Lady Gaga’s Fragrance “Fame” and its Occult Meaning

*Source: The Vigilant Citizen






Like in everything else relating to her, Lady Gaga’s fragrance Fame contains underlying occult elements that are only recognizable to those who have some knowledge of it. While the advertisement surrounding the perfume appears to acknowledge and even celebrate the dark, evil side of fame, the composition of the perfume itself contains ingredients used in ancient witchcraft and sex magick rituals.

Here’s an interesting article by Felix London, an Australian fashion student, about Gaga’s fragrance and its occult elements.

A Brief Esoteric Interpretation Of ‘Lady Gaga Fame; The Fragrance’. By Felix London

Throughout her meteoric rise to fame, Lady Gaga has established herself as an undeniable phenomenon that has forced herself into the universal consciousness of society. Her ingenious blend of contemporary music, art, fashion and film has helped her emerge as the High Priestess de jour of the pop culture collective for the new aeon. A 21st century Pied Piper, leading the masses blindly to a fate preordained for them by the elite.
It is no secret that a retrospect of her work shows a deliberate inclusion of much occult and mind control symbolism and themes. Through her music videos, songs, photo shoots and even costumes, it has become evident that there is a definite underlying theme at work.

Her latest foray into the fragrance industry, complete with super stylized advertising is perhaps her most blatant offering yet. Her debut fragrance, poised to become a world-wide #1 seller; “Fame” was conceived by the Lady herself along with a new branch of her Haus of Gaga creative team, titled “Haus Laboratories”.
At her own insistence the inky liquid is the world’s first black eau de parfum, as in her own words she wanted it to be reflective of the dark heart of fame. Avant Garde it may be, but on further research of the fragrances ingredients, one may beg the question; is this perfume or a potion?

Described on the packaging the fragrances ingredients read as follows; tears of belladonna, crushed heart of tiger orchid with a black veil of incense, pulverized apricot and the combinative essences of saffron and honey drops. Belladonna, Italian for “Beautiful Woman” and officially known as “Atropa Belladonna” is an extremely poisonous plant that causes hallucinations, delirium and other psychological effects like mind dissociation. Ancient folklore tells that Atropa Belladonna was tended to by the devil himself.

The name Atropa is derived from the Ancient Greek Goddess Atrops. She was said to be one of the three ‘fates’. In mythology she was responsible for affecting the fate and destiny of the world by severing the threads that connected a person to their bodies. This in turn brought death.

Pre-dating the middle ages and throughout history the herb Atropa Belladonna was a key ingredient in magick and was widely used by witches in aid of flying, otherwise known as astrotravel or astroprojection. It was believed that this herb had the ability to dissociate one’s mind from its physical body, putting the user into a hypnotic trance, enabling the witches to spiritually leave the body during the ritual work.

The herb was also equated with aggressive female sexuality. It was rubbed on the witches’ bodies to experience erotic sensations and hallucinations before they would believe they participated in orgies with spirits/demons on the sabbat. Even as late as the 1920’s the plant was used by women to dilate the pupils, the purpose being to make them appear more appealing and sexually alluring to men. Hence the term Belladonna; beautiful woman. A mysterious choice of ingredient indeed, but the recipe for this fragrance becomes more dark and ominous.

Whilst not noted on the packaging, the next key ingredient is a synthetic pheromone based on the molecular structure of male semen. Semen is filled with pheromones that transmit an increased sexual desire to whoever smells it. Semen is also a very powerful ingredient in any spell work or Magick along with blood, which is also a key component of this fragrance. The mixing of blood and semen is straight out of hermetic magick, founded by infamous occultist and self-proclaimed ‘Beast’ Aleister Crowley.
Combining the two for magical purposes forms part of the Gnostic Mass, ritualized sex magick. Blood has a powerful spiritual truth inherent within it. Blood binds the spiritual and physical together. When used inside a ritual or sacrament, it will create either a contract of covenant. The synthetic ingredient in this fragrance that adds the blood was based on the exact molecular structure of a sample of Lady Gagas own blood. Essentially she has shed her blood so the masses may wear it. Perhaps ‘mother monster’ as she refers to herself is anointing her ‘little monsters’ AKA fans through her perfume and in doing so consecrating them to herself.

The design of the bottle itself is also of importance. Visually it appears as a black egg-shaped vessel with a gold lid from which long, elegant, gold claws reach to clasp the bottle. The egg is one of the most comprehensive symbols, equally suggestive in a spiritual, physiological and cosmological sense. Among other things, it stands for primordial chaos, the universal matrix, the great deep, the Virgin Mother. As the symbol of generation, birth and rebirth, it is used not only on account of the mystery of apparent self-generation, but from its spheroidal shape, the sphere and circle both being symbols of encompassing space.
The bottle is strangely reminiscent of the egg/vessel that Gaga inserted herself into whilst being carried down the red carpet en route to emerge on stage for her performance of ‘Born This Way’ at the 2011 Grammys. Gaga stated that she wanted to birth a new race. A race within a race. The egg ritual dates back to Crowley who developed it to invoke the ‘lam’ entity which is the entity or demon that has power over speech. Adolf Hitler was himself a follower of Crowley’s doctrine and utilized the egg ritual for his own desire to birth a perfect race.

This leads to the film advertisement for the fragrance. It in itself is artistically brilliant, if not little confronting or unsettling. The fast paced, high fashion commercial utilizes numerous symbols throughout its many scenes and boasts a soundtrack of one of her tracks ‘Scheiße’ the German word for ‘shit’ were she speaks in an almost chant like German gibberish. The relevance of this song not only fits well with the occult connection to Hitler, but also to the many de-humanizing mind control techniques that were executed by German soldiers on Jewish captives in concentration camps during the Holocaust.  It should also be noted that the word ‘Haus’ is German for ‘House’. Therefore ‘Haus Laboratories’ further represents the German connection.

The Occult Roots of Scientology: Exploring the Influence of Aleister Crowley on L. Ron Hubbard

*Source: The Vigilant Citizen

Aleister Crowley, Jack Parsons and L. Ron Hubbard

Thanks to high-profile members such as Tom Cruise, Will Smith and John Travolta, the Church of Scientology has been receiving great visibility and a whole lot of money from its eight million members worldwide. Although most have heard of Scientology, not many know about its founder L. Ron Hubbard and his past as a member of Aleister Crowley’s secret society Ordo Templi Orientis (known as the O.T.O). Hubbard was a high level initiate of Crowley’s occult order and actively participated in sex magick rituals in order to engender a “Moonchild”.

A new study published in the academic journal Nova Religio explores the link between the O.T.O and Hubbard’s Dianetics, the doctrine of Scientology. According to the study’s author professor Hugh Urban, L. Ron Hubbard’s Dianetics was highly influenced by Crowley’s occult teachings – many of its concepts were simply recycled and renamed for the purpose of Scientology. Scientology and Crowley’s Thelema are however far from equivalent but, as the study reveals, Hubbard was a firm believe of Crowley’s occult theories and used them to grant his wishes and to propel his own cult.

Hugh Urban’s study named The Occult Roots of Scientology?: L. Ron Hubbard, Aleister Crowley, and the Origins of a Controversial New Religion, is not freely available (its a paid download) but the following article from Village Voice does a great job summing it up and vulgarizing it. The more serious readers might find the article a little too “vulgarized” but there is still interesting information in there.

Scientology and the Occult: Hugh Urban’s New Exploration of L. Ron Hubbard and Aleister Crowley

Last June, we brought you the first review of The Church of Scientology: A History of a New Religion by Ohio State professor Hugh Urban, and then the first interviewwith the good professor himself.

During that interview, Urban told us that he was planning to continue his research into Scientology, and would be looking into a variety of areas. But we didn’t know that one of those interests included a closer look at L. Ron Hubbard’s wild occult history that preceded his publication of 1950′s Dianetics.

Longtime Scientology watchers will be at least somewhat familiar with the tale: that after his involvement in WWII, Hubbard shacked up with Jet Propulsion Lab rocket scientist Jack Parsons, a man heavily into the occult, and in particular the teachings of The Great Beast, British occultist Aleister Crowley. You may even know something about the kinky things Parsons and Hubbard did trying to create a “Moonchild.” But what Urban does in a new piece for the journal Nova Religio is produce a thorough, academic study of the ways that Crowley’s “magick” found parallels in what would become Hubbard’s most famous creation, Scientology.

Urban went into some of this material in his book, but he tells me he wanted to explore it more in depth with this article.

Nova Religiois one of those academic journals still doing things the old-fashioned way — its articles don’t appear in full on its website, and readers either need to purchase a copy of the journal or get it through an academic institution or something. So, we’ll play along and hold on to our copy of the story and do our best to describe it here. Perhaps later Urban can convince the publication to allow wider access to the piece.

Urban’s article is titled “The Occult Roots of Scientology?: L. Ron Hubbard, Aleister Crowley, and the Origins of a Controversial New Religion,” and if you’ve read his book, its introduction will seem very familiar.

He then lays out the basics: after returning from his service in the war, Hubbard moved into John Whiteside “Jack” Parsons’s Pasadena rooming house (the “Parsonage”), which was something of a flophouse for his occult friends. Parsons was heavily into Crowley’s “magick,” and soon found a willing partner in Hubbard — and even wrote to Crowley himself about their attempts to engage in some of Crowley’s rituals. The relationship between Hubbard and Parsons ended badly, with accusations of fraud and theft. But later, as Hubbard developed his ideas for Dianetics and Scientology, his experience with Crowley’s “Ordo Templi Orientis” (OTO) seems to have permeated his thinking and even the terminology of the church.

Urban notes that the church itself has virulently denied that Hubbard’s occult activities had anything to do with Scientology, or that remnants of Crowley’s occult ideas can be found in its scriptures. But one of the most useful things about Urban’s article is the way he shows that it’s the church’s own statements and legal maneuvers which tend to verify the connection between Crowley’s “magick” and Hubbard’s “tech.”

If you’ve read Urban’s book, you’ll know that he accomplishes this neat trick with calm, deeply researched and thoroughly convincing material told in a crystal-clear prose style.

To begin his investigations, Urban goes back to the early 20th century and Aleister Crowley’s rise as the most famous occultist of his day. Joining OTO and then becoming one of its leaders, Crowley wrote widely, and Urban focuses particularly on his book Magick in Theory and Practice, which Hubbard would later cite in lectures.

When Urban began to describe some of the ideas in that book, this Scientology watcher has to admit to the hairs on the back of his neck going up. The similarities to what Hubbard would later say about his own “technology” are stunning…

First and foremost, Crowley repeatedly emphasizes that Magick is a science. To distinguish his practice from parlor tricks and stage illusions, Crowley spells Magick with a “k” and insists that it is an exact science based on specific laws and experimental techniques. Hence his book begins with a “postulate” followed by twenty-eight “theorems” presented as “scientifically” as chemistry or mathematics. This science is fundamentally about the correct knowledge of the individual self and its potential. In short, “Magick is the Science of understanding oneself and one’s conditions.”Oh, L. Ron, you are so busted.

Urban goes on to explain how in Crowley’s magick, the fundamental concept is Thelema, which represents a person’s inner will, and the ability to do “what thou wilt.” Doing the processes of Crowley’s magick rituals, the point is for a magus to astrally project himself so that he can ultimately become an all-powerful being who is “capable of being, and using, anything which he perceives, for everything that he perceives is in a certain sense a part of his being. He may thus subjugate the whole Universe of which he is conscious to his individual Will.”

Sound familiar? In Hubbard’s Scientology, which he insists is a science that will allow you to discover your true nature, you learn that you are a thetan, and through his processes you will ultimately be able to leave your body and become an all-powerful being able to create universes.

Wow. L. Ron didn’t even change the handwriting to throw off the teacher.

But that was in the future. In 1945, Hubbard moved in with Parsons, and the two got up to some seriously kinky activities. Early in 1946, Parsons began what he called his “Babalon Working” experiments as he and Hubbard began trying to take Crowley’s ideas into new territory.

Crowley had written about the possibility of a “magickal child” or “Moonchild,” and Parsons decided he’d try to make one. He identified a woman named Marjorie Cameron as the person who would be his “elemental,” and then the two got busy, Urban writes…

According to Parsons’ remarkable personal accounts of these rites, Hubbard was intimately involved in the Babalon Working…Hubbard was asked to serve as Parsons’ seer or “scribe” during the Babalon Working; indeed, Hubbard became nothing less than the “voice” for Babalon herself, who spoke through him and was recorded by Parsons.So was Ron sitting by taking notes, or speaking in tongues, or something else while Jack was having occult-flavored sex with Marjorie? Whatever the three got up to, on March 6 Parsons wrote to Crowley saying that the deed was done and that in nine months a Moonchild would be born.

Crowley was not impressed. He wrote to a friend in April, “Apparently Parsons or Hubbard or somebody is producing a Moonchild. I get fairly frantic when I contemplate the idiocy of these goats.”

But all was for naught, apparently. No child was born, Hubbard made off with another of Parsons’s girlfriends, Betty Northrup, and absconded to Florida in a sailboat-sales scheme gone haywire, and in 1952, Parsons blew himself up with an accidental chemical explosion in his home lab.

Urban, meanwhile, is only getting warmed up.

“Perhaps the most remarkable part of this whole story is that the Church of Scientology admits that all of this did happen,” he writes. Apparently unable to deny entirely that Hubbard took part in wild occult sex rites with a rocket scientist, the church has, over the years, floated the howler that Hubbard was actually on a military mission to infiltrate Parsons’s little black magic club in order to neutralize it.

“It is worth noting, however, that neither the Church of Scientology nor any independent researcher has ever produced any evidence for this claim,” Urban calmly notes.

Urban then turns to even more sensitive material that the church has never denied the authenticity of…

One of the most important documents for making sense of the Crowley-Hubbard link and the occult roots of Scientology is a curious text called the “Affirmations” (or “Admissions”) of L. Ron Hubbard. Composed in 1946 or 1947, “Affirmations” appears to be Hubbard’s own personal writings, meant to have been read into a tape recording device and then played back to Hubbard himself. No church official has ever publicly denied that “Affirmations” is an authentic Hubbard document, and Scientology’s own legal position indicates that it does consider the document to be church property and clearly wants to keep control of the text.As Urban says, in these extremely personal writings, Hubbard sounds very much like Crowley.

“Affirmations” indicates that the author is engaged in some kind of magical ritual and hoping that his “magical work is powerful and effective.” In fact, the “affirmations” describe themselves as “incantations” designed to become an integral part of listeners’ natures, impressing upon them the reality of their psychic powers and magical abilities. Perhaps more significant, however, is the repeated mention of a female guardian figure, the most important spiritual adviser and aid to the listener. The emphasis on the guardian here seems to have been directly influenced by Crowley’s Magick in Theory and Practice…Urban goes on to note parallels between what Hubbard writes in his “Affirmations,” and then goes into a lengthy description of Scientology’s concepts and how they echo Crowley. (He also points out the ways that Hubbard’s midcentury, Cold War-influenced religion is also very different than the Victorian occult ideas of Crowley.)

Urban only includes a couple of short quotes from Hubbard’s “Affirmations,” but he encouraged me to take a longer look at them where Gerry Armstrong — once a trusted employee who was asked by Hubbard to gather his personal papers — put it online in 2000.