cameras.

    Matthew Brown’s cryptic tweet of June 6.

    On June 6, 2025, Brown posted a cryptic message on his X account. His X post was directed at Elon Musk, who, at the time, was having a public feud with Trump. They were bickering back and forth on social media over the so-called Big Beautiful Bill, being legislated in Congress. Brown had some words of advice for Musk:

    “Hey @elonmusk, interested in a real asymmetric advantage to wield in this political adventure you have started? As you now know, the @WhiteHouse has long possessed a unique AI capable of accurately predicting a range of future events. Talk about some stiff opposition!”

    He goes on to say:

    “Still, you have played a marvelous catch-up game in this area, despite being caught unawares (h/t). So how about something else, maybe @ENERGY and propulsion? Getting to Mars will require Sirius amounts of both, and rockets feel so 1947 to me, don’t they to you?”

    There’s more to the post – a lot more – which includes odd images as well as a cryptic sign-off: A.B.O.R.Y.M.O.N. We’re not sure if Musk or anyone else, for that matter, understands the meaning of Brown’s message. Naturally, internet sleuths were determined to get to the bottom of it. Someone tracked an attached image to a screenshot from a video appearing on a YouTube channel. In that video, the explanation for the word A.B.O.R.Y.M.O.N. is revealed.

    Frater Eleftheria is the content creator behind the YouTube channel ‘Lifting the Lamp’ that explores a variety of esoteric topics, including philosophy, mysticism, hidden secrets of religion, and the nature of consciousness. He is an avid practitioner of angelic magic and Western esotericism, with over 16 years of experience in several orders, including the O.T.O. and A.’.A.’.

    Frater Eleftheria noticed sometime in June when one of his videos went viral as a result of the hoopla generated by Brown’s tweet. ‘Lifting the Lamp’ subsequently posted a new YouTube video explaining the meaning behind the cryptic message and how it relates to the occult technology behind UAPs.

    He begins with Brown’s username on X – Son of Ambramelin. ‘Lifting the Lamp’ observes that this is a direct nod to The Book of Abramelin, a key text in Western mysticism that has influenced groups and figures from the Golden Dawn to Aleister Crowley. The book is an instructional manual for contacting one’s Holy Guardian Angel. Clearly, such a reference like that was no accident.

    What about the name A.B.O.R.Y.M.O.N. that Brown signs the post with? According to ‘Lifting the Lamp’, it is an angelic name buried within the outer ring of the Sigillum Dei Aemeth, a magical disc John Dee used to communicate with higher intelligences. ‘Lifting the Lamp’ mentions that this name was lost for centuries and was only recently recovered. A.B.O.R.Y.M.O.N., then, is a spirit of chaos hitherto kept under divine control, to be unleashed at the end times to usher in the Apocalypse.

    Photos of mystery UAPs/UFOs from the US military and airforce.

    It can be speculated that Brown’s references to the occult are perhaps his way of sending a layered message, suggesting that UAPs are not just physical craft from outer space but beings from another dimension that can be contacted via the mind using methods similar to John Dee’s “scrying.” In Dee’s time, these beings were called angels, but today, they are known as UFOs and aliens.

    Who was John Dee? Tumble further down the rabbit hole and you’ll find that the first agent of the British crown designated 007 was a strange mystical figure named John Dee. Dee (1527-1609) was a mathematician, occultist, and royal astrologer to Queen Elizabeth I. By the time of the Queen’s coronation in 1558, Dee had become Elizabeth’s closest personal adviser. He would counsel Her Majesty on everything from science to nautical navigation. Dee was a staunch imperialist and is actually credited with coining the phrase “British Empire.”

    Oil painting by Henry Gillard Glindoni, 1913, titled “John Dee Performing an Experiment before Elizabeth I.” It could have been described as John Dee performing a ritual of ceremonial magic… A recent (2015) X-ray analysis of the work revealed that Dee was originally depicted surrounded by a halo of skulls!

    When corresponding with the Queen, Dee would sign his name “007.” The zeroes symbolised two eyes, indicating the letter was for the Queen’s eyes only. Seven is considered a lucky number in occultism, offering protection to those marked by it. Such protection was certainly needed by Queen Elizabeth, who was constantly under threat from conspiracy plots, especially after the Pope declared her an illegitimate ruler in 1570. However, these plots were usually crushed by her formidable secret service, which included John Dee.

    Dee’s numerous journeys across Europe for spiritual conferences were actually covert intelligence missions for the Queen. As enigmatic as Dee was, his assistant Edward Kelley was a far stranger character. He claimed that angels would dictate books through Kelley using an angelic language called Enochian. Dee confided in Kelley, and together they used the Enochian cipher to communicate with interdimensional beings whom Dee believed would ultimately bring great benefits to mankind and, in particular, the Crown.

    A few centuries later, occultist Aleister Crowley claimed that he was the reincarnation of Edward Kelley. Some suspected Crowley of being a secret agent, although he wasn’t associated with “007,” preferring “666” instead. Like his predecessor, Crowley was obsessed with contacting interdimensional beings. In Magic Without Tears, Crowley writes:

    “My observation of the universe convinces me that there are beings of intelligence and power of a higher quality than anything we can conceive of as human; that they are not necessarily based on the cerebral and nervous structures that we know; and that the one and only chance for mankind to advance as a whole is for individuals to make contact with such Beings.”

    In 1918, while living in an apartment in Greenwich Village, New York, Crowley might have succeeded in doing just that. During a ritual magick ceremony – the Amalantrah Working – Crowley contacted an interdimensional being called Lam. From this, he created a remarkable portrait, as it resembles a grey alien, possibly the first depiction of a grey alien in modern times. 

    In the original drawing of Lam, Crowley depicts an entity wearing a type of headdress, or perhaps a crown. The crown is a type of Ankh, and according to occultist Kenneth Grant, the King, or ‘he who wears the crown,’ wears it to denote royalty (reality). That is, the Royalty of Existence. Thus, Lam also represents the “Crowned and Conquering Child” of Thelema, which Crowley’s The Book of the Law prophesies to manifest upon the earth. But this does not necessarily signify a human child. Indeed, it is Hoor-paar-kraat, or dwarf-god, symbol of the “Aeon of Horus.” A being not of this earth nor even of this dimension. It is depicted as a child because it is essentially sexless or, rather, has potential for either sex. Similarly, grey aliens have been noted for being sexless.

    During a ritual magick ceremony – the Amalantrah Working – British occultist Aleister Crowley (right) contacted an interdimensional being called Lam. Crowley drew a portrait of Lam (above), that has a striking resemblance to the ‘grey aliens’ of UFO abduction lore.  At a later time, this painting was selected by Crowley’s follower Kenneth Grant (top), and become central to his own magical system. 

    Kenneth Grant was a young scholar when he started working as Crowley’s personal assistant in 1944. The Beast, who had just turned 70, was far from his prime. Having long squandered his vast inheritance, Crowley was now living in a Sussex boarding house, broke and addicted to drugs. Crowley paid for Grant’s secretarial duties with the gold coin of the realm – knowledge and magical instruction. Grant had free roam of the Magus’ vast library. The two performed ceremonial magic workings, and after a time, Grant was initiated into the O.T.O. by Crowley himself. Crowley soon realised that Grant was, or would become, a heavyweight in his own right. In his diaries, Crowley wrote: “Value of Grant. If I die or go to the USA, there must be a trained man to take care of the English O.T.O.”

    In June 1945, Grant parted ways with Crowley, and as a farewell gesture, Crowley offered him one of his paintings. He only needed to decide which one. Grant chose the portrait of Lam. It was a wise choice, as Grant would go on to use the portrait as the foundation for his new magical system – Typhonian O.T.O. In Typhonian O.T.O., the focus was on “construction of a magical formula” to establish communion and contact with “the Magical Entity known as Lam.” To achieve this, Grant wrote ‘The Lam Statement’, with Crowley’s portrait of Lam being used as a “Yantra,” or visual focal point, where “entry may be effected by projecting consciousness through the eyes.” The name Lam, in turn, would serve as the mantra. A magical procedure was then set forth for invoking Lam and “entering the egg.” The procedure is as follows:

    1. Sit in silence before the portrait.

    2. Invoke mentally by silent repetition of the Name.

    3. If response is felt to be positive, but not before, enter the Egg and merge with That which is within and look out through the entity’s eyes on what appears now to the votary an alien world. (Adumbrations of identity with Lam may be experienced as a strong sense of the unreality, or unfamiliarity, of the ‘objective’ universe.)

    4. Seal the Egg, i.e. close the eyes of Lam and await developments.

    5. At the first sign of stress or fatigue, return to mundane consciousness by opening the eyes and by oozing out of the Egg in a form determined by the experiences within.

    6. Perform, astrally, the Banishing Ritual of the Pentagram of Earth, at the Eight Spaces, and record all experiences in detail, paying particular attention to lunar phases (celestial and, where applicable, terrestrial), and any physiological phenomena accompanying the experience.

    The most important part of ‘The Lam Statement’ and Crowley’s Amalantrah Working is that contact with an extraterrestrial entity, rather than being a passive event, can be an act of will, initiated by a human. Ufologists call this a Close Encounter of the 5th Kind (CE5). This method shares many similarities with the practices of CSETI (Centre for the Study of Extraterrestrial Intelligence), led by Dr Steven M. Greer, which employs specific protocols, including “thought,” to establish contact with aliens. Curiously, this technique, known as Coherent Thought Sequencing, was discovered in 1973, around the same time (1972) that ‘The Lam Statement’ was published. 

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    Additionally, occultists believe these techniques are ways to open or close portals for interdimensional travel. Trans-dimensional entities known as the Grey Ones have manifested through this Occult Typhonian Order Current. However, Grant claimed that Crowley sealed this transmission line by way of the portrait of Lam, who is the leader of the Grey Ones. Why have sightings of the ‘Grey Ones’ been common since the late 20th century? Grant believes it is the direct result of the Babylon Workings in 1946.

    Rocket scientist, occultist and practitioner of ceremonial magick, Jack Parsons.

    In 1946, rocket scientist Jack Parsons, a disciple of Crowley, performed the Babylon Working, a continuation of the Amalantrah Working. This, according to occultists, resulted in yet another interdimensional portal opening or perhaps even a widening of the gateway first discovered by Crowley.

    In the Babylon Working, Parsons wasn’t trying to contact Lam, but rather, the Whore of Babylon herself, which would help him summon a Moon Child. Apparently, someone forgot to close the door behind them. Certainly, 1947 saw, in UFO terms, all hell break loose, starting with the Kenneth Arnold UFO sightings over Mt. Rainier, Washington, on June 24, 1947. And then, of course, later that summer, the notorious Roswell, New Mexico, alleged UFO crash and retrieval of alien bodies. Ever since, a steady stream of UFO sightings has occurred.

    Frater Eleftheria, on his YouTube channel ‘Lifting the Lamp’, believes that Mathew Brown was goading Elon Musk into investigating UAP technology with the tweet “rocket fuel feels so 1947 to me, don’t they to you?” Rocket fuel is a direct reference to Jack Parsons, who pioneered the development of solid rocket fuel. This paved the way for the American space program, which led to the Moon landing, the Space Shuttle, Mars Rovers, and much more. Indeed, the foundation for Elon Musk and his SpaceX program can be directly linked to Jack Parsons. 

    “1947” in turn refers to the year that the UFOs entered our system through Parson’s Babylon Working. This ritual involved Enochian invocations to usher in a New Aeon or the End Times. As well, they were performed in the Mojave Desert, which happens to be where Area 51 is located – a place notorious for UFO sightings. In this way, Brown connects the year 1947 with rocketry, UFOs, and the occult. 

    History has demonstrated that there is an overlap between UFO encounters and spiritual experiences. Modern techniques for contacting UFOs, such as the CE5 protocols of Steven Greer, resemble occult practices of Crowley and the scrying techniques of John Dee. As well, there are records of intelligence agencies attempting to communicate with interdimensional beings. Religious accounts of angels suggest we have had UAP contact for thousands of years. The key point is that contact can be achieved through telepathy, and with proper understanding and training, we have the technology to do so at our fingertips.

    For more on this story, see Andrew Arnett’s article in New Dawn 198, “Aleister Crowley & UFOs: Did Occultists Open an Interdimensional Portal?”

    Interested in reading more about the connections between UFOs and the occult? Check out Andrew K. Arnett’s new novel, The Crowley Conspiracy, available through online outlets such as Amazon.

    [alert type=”general” dismiss=”no”]This article was published in New Dawn Special Issue Vol 19 No 4.[/alert]

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    REFERENCES

    youtube.com/watch?v=vJ574qNO5Yk&t=1311s
    x.com/SunOfAbramelin/status/193079128026
    0550830
    weaponizedpodcast.com/episodes-3/episode-74

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  • Aleister Crowley & UFOs: Did Occultists Open an Interdimensional Portal?

    Aleister Crowley & UFOs: Did Occultists Open an Interdimensional Portal?

    Five years ago, in 2017, the New York Times broke the story on a black-budget Pentagon program tasked with investigating UFOs. Since then, a steady stream of photos and videos have been leaked by whistleblowers and politicians interested in opening the hitherto taboo subject of UFOs to the mainstream.

    As recently as March of 2023, journalists Jeremy Corbell and George Knapp published photos showing “UFOs” over conflict zones including the “Baghdad Phantom” and the “Mosul Orb.” Though the evidence is intriguing, the search may be too linear. The assumption is that flying saucers are machines with physical properties.

    There is another school of thought which claims that UFOs and aliens are interdimensional in nature. This theory is understandably harder to fathom due to our linear mode of thinking and three-dimensional conditioning. Yet, this would help explain some of the more perplexing questions related to the phenomenon, including why they are so hard to spot with the naked eye or by radar.

    Over 100 years ago, in 1918, English writer and occultist Aleister Crowley, whilst holed up in a rented apartment on Central Park West in New York City, conducted a series of magickal experiments.

    According to occult lore, those operations opened an interdimensional portal, a gateway if you will, allowing beings commonly referred to as ‘grey aliens’ entry into our world.

    The Amalantrah Workings

    Aleister Crowley in meditation. Sketch by Augustus John.

    Aleister Crowley arrived in America shortly after the outbreak of World War 1, fleeing England on the ill-fated British ocean liner Lusitania. After several jaunts across the States, Crowley took up residence in New York and, in September 1917, shacked up with one Roddie Minor, a married woman whom Crowley describes as “big, muscular and sensual,” and in possession of a “well-developed clairvoyant faculty.”

    Roddie would serve Crowley as his “scarlet woman,” and together the two embarked upon ceremonial sex magick rituals in an attempt to open a transdimensional doorway for the purpose of communion with discarnate intelligences.

    Conducted from January to March 1918, the Amalantrah Workings bore fruit in a number of ways.

    During the rituals, while under the heady influence of opium and hashish, Roddie would relate to Crowley a series of visions involving a king, a small boy, and a wizard who went by the name of Amalantrah. This wizard imparted to them a cryptic message: to “find the egg.”

    In addition, Crowley himself claims to have made contact with an entity named Lam, from which he made a remarkable drawing. Crowley insists the artwork is a portrait drawn from real life, though a portrait of what? That is the matter in question and the subject of some dispute.

    Crowley took his invocations seriously, never dismissing them as mere hallucinations, even when derived through hallucinogenic drugs. John Symonds, in The Beast 666: The Life of Aleister Crowley, writes that Crowley, “made no attempt to interpret this material in terms of unconsciousness. To him the characters and incidents of mescal visions were more real than anything reality or the ego could provide. He would not have been surprised to meet… Amalantrah strolling down 5th Avenue. The wizard would have descended onto the plane of illusion, that is all.”

    Crowley’s portrait of Lam undoubtedly bears a striking resemblance to the ubiquitous ‘grey alien’ referenced in pop culture today and, to the best of our knowledge, represents the first depiction of such an entity in modern times.

    The portrait went on public display for the first time at Crowley’s 1919 Dead Souls exhibit, held in Greenwich Village, New York. Later that year, the drawing was published in The Equinox III, No. I, at the front of a Crowley penned commentary on H.P. Blavatsky’s The Voice of the Silence.

    Below the picture, an inscription reads: “LAM is the Tibetan word for the Way or Path, and LAMA is He who Goethe, the specific title of the Gods of Egypt, the Treader of the Path, in Buddhistic phraseology. Its numerical value is 71, the number of this book.”

    In one of those serendipitous quirks of history, Crowley ended up giving the Lam portrait, in 1945, to his heir apparent and eventual British head of O.T.O. (Thelemite religion), Kenneth Grant, who would, in turn, take the football-shaped headed ‘extraterrestrial’ and run with it.

    Aleister Crowley’s portrait of the entity he made contact with in 1918. Many suggest it bears remarkable similarity to the classic grey alien which made its appearance in the final decades of the 20th century. 

    Kenneth Grant & Typhonian O.T.O.

    It didn’t take long for Grant to make some changes to Crowley’s Ordo Templi Orientis (O.T.O.). After he founded the London-based New Isis Lodge in 1954, Grant began to tinker with Crowley’s Thelemite teachings by mixing in some H.P. Lovecraft influences and a heavy dose of extraterrestrial themes.

    Grant issued a manifesto declaring the discovery of an extraterrestrial “Sirius/Set” current emanating from Nuit, a newly discovered trans-Plutonian planet (also named by Crowley in The Book of the Law). Karl Germer, American head of the O.T.O., would have none of it and promptly expelled Grant from the O.T.O.

    Grant evened the score when, upon Germer’s death in 1969, declared himself Outer Head of the O.T.O. This claim was disputed by the then-current American head, one Grady McMurtry, resulting in a schism, with Grant’s order renamed Typhonian Ordo Templi Orientis.

    In the Typhonian O.T.O., emphasis was placed upon “construction of a magical formula” for establishing communion and contact with “the Magical Entity known as Lam.” To this end, Grant penned The Lam Statement, with Crowley’s portrait of Lam being used as a “Yantra,” or the visual focus, wherein “entry may be effected by projecting consciousness through the eyes.” The name Lam, in turn, would be used as the “Mantra.” A magical procedure was then set forth for one to invoke Lam and “enter the egg.”

    The most significant aspect of The Lam Statement, and in turn, Crowley’s Amalantrah Workings, is that contact with an extraterrestrial entity, rather than being a passive event, can be an act of will, initiated by a human. This is called, by ufologists, a Close Encounter of the 5th Kind (CE-5).

    This method shares a lot in common with the practices of CSETI (Center for the Study of Extraterrestrial Intelligence). Led by Dr Steven M. Greer, this group uses a set of protocols, one being “thought,” to make contact with aliens. Curiously, this technique, called Coherent Thought Sequencing, was discovered in 1973, approximately the same time (1972) that The Lam Statement was published. All these techniques represent alleged methods by which portals are opened onto other dimensions.

    ABOVE:   (top row) Roddie Minor, a young Aleister Crowley, Karl Germer; (bottom row) Kenneth Grant, Grady McMurtry, Jack Parsons

    Jack Parsons & the Babylon Workings

    In 1946, rocket scientist Jack Parsons performed the Babylon Workings, a continuation of the Amalantrah Workings. This resulted, according to Thelemites, in yet another interdimensional portal opening or maybe even a widening of the gateway first discovered by Crowley.

    In the Babylon Workings, Parsons wasn’t trying to contact Lam but rather the Whore of Babylon herself, which would help him summon a Moon Child. Apparently, someone forgot to close the door behind them.

    According to Kenneth Grant, “The Babylon Workings began just prior to the wave of unexplained Ariel phenomenon now recalled as the Great Flying Saucer Flap. Parsons opened a door and something flew in.”

    Kenneth Arnold points out one of the disc-like objects he saw flying over Mt. Rainier, Washington on June 24, 1947. 

    Certainly, 1947 saw, in UFO terms, all hell break loose, starting with the Kenneth Arnold UFO sightings over Mt. Rainier, Washington on June 24, 1947. And then, of course, later that summer, the notorious Roswell, New Mexico, alleged UFO crash and retrieval of alien bodies. Since then, there has been a steady stream of UFO sightings worldwide with no let-up in sight.

    Is there evidence extant, prior to modern times, supporting the claim that aliens existed? There is indeed a plethora of evidence, and it turns out such documents indicate that Crowley is not the first person to open a portal by means of the occult, after all.

    Going back to the Middle Ages, we find in Britain a peculiar gentleman by the name of John Dee, who was an astronomer, mathematician and advisor to Queen Elizabeth 1. With the help of a scryer named Edward Kelley, Dee made contact, through a system of Enochian magic, with ‘Angelic’ beings whom he described as “little men” that moved about in a “fiery cloud.”

    The terms ‘UFO’ and ‘aliens’ didn’t exist back then, of course, but it sure sounds like Dee and Kelley were talking about that very thing. What is even more interesting are descriptions, made in the Apocryphal Book of Enoch, which Dee references, of alien-like beings called ‘Watchers’, and what seem to be acts of alien abduction:

    And I Enoch was blessing the Lord of majesty and the King of the ages, and lo! the Watchers called me – Enoch the scribe – and said to me: “Enoch, thou scribe of righteousness, go, declare to the Watchers of the heaven who have left the high heaven, the holy eternal place, and have defiled themselves with women, and have done as the children of earth do, and have taken unto themselves wives.” (1 Enoch 12.3–8)

    Writer and researcher Erich von Daniken believes that ancient stargates abound, scattered across the face of the earth from Egypt to Peru, serving at one time or another as portals for the ‘gods’ to enter into our world. His hypothesis, referred to as the ‘ancient astronaut theory’, asserts that extraterrestrial intelligences have visited earth through stargates since the dawn of time, even having a hand in creating the human species.

    Betty & Barney Hill And Crowley

    On the evening of September 19, 1961, Betty and Barney Hill were driving south on Route 3 through the White Mountains of New Hampshire in their 1957 Chevrolet Bel Air when Betty spotted a bright object in the sky, which she initially took to be a falling star, though it was falling upward. Noticing that the object was moving erratically, Betty and Barney pulled the car over to take a closer look, as well as to walk their dog Delsey.

    The Hills continued to drive and at about one mile south of Indian Head, the flying object descended rapidly toward their vehicle, causing the Hills to stop their car in the middle of the road. The object, shaped like a flying cigar and 80–100 feet long, filled the entire field of view in their windshield. Barney jumped out of the car and, using his binoculars, claimed to have seen 8–11 humanoid figures, described as “somehow not human.”

    Betty & Barney Hill with an illustration of the flying object and the aliens that abducted them in 1961. 

    Barney returned to the vehicle and, fearing capture, quickly drove away. Betty and Barney then experienced amnesia, or memory loss, and the next thing they knew was that they were 35 miles farther along on their journey, with two hours missing and unaccounted for.

    Three years later, the Hills underwent regression hypnosis in an attempt to retrieve their lost memory. After subsequent sessions, the Hills were able to recall an experience of abduction by aliens who claimed to be from the Zeta Reticuli system. After a physical examination by the aliens, the Hills had their memories erased and were returned to their car. Thus began the era of the alien abduction scenario.

    How does Aleister Crowley fit into this? Well, as you may recall, Crowley was living in New York in 1918, but before he moved there, Crowley lived in, you guessed it – New Hampshire, near a town called New Bristol, located less than an hour away from where the Hills experienced their alien abduction. In New Hampshire, Crowley had his own paranormal visitation, with a type of glowing orb. The experience affected Crowley enough for him to write and submit a letter for publication in The New York Times. The letter reads:

    To the Editor of The New York Times:

    I do not know whether globular lightning is a sufficiently rare phenomenon in this country to merit remark. Yesterday a globe of fire with an apparent diameter of about a foot burst on the floor of the middle room of a cottage here and within a few inches of my right foot. Curiously enough, no damage of any kind was done.

    ALEISTER CROWLEY.
    New Bristol, N.H.,
    July 13, 1916

    During his stay in New Bristol, Crowley conducted some peculiar occult rituals. It was 1916 (the inverse of 1961), and according to Richard Cavendish in A History of Magic, Crowley promoted himself to the rank of Magus. This was done by way of a ceremony involving the baptism of a toad as Jesus of Nazareth, then crucifying the poor creature.

    Writer/researcher Christopher Knowles notes, on his website, that the highway which links Crowley’s home in New Hampshire to the Hill’s abduction spot is Interstate 93. Knowles points out that the number 93 is “the holiest of holies in Thelemite gematria.” The number itself is derived, numerologically, from combining two central words in the philosophy of Thelema – which are Thelema (Will) and Agape (Love), taken from the phrases “Do what thou wilt shall be the whole of the Law” and “Love is the law, love under will.”

    Furthermore, Knowles claims that the aliens which abducted the Hills deposited them in the town in which Crowley was living in 1916. Knowles writes: “35 miles down the road would have ensured that the Hills would have woken up in the very same town in which Crowley was actually living in 1916 (Hebron/Bristol)… Let me repeat that: the Hills woke up from their missing time episode in the very same town that Aleister Crowley had lived just months before his own contact experience (in the Amalantrah Working).”

    Regarding Hebron, we find a reference to it in Numbers 13:22: “And they ascended by the south, and came unto Hebron; where Ahiman, Sheshai, and Talmai, the children of Anak, were. (Now Hebron was built seven years before Zoan in Egypt.)”

    In Numbers 13:33 we learn that the “children of the Anak,” or the Anunnaki, are descended from the Nephilim, sky gods who “from Heaven to Earth came.”

    Quest for the Holy Grail

    What were Crowley’s own thoughts on the alien agenda, and do we even know if the Great Beast gave any credence to the field of ufology? This may be hard to establish for, tellingly, Crowley passed away at the very dawn of the UFO flap, in the year 1947, the same year which ushered in the modern wave of UFO sightings. Terminology like “flying saucer” and “UFO” didn’t even exist during his time. To discern his thinking, we need to look for clues, of which he left a few.

    Let us turn our attention to The Book of Thoth by Aleister Crowley, a divinatory tarot deck painted by Lady Frieda Harris according to guidelines and instructions set by Crowley himself. Take a look at the seventh Trump card – the Chariot – for there is something curious about this card.

    The seventh Trump card – the Chariot – of Aleister Crowley’s The Book of Thoth, a divinatory tarot deck. Note the spinning saucer like object held by the charioteer clothed in armour.

    The card depicts a Charioteer clothed in armour, sitting cross-legged inside a chariot drawn by four Cherubs – the Bull, Lion, Eagle and Man. There is a blue canopy on the Chariot which, according to Crowley, represents Binah, the feminine principle, and scarlet wheels, representing Geburah, the principal of energy. Everything is, in fact, quite standard to the symbolism found in a traditional version of this card, except for one anomaly – the Charioteer is holding in his hands what appears to be a rotating flying saucer.

    What can we discern about this saucer-like image? In The Book of Thoth, Crowley gives a brief interpretation of this symbol, saying:

    The central and most important feature of the card is its centre – the Holy Grail. It is of pure amethyst, of the colour of Jupiter, but its shape suggests the full moon and the Great Sea of Binah.

    In the centre is radiant blood; the spiritual life is inferred; light in the darkness. These rays, moreover, revolve, emphasising the Jupiterian element.
    (The Book of Thoth, p. 86–87)

    Crowley doesn’t speak much on the subject, and yet, what he does say is revealing. He acknowledges that this symbol is the most important feature on the card, but he refers to it as the “Holy Grail.” There is a bit of a discrepancy here, as the Holy Grail is, traditionally, a vessel that serves as a motif in the Arthurian literature and is often depicted as a cup, sometimes as a dish. It has also been (rarely) depicted as a stone, though this would be the first time it’s shown as a spinning flying saucer, if that is what we are seeing.

    Crowley says his version of the card is “much influenced by the Trump portrayed by Eliphas Levi,” and indeed many of the same motifs are present in both cards, sans the saucer. If Crowley’s “Holy Grail” is not literally a cup, then he must be using the term metaphorically, to denote a goal of great significance, as in the Arthurian “Quest,” which set the Knights of the Round Table on a mission, searching for their elusive Grail.

    Aleister Crowley (1875–1947)

    Can this “Quest” be the search for extraterrestrial life? Consider Crowley’s description again, in a different light. The wording could just as easily be used to describe a UFO, like “light in the darkness,” “rays, moreover revolve,” and “Jupiterean element.”

    If Crowley is dropping hints here that he is talking about a UFO, then the seventh Trump is the perfect place to drop it, for the term “chariot” was often used by the ancients to denote the modes of transport used by flying “gods” or aliens, as discussed in greater detail by Erich von Daniken in the book Chariots of the Gods.

    In this light, Fox Mulder of the television series The X-Files could be viewed as a modern iteration of the medieval archetype of a Knight of the Round Table, searching for truth in the holy saucer. As they say, the truth is out there.

    References

    John Symonds (1997). The Beast 666: The Life of Aleister Crowley. Pindar Press. ISBN 978-1-899828-21-0. OCLC 60232203.
    Kenneth Grant (1980). Outside the Circles of Time. Frederick Muller Ltd. ISBN-10: 0584104685
    John Carter (2004). Sex and Rockets: The Occult World of Jack Parsons (new ed.). Feral House. ISBN 978-0-922915-97-2.
    Richard Cavendish (1991). A History of Magic. Penguin Books. ISBN-13: 978-0140192797
    secretsun.blogspot.com/2012/03/wizards-workings-and-walk-ins-on-lam.html
    Aleister Crowley (1974). The Book of Thoth. Samuel Weiser, Inc.; 1st edition. ISBN-13: 978-0877282686.
    Erich von Däniken (1984). Chariot of the Gods. Berkley; Reprint edition. ISBN-13: 978-0425074817

    © New Dawn Magazine and the respective author.
    For our reproduction notice, click here.

  • The Beatles, Aleister Crowley, & the Mystery of ‘Paul Is Dead’

    The Beatles, Aleister Crowley, & the Mystery of ‘Paul Is Dead’

    From New Dawn Special Issue Vol 16 No 5 (Oct 2022)

    Aleister Crowley’s penchant for photobombing some of the world’s most infamous conspiracies is often a topic for debate, but in the present case the analogy can be taken quite literally – Crowley’s mug is planted squarely on the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band. 

    Of course, this album cover is one of pop culture’s most iconic images. Our present focus relates to Crowley’s involvement in the ‘Paul is Dead’ (P.I.D.) conspiracy and, more generally, his influence on the Beatles as a whole.

    The Fab Four are the cornerstone of modern-day pop culture, which for some makes them inextricably linked with the nefarious workings of the Establishment. As we shall find, Mr Crowley managed to worm his way into the centre of this alleged rotten apple. But as with all things “conspiracy,” a vast gulf lies between what is real and what is indulgent fantasy.

    Back in the summer of 1969, rumours of Paul McCartney’s death began circulating like wildfire on college campuses across the United States. To wit, Paul was killed in a car crash on the M1 motorway on 11 September 1966 and was secretly replaced by a look-alike double to keep the money rolling in for band and country. The band, however, felt obliged to leave hints attesting to the fact to appease their guilty conscience. 

    On 17 September 1969, Des Moines’ Drake Times-Delphic published the first known article on the subject, “Is Beatles’ Paul McCartney Dead?” It listed some of the hidden clues and messages on Beatles records hinting at Paul’s demise, like a voice uttering “Turn me on, dead man” whilst “Revolution 9” was played backwards.

    Radio station disc jockeys spread the message, and soon mainstream media got hold of the story, pushing the Beatles for comment. Ringo Starr told the press, “If people are gonna believe it, they’re gonna believe it. I can only say it’s not true.” John Lennon, for his part, simply said the rumours were “insane.” A CBS News crew secretly filmed McCartney working on his farm in Scotland, followed by a pair from Life magazine. Paul busted the reporters skulking on his property but relented to an interview, telling them:

    “Perhaps the rumour started because I haven’t been much in the press lately. I have done enough press for a lifetime, and I don’t have anything to say these days. I am happy to be with my family and I will work when I work. I was switched on for ten years and I never switched off. Now I am switching off whenever I can. I would rather be a little less famous these days.”

    After the Life cover story, the “Paul is Dead” rumours began to die down, but they never really went away. Today, over 50 years after the death “hoax” started, McCartney is back on top and quite ubiquitous. You’ll find him on the Billboard charts with the album McCartney III (2020). In bookstores with The Lyrics: 1956 to the Present (2021). In theatres and streaming on Disney+ with the Peter Jackson-directed The Beatles: Get Back (2021). Headlining Glastonbury 2022.

    (Top left) Paul McCartney before his supposed death in 1966, and McCartney today, still living and breathing – if that’s really the same Paul!  At the time of the hoax, the media had a field day feasting on the rumour until Life magazine declared that Paul was “still with us.”

    Rumours of his premature demise are also back in full swing. Numerous books, YouTube videos and blogs pay slavish devotion to analysing every detail of the conspiracy, sensing something sinister lurking behind the “cute” Beatle. 

    Maybe that sinister something has a name – Aleister Crowley. Crowley, however, died shortly after any of the Beatles were born, so how could the “Wickedest Man in the World” pull the strings of the world’s greatest band? Let’s begin the investigation with the name itself.

    Beatles with an ‘A’

    The Beatles, it seems, have always been shrouded in mystery. This goes for the origins of the band name. “Beatle” is a clever pun imbued with various permutations of meaning. How did it come to be? John Lennon claimed that he and Stu Sutcliffe came up with the name in a nod to Buddy Holly and The Crickets. John said in a 1964 interview: “It was beat and beetles and when you said it, people thought of crawly things, and when you read it, it was beat music.” On another occasion, John stated, “It came in a vision – a man appeared on a flaming pie and said unto them ‘from this day on you are Beatles with an ‘A’.”

    Some researchers claim there is more to the name than meets the eye. They reference a poetry collection by Aleister Crowley, published in 1910, entitled The Winged Beetle, which includes occult-themed poems like “The Wizard Way,” “The Octopus,” “The Two Secrets and The Wings.” They note how Paul, after the break-up of the Beatles, went on to form the band Wings. Is Paul the “Winged Beetle,” and were the Beatles acolytes of Crowley’s system of Magick, with a “K”?

    Aleister Crowley in characteristic pose.

    It is not unusual to find rock stars openly professing their admiration for Crowley (i.e. Jimmy Page, David Bowie, Ozzy Osbourne, etc.). As we know, Crowley is on the cover of Sgt. Pepper. One rumour has it that “Sgt. Pepper” was a reference to Crowley himself. The opening lyrics to the album are… “It was 20 years ago today when Sgt. Pepper taught the band to play.” That album came out on the 20th anniversary of Crowley’s death. Is the band hinting they are disciples of the Great Beast 666? Crowley’s axiom is, “Do what thou wilt is the whole of the Law,” and “Love is the Law, love under will.”

    In an interview with Playboy, John Lennon stated: “The whole Beatle idea was to do what you want, right? To take your own responsibility, do what you want and try not to harm other people, right? Do what thou whilst, as long as it doesn’t hurt somebody.” In 1967, they added “All You Need Is Love” to the repertoire.

    What kind of influence did Crowley have over the Beatles? Consider the band’s innovation in the field of backmasking, a recording technique in which a sound or message is recorded backwards to be played forward. The first time such a thing was accomplished was in 1966 during the Beatles recording of the Revolver album. In Magick in Theory and Practice, Crowley instructed the Adept to do the following:

    (“a”) Let him learn to write backwards, with either hand. 

    (“b”) Let him learn to walk backwards.

    (“c”) Let him constantly watch, if convenient, cinematograph films, and listen to phonograph records, reversed, and let him so accustom himself to these that they appear natural and appreciable as a whole.

    (“d”) Let him practice speaking backwards; thus for “I am He” let him say, “Eh ma I.”

    (“e”) Let him learn to read backwards. In this it is difficult to avoid cheating one’s self, as an expert reader sees a sentence at a glance. Let his disciple read aloud to him backwards, slowly at first, then more quickly.

    (“f”) Of his own ingenium, let him devise other methods.

    In addition to their innovation in the studio, Crowley may have influenced the band’s lifestyle, most evident during their post-1965 “experimental” phase. Crowley was notorious for his drug use, indulging in alcohol, heroin, cocaine and psychedelics. Coupled with his libertine views on sexuality, Crowley could be viewed as the quintessential rock star, decades before such creatures roamed the earth. The Beatles, of course, encompassed all the cliches of rock stardom, for good and ill.

    Here Comes the Sun King

    The Egyptian deity Khepera is often depicted as a beetle-headed man.

    Crowley’s philosophy holds the key to our discussion, a philosophy heavily rooted in ancient Egyptian mythology. Crowley understood the significance and sacred symbolism of the beetle. In Egyptian mythology, the scarab or dung beetle was believed to be the incarnation of the beetle-headed god Khepera, who ruled over resurrection and fertility, symbolic of the rising sun, rebirth and creation. Synchronistically, if not consciously, the Beatles would carry the mandate of Khepera and become the sun centre of our musical universe.

    The scarab beetle may also hold the key to the ‘Paul is Dead’ mystery. This small insect is associated with an ancient Egyptian god by its curious habit of rolling dung, from east to west, into a ball, into which it lays its eggs. When hatched, the dung provides its young with food. This process of transforming the dead matter of dung into renewed life represents initiation in the Egyptian mysteries. Paul’s “death,” rather than being literal, should be interpreted as symbolic of initiation. 

    The candidate for initiation represents Osiris who was murdered by his brother Set. Osiris’ consort Isis reassembles his body and then gives birth to the resurrected god Horus, thus completing the cycle of death and rebirth.

    It is possible the Beatles were preparing us for Paul’s symbolic death before he was “officially pronounced dead” in September 1966. Let’s go back to 1965 and look at the cover of the Beatles fifth studio album Help! Robert Freeman, who photographed its cover, explains: “I had the idea of semaphore spelling out the letters ‘HELP’. But when we came to do the shot, the arrangement of the arms with those letters didn’t look good. So we decided to improvise and ended up with the best graphic positioning of the arms.”


    Did the cover of the Beatles Help! album encode references to Crowley’s system of magick? Hooded figures in a Tau robe in Crowley’s Liber O vel Manus et Sagittae sub figurâ VI seem to match the figures on the album’s cover. 

    In semaphore, the Beatles are spelling out the letters N-U-J-V. Basically, gibberish. But what if the band were not using semaphore but rather a totally different system? Crowley’s Liber O vel Manus et Sagittae sub figurâ VI contains images of a hooded figure in a Tau robe posing in various positions. Each position conveys a different meaning.

    In a video appearing on the YouTube channel “Iamaphoney,” these pictures are superimposed over the cover of Help! It’s pretty much a perfect match. Let’s take a closer look at what these body positions mean when interpreted through Crowley’s system. 

    John Lennon, with both arms raised, signifies “Osiris Risen – the Pentagram.” Ringo, holding one hand up and one hand down, signifies “Earth – The God Set fighting.” George, with both arms spread out, conveys “Isis mourning – the Svastika.” And Paul, with one arm raised and the other lowered, represents a close approximation of the position, “Typhon – The Trident.” 

    Could it also be possible that the loose-fitting jackets the Beatles are wearing on the cover of Help! are a hipster’s interpretation of the Tau robe?

    If you think these concepts are a little far-fetched, understand that the occult was a big deal in 1966, as it was with the Beatles themselves. This is evident on their 1966 masterpiece, Revolver, whose working titles included Abracadabra, Magic Circle and Four Sides of the Circle.

    The word Abracadabra plays a central role in Crowley’s philosophy. “Abrahadabra” in The Book of the Law is “the Word of the Aeon,” meaning the Great Work accomplished and the all-important “attainment of the Knowledge and Conversation of one’s Holy Guardian Angel.” In addition, the word represents the uniting of the Microcosm with the Macrocosm.

    It Was 20 Years Ago Today

    Many people are familiar with the ‘Paul is Dead’ clues. Let’s touch upon some of the better-known ones on Sgt. Peppers to bring us up to speed. The album cover undoubtedly presents a funeral ceremony. On the grave, pictured in the lower portion of the cover, red flowers spell out the word “Beatles.” This is traditionally interpreted to mean that the Beatles, with the death of Paul McCartney, are now “dead.”


    Album cover for Sgt. Pepper’s Lonely Hearts Club Band

    Take note as well that on the cover we are presented with a set of Beatle doubles. Two sets of Beatles stand over the grave. The older phase Beatles, to the left, look over the grave mournfully. Dressed in drab coloured suits, they are in fact wax figures made by Madame Tussauds.

    The second group of Beatles, standing in the centre, are the new phase Beatles. They are dressed in bright clothing, looking very much alive because they are in fact the Beatles standing there in the flesh. Here we are presented with the ‘new’ Paul McCartney, the replacement double as it were, who will carry the band into new psychedelic frontiers, etc.

    Below the red flowers is a group of yellow flowers in the shape of a left-handed bass, Paul’s bass of course. There are three strings on that bass. One is missing. Paul is missing.

    While the other three Beatles carry brass instruments, McCartney carries a cor anglais, a double-reed woodwind instrument. This has been interpreted as a symbol of death. As well, Paul here is “out of step” with the other Beatles, just as he is on the cover of Abby Road. The interpretation is that Paul walks amongst the dead. In the corner, next to a doll wearing a “Welcome the Rolling Stones” jumper, is a reddish driving glove symbolising McCartney’s bloody car crash death.

    These are popular clues and lots of fun to play with, but the proof of the pudding linking P.I.D. to black magician Aleister Crowley is a revelation never before written about. 

    We all know, of course, that Crowley is on the cover of Sgt. Peppers, one of many famous people pictured, and seemingly was placed randomly in the back row. However, if you split the cover diagonally and mirror it, a remarkable thing happens. At the very top of this diamond-shaped image sits Crowley. His head predominates over everyone else.

    Right at the bottom of the cover you see the flowers form an insignia that is identical to the ‘A’ which Crowley used in his signature and is famously portrayed in the shape of a penis. Sex magick, it should be noted, was a central component of Crowley’s teachings. And in the middle of the cover is the emblem for Crowley’s mystical organisation – the O.T.O.

    The palm tree on the right side of the album now appears on both sides forming a border. This symbol, especially significant in Freemasonry, refers to the two pillars Boaz and Jachin that are said to have stood on the porch of Solomon’s Temple. This is a remarkable image. To put that all together indicates, in my opinion, a level of genius.

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    The Smoking Gun

    Recently, a veritable treasure trove of material has been released from the Beatles’ camp showing behind-the-scenes photos of the production of the Sgt. Pepper’s album cover. These photos reveal something very interesting. In my estimate, the smoking gun – both literally and figuratively – and final clue regarding the ‘Paul is Dead’ mystery.

    The Beatles hired Michael Cooper as the principal photographer for the album cover. The photoshoot occurred at Cooper’s London studio at 4 Chelsea Manor Studios, 1-11 Flood Street off King’s Road in Chelsea.

    Paul McCartney came up with the album title Sgt. Pepper’s Lonely Hearts Club Band. He based the concept for the album cover on an old photograph showing Paul’s father’s old orchestral band standing around a bass drum that read Jim Mac’s Band.

    Peter Blake and his wife Jann Haworth designed and assembled the set. Finally, after eight days of preparation, on 30 March 1967, the Beatles arrived at the studio where Cooper shot them as they posed in front of various life-sized cardboard cut-out photographs of famous people.

    What we discover in these behind-the-scenes photos is that some of these life-sized cut-outs did not appear on the official album cover because they were behind another cut-out or behind a band member. Behind George Harrison is one of these obscured characters. Indeed, on the album cover, we catch only a glimpse of this figure peering out from behind the right side of Harrison’s head.

    Now, with the aid of these photos, we can identify this person to be film actor Timothy Carey. The image is, in fact, taken of Carey specifically from one scene in the Stanley Kubrick film The Killing (1956).

    The cut-out shows Timothy Carey holding a rifle, and in the movie Carey plays a hired hitman working with a group of criminals. They have a plan to rob the racetrack of its earnings and Carey’s job is to shoot one of the horses to cause a distraction.

    On the cover of the album, the image of Carey is obscured by George Harrison. The barrel of the gun actually extends all the way behind Paul McCartney who is standing next to Harrison. If you gauge it, you can see that the barrel of this gun is pointed directly behind the heart of Paul McCartney.

    Timothy Carey in The Killing (1956).

    No one knew about this for over 50 years. Yet, curiously, the choice was made to use an image from this Kubrick film to symbolise, I would suggest, the ‘killing’ of the lead racehorse – as Paul McCartney could indeed be equated to a very profitable lead racehorse. A smoking gun indeed.

    What does it all mean? What does it add up to? We are left with room for conjecture. Perhaps, as some researchers suggest, the Beatles were part of an elaborate plan by the elite to condition the youth of the Western world to accept the coming ‘New Aeon’. Others would assert it is a method of social engineering akin to the use of MK-ULTRA but applied on a mass level. Certainly, the symbolism draws a direct link to the inner workings of the Mystery Schools and the teachings of Aleister Crowley.

    [alert type=”general” dismiss=”no”]This article was published in New Dawn Special Issue Vol 16 No 5.[/alert]

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    References

    https://www.ancient.eu/article/1011/ancient-egyptian-symbols/
    https://www.amazon.com/Winged-Beetle-Aleister-Crowley-ebook-dp-B07PBV5LBB/dp/B07PBV5LBB/ref=mt_kindle?_encoding=UTF8&me=&qid=
    https://www.youtube.com/watch?v=XM8KebDc8ac
    https://thenumbernineblog.wordpress.com/2017/02/23/well-sing-it-man-well-be-reversed-learning-to-think-backwards/
    https://hermetic.com/metadata/crowley/libers/lib6#liber-o-vel-manus-et-sagittae-sub-figura-vi
    https://theoccultbeatles.wordpress.com
    http://mccartneyart.com/product/egypt-station/
    https://louderthanwar.com/aleister-crowley-influence-on-popular-music/
    www.amazon.com/Lennon-America-1971-1980-Based-Diaries/dp/081541157X

    © New Dawn Magazine and the respective author.
    For our reproduction notice, click here.