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Examining Vintage 1970s Ancient Astronaut Material from "Ancient Astronauts" Magazine

8/31/2014

24 Comments

 
Today I’d like to share some more treasures from Official UFO Special: Ancient Astronauts magazine from 1977 and 1978. In many ways, Ancient Astronauts magazine was the Ancient Aliens for an analog generation, to judge by the contents of the issues, which cover the familiar material we’re used to seeing on H2’s weekly excursion into the outré: time travel, parallel worlds, crystal skulls, ancient astronaut mind control panic, monsters as alien hybrids, pyramidiocy, and of course gold-mining aliens. And, just as Ancient Aliens tries to explain superheroes as aliens, Ancient Astronauts devoted an article to arguing that the Force from Star Wars was real—and under alien control!
Picture
Special thanks to Terry the Censor for sending copies of some of this material from his personal collection of this bizarre entry in the annals of ancient astronautics. I will thank Terry again for supplying the name of the author of the article I discussed on Friday about Jesus as American time traveler: Ronald A. Pokatiloff, who eventually published a freestanding work, Was God a Future American Spaceship (1977), on the subject. In a follow-up article to his time traveling American Jesus in November 1977’s edition of Ancient Astronauts, Pokatiloff expanded on his reasoning for why he concluded Jesus was an American. It beggars belief, quite frankly.

According to Pokatiloff, he arrived at this conclusion by process of elimination—always the best way to prove a theory. He argues that we know space travelers could not have come from this solar system because no other planet could support advanced life, and they could not have come from beyond our solar system for two reasons, one of which we must give him credit for recognizing. The first reason is distance (obviously), but the second is intriguing: He recognizes that ancient astronaut theorists like Erich von Däniken and Zecharia Sitchin were proposing a “low level of technology” for the spaceships: Apollo-style rockets. He rightly concludes that rockets and propellers would make for terrible interstellar vehicles. But rather than conclude that the ancient astronaut authors were projecting their own fantasies onto ancient texts, he decides that this must mean that the technology was actual American rocketry.

To wit, he argues that there is a second, parallel earth abutting our own, whose denizens are in a timeline about 4,000 years in advance of ours  and which must be nearly identical to our own or else the aliens could not have interbred and interacted with us. Since this world must be virtually identical, he leaps to the conclusion—unwarranted—that this world has a United States of America, that this America is, like here, the richest and most powerful country, and is identical to our own future. Consequently, the fact that Josef Blumrich wrote The Spaceships of Ezekiel (1974) identifying the vision of God’s chariot-throne in the Book of Ezekiel as a spaceship is pregnant with meaning because Blumrich was an NASA engineer: “it took a NASA engineer to properly interpret” the text. Therefore, the design must be one of NASA’s future plans!

Pokatiloff does not explain the impact on his theory of the fact that Blumrich only developed his bizarre interpretation of Ezekiel because the convicted Swiss embezzler Erich von Däniken suggested it in Chariots of the Gods, as Blumrich himself admitted.

Another article, from the Spring 1978 edition of Ancient Astronauts—by which time the ten month a year magazine had become a quarterly—features an interview between space journalist James Oberg and von Däniken. In the interview, von Däniken claimed that he was about to undertake a $100,000 expedition complete with camera crews and helicopters into the Amazon to find lighted caves which the chief of a tribe of unnamed Amazon natives promised were filled with ancient “machines which they do not understand, but which the priests use in rituals.” Von Däniken said that he was footing $20,000 of the bill and promised to bring back proof of these prehistoric machines. He was unconcerned that the story might be a hoax—“why should the chief lie to us?” Yet von Däniken admitted that the story came not directly from the natives but through the good offices of a local bishop “who had already read my books, and suggested that the chief contact me.”

The most interesting detail is that the “Amazon Indians”—whoever they were—supposedly asked von Däniken to intercede with the Brazilian (I assume) government to protect them in exchange for revealing the machines! He agreed to do so. As with his earlier effort to convince Gerald Ford to use UFOs to combat communism, von Däniken seemed to think quite highly of his ability to influence governments in the 1970s.

So far as I can tell, nothing came of this expedition, and the cave appears to have never been mentioned again, unlike its Ecuadorian counterpart, which von Däniken also lied about several years earlier in The Gold of the Gods, but which he continues to push on Ancient Aliens and in books down to the present. It’s almost as if, after admitting in Playboy in 1974 that the Ecuadorian cave was a lie (“It is what I call theatrical effect… the main point is not if I have seen these things or not. I just don’t care.”), he was dressing it up in new clothes… In fact, Oberg catches von Däniken on this very point and asks him why he doesn’t follow up on his earlier cave rather than hunting for a new one, to which von Däniken repudiates the 1974 admission and declares everything from The Gold of the Gods “is definitely true”—no longer “theatrical effect.” (He had already made this revised claim the previous year, in his 1977 book According to the Evidence.) Oberg presses him on the point, and von Däniken says he simply can’t prove the Ecuadorian cave is real because Juan Moritz (who accused von Däniken of lying about the cave) owns the land and won’t let him back for less than $200,000!

When asked about other criticisms of his work, von Däniken repudiates his earlier admissions of lying and fraud. He now says (in a position he maintains to this day) that everything in Chariots of the Gods is true, despite his 1974 admission of being wrong about the Iron Pillar of Delhi. He dismisses his critics as writing “anti-ancient astronaut propaganda” and “garbage.” He felt particularly betrayed by Carl Sagan, who once speculated on ancient astronauts but turned against the idea after evaluating the evidence—“rubbish and garbage,” he said of Sagan’s work.

Most interesting of all is that when pressed to provide “proof” of the ancient astronaut theory, he does not refer to his own work at all but to Robert Temple’s Sirius Mystery (1976), which he does not give here by name but whose argument he appropriated wholesale for his then-current book, According to the Evidence. It is rather astonishing, really.

He concludes by saying he believes the aliens last visited earth in the time of Ezekiel (contradicted by his own books, which repeatedly reference medieval material) and rhapsodizes that the aliens invented mythology to drive us into outer space, where we might find a “time capsule” of “vital information” that will “save our civilization.” Oberg points out that this is remarkably similar to the then decade-old 2001: A Space Odyssey (1968), and von Däniken bristles as the comparison.

But to save the best for last: Longtime MUFON UFO Journal contributor Lucius Farish (1937-2012) wrote an article for Ancient Astronauts in May 1977 on the “Old Ones” of Mt. Shasta, the California mountain associated with an advanced and ancient civilization from Atlantis in Frederick S. Oliver’s A Dweller on Two Planets (1905) and in the prophecies of Edgar Cayce based on them. Farish describes what he claims to be a secondhand relation from a science fiction writer (!) of an old man named Harmonious’s experiences with the Old Ones. Farish likens this to the Ascended Masters of Theosophy (just as Dweller references Theosophy, a key influence), but I’ll be damned if it doesn’t sound like regurgitated Lovecraft in parts.
These Old Ones dated back several hundred million years. And yet, taking planet Earth as criterion, there’s been more than enough time for fifty such races to have risen, achieve god-like eminence, decay, and fall into silence. […] All the Old Ones are of one race, both here and on other planets. They carry on intercourse with one another here on earth, the planets and various natural satellites (all of which are inhabited underground).
Further, other entrances to the Old Ones’ underground realm could be found in Antarctica, the Andes, and the Pacific Ocean.

While this passage is strikingly similar to “The Call of Cthulhu,” these beings are not Lovecraft’s monstrous Old Ones. They are human-like, for one, and wear loincloths. The specific details of the Harmonious account parallel very closely those made for the Atlanteans in Dweller on Two Planets, including their hovercraft, their image projection technology, their base beneath Mt. Shasta, their spectral intercourse with Venus and hidden planets, etc. Even Farish, who was apparently unfamiliar with Dweller on Two Planets, noticed that the story also closely recalled the Shaver Mystery dressed up in Theosophical clothes—remarkably close to the truth that Oliver’s Dweller was a Theosophical mélange.

According to Farish, the unnamed science fiction writer provided this evidence after Farish noticed references to Charles Fort in the writer’s work, thought that the writer might have been an acquaintance of Fort, and contacted him about Fortean topics. He wasn’t a friend of Fort, only a reader of him, and I can’t help but think he pawned off on Farish a pastiche of Lovecraft, Dweller, Shaver, The Coming Race, and similarly-themed science fiction.

24 Comments
EP
8/31/2014 05:13:18 am

Caves filled with "machines which they do not understand, but which the priests use in rituals"?

One man's ancient alien technology is another man's abandoned 19th century mining equipment.

Reply
Shane Sullivan
8/31/2014 10:36:04 am

Between this and Lobsang Rampa, you have to ask yourself...why are all these advanced civilizations stashing their high technology in caves? Did they *live* there, or just stash their equipment in a non-climate controlled environment teeming with fungus, insects and bats?

Reply
EP
8/31/2014 11:04:05 am

Their equipment is immune to environmental effects because it vibrates at a different frequency. Everyone knows that! Sheesh! :)

Clint Knapp
8/31/2014 05:16:22 am

Wow. Thanks to Terry the Censor. I'm looking forward to more of this material. Vintage weirdness is somewhat less disheartening than the blatherings of the present day fringe.

I'm spending the morning watching a few episodes of Star Trek: The Animated Series, and just hit S02E05 "How Sharper Than a Serpent's Tooth" and it's a practical smörgåsbord of ancient aliens madness.

The entire premise of the episode is that Kukulkan (actually depicted as an intelligent flying serpent within a serpent-shaped space ship) uplifted humanity, grew disappointed in them, and left. He now runs his own Noah's Ark of mind-controlled specimens who live in dream-like projections of their natural environment.

Now, this episode was 1974, and von Daniken had certainly been in effect by then and I assumed the whole story was inspired by his material to some degree- though I don't know exactly where and when the Kukulkan claims enter ancient astronautics.

I did, however, go poking around for notes on the episode and found that it's very similar to the Original Series episode "Who Mourns for Adonis?", with Apollo in the same role as Kukulkan. The animated series makes no bones about its cribbing from OS episodes, so that's not strange, but what I did find amusing is that the OS episode with Apollo actually predates Chariots of the Gods.

The question I have, though, is if anyone can place an earlier reference for inserting Kukulkan? I'm betting so, and it won't surprise me at all to hear it's as simple as shouting "Morning of the Magicians!", but lacking any on-hand copies of that book or any of von Daniken's, I thought I'd toss it out there and see if anything comes from it.

Reply
Jason Colavito link
8/31/2014 07:52:44 am

EVD did discuss Kukulkan in "Chariots":

["The priests guarded the traditional knowledge because the 'gods' had given their word to return one day. They created a grandiose new religion, the religion of Kukulkan, the 'Feathered Serpent'.
According to priestly tradition, the 'gods' would come back from heaven when the vast buildings were completed according to the laws of the calendar cycle. So the people hastened to complete temples and pyramids according to this holy rhythm, because the year of completion was supposed to be a year of rejoicing. Then the god Kukulkan would come from the stars, take possession of the buildings and from then on live among mankind."]

As far as I know, the god isn't in "Morning of the Magicians."

Reply
EP
8/31/2014 02:15:12 pm

Velikovsky thinks Kukulkan is the planet Venus. Which, somehow, makes as little sense as von Daniken's theory.

Dave Lewis
9/1/2014 04:20:18 pm

I did a search of a pdf copy of Morning of the Magicians for Kukulkan and Quetzalcoatl (actually the first few letters of each word) and didn't find anything.

Kal
8/31/2014 07:29:52 am

The title "How Sharper than a serpent's tooth" is from King Lear, a Shakespeare play.

It is unlikely VD saw the Star Trek episode but he likely knew of the classic ideas in the episode. The story is reused many times in TOS, the idea of a false god Kirk has to convince or stop to change something, because the prime directive of Trek goes both ways when it comes to advanced alien gods. Two movies dealt with this idea, the first Trek movie and the fifth Trek movie.

The Trek people also used Jihad in a TAS episode called that, Jihad, as a 'holy war' long before the mistranslation became common in modern times. The original term Jihad means 'war with your own demons' not with 'infidels'. TAS predated that too and did an episode no doubt inspiring the misconception, but did they just copy the idea from US ideals at the time about such things? No one can say. Even the 'jihadists' started using the term for themselves. In the 70's most Americans didn't even know what that word meant.

Back to alien gods. Seems that is one of the basic tropes of science fiction. 'Man versus God' is one of the seven ideas of mystery or horror or scifi. 'Man versus nature' is another.

So it's more likely the snake god thing was already known at the time in science fiction, not the other way around, and that both TAS and the fringe came up with it at the same time. It was not so unusual then to mention it, as In Search Of was on and there were publications, as was found, about ancient aliens back then.

Yes I know that the Jihad episode is different, but it would be an example of the same idea, an earlier term seemingly leading to the next, when there is no possibility the Jihaidsts got it from Star Trek.

Any more than VD got it from Star Trek...



Reply
Kal
8/31/2014 07:42:43 am

The seven tropes of science fiction.
1 Man versus Man (ex. Orwell's 1984, Star Trek 2, The Hunger Games, Battle Royale)
2 Man versus Machine (ex. Soldier, The Terminator)
3 Man versus God (ex. Star Trek V, 2001)
4 Man versus his Demons (In the Mountains of Madness, Halloween)
5 Man versus the Monster (War of the Worlds, Alien, The Thing, Star Trek, Star Wars, Lost in Space, etc.)
6 Man versus Nature (ex Twister, Emmerick's 2012, Deep Impact)
7 Man versus The Other (ex. Star Trek, Star Wars, Plan 9 from Outer Space, The Day the Earth stood Still (original), etc.

Ancient astronauts fall on the tropes of 'man versus the other and the monster and even the god'.

No I am not attaching my sources. You can look them up just like I did making a google search.

Reply
EP
8/31/2014 08:07:02 am

Twister is SF?! :O

Mark E.
8/31/2014 08:52:31 am

Cows flying around in a tornado are classified as action/adventure/drama, flying sharks are horror/sci-fi, flying Sasquatch are documentaries on the H2 channel.

EP
8/31/2014 09:09:13 am

LOL

spookyparadigm
8/31/2014 12:11:04 pm

I actually didn't blanch at the inclusion of Twister, though it took me a bit to figure out why.

Technically, it's a disaster movie. It's set in the real world, and features a real-world disaster (though the actual science of that disaster may not be accurate).

However, the frame and structure of Twister and a number of other movies from the late 1990s are more similar to 1950s science fiction movies, and in essence replace the "monster" with a "disaster." The classic format of the disaster story, from Pompeii melodramas of a century ago up to and especially including the 1970s disaster movies, was of a melodrama that used a disaster either to punctuate the morality tale in the story, or to heighten the conditions so that mundane drama was acted out against a backdrop of danger. Difficulties between a husband and wife can be less subtly and more easily put on screen in melodramatic fashion if they are expressed through arguments over who is going to swim the distance in a capsized ship in order to help everyone escape, vs. in a drawing room argument. In most disaster movies, you've got a random collection of people, with lots of different individual stories that can be used for subplots. There may be a larger morality tale. And yes, there may be some experts, and their story may help "resolve" things.

But the 1990s "disaster" movies often focused on "extreme" scientists or other technological experts who routinely put themselves in harms way. They were given a 1990s makeover: weird affectations; a need for caffeine or some other aspect that made them some play on a mix of the 90's "extreme" marketing technique and "grunge" marketing; hacker-style pseudonyms or code-names; and lots and lots of hyper-cool tech (robots, amazing sensors, special vehicles, CGI model displays, etc.). While Twister probably created the best example of this, one could argue that Jurassic Park inspired it with its techs, hackers, and the like who got more screen-time than the dinosaurs. The Abyss also serves as a model here. Superficially, they look like the rag-tag blue collar workers in Alien. But when the going gets tough, instead of recoiling in terror our extreme oil-rig workers best military men at their own game, and in colorful fashion.

Further, the disaster, while treated as a force of nature, also could be "defeated" to some degree, but only by those with technical knowledge. Lava could be diverted. A pyroclastic flow could be escaped. The earth's core could be restarted. And of course, an asteroid could be destroyed or deflected.

This last one suggests the one 1970s disaster flick that is the best model for the 1990s movies: Meteor. Much of the drama in the film involves experts struggling to get others to help them stop the threat. The big difference between Meteor and Armageddon/Deep Impact is that a lot of the activity goes on at the actual asteroid/comet, just as the scientists actually go to the volcano/tornado/dinosaurs/core.

This structure, of having to warn people, of having to come up with the threat's "weakness", and of defeating it, resembles 1950s alien and monster movies more than 1970s disaster movies. Take the awful 1998 Godzilla movie as an example. It has extreme scientists who dive into the action in order to identify and stop the threat. One could easily swap them out with the tornado chasers or vulcanologists of other films (and the frame ocean explorers in Titanic, or in the earlier The Abyss), while the ridiculous journalists and secret agents in the movie resemble the kooky astronauts of Armageddon. See also Independence Day, and other Emmerich films, all of which have been strongly modeled on 1950s science fiction films (Stargate is a classic Burroughs-style serial or B-movie of the sort that continued to be made into the 1950s; ID4 is George Pal's War of the Worlds down to specific homage scenes; Godzilla is self-explanatory; the Day After Tomorrow echoes The Day Earth Stood Still not only in name but as a cautionary tale about apocalypse; and 2012 has several reflections of When Worlds Collide; I haven't seen 10,000 BC but if I were a betting man I'd suspect the name give it away if you add a few zeroes).

The 1990s disaster movies are basically monster movies with all of their tropes but with enough "grounding" that it wouldn't be ghettoized as fanboy material. Of course, since the mid-1990s geek content has come to rule the box office so that we would expect an actual monster movie to do better than a stealth monster movie.

EP
8/31/2014 12:43:55 pm

@ spookyparadigm

And how would you classify Congo (1995)?

http://www.imdb.com/title/tt0112715/

(I mean, other than as steeped in racist South African pseudohistory...)

spookyparadigm
8/31/2014 02:28:19 pm

Shares some elements. Both the original book and the film are a weird blend of super-old-timey H. Rider Haggard style pulp and late-20th century technothriller (which is also pulp) before that genre got eaten entirely by militaria, and both the diamond McGuffin (note: a technologically valuable resource rather than just gold) and the talking ape element are five-minutes-into-the-future science fiction. It has some of the techno-trappings, but structurally it is more like a bad adventure movie. And other than the automated machine gun set up, which was done SO much better in Aliens, the tech crew doesn't really play the role they would in the other movies I mentioned.

I was recently discussing that movie, and agreed that it has an amazing cast utterly wasted on a terrible, terrible movie. With the exception of the bland gorilla signer, everyone in the movie is high power and at least somewhat trying (I effing love Ernie Hudson in that movie "I'm your Great White Hunter. I just happen to be black"). And there are some fantastic bits in the movie during the travel to the city. It just becomes unwatchable once the lost city stuff begins. See also Sky Captain and the World of Tomorrow which is full of high-quality actors in a dreadfully flat film that should have been rollicking fun, or frankly almost any Pulpish movie that isn't Indiana Jones (oddly, The Phantom kind of works better than it should, again due to some charming characterization and acting beats from much of the cast; same with Mask of Zorro if that counts).

EP
8/31/2014 03:00:13 pm

I like Sky Captain and the World of Tomorrow. I know it's not a popular opinion, but there you go :)

spookyparadigm
8/31/2014 03:16:42 pm

I only saw it once in a theater, and my girlfriend was decidedly NOT a fan (or a fan of most of the stuff it was referencing). I haven't watched it since, and I've been intending to because I want to see if I really hated it as much as I did. I have a history of not liking some movies much the first time I see them, especially in a theater, as I expect too much. This is particularly the case if the movie is chock full of visual references, and that is the entire point of that film.

That said, I'm guessing I'm not going to change my opinion on this one. It did make me appreciate Sherlock Holmes that much more because I only knew Jude Law as "that guy from Gattaca and Sky Captain" two films I hated.

EP
8/31/2014 03:40:04 pm

"I have a history of not liking some movies much the first time I see them, especially in a theater, as I expect too much. This is particularly the case if the movie is chock full of visual references, and that is the entire point of that film."

Hope you didn't watch The Cell in theater, in that case :)

spookyparadigm
8/31/2014 05:14:43 pm

I've only seen parts of it, but that is precisely what I'm getting at. Too much diversion through visual call-outs takes me out of the game.

Duke of URL
9/1/2014 03:45:04 am

Mark: That is a great way to put it!

BillUSA
8/31/2014 12:15:52 pm

EVD is one of those lucky souls who doesn't have to worry about keeping track of his piles of bullshit. That he isn't a politician is intriguing.

Reply
Pacal
9/1/2014 02:24:52 am

Carl Sagan's "Ancient Astronaut phase" is best known from the book Intelligent Life in the Universe, (1966) which is actually a work by him and the Soviet Scientist I. S. Shklovskii. The relevant chapter is chapter 33 pp. 448-464.

Sagan makes it clear that he is speculating and the amount of actual evidence in favor of "Ancient Astronauts" close to non-existent. Rather interestingtly Sagan dismisses as evidence of "Ancient Astronauts" the "non rusting" Delphi Pillar and the "Alien" paintings from Tassili in the Sahara.

Further both Shklovskii and Sagan speculate that the ancient Babylonian legends of the Apkallu, more especially the creature Oannes may be a legend concerning contact with "Ancient Aliens".

However in the same chapter it is clearly mentioned that there is considerable problems with this idea and evidence against it. The "Ancient Astronaut" idea is considered one of many possible interpretations.

Although it is mentioned that possibly Earth has been visited by Aliens it is also mentioned that no Alien artifacts have been found.

The chapter then goes on into a series of speculations about possible Alien intentions some of which may not be benign.

In the chapter both Sagan and Shklovskii make it clear that they are speculating, that the "evidence" is gossamer thin, and that it is very very likely their speculation is wrong. They both at the time thought it was a possibility worth looking into a bit more.

Certainly their attitude was a good deal less dogmatic and certain than the conventional "Ancient Astronaut" theorist.

Subsequently Sagan did in fact conclude that the idea had much less merit than even his position of it being an unlikely possibility.

Reply
Duke of URL
9/1/2014 03:41:12 am

Von Daniken has the typical criminal's problem: if you're going to base your life on stealing and lying, you REALLY need to keep your lies straight - especially if they're all on hard-copy record.

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