Gateway of the Gods
Summary
➡ The text discusses the existence of real humanoid species different from sapiens, evidenced by remains such as elongated skulls and small skeletons. It regards ancient civilizations, submerged underwater, waiting to be explored further as archaeology technology advances. It also recounts a personal experience of visiting Peru and witnessing these artifacts, speculating they may represent a long-extinct species.
➡ The narrator shares their experiences of exploring ancient temples and sites, noting the physical structure and possible origins. They discuss inconsistencies with mainstream historical timelines, suggest previous civilizations may have had deeper connections with the environment, and express frustration over the slow progress of archaeological excavation and restrictions on site access. They fervently believe our historical timeline is inaccurate.
➡ The text covers a long dialogue discussing historical inaccuracies, the need for artifact and site preservation, and the various theories about ancient civilizations’ stonework techniques. The talk ranges from the ruins in Bolivia and Peru to Egypt’s unexcavated treasures, highlighting the role of various nations in erasing cultural histories. Misinformation, cultural erasure by colonial powers, historical conservation efforts, and the lack of accountability for historical injustices form the crux of the discussion.
➡ The Tiwanaku people, an ancient civilization, have built extraordinary structures including Pumapunku and Cusco, which was illustrated as a panther-shaped city dotted with tunnels. The people’s spiritual practices and meaning behind their constructions continue to fascinate, including the potential ties to astroalchemy and the belief that consciousness might be a field rather than contained in our heads.
➡ The text delves into the fascinating history and culture of the Incas, emphasising their advanced agricultural systems, communal living, and purported subterranean tunnels filled with hidden treasures. The latter segment of the text discusses the speculated existence of a vast tunnel system under the Andes, with an emphasis on the still unexplored portions of the ancient site, Tiwanaku and references to mythic figures such as Cyclopes in indigenous narratives.
➡ The speaker describes a journey exploring ancient underground tunnels and pyramids, encountering difficulties such as inadequate equipment and inadequate permissions. Despite this, he discusses the excitement and spiritual connection experienced while exploring these sites. The speaker is feeling drained emotionally and physically after the trip but also looks forward to touring again in the future. He ends by questioning the possibility of undiscovered archaeological sites that could hold more historical secrets.
➡ The speaker discusses archaeology and potential misconceptions about ancient civilizations, suggesting a resistance from mainstream scientists to new discoveries. They analyze archaeological evidence suggesting a longer human history in America and argue the potential influence of extinct hominid species on Homo sapien development. Further, they speculate on the origins of humanity and the potential for extraterrestrial life. The speaker expresses skepticism towards government manipulations and conspiracy theories, emphasizing a personal journey of questioning established historical narratives and seeking answers to deeper existential queries.
➡ The text discusses a reflection on the state of human evolution, suggesting a need for a shift from competition and greed to kindness and shared progress. The author juxtaposes human behavior with monkeys hoarding bananas, criticizes wealth disparity, and emphasizes the importance of kindness. They delve into ancient cultures and their theories, focusing on Egyptian pharaoh Akhenaten’s pursuit of a higher consciousness era, and ponder on tragic forgetfulness of advanced civilizations. Finally, they urge hopefulness for a future where humanity transcends its current social degeneration.
➡ The text speaks about the mysterious and complex history of the ancient Egyptian civilization, with emphasis on its structural achievements. The author raises questions about the origins, the timeline and the physical means of building monumental structures like the pyramids, questioning official narratives and implying that there might have been advanced knowledge or unknown skills and technologies involved in their creation.
➡ The speaker discusses various theories and observations about ancient Egypt, particularly focusing on the mystery of the red ostrich paintings, which depict extinct animals, and the processes behind the construction of the pyramids. They question the conventional wisdom and propose alternative theories, considering the advanced techniques used in the stones and quarries, which they feel are not adequately explained by current academic theories.
➡ The architect speculates that ancient buildings such as the Bent Pyramid were designed with acoustics in mind and may have served vibrational or musical functions. He criticizes Egyptologists’ reluctance to engage in alternative interpretations or fill gaps in knowledge, and he recounts his own attempts to explore subterranean areas of Egypt, including the Osiris Tomb and the underside of the Step Pyramid. He emphasizes his pursuit of knowledge, despite dismissive attitudes from academics, and alludes to potential corruption and misinformation in the field.
➡ The speaker discusses their experiences in South America, with particular focus on the significance of elongated skulls in Peruvian culture and beliefs, and their personal encounters with a shaman and a recurring dream urging them to conduct a ceremony at Chaveen Temple. They also express frustration with misinformation in archaeological interpretations.
➡ The narrator is embarking on a project exploring historical mysteries and questioning commonly believed narratives. While he isn’t aiming to become an expert or make money from the endeavor, he’s genuinely interested in understanding the truth. Despite his efforts, he believes that absolute knowledge may remain elusive.
➡ The speaker discusses their experiences with indigenous spiritual practices which included ethnic rituals and psychedelic substances amidst ancient ruins. They suggest these encounters contact otherworldly entities from a multi-dimensional reality, telling about how they were advised against certain activities by local shamans due to spiritual dangers, and recounting unique hallucinations and introspections during meditations at these sites. They finished by relating how they were able to visualize a mystical portal during a ritualistic practice inside the Great Pyramid, reinforcing their belief in the spiritual energies of these ancient sites.
➡ The narrative recounts an individual’s experiential journey visiting historical sites, particularly in Egypt and South America. Enriched with personal, mystical encounters, and enhanced by sensory frequencies, the speaker encourages an approach of self-activation and connection to these sites beyond mainstream historical narratives. Delving into unfinished architectural marvels, their superior interlocking techniques, and differing opinions regarding their origins, the account asserts wider mysteries of human civilization’s origin and advancement, and promotes expanded, individually shaped discovery.
➡ The text recounts numerous stories and experiences regarding ancient architectures and cultural beliefs in various parts of the world, like South America, Egypt. It touches upon spiritual phenomena, rituals, indigenous symbolism, and substances used for spiritual enlightenment such as Vilka seeds. It also mentions mysterious tales such as moving monoliths and flood disasters coinciding with displacement of certain artifacts.
➡ The text is a vivid recount of a spiritual and cultural experience, involving a transformative ritual using Vilka in Peru, analysis of ancient disc structures associated with interdimensional capabilities, the significance of portal research in overcoming space travel challenges, and a personal meditation and vision at an ancient Peruvian gateway. The narrator connects his experiences to greater questions about human space colonization and interdimensional understanding.
➡ The text discusses interesting facts and speculations about historical structures, particularly in Egypt and Peru. These structures embed unique shapes and symbols, often viewed as doorways or gateways. There are also accounts of mysterious phenomena like magnetic behaviors and unexplained techniques of stone crafting in ancient times. Furthermore, the ancient structures are deemed more durable than modern steel and concrete constructions, suggesting their historical importance and endurance.
➡ The individual recalls visiting exceptional archaeological sites, including Tiwanaku and Semipata in Bolivia, Petra in Jordan, and Napa Huaca in Peru. These sites feature mysterious constructions such as monolithic structures carved into the bedrock, ancient doorways and remnants of former structures that suggest unique and perhaps advanced building techniques. Additionally, several iconic elements, like the Chicana pattern or Andean cross, are consistently seen in these sites despite their geographical separation, pointing to potential unexplored connections between ancient civilisations.
➡ The speaker discusses the theories surrounding the stone structures in places like Puma Punku. These theories range from cultural beliefs that they were molded, not carved, to speculations on the possible tools used, leading to queries about advanced ancient civilizations. The speaker also examines the idea of blocks as gateways or portals and the connection of these monuments with the spiritual world. They express frustration at the limitation to explore some sites openly and share a personal experience of visiting the closed Temple of the Moon. Lastly, they touch upon some intriguing monuments and speculate on their hidden histories or significance in ancient times.
Transcript
Hello and welcome to the Juan on Juan podcast. If you’re enjoying the show, consider signing up for the patreon. There you get ad free content, early access, exclusive episodes, and monthly supporter hangouts. You can find it@patreon. com slash the Juan on Juan podcast. If you don’t like the subscription based models, there are other ways of supporting the show that are linked in the description in thank you for tuning in and enjoy this episode.
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Available now from paranoid American. Get your copy@tjojp. com or paranoidamerican. com today. Welcome to the One on One podcast with your host, Juan Ayala. In this episode, we’re going to be talking about something that I’ve always wondered about, something that got me into podcasting, and that’s The Enigmas of the Ancient World. We’re going to be diving into the mysteries of the ancient world, talking about these huge stone structures, these megalithic structures that supposedly have been left behind by Civilization X.
Or was it the people that were already there? Is history lying to us? Has history been occulted from us? Do they truly know what’s going on? And what are these sites hiding? Are they hiding something that goes deeper than just the structural aspect of it? Is there a more metaphysical aspect to all this? And today, joining us is going to be my good friend Luke from the Enigmas of the Ancient World channel.
And there’s no one better that I know who’s as well versed in this type of topic than Luke. He’s actually been there numerous times, and him and I go back all the way to episode eleven of the Juana Juan podcast. So make sure to check that out. There’s numerous episodes, I list them on the show. But yeah, we go way back. The first episode I ever put out with him and I on YouTube was October of 2020.
We recorded that before that. Make sure to check that out because we’re going to be diving deep and Luke’s going to be talking to us about some of his experiences at these sites. And I’ve told various stories of his that I’ve heard him tell me over the years about his visits to these ancient megalithic structures and sites. So, as always, hope you enjoy this episode and see you on the next one.
They’re focal energy centers, and I think they’re places of like I don’t want to say lost the word, I don’t want to say ascension, but it’s like they’re places where you tune in and you elevate yourself a bit and suddenly things that weren’t quite possible or clearer and more possible. You Sam. Welcome back to another episode of The One on One podcast. I’m your host, as always, Juan.
Make sure to follow the show on social media at The One on One podcast. Pretty much all platforms. Make sure to sub to the RSS feed, check out the website tjojp. com. Make sure to get your homunculus owner’s manual. Make sure to get that. I gotta send you one, Luke. Yeah, I need one to get your homunkus under control. Yeah, the occultist. Monday. Yeah, the Occultist Monday, the comic book, all that good stuff.
TJ ojp. com everything is on there. And today we’re joined by an OG of the show, by a good friend of the show. We go back. Dude, the first episode we did that I put up on YouTube at least, was October 15, 2020. Almost three years. Yeah, but we recorded that before I had uploaded it to YouTube. So you got episode 1116, 2427-3136 and 39. And then we also put out a four hour banger on the patreon not too long ago that you were on and you were talking to us about Egypt and all that good stuff.
How you been, dude? And can you let the people know where they can find you? Yeah, you can find me, right? Actually, I’ve been super inactive. I have a website, Enigmasofthea World, and I haven’t updated it in a long time because it’s not interesting to me. I hate doing website stuff, but I’ve sort of maintained some Instagram stuff. I quit out of Facebook. I can’t take it. I hate it all.
I just been working, really, mainly not on YouTube videos, which I was doing to generate interest in the documentary I’m trying to make. So that’s really what I’ve been focusing on doing. And there will be some more YouTube videos, as usual. I’ve made a bunch. I just sort of hang on doing the commentary on them because it’s not that much fun for me. I’m just trying to share this stuff with people and it just takes me a while to get around to it.
But anyway, yeah, so I’m on Instagram as Enigmas of the Ancient World that’s actually got, like, the latest stuff, because when I travel, I just put stuff up on Instagram for people to see. And yeah, I’m just so not motivated by social media. I hate it. I’m sorry. You’re good, dude. I feel you. Sometimes we get stuck in a run, sometimes we all need breaks, right? But you do great work.
And you’ve said a lot of things that have shaped my worldview when it comes to this ancient world stuff, right? And one of the things that you’ve always said I hit you up recently about was these mummies that came out recently. And one of the things that you said one time on an episode we were on once upon a time, was that if there ever was to be the actual ancient aliens, it would be in South America, not in Egypt, right? Because there’s more evidence of these sort of things in South America.
And the stories that you’ve also heard about these sleeping ascended master beings that are in these pyramids and that has always stuck with me. And I’ve always told people that and then this comes out with the whole well, they’re sick and mummies. There’s a lot more of an ongoing connection in South America with what the indigenous people refer to as the Sky Family or the Sky Brothers. And of know by that they know beings that are traveling, know from elsewhere and have been for a long time.
And you see this stuff recorded throughout know there’s. And there’s a really strong prevalent tradition of the elongated skulls in South America, even more so than Egypt. You see it in the art a lot, but unless you’re down in Toshka and a lot of that stuff kind of got covered up. They had some elongated skulls down there in Egypt, but most of the stuff we find from Dynastic times in Egypt is not elongated at all.
But in South America you see them and they’re also disappearing, like ones that I have seen personally, I’ve gone back and they’ve been removed. And I always kind of question that sort of stuff because there used to be one next to Tiwanaku and Pumapunku. Those sites are very close together. And there was a little restaurant just nearby there. And in the garden of the restaurant there was a shed that had a bunch of elongated skulls in it.
And between this time and the last time I went there, somebody removed two of the skulls, at least two of the skulls. So there’s that sort of stuff going on. And people argue about whether know, cranial deformations or something else, but a lot of them, some of the stuff that I ran into on my last trip to Peru was entirely incidental. But I do have another story actually.
I can tell you about something interesting up at Tiwanaki that I heard when I was there. But these mummies to get back to what’s going around now, what’s come out? These came out before. I don’t think they’re real. I don’t know, I haven’t seen them. I think it would be great if they were evaluated professionally and openly and we could see what they really are. There’s some biological issues.
Like, I don’t know of any other creature that has arms that has a single lower arm bone. We all have the radius and the ulna, the two bones. And actually, when we twist our arms, the bones actually kind of wrap around each other. They have no thumbs. There’s a lot of weird stuff. They’d have to be like telekinetic or something. And these things just kind of look like paper machete to me.
And it’s really hard. I want to believe. I’m waiting. These ones don’t seem like it. But some of the other stuff, some of the paracas stuff, for example, those are real. Those are very real. And to me, I don’t think they’re actually extraterrestrials. I think they’re another form of humanoid. Not these ones you’re showing now, but the paracus ones, I think are another form of human, just not sapiens sapiens.
And I think as we continue with our archaeology and our anthropology and paleontology, and we discover more and more stuff yeah, like some of this stuff and some of a couple of those that we’re going to see today. And these skulls, it’s interesting. Some of the ones that we’ll see that I filmed, they’re small. These people were small. And I just think there’s so many of them. And the way that the skulls are joined together does not seem like our skulls are joined together.
And I think they’re probably another type of humanoid that existed. We discover more humanoid species all the time. There’s a couple of different small humanoids that were quite smart, like Florenceis, and there was another one recently. And of course, there are other races, too. We forget that a lot of the stuff in our prehistory is underwater and is under silt. All the oceans are 300ft, at least higher than they were 10, 12, 15,000 years ago.
So a lot of civilizations almost always live by the water. And so when that water rises, everything is covered in silt and muck and everything else. So we know, like in the Mediterranean, for example, we know there’s 250 cities at least that are under the water there. And our marine biology, or sorry, our marine archaeology is still in an early stage. The technology is expensive and difficult. It’s really hard to move that silt out of the way and all that stuff.
And they tend to focus on ships because ships are a big payday. If you can you see how everything’s laid out. Maybe there’s some gold in there, or maybe there’s an anti kith or a device or something. In the cargo hold is a story. You start uncovering cities, it’s huge. Where does the expense end? I don’t know. So I feel like we’re going to learn more as our technology gets better.
At some point, all of that stuff we’re going to be able to scan. We’re going to be able to see it all really clearly when the funding is there and when the technology is. I saw this article, a treasure hunter stuck in jail for refusing to disclose location of gold coins faces judge and got from shipwreck cells for 2. 16. So this dude went to jail for not telling the government where he’s still in jail after six years.
Wow. And I’ve had once upon a time, I had Brian Forrester on. And this concept of these elongated skulls, right? Because they’re not giants by any means, right? Because you have the whole nephilim and giant lure. Because these are redheaded too. Right. There’s some hair on them and they’re also redheaded. Some of them do seem to be like redheaded. I’ve certainly come across Egyptian mummies that still had their hair.
And it was red. I don’t know if it was henna or whether that was a natural red, but it’s still red. There are here too. Some of these are in the Larco Museum in Lima, and some of them are in other museums. The Larco is actually a private museum, and it’s one of my favorites in the world. They open their back rooms to anybody. It’s the only museum I know that does that.
And you can actually go into their back rooms and see all of the artifacts and skulls and pottery and figurines just on their back shelves. You can actually walk through it all. It’s really interesting. And do we only have their skulls? Do we have any skeletons at all? Like, we have skeletons. Like, most of the Paracus skeletons, they’re sort of bundled up. They’ve got their knees under their arms, and they’re in this sort of position.
And most of them are like 4ft tall. And they have larger heads, larger skulls. Like this? Yeah, kind of like that guy. And they’re just there’s one in the video that I sent you that we’re going to look at in a bit. Let me know when you want me to pull. You can put it up. Just we can just talk about it. So, like the one I sent you.
So this isn’t the guy I’m talking about, but this is an elongated skull. And he’s got really interesting. And for those listening, luke has been to these places. He has actually been there. He’s documented this. He’s been there numerous times. So this is coming from a person who’s got experience doing this sort of stuff. Yeah, I’m not any kind of expert. I don’t know enough. So this is another elongated skull here.
These are all lying in coca leaves, which is like an offering. And this guy so this is like who I’m talking about here. He’s got really large eye sockets. That’s like the first thing, obviously, that you notice. And he has an elongated skull. And the way that his skull is formed around this is weird. And if you look at his teeth, he has adult teeth. He has full grown teeth.
And you can see the size of his body and that’s upper jaw as well as lower jaw. So they haven’t just mismatched a jaw. And according to the documentation that’s in this place, which is a really weird place. The DNA scan that they did on this being was apparently the being was 38 when it died, so they could tell how old it was. So something is this just like a deformity? The more I see of these, the less I think it’s really possible that they’re all deformities, and the more likely I think it is that we’re looking at another species of know that lived on this planet and eventually got wiped out or died out over time.
But I’ll tell you, I was in here. This is a really weird day. I was trying to get back from Bolivia down to the Sacred Valley in Cusco, and I just took this random bus tour by myself. It’s a long drive from Puno, and they stop at a couple different places. And one of the places they stopped was the Temple of Wiracocha, which I really wanted to go back to and get some better footage.
So I just signed up for this tour, and they stopped at this cathedral. That is really weird. And the cathedral is super weird, because back in the colonial days, when the Spanish were over there murdering and stealing, they wanted to paint all their new churches with all of the Catholic imagery. But it was really hard to get the artist, know, come from Spain, famous artist, to get on a boat, to go all that way out to where these savages lived and paint stuff on the wall.
So what they did was they paid a couple of guys to come out, a lot of money to come out and teach the Peruvian locals how to paint the Catholic imagery. And so all of these Peruvian tribes, they’re all doing pretty intense psychedelic stuff. And so you can imagine these Catholic stories of horror that are like, kind of now you have to learn how to paint this. And so you have this cathedral.
They won’t let you take any pictures. They won’t let you take any video. This entire cathedral is just covered in the most insane, weird, psychedelic Catholic art. It’s very bizarre. Does it have a name? Can you find pictures online? There may be some pictures of it online. I can try to figure out what the name is for. Anyway, next to this so next to this thing, she says, we’re looking at this.
And she goes, does anybody want to see the extraterrestrial? And I’m like, yeah, okay, whatever. And this is where this is in Peru. This is like getting down closer to Cusco on the way back from uh, so I went in, and it’s this room. There’s one outside. There’s one skull outside we haven’t seen yet on that video. And there’s the ones that are in that room, and I was the only one in there.
And you see how all those skulls are laying on the coca leaves, which is like an offering. And so I’m in there, and one thing that you don’t see on the film is down on the floor to the right, there is a box with two huge chunks of obsidian, and there’s like another skull or something between them. So I got down on my knees and I’ve got my hands on these pieces of obsidian, and all of a sudden I hear the coca leaves, like, rustle behind me.
And I’m like, there’s somebody else in the room. It’s a small room. I’m like, there’s somebody else in the room. And I turn around, there’s nobody. And it’s like, silent. I’m like, I’m just imagining things. So I go back, I’m looking at the obsidian. Same thing happens. Now I’m like, freaking out a little bit. Turns out that the ceiling was just like canvas and had a bunch of leaves on it.
Every time the wind would blow, there’d be like, this rustling leaf sound. I almost had a minor heart attack. Anyway, so this is what they have, like, on the wall here. They’re saying, obviously, or sort of implying that they think these guys look like the so take that for what it’s worth. I think they’re so south America, though, does have a huge history and connection with this. And I spent two weeks with a very good friend of mine who is half Aymara half Ketchua.
She speaks both Aymara and they’re very comfortable, very comfortable with the fact that the sky family has been visiting for a long time and continues to visit. By the way, this skull is small. It’s an adult. You can go back to that for a second. That skull is really small. You can probably just about see the reflection of my head, like, in the glass on the left. My skull is like, half again, like, the size of that.
But he’s got adult teeth. Again, upper jaw, adult teeth. That guy was old, but he was probably three and a half 4ft tall, or they just had tiny heads. When I’m looking at this one in particular, the teeth stood out to me. And again, because you’re saying it could be a deformity. Now, there’s a few things we can go off of that, but one of the things that comes to mind is I don’t know if you ever heard of this guy Beetlejuice.
He’s been on like, I’ve seen memes I don’t watch a lot of crazy stuff, but I have occasionally seen a meme of this guy. Look at his I don’t know anything about him. There’s the him and the like, are you sure about that guy? I don’t know where either of those guys came from, but I’ve seen them both. But it kind of resembles, right, the teeth and then the big eyes.
And again, I’m not bringing this up to be mean, but I’m just pointing it out. But is there any lure concerning okay, let’s say that these people had this deformity. Was there any sign of hierarchy? Were they worshipped because of this deformity, or were they shunned in society? Is there any evidence of that? The hearsay with the conversation that I’ve heard about that subject is that they were wiped out.
They were eventually wiped out at some point. They may have been venerated, but eventually they were wiped out. So I don’t know. I wasn’t there. I’m not any kind of an expert, but there are an awful lot these these elongated skulls all throughout Peru in particular. And it’s interesting because they do have this connection as well. For example, if you go to Chibin Temple, which not many people go to because it’s remote, and now it’s even harder to get to than it used to be.
But there is a big stone. I could have given you footage of this. There’s a big stone in front of Chibin Temple. How do you spell it? Chavin. And there is in front of the main temple, there’s a big stone which I think they call the choke Chinche stone, which should be C-H-O-Q-U-E-C-H-I-N-C-H-A-Y. Ha. If you got that. So, yeah, that temple in front of that temple, there’s a stone, and it has, like, these imprints in it.
There’s seven imprints in it. And when I was initially looking at it, I thought, this looks like because there’s a pumapole in Cusco, and the puma is a big animal in South America, especially for the ancient cultures. So I thought that’s what it was. And I was corrected by a shaman. It’s the pleiades stone. Those seven imprints are the pattern of the Pleiades planets as seen from Earth.
So these guys the Chaveen culture is very interesting because the land zone is there, which I have a weird story about, but I actually ended up talking with the shaman at Tiwanaku about this, and he’s like, you don’t want anything to do with the land zone. You don’t want to go there. You don’t want to make an offering. He was really trying to freak me out, but it was a really powerful early culture.
It’s the first known proven example of ritual and continued use of psychedelics. Is this what you’re talking about, their religion? No, that’s not it. Yeah, that is there. It’s now in a museum. There’s a replica there. Yeah, it’s like a flat. I’ll get you a picture of it, or I’ll get you some video of it. You can superimpose it in. It’s just got like here, let me type in, like, C-H-O-Q-U-E.
Yeah, leave chaveen. Leave Chaveen. There Chavin. And then go C-H-O-Q-U-E-Q-U-C-H-O yeah. Q-U-E. And then new word. C h this is it. That’s it right there. This one right here? Yes. That one or that one. It’s the same stone altar of I mean, I knew a latter day Choke Chinche who died two years ago, who was a shaman who held a lot of knowledge about this site, and he had been given, again, the name Choke Chinche.
And what he taught was that this is the Pleiades. These were the seven planets of the Pleiades system recorded in the stone. Almost like somebody would sit here, right? Or like there would be an offering, there would be offerings. That’s where you make the offering. Now, who knows back in the day exactly what they would do. Interesting, because there’s always something about this, these seven stars, almost like it’s sort of portal to another world or dimension.
Look, there are a lot of sort of instagram memes where people actually take that organization of planets and photoshop it into stuff in Sumerian, stuff in Egypt. And they’re like, look, the connection. And it’s so annoying because I’ve been to those places. I know that shit’s not on the wall. Because what do you look for when you’re you know that stuff is frustrating. There’s a site out there called what is it? World News report daily or something like that.
And it’s just a satire site. And they take satire, and they take mostly archaeological stories, and it’s 99% true. And then they insert one complete piece of total in there and then that piece of taints the whole rest of the story. Now, nobody really believes anything. That stuff happens all the time. What was the story the guy was telling you about the area you said? Was it at this place, this altar of Chinche? The guy was trying to freak you out with a story about something.
No. I’ll tell you this, but before I was going back to Peru to get footage for my documentary, when I was there in 2015, the cameras I had at the time weren’t very good. And the person shooting the footage didn’t really know how to work them. Neither of us did. We weren’t really very good at what we’re doing. And a lot of the footage when I came back, I was really disappointed, and I knew I was going to have to go back there at some point.
So last year, the beginning of last year, early 2022, I started feeling like Corona had subsided enough and travel was cool and you could get into places, and places were open. And I thought, all right, let’s go back. And then I had a dream where Choke Chinchai, the shaman I knew, came to me in my dream, and he said, Go to Chavin Temple and do ceremony. And I woke up the next morning, I remembered it, and I was like, wow, that was a weird dream.
And then, like, two nights later and it was a weird dream because he was, like, on the other side of the maloka, kind of half looking away from me. And he just sort of turned his head and said, go to Chavin and do ceremony. And then a couple nights later, I had the same dream except he was like half again as close and he was turned more towards me and he was like, go to Chavin Temple and do ceremony.
I woke up, I was like, wow, I had the same dream again. And then a couple of nights later, I had the dream again. He was standing right in front of me, looking right at me saying, go to Chavin Temple and do ceremony. And Chaveen Temple is not a really powerful place. The energy there is really strong, but it’s not something that I’m really going to talk about in my documentary.
I might mention it for some reasons, but it’s not like a focus like some of the sites in Peru or Bolivia or Egypt or Turkey. And it’s really difficult to get to. It’s out of the way. I used to be able to fly to Juarez, but now you can’t do that. I had to take a night bus for like 10 hours to get to Juarez to find somebody to drive me like 4 hours over the mountain to get to this place.
All the hotels were closed. It was kind of an experience, but I had to go. I was like, I can’t ignore the dream. And this is on the right, that’s like the smiling jaguar. And the land zone is also like an anthropomorphic half jaguar entity. And that’s underneath the labyrinth there. And I’m pretty sure what they would do is they would fill you full of Wathuma and whatever else as an initiate or as a pilgrim, and then eventually take you down into the catacombs and you would wander around and eventually come across, like, the land zone, which is this huge granite slab with a weird jaguar entity carved onto it.
It’s a pretty intense experience, like sober. Yeah, that’s the land zone. So that the front of the face is like on the edge of the monolith. So this is their deity? Yeah, it’s an entity. I don’t know that any of these are necessarily deities. I think the Spanish, I think the Catholics, whoever came over, the pilgrims, they were like, this is all Satan. Burn all their that sort of reaction.
And that’s kind of what they did. What a beautiful area too. It is. And I do have some amazing video and footage of this, maybe, anyway. But the more I get into this and the more that I actually have experienced these brews with sort of the indigenous people there, the more I’m convinced that these entities are real. There’s a lot of entities that exist. They’re not demons, they’re not genies, they’re not any of that kind of stuff.
But we live in a multidimensional realm, existence, world, universe, whatever it is. And there’s so much stuff that we can’t perceive. And these other entities have tasks and purposes and functions and they’re doing stuff and we can’t really see it because it’s not within the tiny narrow window of stuff that we can perceive. As real. Yeah, it’s the land zone. But stuff is going on, and I think some of these entities are still available.
They’re still reachable, depending on how you’re going about it, what your goal is, where you are in terms of what you can feel and perceive. And that was really, I think, what alarmed the shaman in Tiwanaku is because when I was there, I was interviewing him and I told him about those dreams, and he’s like, you must not go to Chavin. He’s like, this is not Chokichai calling you.
This is the land zone calling you, and you don’t want anything to do with, you know, again, this is, like, spiritual beef. The Tiwanaku people believe that Chaveen originated out of Tiwanaku, like, back in the day. And so they believe that Wirakocha, who is like, the Tiwanaku, he’s the guy in the sungate with the two staffs and the sun hair. He’s their benevolent entity, deity, whatever you want to call him.
He is all about light. Yes. This thing, the guy in the middle there, that’s where and so his power this is the same deity? Yeah. No, this is not the land zone. Apparently. The thing is that the land zone, the Chaveen culture, was a strong warrior culture, so they also engaged in war, which really the Tiwanaku culture was like a peaceful culture. So I think what his point was that the land zone is not necessarily benevolent.
And my point was it’s not necessarily evil. I think it entirely depends on the person and the situation involved. But he was very clear. He’s like, you don’t go there. You don’t make an offering, you don’t make any deals. Anything you do has to be on your terms. Like all of this stuff. And I’m like, not really what I’m after. It was a very strange he offered to give me this reading of coca leaves.
I have all of this on video. He offered to give me this reading of like he reads coca leaves. He was just eating them through the whole thing, which is very common because of the altitude. And then we had this discussion, and I was like, yeah, by the way, that would be great if you would like to do the reading of the cocalee. And he’s like, no. He’s like, we’re done here.
So you were having a dream that he said it was actually not the shaman, but an entity that was trying to contact you to go to the temple to do this ritual. Did you say what ritual it was? This is the whole thing. It was to go there and do ceremony. So I immediately, initially assumed it was Watshuma because Joki Chinchai was a or they used to do traditionally, like, the Wachuma.
You see the Wachuma plants in the preparation, the consumption of the watchuma, like, on the walls, in the stone, still there at Chavin. Is that a psychedelic or an opioid or? Yeah, watshuma is a cactus. In America they call it the San Pedro cactus. It’s at your local nursery. Like, it’s not illegal, but it is a psychedelic choki Chinchai. Don Howard prepared. Like, I went to the place where he sits with you, with the medicine, and I actually did eight days of ayahuasca and then I did eight days of Wachuma.
And then the last day we did like, vilca on top of the Wachuma. But I had made San Pedro in the past, like as a young dude, I had made it in my twenty s, and it lasted six to 7 hours. Sort of very similar to LSD in a way, or maybe mushrooms. When I drank it in Peru, it lasted 18 to 22 hours. And it was just relentless.
It was just relentless. Like, I could feel every crevice, every part of my skull, every bone. It was just eight days of that. It was interesting to you because with the Ayahuasca, you do it at night, and the focus is you go in and with the watchuma you do it in the day, and the focus is you go out. I’ve been in a stage where I just want to go in the more.
Like they were like, oh, you got to do this and climb this and do that. And I’m just like, I just want to meditate on like I feel like the need to meditate on this. But everybody’s different. They’ve got their ways and what have you. So that’s a really interesting site, though, and the energy there is really strong. I feel like it’s palpable. I would compare it to the Abu Jarab Sun Temple in Egypt just in terms of the intensity.
And I’ve started through the pandemic, what have you. I started getting into meditation and going to these sites. I’ll tell you, there’s a reason that meditation and toning and anything like that is forbidden at almost all of these sites. You can’t touch this, you can’t go near that, you can’t look like you’re meditating, you can’t sing, you can’t you can’t tone, like there’s none of that stuff. It’s all like, forbidden.
And I used to think that was kind of silly. And now what I’ve been doing. And I encourage people, if you go to these sites and if you feel like this is good for you, I encourage you to make an offering when you reach the site, to burn some palo santo or burn some sage and express ask permission to enter the site and then express what you want to get from the site.
What are you looking for, what is it you want from here? And I started doing that at these sites, and my experience has changed dramatically. And I had some really strong I was able to meditate in a bunch of places this year in Egypt and in South America, including inside the so called king’s chamber of the Great Pyramid and outside the Maramuru Gateway and honestly, I haven’t had experiences like that outside.
Like, meditating at home is not the same. The things that happen are not the same. So the conclusion that I’m coming to is that these are just they’re focal energy centers. And I think they’re places of, like I don’t want to say lost the word, I don’t want to say ascension, but it’s like they’re places where you tune in and you elevate yourself a bit and suddenly things that weren’t quite possible or clearer and more possible.
And I was very fortunate to take just three or four people through Egypt in May. And we had the Great Pyramid to ourselves from like midnight to 02:00 A. m. . And there was one guy in there who was really cool with us and didn’t care what we did because we were respectful. But like, as far as Toning and whatever, meditating, he didn’t care. He didn’t want to know.
And we would take turns getting in the box. And actually, while people were getting in the box and Toning, I took off my socks and shoes. So my feet are grounded into the floor, my hands are on the floor, and I started meditating. And just this passageway just opened up right in front of me, just boof, like, off into the distance with a bluish light at the other end.
I immediately freaked out, got kind of emotional, and the door shut. I’m like the fuck. And so I just went through it again five times. I was able to now, I’m not saying I’m saying with my eyes closed, like, this visualization occurred. That doesn’t really happen when I’m at home, so I’m already kind of feeling like there’s an energetic thing going on in there. And I took my phone over to where we were toning in the boxes, and two of the people who were there had quite deep, resonant voices, and they each found this pitch that really seemed to resonate strongly, even like when you were outside of the box.
And then when I got in the box, I found like a third tone, like above that. As soon as I hit that third tone, everything washed out. Like, it was just like this epic white noise wave where there was nothing specific in the noise anymore. It was just like being caught in hearing the ocean roar. Just like this massive kind of white noise thing going on. And so there are these three frequencies when you’re in that box that combine to do that, and that’s in our hearing range.
So what else is going on? I think it’s an activation. I think these things are like places of activation. I think you can go there and you can activate yourself. And then if you want to pursue that, you’ve touched that thing, you know that thing is there, and now you can go back. So this is what I started doing in Egypt. I had that experience on like the second or third day because we did that really early into the trip and I’m like, Jesus, I’ve got to do this everywhere.
So everywhere I could, I’d let the others go and the guide is talking and I would just sort of oh, I’m going to get some footage of this over here and then I would just sort of slip off and see if I could get ten minutes to just sort of sit there. And almost every place there Egypt was, I had a similar experience. And I was sitting on the hotep at Abujirab and I was looking north, I was looking towards the Great Pyramids in the north and I’m trying to meditate and nothing’s happening and it’s like you need to look west.
I looked west and immediately this passage open and went down under the ground into the pyramid, this stone archway just off down. I’m just like, okay, so this happens here. Am I imagining this? This doesn’t happen at home when I do this. And so anytime we would go someplace that had a tomb with a false door or the front of palace or whatever they want to call the PA doors, the soul doors that only the soul can go through, I started meditating, like, in front of these, even if it was just like two, three minutes.
And almost every time that false door would just off into the distance. I just encourage people, find your experience, go there, quiet yourself, shut all the noise down, establish a connection with the site and then try to see what you feel like. A lot of these places were built initially built by the people we don’t remember because many of them were started by people we don’t remember. And they were built on that site because the energy was different.
And then at some point a religion was created around it and then there’s a wall and now there’s a fee and then now there’s a name and this stuff kind of develops but initially there’s this difference in the place. So I just encourage people when you go to these sites because very often it’s like there’s a guy with a flag okay everybody, and they’re blowing a whistle. They’ll call in the name of your group and look at that and they’ll just tell you all the stuff that they learned off a little book.
They don’t really know any of the deep history. They can’t read the know, they’re not connected with the indigenous people. This is know the stuff know you learn in a class that may or may not really be true. And especially like with Egypt, when you look at it, everything from the New Kingdom on is accurate because the record keeping was really good. But before then the record keeping was terrible.
It was very spotty. We don’t really know and there’s just a really good chance that that civilization goes back an extra how long and then these pieces that are really out of antiquity that are super old and really seem super old. Now it makes sense why nobody remembers them. Now it makes sense why the dynastic Egyptians didn’t talk about building the pyramids, the Great Pyramids, or building the Sphinx because it was already there.
And that makes sense if you look at either the culture going back or if you look at the fact that in the last 100,000 years, we think of our human culture as the only one to go into a Stone Age and come out and then go into a Bronze Age and then become like, this modern civilization. But how many times did we come out into a Stone Age and then get wiped out and go back in? How much of that stuff is hidden underneath the oceans, however far out, when the sea level was, however much different, or when the continents were whatever? So I just think that we don’t really know.
And the same thing sort of makes sense in South America with some of those sites like Pumapunku, like Oyente Tambo, like the Korikancha, like Saxuaman, where you have all of this evidence of the Inca and other cultures afterwards coming along and using these sites and rebuilding them with this small stone construction that is nowhere near as grand or epic. And then I was there this year, and I’m talking to the guides there.
I’m talking to the archaeologists there, because I really want to understand. I don’t want to go in there yelling and screaming. I really want to understand. Why is it that you think this? And I’m just waiting for the good reason. And I did see some good construction techniques for, like, Sakshi, Raman. I don’t necessarily believe it, but I’m like, okay, that’s but, like, when it comes to why are none of these incredible structures, the old super interlocking, really fine technique with the incredible shaped blocks? How are you doing that? And fitting that all together, and it’s all, like, earthquake resistant.
That’s why this stuff’s been around forever, because it resists earthquakes way better than the stuff we build today, because it moves, and then it just goes back into place. And there’s this particular lip technique that I found at a couple of sites that you just don’t see anywhere else in the world. Like, whatever was going on there was really incredible. And so when you ask, well, how come they never finished? How come the Inca, this is a temple, and this is a royal building.
Unfinished, unfinished. Whatever site you’re at, tambo, Machai, Puka, Pico, it doesn’t matter. Like, they’re all unfinished. Saksuoman, the Karakancha, it’s, like, all unfinished. So why is it all unfinished? Why is this all finished with this stuff? And so what they’ll try to tell you is they were either interrupted by the Spanish, which is because all of that stuff is older, or, like in the case of Machu Picchu, where they know they hid from the Spanish there.
The conquistadors never found Machu Picchu. So they say, oh, well, if you look at Machu Picchu, you will find that there are all these a couple of central buildings. Like on the top, there’s probably five or six of them that are made in that cellular incredible style. And those are usually built around the older monolithic stuff that has, like, weird. These are just like some kind of ancient, really truly ancient altar.
So this stuff is usually built around that, and then everything else is this small stone construction. And so what they tell you when you’re there, they will tell you, oh, you know what? The inca came here. They started building in their usual magnificent style, and then they went, we just don’t have enough time. And so they just switched to making like they literally will tell you that they were impatient.
They needed to finish their houses. Like, they didn’t know how long it was going to take to build it the old way before they started. Do you know what I mean? So everywhere you go, there’s a reason why it’s incomplete, and that reason is always something weak. And I’m still waiting. We’ll have to do one on Tombow and Machu Picchu because I have some really super amazing footage.
When I went this year, I was actually on a train to Machu Picchu, and I was in a carriage filled with French people who were all extremely ill. And I made it so far without getting sick. And then after Machu Picchu, I got really sick from all these. And so when I was coming back, spent two days in Machu Picchu, and then when I was coming back in Oyensitompo, I was really ill.
And Oyencitampo was also the day I was going to go to Napa Iglesias for Napa Huaca, which we’re going to see some of that footage in a minute. And I was so sick, at a temperature of like, 101. And I stopped at the pharmacy, the nearest pharmacy to the hotel, which happened to be right outside Oyensitambo. And I turned around and there was nobody there. And I’m like, I don’t care how sick I am, I have to go in here and just get this footage of this place with nobody there.
So I got some really good footage this year to back up a little bit. Sure. Sorry, budy. No, you’re good. Because I always tell everyone this story about you in the box and how it would shake violently and you had to get out. And if I’m not mistaken, Crowley made contact there in 19 something or other with Iowa, and that’s what had instructed him to write their main book, the Book of the Law, if I’m not mistaken.
So this idea of meditating at these sites, because the sites themselves, it’s either the proportions in which they were built to or the location or a combination of that right? The proportions plus the location that is able to open these places up, and the place itself becomes a sort of gateway, if you will. It becomes a sort of portal. Right. What do the locals say about why the indigenous people chose these areas to begin with? Well, does it involve aliens? We’re talking about South America.
We’re talking about Egypt. Let’s talk about the South America, the Shaveen Temple, because that one’s interesting. What do they say about this particular area? Is it the Sky People again, I think most of the academic study there focuses on chavin as, like, a center of pilgrimage. And it’s kind of interesting because it was a very long time ago. It’s a very early culture. It’s really far up. It’s far north in the Andes, and yet it’s not in the jungle, and yet it has a lot of jungle iconography, and there’s a lot of evidence of people coming a very long way in ancient times to come and do pilgrimage there.
So I think that’s sort of like their focus. The fact that these people felt they were deeply connected to Pleiadeans for whatever reason enough that they had to sort of make a monument to it, I think is interesting. And, of course, what you see is we always used to make fun of it because the ancient David Hatcher children said, it’s a doorway that doesn’t seem to go anywhere.
At some point, you have to ask yourself, but he’s right that there are an awful lot of doorways in South America that don’t seem to go anywhere. Or even this is this is Pumapunku, or this is actually a Tiwanaku, I think. Yeah. But these stones, I think, may have actually come from Pumapunku because they’re very similar to the gateways at Pumapunku. And nothing else at Tiwanaku is so much like these.
There’s a couple of them, I think. Anyway, nothing here is where it was. That is the Gate of the Moon. And again, that stuff’s all anasite. This is sandstone. Okay. There’s another monolith that’s about three times the size of that one. That’s in the local museum that has been closed for, like, 15 years. And I’ve talked to the archaeologist there, and he’s like, they won’t let me open it.
I can’t show anybody the monoliths. And there was this story about some of these monoliths when I went there this time, and I was actually in Semipato with my Aimara Ketchua friend, and she said, when we go back to Tiwanaku, I heard something, and I want to find out what really happened. How’s your Spanish, Juan? I’m fluent in Spanish. Do you want to translate something for me? I’ll tell you the story, and then you can tell me if you want to translate for so she’s I said, okay, so what’s the story? And she guards one of the guards from the museum in Tiwanaku was going home at night.
And these guys aren’t they’re not local. They’re, like, federales they’re like a federal police force. They’ve got guns and badges and the green jackets and all shit. Anyway, he’s like he was coming home and he saw a humanoid figure that was about 1112ft tall and it had the head of a puma and it had an axe in one hand and the head of, like, a human in the other hand.
And she’s like, the story’s going around and when we go back I have to find out. So I said, okay. So we were actually walking around Tiwanaku and here come three of these guys. So I just kept the camera running. I pretended it wasn’t, I just kind of pointed it randomly somewhere and didn’t look at the camera again. And she asked them about the story and it was the partner of one of the guys who was there and he said, no, it didn’t happen like that.
He was in the museum and he was doing his rounds and one of the monoliths moved towards him. So we were like, wow, which monolith was it? And it was one of the jaguar headed monoliths. So I thought that was interesting. So I asked her if she would contact the local archaeologist, a guy called Louise, who’s actually the son of the shaman, the Timanaka shaman. And he took me in a museum and opened some of the doors for me.
And I wasn’t allowed to take my video camera in, but I took my phone in, I got some photographs. There’s a 20 1ft tall monolith in there. Now, the shaman at Tiwanaku told me they do not give any kind of in their culture, they do not give psychedelics to the people. Like, maybe it’s for the shaman, I don’t know. He didn’t clarify. But they don’t give psychedelics to the people.
Anyway, so this monolith is in there. I noticed on the pants that this monolith is wearing, it’s covered in all kinds of inscriptions and art, but the pants are just covered in these sort of weird circles. And I asked Luis about them, he goes, Those are Vilka seeds. And I just immediately got this chill because he’s like, they use it to make rape. And I’m like, no, they don’t.
They use Vilka to make Vilka. Like rape is made from something. You can make a rape from Vilka, but it’s Vilka. What’s rape? What is that? Rape is something that people do in South America usually before or sometimes after like an Ayahuasca session or something like that. It’s a powder and they’ve got like this weird thing that you put up your nose and the powder’s in it and somebody else blows, like the other end and it blows this powder, like way up into your nasal cavities and your eyes burn and you cry, but it makes you feel really clear and lucid or something.
Devil’s breath, I don’t know what else they call it. It’s just rape. R-A-P-E with an excellent yeah, I’m looking at it now there’s, like, a few different things. There’s a ceremony. The nasal stuff. Yeah. I see the tube in the other guy’s nose and it’s blowing it yeah, but it’s not what I would call psychedelic, whereas Vilka is probably the most psychedelic thing on the planet. It has three kinds of DMT in it.
It’s the seed of a mimosa tree, and it has five meo DMT, which is like the beyond this realm molecule. These little seeds. Yes, they look just like that. And what you do is you toast them lightly and then they split open and you grind, I think, the insides into a powder and you add either ash or lime to know, sort of dry it out and make a soft powder, and then you snort it.
And I did this in Peru, prepared by Choke Chinchai. And this is what I think I told you about this. We snorted this through the fingerbones of, like, a 300 year old fingerbone of a dead monk. Obviously dead. And it was just crazy because I was still going on the watch humor from earlier that afternoon or earlier that morning, which just went into the night as usual. And that’s the one where you were teleported to this room? Yeah, as soon as I saw those seeds depicted on the pants of this monolith and the archaeologist oh, yeah, Vilka seeds.
And then he’s like, yeah, they made a rape from it. And I’m like, yeah, that’s not I’ve I’ve been a really I had a really strong moment of I don’t know if I told you about the statue of Tlalok in Mexico. Outside the Anthropological Museum in Mexico, there’s a giant, almost the same size, height wise, statue of Tlalok, the rain god. And this was outside a building, a village in Mexico.
And at some point in the think they moved it to be outside the Anthropological Museum in yeah, it’s Lolok. Yes. And that’s actually the statue I’m talking about right there in the water on the right. When they moved this statue to its current position, I think it rained for, like, a week. There were, like, massive floods. Like, people died, and they were all like, oh, my God, the statue of Tulalak.
It just happened. When they moved this thing, people might say, oh, coincidence. But the same thing happened with this monolith with the Vilka on its pants down in Tiwanaku. Luis was telling me, oh, this statue used to be at this location, and they moved it here, and there was a massive flood and all these people died, and we haven’t moved it since. What’s the connection with the seeds being on the statue? What do you think that is? That, like, hint? Yeah, this is a power plant.
The seed is a power plant. It’s a plant that gives you, like, an interdimensional ability. The place I went to where they do, which is one of the only places I know that offers Vilka in peru. There may be other places. I just haven’t seen any. But like one of the things Choki Chinchai used to tell you, it was a little bit melodramatic know, you go through this day of Wachuma at the very end, so you’ve gone through like eight days of ayahuasca which is murderous or can be murderous, and then the watchhuma on top of that, eight days.
And then they give you the milk in the end, and you’re sitting around this masada which has all of these power objects, human skulls, animal skulls, different crystals, all these power objects and all these ancient flutes. They look like jugs, but you fill them with different amounts of water and they make a different tone when you blow into them. So we’re all like, blowing in these anyway, so he gives you this story when you’re sitting there, and he’s like the indigenous people, they refer to this as the bridge between life and death.
And you should be prepared. You may see dead relatives, you may see whatever, and some people don’t come back. And then he’s like, so who wants to go first? And I was just like, me, because I am not going to sit here and watch 15 other people maybe not come back. I am first on that train, and I’m never wanted to be first for anything, but I did.
They tell you to go back to your room and it takes about 15 minutes to kick in. It lasts about 15 minutes, similar to, I guess, other DMTs. And it was a very cosmic experience. And again, it’s like one of those things that has sort of informed me, because it showed me the disc that I was telling you about that I realized I was supposed to step onto this disc.
And the disc had these patterns in it. And through the patterns on the disc, there were these serpents of light that were, like, lighting up the pattern. And I realized as I looked at this, I was supposed to step on it. And then I stepped on it and I was in a room. And since then, I have seen those type of discs in Mexico, in particular, in museums, in the Anthropological Museum.
There’s like six of them. I didn’t know these things existed at all. It doesn’t have the same design as the one I stepped on, but it’s what are the discs called? Do they have a name? It’s an unpronounceable name that begins with C, like cahoxilla. I’ll have to try and because it’s in Nalwal. So it’s like A-C-A-H-U-I something, or I can’t remember offhand the name of it, but there’s a maybe do Anthropological Museum, Mexico discs, maybe search, something like that and see if something comes up.
They’re large, they’re usually granite, and they’re usually really big. They’re usually like two or 3ft high. And there’s the disc of death. There’s this thing, right? So, like, you see the. Sun disc, which is next to it there. Go actually down below it to the right. Yeah, click on that R1 quick, because that one’s got a gateway in the middle of it. But this is the kind of thing this has got an entity on it.
And in the center of his there’s a portal there with, like, a Cymatic figure in the middle, if you’ve noticed that. I don’t know if you know about Cymatics, but if you look at that thing on the right there, if you look at that center shape, that is a frequency. So I look at that, I look at an entity that has a portal with, like, a frequency symbol in the middle of that.
That’s what I see when I see that. Maybe I’m a gateway bro, but these are the kind of discs I’m talking about. There’s a lot of them. They have a lot of different designs on them. I haven’t found the one that has the design on it that I saw. I found a smaller one with a less intricate kind of version in that museum. So you have these discs.
And I think this is a good segue to talk about amaurumuru, because in that the lure for that is I don’t know, I think he was a king or something. The great warrior king or something or other. He had this disc, right. An ancient astronaut theorists believed that this was some sort of key to this gateway. Right. Because anything interdimensional, anything gateway portal related, I love, because that’s the kind of stuff that well, I do, too.
And the reason why there’s a couple of reasons why I think portal research is really important. And I think the biggest reason is that if you look at our space travel, even if we had, like, Star Wars tech, right? We still can’t really get around super fast. I mean, they got light speed. It’s not really that great light speed we’re looking at. How do we get to nearby planets? How do we colonize something else? How do we get wherever? And it’s just like, not only the distance is really hard, but we’d have to build what they call, like, the generational ships, right.
Or the colony ships, where it’s like, you get on the ship, but you won’t be reaching wherever. It’ll be like your great great grandkids or something like that. We don’t really have the technology to freeze people properly and come out, hibernate, people, all that stuff. Seems like we’re not close, at least in the mainstream. Right. So if we’re going to get somewhere really realistically, the human body, even if we did spend all that time on those ships, by the time we got wherever we were, we’d be like these lab rats that had never left.
We’d look like those Mexican mummies. Yeah. We’d show up somewhere and we’d probably just follow. We’d look like this. Yeah, exactly. It wouldn’t be good. So really, I think what we need is portal technology needs to be instantaneous. So if there is a history or an idea of this or a thought about this, we should look into it because that is going to be the real answer if we can ever make it happen again.
These doorways appear everywhere. Yeah, so this is the video I rocked up on this day and this whole trip because I didn’t do any of the normal times or routes. Almost everywhere I went was empty. And this day it was just my imara friend and myself and Socrates, the guy with his flute, who just makes sure people don’t do anything stupid there. So I actually sat down. I have like 30 minutes of this doorway because I just set the camera on record.
This is at the end. I panned around a bit, but I set the camera down and I just meditated there. And I had almost immediate vision. There was like this path that went up to the gateway and it was black and it had like these diamonds in it. So I stepped onto the path and I realized it was actually like space and the diamonds were like stars. And I went up to the gate and I went through the gate and there was an area there.
It was almost like scaffolding, and there were like a bunch of other gates. It’s so weird because I had that experience meditating, but I hadn’t thought I was just like, I’m going to meditate when I get there, but it doesn’t seem like what I would imagine. That’s the interesting thing. I feel like I would have imagined something else, and that’s my experience. Like with DMT, I have these experiences that you see this stuff and I’m like, that’s not how my imagination works.
So it’s a weird thing. Absolutely. You cross over from Bolivia back down into Peru, and you maybe drive for an hour and you’re just kind of out in the middle of nowhere, and there’s a lot of interesting rock formations there that just have come out of the ground. This one about half a mile away, they call like, the Spine of the Serpent. That has some really old steps carved into it and you can walk along the back of.
Yeah, and that’s Socrates sitting there playing his really nice it was a nice vibe. We just got there and I made my offering and meditated for a while and it was good. Is there people that live out in the distance there? When you were panning around? There’s a little village or a little community back there. The weirdest thing was I was at Pumapunku, you could hear this music coming from like miles away somewhere, and there was a school a couple of miles away and it was right before the June Inti Raimi ceremonies, which are huge in Peru, so like, the school band was practicing.
God, that’s so weird. What is? And as I wandered around Pumapunku. Finally, it was like this Peruvian middle school band playing the final countdown. A really surreal experience because in the center of that door away or cut out in the center there, there’s like an indentation. There’s like a circle or something. And they say that’s where maybe they could have plugged this thing. Look, a lot of these things look like sockets.
And this doorway shape, this particular doorway shape you find on temple walls in Egypt. A lot. That exact shape. It’s a weird shape. And you find that shape in multiple places in Egypt. And it usually has some form know. It’s making the know stargate or door to whatever whatever it is that you’re thinking of. There’s a lot of them. There’s a lot of dendera. There’s a lot of able if you go to Dendera and this time I went there, it was locked.
One of the upper rooms with the Zodiac on the ceiling has a lot of big gates there with multiple stars around it and then multiple stars inside the gateway. It’s pretty interesting. So I look for that stuff, like, I look for Seshettes flowering crown chakra, the stuff like I look for because it means something. I feel like it means something on a deeper level, like between the lines somewhere.
And do you talk to any of the locals there? Do they talk about UFOs or anything of this? Because this is on Lake Tdicaca, right? Which is one of these lakes where they talk about UFOs emerging out of most of the stories that I’ve heard are watching the vehicles go in and out of the, you know if you go up to Silistani too, I’ve got some beautiful footage of that lake behind Silistani.
And the geologic platforms that come out of that lake are really cool looking. And you can’t help but think that that would be like a cool spot for something like that. And what are those towers anyway? A lot of them are copies of the original ones. They were used as tombs, but what were the original ones used as? And Lake Titicaca is pretty big. It is big. Yeah, it’s a huge lake.
Yeah. In 2015. These are these artificial islands, right? I guess. Oh, yes. Like the Reed Islands. Yeah, there’s a lot of them. I took a tour group in 2015, and there was a day that we spent out on one of those, except I didn’t get to go because one of the people was really sick, so I had to take them to a doctor and do other stuff. So I missed the reed boat.
The Reed island day. Oh, and the boats made out of Reeds too. Yeah, there was another day. We went out on the lake in 2015 too, and we went to see, like, a sunken temple on an island that was near, like a sunken there’s temples underwater there whoa. Or at least little towns or, you know, there’s stonework under said, you know, you look at Pumapunku, that place was destroyed by something and it feels like a tidal wave.
It feels like that because everything is kind of strewn about and there’s still massive blocks, 50 tons more, just jammed into the side of hillsides, like lost Lego blocks or something. Pretty crazy, honestly. Are these stones next to the no, the one on the left. The H blocks are at Pumapunku, and the Gate of the sun is actually at Tiwanaku. How far are they away from each other? They’re very close.
You can just walk from one to the other. Oh, okay. And then here’s that shape that you’re talking about here. Yeah. And what’s interesting is if I’d known we were going to do this, I would have given you the footage. Inside those H blocks, inside those H blocks, inside the pattern, in the H blocks, in the top part of the H, there is the symbol of one doorway, one type of doorway.
And in the bottom part of that block, there is a symbol of another shape of doorway. And there’s that block that you just scroll past that has about 30. On the other side of that block, there’s a line that goes down it and that’s indented into it. About four mil 3. Inside the groove that’s indented into that, there are like 30 holes that have been drilled into the stone.
It’s andesite, so it’s holding it. And they’re small, really small stones. And I actually asked I found another one like it in the closed museum. And I asked Luis, I was like, how did they drill these holes? And he’s like, to be honest, we have no, I mean, it’s not saying that it was impossible, but they don’t know what the tool was. They don’t know what the technique was.
So again, you have these gateways that they act like they’re recessing. They’re like the so called full stores in a lot of Egyptian so called tombs and that they seem to be kind of opening back. This is Oyante Tombow. I actually got up on top of that and was able to get video of what those blocks look like from behind and what’s supporting that. There’s nobody there. It’s amazing.
I’ll have to do another one on that stuff. Yeah, but inside those eight, the top and the bottom, there are doorway, symbols. They’re magnetic too, right? Some of them are magnetic. If you put a compass above them, it’ll just spin. Yeah, not all of them, but some of them AndeSight is not typically magnetic, so maybe something happened. Look at that. Yeah, that’s an interesting block, too. And there’s another one that I couldn’t find again this time that had, like, parallel lines on it that look like an Egyptian offering table.
Here’s the side. There you go. That’s inside an H block. So if you were able to go up on that, there would be another one, but it would be like the other shape in the upper part of yeah, this is Puma Punga. And you see how the doorway there, that’s half of a big gateway right there. And what I noticed this last time is that there are these holes on the bottom and there’s a hollow area inside there.
I don’t know if you ever played with like, Star Wars toys. You’re probably a little young. The OG Star Wars toys had like a hole in their heel for like, a peg, so they would stand up. And a lot of the bigger blocks here, the doorways, they’ve got holes carved into the bottom stone like that, but bigger. And there’s a hollow area inside that’s like the size of a volleyball or something, maybe a bit smaller than that.
So aside from all of the woo woo, if you will, the esoteric occult aspect of it, this is still pretty amazing and very it’s really unreal. Yeah, it’s really unreal. And in fact, some of the stuff in Peru boggles my mind more than some of the stuff in Egypt. Egypt has larger stuff. They did things with larger stuff. But the quality of some of the craftsmanship in Peru is just absolutely mind boggling.
And I was talking to you about what I call lipping. And it’s like this technique they have where when they’re, like, making saksuoman or the incoro what they call the incoro wall or even at Oyensi Tombow, the old style, when they are interlocking these stones, the one underneath it has not on the edge, but, like, inside about an inch, there’s like a lip that comes up and runs along that.
So like, the stone above is fitting into this lip. There must be a groove there for that lip to fit into. And it’s always perfect. It’s always perfect. The only time it’s not perfect is when somebody’s put it back together. There’s like a fertility temple somewhere south of Puno that I stopped and took a look because it was there. And it has some of the old stone construction, but it’s been put back together in modern times.
It looks terrible, like whoever did it initially, they did it right. And we’re here today. Well, let’s put it back together. It looks like looking at have you ever been to stonehenge? I have been to Stonehenge, yeah. And it’s like when you’re looking at this sort of stuff and you’re trying to just wrap your head around what they could have possibly been using it for. And I’m sure that let’s say in the maybe not so near distant future where everything is wiped out and we have the typical last of us, the cities are taken over by the trees and the fungus and everything else, right? And it’s like the people who are going to be coming from during that time, they’re going to wonder, the Empire State Building, what were they using this for? It’s all gutted now and it’s almost complete.
That stuff will all be gone probably in about four or five. Just it’s just steel and concrete. That stuff is really not going to like, plants will rip that up in no time, and steel will eventually just degrade. Like, it’s not really going to last anything. Like, if you really want to build something last, you got to make it out of hard stone. But it’s amazing to sit here and look at these places and be like, what could they can you imagine if you could go back in time? Some of the stuff at Tiwanaku, too.
It looks like a floor mold for heavy machinery. It looks like something, again, that you would slot something into. And a lot of these places, they look like something Sebate. They look like something like you would slot in, like something slots in here. I went to a place called Semipata in Bolivia, which is, I think, the largest monolith I’ve ever seen. It’s just carved into the living bedrock, and it has more doorways into that bedrock than I think I’ve seen into any one thing ever.
And the bedrock is really warm to the touch. All the Inca walls that have been sort of built around it later, which they acknowledge are later, for once are all cold. So the bedrock is still connected to something very warm there. It was a really cold, misty day, and that bedrock was almost like, steaming. All of these places, they have that energy first, and then they have something else that was built there, too.
And another one that really has always fascinated me has been in is it Petra and Jordan? That place is crazy, bro. Petra is interesting, and there’s a lot of stuff there. I did a really rushed day there at the end of a trip in 2018 where I was just trying to hit like, Turkey and Jordan and Balbeck of Lebanon to Lebanon in one day. And a lot of them there’s not that much stuff inside all of them.
Some of them are just like a small room. But a lot of the stuff that you don’t see, like the famous treasury building, for example, remind me, I’ll give you some footage of this. The one you see in Indiana Jones right when the Grail is supposedly what you never see on that, is if you actually walk up to the front of that, this if you walk up to the front of that and you pan the camera down, there’s like sub layers.
There’s doorways that look like that, that are under the ground that go into the bedrock. It’s all locked and bolted. I don’t know where that goes. I’ve never seen a picture I’d never seen a picture of that before I got there. Those imprints on the left, they figure were people used so people could climb up and do the chisel work. I find all of this really weird because it looks like classical Greek stuff to me.
But it’s all supposedly what year is this? Like the Namians. Or whatever. What year is this from? Let’s see here. And there’s a scooping tool, like a lateral scooping tool that I don’t know if it’s a tool or if it’s a natural, like a wind effect, but there are some things there that I thought were interesting, but it’s not one of my favorite sites, for sure, but it was interesting to see.
Well, it’s really big, bro. That’s the thing about this site is huge. There’s another site there, too, that’s a little smaller and is almost more spectacular. I can’t remember the name of it offhand, but that’s a really big site. And if you go up to the monument at the top, it’s a really long climb. And at that point, the four of us who went we’d been climbing in and out of pyramids and stuff for, like, six weeks.
We were dying that day. One of my friends who was there, we stopped at this little shack and I bought, like, a Snickers bar or something. Just I needed some sugar. And she came out with her Snickers bar, and she’s like, how much did he charge you for the Snickers bar? And I’m like a dollar. And she burst into tears because he charged her $2. And it was just like the state of.
We were all so shot at that point, so burned out that she just lost it over a dollar on the Mars bars. In retrospect, it was quite funny. A lot of these are used as camel and, like, goat shacks. If you go in them, it’s just filled with, like, camel goat. Really? Yeah. But what you notice on top of a lot of these is you get this step in South America up here above the doorway.
Do you see the steps? In South America? They’d be telling you all about the Chicana and the Andean cross and how three of know this is a sacred thing and this is what this represents. But you see this in Jordan. You see this in Egypt. You see that? It’s a geometric it’s just a step pattern. But you see that pattern all over the ancient world. This pattern here like this lego.
Yeah, the one right above the doorway there, if you look know, that’s like the chicana, the you know, if you go to Abu, seer, in Egypt, you’ll see that on the walls of the temple and stuff like that. I don’t know if it’s a connection, but you start seeing similar things and you start noticing they almost started, but then didn’t fully. Well, a lot of it is like that.
A lot of it’s like a facade. I’m not sure if there’s any place that really becomes like a cappadocia here. I haven’t seen any indication of that. I haven’t heard anybody talking about how this livable space inside. But maybe there is there’s definitely areas there that you’re not allowed into, like what’s in them. I don’t know. I tend to think a lot of that site is I think some of the site is old, and then the rest of it is much later.
It’s a pretty night sky, too. Man, that’s beautiful. Yeah. This is one of the places I’d like to go. I know you and I had planned to go to Egypt this year, but then you frigging like, everything everything got smashed into what it had to be. And it was a really anxiety inducing and stressful experience like it’s never been for me before. To be honest. I didn’t have a very good time.
But it was still quite powerful in some ways. It’s a different experience. And this site that we got here, what is this is called? This is Napa Huaca. It’s also called napa glaciers. Yeah. I just sped up. I put that stuff on the beginning. This is Inca, but it’s not far from Oyensitombi. You kind of have to drive out in the middle of nowhere and then walk up a train track for a while, and then you can climb up the mountain.
I added, like, a hundred and something temperature this day. I was so ill. But you get up there and there are multiple gateways. And again, this is one of these things. There’s one of these cut into the wall, too. And if you look at this really interesting thing about Brew, nothing is ever quite a straight angle. It always looks perfect, but it isn’t. And it’s like something the Greeks actually used to do with their temples, is if you do everything in the actual correct, precise formula, when you look at it from certain angles, it looks wrong.
So they figured out with some of those Greek temples how to build it wrong so it looked right. And I think this is kind of the sort of thing that the Peruvians did here. They create these things that look like they’re straight lines and right angles, and they’re not. There’s like an iron seam, a seam of iron, I think, that is, that runs through the top of that.
And I’ve noticed, because Yusuf used to point out to me a lot, a lot of the central chambers of various pyramids have, like, a ream of iron, like, running through them for whatever reason. So I wanted to document that. So this was destroyed, partially destroyed by the Spanish, I think they took, like, dynamite to it. And this doorway again, people still come here and leave offerings and stuff here.
This stuff on the right, there’s another little cabin, stone cabin around to the left, clearly built by the Inca. That small stone construction with the imitation alcoves. But this thing is very dark on my monitor. I don’t know if it’s lighter on your monitor or not. Yeah, it’s a little dark because of the shadow. Right. This doorway here, pause it for a second on this doorway. This is a really interesting technique because you see this at Oyensitamatu.
First of all, if you see a door in South America and it’s not just if it has, like an initial sort of doorway like thing or initial cutout it means it’s sacred. So if it’s ever not just a door but it has, like, a cut into the door that goes back that means this is a sacred place. This is what they tell you. So this is sacred because they’ve done that and they have just pulled this block of stone out.
Now, I imagine because there are little white marks which I would tend to believe were chisel marks the little tippy tap, like a finishing thing. But they’ve just removed, like, a block and a very smooth everything’s very smooth in there. And it’s just and what you mentioned about them taking these proportions and kind of changing them up a little bit do you think it was to make it look good? Build it wrong so it looks good? Or I’ve heard also before that sometimes they will not make it perfect in order not to imitate deity or God and then not make it come to like I’ve seen all the statue we paint it a little bit off here so it doesn’t come to life because it’s perfect.
It’s interesting. I can’t say it. But my amara friend, when I was talking to her at Puma Bunku because she believes that stuff is molded. She doesn’t believe that stuff was cut. She thinks that stuff came she lives like you could throw a stone at the gate of the moon from her. I could see the gate of the moon from the bedroom I was staying in at her house in the indigenous history.
She’s lived there forever. She thinks it’s molded. I tend to think it was not molded, but I don’t know. I’d be interested to find out for sure at some point. Anyway. But I asked her. I said, what kind of tools? Because this is a long time ago. I think we’re really talking about if you look at the Imara history, they will tell you that that site is like 14,000 years old.
Which is what, incidentally, the archaeologist was saying before. They were like, Wait a second, it’s only 1000 years old because that fits. But I asked, so what tools? What tools do you need to do this? Because you look at those H blocks, it’s so smooth. It feels like it was cut with heat or something. It’s just like glass. And she said, well, what tools do you need as, like, a fifth dimensional being? I have no answer for that because I think I’m aware that there are entities I don’t know.
Well, what would a fifth dimensional being need to do if he wanted? Would he use a mold? Would he just mold it with his? But luke witches? Do they believe that the deities speak? I can’t speak for them. I think one of the local histories is that pumpunku was built in one night. So whoever could build something like that in one night, they’re either Amish or they’re Amish stoneworkers, or they’re, like, far beyond anybody working in stone that we see today.
And I just think some of these sites seem to be indicative of a culture that progressed a lot further with stone work than we did. Like, we got out of our Stone Age and went into a Bronze Age, and these guys stuck in their Stone Age for a while. That sort of thing kind of makes sense to me. So the other block there is really interesting, too, because it used to have a puma head on top, the Spanish dynamited that and then I believe there is another gateway on the right side because you can see the start of the design around it, and then that’s just been destroyed.
And if these aren’t just ornamental, if these had some kind of actual use stargate capability, what you would have here is almost like a portal depot, right? Because you’ve got this one coming from somewhere, and then you’ve got two on the other thing coming from somewhere or going to somewhere. This is like a hub. Is that what it is? Or did they just come up here and make offerings and do the ceremony? It’s very easy to go with the traditional not crazy thought.
But I like to consider all of this stuff because we just don’t know, and I don’t like to pretend that we do know. Yeah, and like I said, it’s fascinating to even think about, but there’s got to be something to it. And you can go with the Jungian worldview that these are just we’re seeing the same symbols over and over again because they’re archetypes and then they speak to everybody in a certain way.
Humans, there’s only so many shapes that could be a possible explanation that there are just these archetypes that are in our psyche somewhere. What’s in there, luke there’s a big cave that goes back a reasonable way, but at some point there was a landslide in there, so whatever goes back further is blocked off. I wouldn’t be surprised if this had some kind of cave entrance into an internal area because the inco were all about venerating, that kind of stuff.
There’s an area at Saxuaman where there’s like a stone that’s been turned over, and it’s supposedly blocking, like, an entrance to the underworld. And there’s the upside down stairs on the stone, and you can’t even go used to be able to buy a special ticket and go over there. And I have footage of it. And this year when I went back, you can’t go over there at all.
There’s just no reason. It’s a really interesting, really large monolith. Why can’t this and Peru was like this. I was at Machu Picchu, and there was so much stuff that you couldn’t go and see this. Girl was like, I have FOMO. I have FOMO. I didn’t even know what FOMO was, but I was like, yeah. And there is, like, what they call the Hitching Post of the sun, which is one of these old monolithic solo pieces, which is on the peak of the highest part of the village area.
And you can only go up there at like 09:00 A. m. . They don’t tell you this. So you show up and you’re like, I’m going to go up. You could have gone up. If you came at 09:00 A. m. . You could go up, like, for 15 minutes. We let people through. I’m like, well, because it’s too much wear and tear. And I’m like, Are you talking about the granite stone that you have roped off that no one can touch, that you can’t even get within? Like, 5ft of that has a wooden stairway built so you don’t even have to walk on the mountain.
That’s like none of the oh, yeah, the Inca were tired. They were hasty. That’s why they didn’t finish. I just get so tired of it. And this would make sense that this could be a sacred site, because the representation of what caves are, like, the womb, Mother Earth, et cetera. Like, they would go in and do their them are some of them are like fertility places. I was really lucky this year we stopped because there’s a lot of areas that are kind of part of the larger Saxophoman area, but they’re not in the main sort of site.
And one of those is the Temple of the Moon. And that’s been closed since 2013, I think. They closed that. They just don’t let people go in it anymore. So we showed up there and I made an offering, and this is what I’m here for. And went over there with the guy that I’d hired for a couple of days, and he’s like, Dude, there’s no security. You want to go in? And all the other times I’ve been there, there’s like three guys doing security there.
I was like, yes, I want to go in. So we went in, and it’s incredible. They have, like, the passageway going down into it. There’s all these serpents, like, carved in there’s, the larger serpent going in and the smaller serpent coming out. And there’s a jaguar, a puma. And you go in there and there is this crevice in the back. And underneath the crevice there is this slab which is like this altar.
And there’s just a thin sliver of light that would come in from the moon on certain times of certain months and it would light up this altar underneath. And the women would do their fertility ceremonies there and hopefully become pregnant or whatever. And so I was able to go in there and take off my socks and shoes and ground in. And that stone is so cold, it’s like ice.
It’s really pretty intense. So that was a very cool place to get into. I was glad to go in there. But all of this stuff, like, these people sitting there in these areas of Machu Picchu, you can’t do that anymore. You can see the Temple of the Condor. If you show up by 10:00 A. m. , none of this stuff is on there. Wesley you go there and you have a well, that’s not in your circuit route, but they don’t really tell you what’s in your circuit route.
It’s really frustrating. That’s the site that frustrated me most out of all of them, and it’s the most goon squatty there’s guys with whistles everywhere trying to tell you you’re looking at the wrong thing. Is that where this stone is? That is not at Machu Picchu. That’s also in Peru. And that is, like, further out in the I believe that’s further up in the valley for that one.
I haven’t been to see that one. I’ve seen pictures of it, but I haven’t been to see it yet. So this is freaking really fascinating. And do you feel anything at this particular when you were at this area? Did you feel I sat there. I meditated in front of both those gates, as I’ve already said a couple of times, I had a temperature of, like, 101, and I’d taken some pharmaceuticals just to try to power through the day.
And I felt nothing spiritually. I felt absolutely nothing. I was dead. I did, like, ten minutes meditation in front of each of these, as well as just, like, chilling at the site, and absolutely nothing. But if you see the floor that step right there on the left there? You see that? Yeah. And there’s one on the right. You can almost see when we go around there, they’ve blown another gateway away.
But even if you look at the front, the floor like in front of Know, you’ve got like the little Know cut was on each like all of this is like and notice, by the way, on either side of the door like the two square boss knobs which you find in Egypt a lot as well as out here. And they always tell you, this is for lifting. This is for lifting the block.
Okay, lift that. Get your thing under that and lift that up. Some of these oh, it was unfinished. It’s always the same story. They can’t just say, we don’t really know, because then you might start thinking about it for yourself. So I believe there’s a puma head on there, and there’s a hole in the middle there that we just walked past. But I was curious about that because in Egypt, a lot of the cat heads had water coming out of there, like a tefnut.
Tefnut was the lion headed goddess. That was the goddess of moisture. And she is Tefnut. She is the spittle of newt, the sky mother. So I was wondering if there’s a hole there that somehow, like, water came out of that, but I don’t know if that’s what it was. They said the Spanish believe Spanish did this? Yeah. And on that weird bus ride I was telling you, I had a tour guide who I thought, this is going to be bad.
And I was the only English speaker on the bus. Everybody else spoke Spanish, so she had to do everything twice just for me. And I thought, oh, this could be uncomfortable. And she started talking, and I realized she was trying to point out all the stuff that’s wrong with the mainstream. And at certain points I was able to say yes because of A, B, and C, and she literally started crying because nobody ever listens to her.
It was really weird. And we were talking about some of these sites and she’s like, all of these things are so much older in the Inca, admitted, like, these places were older than them. But she’s an author. I’ll have to get you her name. She’s written a couple of books. I had her sign one of them for me. There’s the double indentation there. Yeah. So that’s not used for lifting anything up.
And you see those there’s blocks at Oyante Tombow that are really large that have those coming out? Oh, they’re unfinished. It’s not unfinished. Everything was unfinished, like, according to them. And it’s just I have some footage of some stuff in Egypt that we can talk about, too, where you can actually show you how the temples, the Moshe temples in front of the Great Pyramids have actually collapsed due to aging and they’ve been cemented back into position.
And you don’t notice because the cement is a similar color, but when you actually go there and look at it, you can see that. And there’s still some that have fallen are in the position where there was a granite facing to a couple of really huge limestone blocks, and the granite has fallen, and then the limestone block has fallen, and you can actually see that it’s erosion that has made these 120 ton blocks just come apart and fall over.
And there’s no way that that just happened in just a couple of thousand years. But all this other stuff is that mud brick wall is from 1500 BC. It’s still standing there fine. But this, which is only supposedly like 900 years older and is made out of stone, anchored with other stone around it that all just decayed due to time. Like the timeline is wrong, in my opinion.
I’m not an expert on anything, but I feel very strongly that our historical timeline is wrong. And I’m not trying to take anything away from any of these cultures. I enjoy all of these cultures. I love being in the ruins of their civilizations and trying to feel some of that energy. I try to imagine that in some way they had a really deep connection to the planet and were wiser about the way that they did things and try to sort of tap into that and find some kind of solace in it so that we’re not just stuck in this mad world.
And can you imagine? So right now it’s difficult for us with our modern day technology, right? Cars and roads and everything, to get to these places, just to get there. Can you imagine being one of these indigenous groups once upon a time, stumbling across, look at this landscape and what the hell is that building? Because they’re finding stuff. And this is the thing about Egypt. All the time, this ancient dynastic culture was finding stuff.
They’re building incredible things and they’re actually doing some of the world’s first archaeology at the same time. It’s like the Assyrian, they were building 2nd, 1st Temple. All the temples, especially around that time, were a certain shape. They were almost if you’re into swallowed Lubish ari swallowed or Lubish. They’re like the temple of man. There’s like the entrance columns, which is like the legs, and then there’s a central body and then there’s like the sacred area, which is the head that’s sort of built.
And it’s always a little bit skewed, but that’s like the way most of those temples are built. And then you have the same era, you have SETI temple, but it’s built like L shaped. And the reason is they started building the temple and then they discovered the Assyrian, which was like 30ft under the level that they used to build that temple. So whoa. How old is that? That you’re just discovering that thousands of years ago.
They’re discovering this thing that they don’t remember that’s supposedly from their own civilization. So that stuff is happening all the time. There’s stuff that a lot of this stuff. It’s even like the pyramids in Mexico. We don’t actually know who built Tetiwa Khan. It wasn’t the Aztecs, it wasn’t the Mayans. It was somebody before that. They’ve dated it like they said, oh, it’s not really that old. Maybe whatever it is, 1500 years old enough.
Forget what they say now. But it’s like modern, current era, we don’t know who did that. What are your thoughts on? Because something that’s always fascinated me is this idea. So and I think maybe it has to do with these Disney movies like the Atlantis movie, where it’s like these lost civilizations and the concept of finding which they are. Finding these entire complexes underneath the Amazon canopy, right? There’s all these and then there’s was that where the lost city of Z was supposed to right.
Wasn’t it? The Amazon. Yeah. And that’s based on a real story of a guy who thought he knew where this place great movie too, by the way. Yeah, I enjoyed there’s a lot of stuff under there and there’s a lot of stuff still in Egypt and other places in the world that we haven’t even really thought of yet. So I look forward to more of it being discovered.
It’s just such a slow pace. One of the main complaints that the Bolivians archaeologists had was that I was like the only thing that’s changed since I was here eight years ago was there’s more rope. Like, you have to stand further away. You can’t get into places. And he’s like, yeah. He’s like, they haven’t done anything. They won’t even let us open the museums. He’s like, there’s money if you want to throw, like, a festival or have some kind of party or something like that, and you want to link it culturally.
They’ll give you money all day. You want to do some excavation, you want to open the museums. There’s no you know, I find that disappointing. It’s hard for and this is the point of one of the girls at Machu Picchu that was part of this discussion when I was giving the guy a very polite, hard time about not only being too hasty to finish the original constructions. But to this idea that they’re closing the Hitching Post of The Sun because of too high a foot traffic or something is just ridiculous.
None of these reasons are any good. And I was giving him some grief about that because is that what they’re telling you? Is that really what you want to is this the one? Yeah, it’s roped off. It’s at the top of a wooden stairway. You cannot touch it. Like when I was there in 2015, you couldn’t even lean over the rope enough to touch it. Like, it’s far enough away and they’re telling you it’s inaccessible due to degradation of the stone or whatever.
So if it’s the rain or something, build a hut over it or whatever. But it’s not humans. We’re not doing it because we’re not allowed to. But anyway, she was like, well, if you’ve seen it before, why are you bitching? And I’m like, I’m bitching because you haven’t seen it and you didn’t even know it was up there. It was just closed. You came 6000 miles, now you’re going to go home and you didn’t even know that there was this thing up there that you could have seen.
She’s like, oh, it’s not me. I’m angry. I can’t take a photo. I’m like, Why are we not sharing? The reasons are just I get really tired of reasons. Yeah, the and that’s the know and Bolivia now, too. You get the blue rope disease. Like, everything’s covered in blue ropes and stuff. At Saxi Rahman used to be able to walk through all these little areas with these upside down staircases cut into stuff and it’s all roped off.
I kind of agree with the whole wanting to conserve it because some people are garbage, man. Some people want some people are garbage. They carve their names in it. Yeah, I would like to see people get serious penalties for that kind of stuff. I don’t like it, the whole blowing up of those gates almost like, Why? What was the point? Or maybe they knew something that we didn’t know, right? And they were trying to deactivate something like, who knows? All these concepts.
A lot of that stuff comes from fanatical Catholicism and then, like, this sort of fear of the devil. And it wasn’t just, like, the monuments and the buildings. It was their entire history. They gathered the entire written history of multiple cultures and just burned it all. And we have, like, three or four codexes left, and that’s it. And, like, a couple of writings of Franciscan monks who decided to try to record some of the local legends.
And in fact, the author, who was, like, the guide on the bus trip that I took, inadvertently, she was saying she said it’s really hard. There were a couple of Spanish people on the bus, and she’s like, I hate Spanish people. She’s like, It’s really, really hard for me to do tours for them. She goes, I know it wasn’t them. I know they didn’t do anything. I know they’re here.
I know they’re spending their tourist dollars here or money here, but I hate the Spanish for what they did to my country. And I completely understand. They just absolutely raped South America. Absolutely. You can’t blame it on the modern people, though. No, it’s like getting mad. Like, oh, your great great grandfather owned slaves. Yeah, I don’t know if you know what I mean. They never made reparations or anything like that, but they looted the country.
They took all the gold and silver to the victor, the spoils. Right. I mean, that’s what it’s always been about. Yeah, but I agree as far as conserving things, so later generations can see this, because I do think it’s important to know about these areas. But then there’s also how much more is there to be discovered? Right? Like how you’re saying there’s, like, 80 Egypt? Is 80% or 85% still under? Yeah, like 15% is what archaeologists are telling me.
Like, 15% of Egypt has been excavated, and that includes the Giza Plateau. And there’s so much stuff there, like, walking around Sakara, which is a really interesting site and has so many layers from so many different dynasties and ages. How many dynamites were there in Egypt? I couldn’t tell you exactly. I think Netanibo was, like 30, and then I think after there, it kind of falls off. But that isn’t accurate because one wasn’t the first.
There was zero dynasty, and then they figured out there was another one. So there’s, like, a dynasty. Wow. I couldn’t tell you exactly how many there are, but it’s a really long civilization. Cleopatra was like the Greco Roman era. Obviously, Cleopatra was actually Greek, but the Romans had conquered Egypt, and she sort of became pharaoh. Whatever. She is closer to our time than even the supposed building of the pyramids, if they were built.
When we say it’s such like an ancient land, sumeria and Babylon is the would because know Iran and can’t I can’t go know, poke around, which would would love to. Yeah. You’ve never been to Mesopotamia or any of those places. Over can you can you tell us a little bit about the so, at the very beginning, you mentioned the sky family, like the brothers by the Is, you were know, what was the purpose of a lot of these sites? And I will say that most of the really, truly ancient sites are aligned.
They’re aligned with the stars. They’re like equinoxial markers for the seasons, time of the year, predictions of seasons and stuff. And in fact, in Peru, there are some of the knobs, some of the small, rounded, more rounded knobs on faces, stone faces that have been purposely smooth, which you see at quite a few sites. One of the biggest ones is at Oyante Tombow. These have these little and they’re like maybe the size of my fist, but like round, they’re not huge.
And on the equinox and the solstice, at a certain part of the day, those cast shadows onto the walls which make certain symbols and or like faces. And I’ve seen a lot of the photographs in books, and it’s pretty legitimate. The question is, who was doing it? Was it the inco? Was it somebody older than the Inca? But the thing we just looked at, Anapa Huaca, the one gateway that used to have the panther head on it that was destroyed.
There’s a water feature at Oyante Tombow that has a very similar design to it, that’s clearly the same sort of style as the temple on top of the hill, but like, none of the so, you know, it’s just clearly there’s a guy called Jesus Gamara Farfan. He usually just goes by Jesus Gamara, and he and a Dutch guy, I think Peter or Jan de Jong, they created a documentary, I think it’s called The Cosmology of Three Worlds.
And he’s very clear that there are three or four different cultures that are represented in the stonework. And it starts with like, what we were looking at, the Anti Huacana, at the Hitching Post of the sun, those type of monolithic, single kind of stones with the weird carvings and stuff in them. That’s the first civilization. This was discovered by the second civilization, who venerated that and built these cellular moldy walls around those special sites.
And Machu Picchu is all about that. Like, the cellular flowy work is all around these ancient monolithic stones that had some other purpose. And then around the cellular stuff is all the Inca stuff. So there’s know, whoever was doing the monolithic stuff, whoever was doing the cellular stuff. And then the you know, Jesus Gamara, his father was an archaeologist who agreed that the stuff was a lot older.
And he’s very clear that these were very separate cultures. If you push the South Americans enough, like the academics, they will admit that it wasn’t the Inca. They will say that it was a tribe called the Kilke. And the Kilke were like stone specialists who also apparently were stone specialists that could never finish anything because nothing’s finished, right? So eventually they got tired of the Kilke or they decided they were done with them, and they just wiped them out.
But they learned some of the stonework from them, so some of the stonework got better after that. So some of the academics say that. Some of the academics say it was all the Inca. And then there’s the pyramids. We’re pyramids because we’re like, this is left over from another culture. And I was up there with an author who actually did a lot of the research that showed those shapes cast on the walls, and he’s correct about that.
But I hired him as a guide for a tour because I thought we’d have some good discussion. Well, tell me, you’re the Inca expert. Tell me how they did this. What was the technique? Oh, they used every technique. Awesome. There were multiple techniques. Break them down. Like, I want to hear them. What are the techniques? Oh, well, if you don’t believe the Inca did it, then you believe in Atlantis and you believe in aliens.
I’m like no, I’m asking you. You know that the Inca did this. Show me. And he’s like, okay, you see this block over here? It’s on top of smaller blocks. Therefore, the Inca moved the big block onto the small block. That was his entire explanation for his proof of how the Inca did everything. Guy’s an expert. He’s an author, he’s a tour guide. And that civilization that you said, that the Mount Haravalo.
That’s his name. The civilization that was good at not finishing, were they just like a nomadic group that showed up just like another tribe or another group of people? There were lots of different sort of indigenous peoples, whether it was the Tiwanaku culture and then the Chaveen culture and all these other cultures. Like, the Inca supposedly came through Tiwanaku and went, wow, this is cool. Can we hang out? And the Tiwanaku people were, you know, keep on moving.
So they went south, but they remembered the incredible structures that were built at Pumapunku. And they came down and they built these down like the Karikancha and all this kind of stuff. One of the things that they always tell you is that Cusco is built in the shape of a panther. And they have all these kind of this is the head. Saksuoman is the end. This is the tail.
And they show you on the map the tour guide author lady who I was talking to, she’s like, that’s not a like or a Puma. And she’s like, that is like a Komodo dragon. And she, like, broke it all down. It’s really super fascinating. And there was a lot of stuff under Cusco that was going on all of these things were connected. And actually the Peruvian government demoed a bunch of the tunnels 2030 years ago or something because some people got lost and died.
Like, five people came went in, and only one person came out. And they’re like, too dangerous, supposedly. And they went and just demoed all of these tunnels that led from Saxioman to the you know, to So. And they’re constantly like they’re fixing roads out there. And then, oh, here’s another part of ancient structure. Here’s a massive disk, the so I totally just started on a rant there. I apologize.
No, you’re good. We’re talking about Peru. And it’s interesting because there’s this book called The Mysteries of the Great Cross of Hende by Jay Widener and Vincent Bridges. And they supposedly had decoded there’s this cross that has these carvings on it. And supposedly it has to do with this secret that the great Alchemist Fulcanelli has to do with and how they were trying to encode into it a location where you can go to survive the next coming great catastrophe, this next thing that’s coming.
And they deciphered it and they found that it leads to this cave in Peru. I’m trying to go through the book now, but you have here that thing that we saw earlier, right? No, that is not where a kocha that is RAYMONDI. The RAYMONDI Stone. There’s a tello stone. And the RAYMONDI stone and the land zone are the three major things up there. And I have a story about this, which isn’t my story to tell, so I probably shouldn’t tell it, but this is another interesting entity, too, for sure.
Mysterious mondistello found in the Peruvian highlands, and dating at least, right? They say it’s a Veracoca type shaman. Oh, veracocha type shaman. Okay. But if you showed that to the Tiwanaku shaman, he would absolutely himself. He would be like, this is not Came. Maybe they tried to copy Tiwanaku. There’s still, like, a bit of a measuring contest between the ancient civic and their religions and histories. It’s interesting.
The cross at ercos have you ever seen this? No, I’ve never heard it. And to be honest, I ignore a lot of the Christian stuff because I consider it so late to the party. Actually, I feel the same about Judaism and Islam. It’s all late to the party. Like the older civilizations, I’m much more interested in what they were doing spiritually. And this is what you were talking about, right, in the shape of they said this is in the shape of a jaguar.
Yeah, they say it’s like, in the shape of Pumu. And there’s like, the seven rivers and the seven streets, which they’ve made that come through in certain all. It’s all supposedly symbolic, trying to find the location because they say because I read this book a little bit ago. But they point to this cave in Peru somewhere, and supposedly that’s where they’re talking to here. They had to figure everything out, at least the Cusco.
And this what those mean too, like antisuyu and back in that man Kaliasuyu is like the east. That’s actually kind of what these I had a guy explain all that stuff to me one time in Cusco, the naval of the world divided at Cusco, the naval of the world. And if Cusco is the navel of the world, then Croin Kancha, the great temple of the sun, was the navel of Cusco, built at the confluence of the Cusco’s two rivers, the center of enormous ceremonial calendar aligned based on the sidereal lunar year of 328 days.
The key alignment was based on the winter solstice sunrise. The sapa inca and the archetypal man, or the king, would have been seated in a niche line with gold and precious stones. As the rising solstice sun struck the niche, the inca would have been bathed in the shimmering golden aura, making him truly the son of sun. Interesting. There’s definitely something magical about is what they say is the word for sun.
Actually, tease is the word for sun anything. That where it’s like the inti something. It’s a sun related. The sapa Inca, the unique man in the form of the king, begins to look a lot like Adam Codman, the cosmic man of the Kabbalist. Formed from the intersection of these trees, the Adam Codman, a series of meditative and magical exercises developed from the idea of the tree of life as it extends to the world, et cetera, et cetera.
The way of Ericocha could be the secret of astroalchemy itself in a form lost to the west after Egypt’s decline, a way to tap into this current of sentience that theoretically at least, embraces mind everywhere in the universe. It’s like kind of what you were talking about earlier. It elevates you elevates your consciousness when you’re in these places. And maybe, like I said, maybe it happens a certain time of year, certain time of day, certain time of whatever, right? Every seven years or something like that.
Well, we have to bear in mind, too, that we don’t actually really know what consciousness is, and we don’t really know where it resides. We tend to think it’s inside our heads. But I think consciousness is a field. I think it’s a local field. And I think that’s actually what we all are, is we’re like local consciousness fields that are inside material. But I think this is, like, why people have near death experiences where they’re dead on an operating table for, like, ten minutes, but they remember looking at everybody operating on they remember things people said while they were dead.
Then they come back to life, and they’re like, oh. And they’re like, you shouldn’t have done a ton of those stories. And I think it’s because consciousness isn’t within you. Your consciousness is in this field around you. We don’t really understand any of that stuff. And I saw that guy Deepak Chopra, and. Those guys like to say a lot of really nice sounding stuff, and he said something like, the universe is made out of this magic mystery called consciousness.
And then the physicist Brian Cox chimed in with, no, it isn’t. It’s made of quarks and leptons, or like, I really like Brian Cox. He seems like a lovely chap, and he’s very smart. But how do we know what consciousness is? How does he know? How can he not say, because we don’t even know what consciousness is. Just because we can get down, we can see a quark or a left heart or whatever.
I’m not a physicist. I don’t know. But that’s just as far as we can see now. Just like we can only see a certain way out or back in time, whatever. That’s as far as we can see now. I’m of the personal belief that it’s infinite. I think it goes all the way down, and I think it goes all the way out. I think that’s what this is.
It’s really kind of beyond comprehension. I appreciate that we’re trying, but he goes on here to say about this cathedral, I believe this is that was built with a lot of stone from a lot of monuments, and it’s built on top of, I think, an old temple of Weiricoche, if I remember correctly. So he says here the cathedral of Santa Domingo and Cusco is a decrepit and dark place.
The magnificent building, the corincancha that is this cathedral replaced can only be imagined. Now, in addition to the gold plates on its walls, and there’s, like, these gold plates on its walls, pictures of it, those here stories say that a huge circular object of pure gold called the Disc of the sun sat in its center. This disc was said to represent the central sun of the cosmos and was many inches thick, covered with precious jewels.
It is said that when it reflected the light of the sun, it transformed it. The Incas believe that the light became so pure that the people in the temple, particularly the Inca himself, seated in his golden niche, were physically transformed. The original Incan temple was much larger than the cathedral that occupies the present spot. So they built it you said that they built it on top of a sacred site.
I think that’s built yeah, it’s built on top of an older site with stone, know, broken up from older sites. It’s very it’s very, very common. It says here the Temple of the sun was connected to the Temple of the Moon and the complex of Saskohuan by a series of underground tunnels which they demoed. After the conquest, pizarro heard rumors from the Romanian Incas that there were a vast subterranean tunnels under the Andes.
He had heard from the Indians that these tunnels were filled with golden jewels hidden by the Ata Walpas Queen. The Inca queen had successfully hidden all the tunnel openings from the Spanish whoa. Yeah. I read this book a while ago, but it’s packed with so much information that it’s a fascinating history. And the Inca were, in many ways, they were an amazing culture. I’m not trying to steal, like, a monument building skill from them.
They were an amazing, absolutely amazing, very clean culture. They had, like, no crime. They didn’t have locks on doors. It was a very community oriented culture. And agriculturally, they were amazing. They created all this stuff, like all of those sort of terraces in a tiered farming that would allow you to grow crops that you would need to otherwise be in a different weather zone for. They were smart.
They had a great culture. So he goes here. The cross at Hyundai, which is over 3000 miles and an ocean away points to a cave in Cusco, Peru. Once the trek is made and enough questions are asked of the local Ketchua population this fabulous and forgotten site becomes more interesting. One has to wonder if the caves are not homage or tribute to the people who used them to survive the great catastrophe.
Are they the ones who built the gigantic tunnel system that allegedly runs under the Andes? It goes here. One thing is for sure, that caves Acousco referred to in this inscription on the Handy Cross do exist. It is also true that these same caves are held sacred by local remnants of Incas by virtue of the large piles of melted ceremonial candle wax that are found everywhere inside the caves.
So he’s talking about, again, like, how you were saying that these places are places of pilgrimage. Right. They worship and do offerings at these places. And there could be more than there’s a reason maybe, why they worship them. They could have been because they were part of this surviving of the catastrophe. Yeah. Interesting. Yeah, it’s cool. I’m interested. Always interested. By the way, that bigfoot sign you have behind you there that I’ve actually seen that as an actual road sign.
Pretty much. I have a photo of it somewhere in Indonesia on the way to Gunung Padang. And I’m like, do you guys have big feet? Like, you got a bigfoot out here? Is there a legend of, like, the Gunung Padang bigfoot? No, they’re like, it’s supposed to be a person don’t walk across the street here sign. But it always looks like a bigfoot. It’s hilarious. And I wanted to riff on the whole sky family, sky brothers type of thing because I originally wanted to talk about the Mexican mummies but I find this other stuff a lot more interesting.
Well, the mummies are interesting. I’m always interested to see what they are. There’s always fuckery on one side or another. Either the mainstream are trying to distort something and make it not something or people are doing this kind of stuff and not letting people really examine it because they want to milk the there’s some great about this that’s out there? Like the people who made a cake out of that.
I don’t know if you saw that. Yeah, I saw that. It’s been some fun. Definitely. People have had fun with it was up here somewhere. They cut into it right here. Yeah. I’ve been like Keto for a month, so I would lay waste to that mummy cake right now. You’ve had some interesting stories in regards to entities. I know you came across one I think I mentioned at the beginning, where he told you, like, or you can’t go in there because whoever is still sleeping in there, they’re not mummified or they’re just no, that wasn’t an entity he told me.
That was my Aymara Ketchua friend. And she had told me back in 2015 that initially they’d gone inside the Akpana, some way inside it, and then they stopped all excavation and never restarted it. And it’s never been restarted. What’s the site? It’s at Tiwanaku. It’s the pyramid there, which is called the Akpana. Akpana. There’s the Akpana, and then there’s, like, the Kalasasaya. The Akpana, I believe, is the remnants of the pyramid or the temple structure.
And if you go around the back of it, there’s some larger, more interesting blocks. But her. Maybe I have them backwards. Maybe that’s the Acapana and the Calusesia is the pyramid. I forget. Anyway, yeah, what she was telling me is that when they went in there, like, shortly afterwards, they came out and they never resumed excavation. And all around the Kalasasaya too, there were all these areas where they had found tunnels.
And I actually saw the entrance to one this last time I was there that I hadn’t seen last time. And they filled all of that stuff back in, except for a couple of entrances, which are locked. And nobody’s gone back in in decades. I think it’s like, decades now. Certainly no one’s been in there in the last eight years since I’ve been there, according to the current archaeologists who are in charge of the site.
My Ketchua, Aymara friend’s story that she had heard was that they didn’t go back in there because the pyramids still occupied the Ascended Masters, who were supposedly supposedly like Cyclops. That’s the other interesting part of that, is that they’re supposed to be Cyclops, and they’re literally yeah, they act on it. So they’re literally, like, hibernating until the moment, whatever that is, I can’t say it’s not true. I don’t know how light.
I have no idea how large they are. The interesting thing about the Cyclops reference is that that’s like a South American Cyclops reference that goes back quite a ways in the indigenous history, apparently. And yet the Cyclops is like a Mediterranean creature. And if you look at the Greek histories, the Greek there’s the Wall of Mycena and the gate that’s there. And they have these old, like, the Jigsaw style walls where there’s no mortar, but it’s all fit know, like Tetris again.
There’s a couple of places, the really old structures in Greece that are like that. And when the Romans conquered Greece, the Romans were like, Bro, that’s impressive. Stonework. Who did that? When did you do that? And they, oh, we didn’t do that. The cyclops did that. So that was what the Greeks told the Romans. The Romans wrote that down. Whether the Greeks were pulling the Romans’legs like, I don’t know, but that’s like their I was it was interesting to me, on the level of going to South America and hearing an indigenous history about these structures that are built differently than most everything else.
And the occupants are supposedly a cyclops. So that’s the story I heard. I can’t get in there. There’s no way I could verify any of that. Maybe I could get in there if I showed up with a suitcase full of cash. I don’t know. Give it a shot. Just thought it go fund me. The cyclops go fund me. I’m sure people would fund that. Explain this to me, because I’ve seen some pictures.
Part of this, it says subterranean. So was it covered completely? Almost like maybe a mud flood? Yeah. So what we’re seeing here is this pink one on the right. So if you’ve seen the pyramid I’m talking about, that is partially deconstructed. Is this acapana? Right? This one here? Yes, that one there. And then what you have here, down to the right of that number three. No, not there.
Number what is it? Four? Number four. This one here. Right. So this is the central area that has that statue in the middle. There’s another statue in the top left, and that has the gate of the sun at the other end of that. That’s what that Lego block is supposed to be, I think. Yes, that thing. And then what you have down here, number three, what they call the subterranean temple, is it has one monolith in the middle.
And then if you’ve ever seen I have photos, it’s got all these and video. It’s got all these faces in the wall that are mounted to the wall, almost like the nail heads at Chabin. And they all seem to represent different races. And some people say some of them look like aliens. Like, one of them kind of looks like it’s got oval eyes. You see there, the faces on the wall.
So that’s that it goes down. It set down in the earth a little bit, probably ten or 15ft. The picture underneath that where it says Tiwanaku. Tiwanaku. That area down there, there’s an entrance into the pyramid down under there, that’s like the deepest, most megalithic part of the pyramid. Those blocks and what’s going on down there? If you go back to the pink diagram for a second, you’ll see over where it has like, the north, it has the compass point on the right.
Do you see where it says north? Yeah, that underneath that that is like one of the underground tunnel entrances. Do you see just underneath that to your right a little. Just below that? Yeah, that thing right there. It’s actually on that. That is like an underground tunnel entrance. What, there’s more of them? Some of them are actually built into the pyramid. Have you been to those tunnels, or you’re not allowed to go? I was not allowed to go in them.
I walked right up to it. I walked all around it with the camera. I tried to shine my flashlight in. I was not allowed to go inside. Because essentially they would have been the ones that built those tunnels too, right? Yeah. Who knows? I don’t know what the stone structure looks like. If you look at, you see number five where it says Patuni. Number five is mostly destroyed.
Almost all of that and caricala behind that, almost all of that is destroyed. But some of the wall around the Patooni that’s facing the Calaisosaya has interlocking blocks that are a similar style to what you find in Cusco and some of the Inca buildings. So there’s different cultures, supposedly totally different cultures, but they’re using the same style, and it’s all supposed to be, like, one or the other.
It’s just not right. And the Akpana there, the diagram doesn’t show it so well, but the picture to the left of it kind of shows how there’s a lot of hillside there, and there’s literally just giant blocks that weigh like, 50 tons just sticking out of that that just haven’t been moved, haven’t been put somewhere. This area 50 tons. That’s wild. This area, like, under number five and under the Kalasasaya, there are actually between the Kalasasai and the Akpana, there’s tunnels under there that have been refilled in.
And you can see in the background that’s where Pumfunku was. It’s really close. It’s not far. You can walk there in, like, 15 minutes. And these sites are aligned between three mountains, so they have these mountain ranges in the distance. So they’re, like, aligning these sites between these three peaks, like the big mountains, because they believed, like, the APUs, the spirits are in the mountains, in the river, in the land.
The energy in South America is very intense. People, the indigenous people, are still very connected to the land. They’re still very connected to the elements. It feels so legitimate in a way that we don’t feel that anymore. We’re not connected. Really. Yeah. I really wish I would have been able to go with you, bro. But obviously, having a family and responsibilities and stuff like that, it’s tough. And I had a really tough time this time myself.
It was really physically stressful. Of course, it’s a huge financial incursion, doing all this stuff, trying to get permissions, trying to pay people to go with you and do stuff. It gets expensive. But honestly, I got home from that trip, and I didn’t get out of bed for weeks, man. I remember I could make it to the couch. Like, I couldn’t have a conversation, I was so spent.
And usually I get about four weeks into stuff, and that’s when I start burning out. Now, this was like a full seven and a half weeks. Lot of travel, and I’m getting older, and it just absolutely ruined me. I’m still getting over it. Yeah, I remember hitting you up and you were just like, yeah, hit me up in a couple of weeks. Yeah. I did not have the energy to talk about anything.
It wouldn’t have been a good, energetic vibe. It’s the same thing for tours. I’m not doing any more tours. I was only doing tours because I wanted to see these special places. And if you find like minded people who want to split the cost with you, you can actually get into some of these places that are generally closed. So that’s what that was all about. Now, I would like to, at some point, bring Yusuf to South America and do, like, a ten day tour with him and a group of people, just looking at all that stuff from an Egyptian point of view with Yusuf.
I’d be willing to do a tour doing that, but I’m done otherwise. I wasn’t ever trying to make a business or whatever out of that. There’s so many people nowadays doing it, too. Yeah. And I think it’s hard to find people. It’s a tough time financially for a lot of people unless you’re totally set. So I’ve noticed, like, a lot of the people who started trying to do the same kind of tours, they had to end up kind of merging their tours with a bunch of other YouTube channels just to get enough people to go out there.
And it’s a lot of work. I’m actually really looking forward to being able to, in a couple of years, go back to some of these sites without my equipment, without any of the stress of the project, because it interferes with the energy, too. I’m constantly, oh, I need to get this footage. I need to get this. Why isn’t the camera working properly? I got it into this. I’ve got to frame this.
Oh, I didn’t get that. Or maybe I need to make sure I got that. Let’s do it again. All of that stuff interferes with your ability to absorb the energy of the site. Like, feel the connection. I’m really looking forward to not having to do any of that stuff either. But imagine going into these tunnels, Luke, and maybe perhaps stumbling across some Cyclops ascended master thing just laying there like some reminds me of the movie Prometheus Aliens.
Prometheus. Have you seen that movie? Yeah. Like some sort of temple with this freaking face right in the center of it. Can you imagine? I mean, I think that’s sort of the fantasy. I think that’s what everybody indiana Jones. Yeah, everybody kind of helped. I get that a know. What do you do? Oh, well, I’ve been doing this is the project I’m working. Oh, it’s like Indiana Jones.
I’m like, no, that guy kind of went to a bunch of sites where there was nothing going on and he looted them and sold his museum and it was a cool story. And he got to actually go in places and shoot people. And I don’t I don’t discover anything. Every place I’ve been pretty much been discovered by somebody else. And I’m pretty much just either playing official bribes like the special permissions in Egypt, or I’m paying local bribes to be allowed to just they do restrict you because a lot of people, like you said, do stupid things.
So they don’t want you doing this, they don’t want you going there. And sometimes if they understand that you’re there for a legitimate purpose, at least to yourself, and you’re not there to touch anything or break anything or whatever, sometimes they’ll actually be cool with you and let you do stuff. I’ve been very lucky to go to a lot of places that people don’t generally get to go into, but I’m not discovering them.
Can you imagine? Do you think that they let you like, that’d be awesome. You think they’d let you lick the you know, it’s hard to get know, when I went to Semipatha in Bolivia, I’d been wanting to go there for seven or eight years since I found out about this, actually, Brian Forster, who told me about the site, and he told me a lot of it just wasn’t true, unfortunately.
But it got me interested in the site and so I was very interested to go there and I was really disappointed that they had wrote so much. Used to be able to just walk all over that thing and now you can’t get within a certain distance of it, but at the top you can get close enough to the monolith to touch it. And that’s what I was saying.
I couldn’t believe how warm that thing was. It was like a really warm stone. I’m into touching stone. I have to go somewhere and I have to see how this stone feels. It’s my archaeology fetish, I guess. That’s what I’m saying. I’ll freaking like, bro, I’ll give you $50 if you just let me just let me touch this obligate lick it? Yeah, I did lick some hellite under the Step pyramid because it’s like a rock salt.
So it’s like is it really a rock salt? It is kind of salty, in your opinion, because you mentioned you go to places that have already been discovered or there’s some history behind it. Do you feel that there is the possibility there still could be sites like this of this magnitude that haven’t been tapped yet? Like around the world? Yeah, I think around the world, absolutely. But like, I think I mean, it’s stuff think I think it might have been Sarah Parsak in five or six years ago, they were doing, like, that satellite archaeology where they were taking scans from space and identifying ruins, like man made out in the wilderness.
And I think they tentatively identified, like, 17 pyramids in Egypt which were undiscovered. Yeah. And of course, all the mainstream archaeologists threw all their toys out of the pram about, we’ve been working here. I know there’s stuff under there. We’re getting around to it. You didn’t discover anything? Like, really, like, there is an agenda against Sarah. I think her name is Parsak. Maybe it’s parchak. Anyway. And when I was at Tanis, which, speaking of Indiana Jones is like, where the well of Souls was located, there was an archaeologist there who was right, he might have been German, who was running the current excavation there.
And I interviewed him for about 20 minutes, and ten of it is him just slinging sarah Parsack for daring to take satellite photographs of sites and claim that she discovered something. How dare she? I know there’s stuff over there. I’ve got to excavate this first. So there’s always, like, nobody’s ever excited. I think the first thing I learned about archaeology is that the mainstream is never excited to welcome a new discovery or a new idea or a new thought.
They will come out and beat you down over and over again, and then if you’re right, eventually they’re like, he was right, but they ruined your career and somebody else’s career and whatever. It’s always a really hard battle. It’s like the guy who discovered the bones in that cave. Oh, yeah, you saw that? Did you watch that documentary? Yeah, I knew about that guy years and years ago that this guy, he had identified these tool marks in an animal graveyard that showed that humans were butchering animals, like, 60,000 years ago.
But we’re stuck. We were really stuck on the idea that humans only got here 13,000 years ago and that’s it. There’s, like, a 2011 study from the University of what is it? Like, Savannah, Georgia, where they found in the riverbanks, they found remains of food fires, like, fires made for cooking food that are 50,000 years old. So how long have people actually been in the Americas? They’ve been here a really long time.
And if you look at the which tribe is it? There’s a Native American tribe. It’s the zuni. If you look at some of the Zuni artwork, it’s, like, full of step pyramids. Like, full of step pyramids. And so you look at all these places, like Cahokia and all these places that, oh, there’s a mound here, there’s a mound there. How many of those mounds were actually, like, 40,000 year old step pyramids or something? I don’t feel like any of that stuff is ever taken.
It’s always poo pooed until they can’t fight it any longer. There’s never any kind of willingness to go, well, hey, we don’t think so, but let’s go find out. I don’t know. We’re just old as humans. We’re, like 300,000 years old, maybe, in this form. Right? Did we only just figure out stuff 6000 years ago? And we didn’t figure out how to record anything or do anything all that time beforehand.
We were just, like, throwing rocks at the sun and picking figs. Is that really what we like? You know what we’re like? What have we been over the last 30 years? We don’t just want a TV, we want a color TV. We don’t just want a color TV. We want a QLED TV with, like, 700 it never stops. There’s no way we went hundreds of thousands of years without doing anything.
Well, there’s this documentary that just came out on Netflix called, I think, the I don’t know this one. You’re talking about the Cave of Bones, I believe it’s what it’s called. And they found this new Homo sapien like subspecies. I guess the Nalidia or something or other. Homo Nalidian. They’re small, like Florence. Yeah, they’re real small. But I think they date back, like 300 something thousand years. And they showed evidences of fire.
Yeah. It’s my personal opinion that sapiens us that we learned tools and fire from other races, particularly like Chromagnons and Neanderthals. The Neanderthals in particular had a type of spear tip making technique which is far superior to the spear tips that early sapiens made. And our anthropologists considered that because the design of these spear tips was so counterintuitive. They’re like, this method must be taught. This isn’t a method, like you just discover this is something that is passed down because this is a really complicated, refined method.
And so Neanderthals Cromagnons, they actually had larger brain capacities because their skulls were different shaped and their brains were sort of larger back here and smaller up here. They’re like, oh, they were dumb. I don’t really think they were dumb. And I think that there’s Neanderthal caves that we found that are 170,000 years old that have, like, stone circles in them, right. Where they’ve set up, like, menaires and stuff in complicated designs.
They’re not dumb. I wonder very often how much of this early stuff could possibly be attributed to another smart race that we don’t see, like, much that got pretty much totally wiped out. And there’s not much evidence of before 30 years ago, nobody knew about Nilensis or Florence or even what’s the name of the Siberian one that begins with D just on the tip of my nose. They haven’t even found, like, a full skull of that yet, but they know it exists.
I think there were a lot of races. I wouldn’t be surprised if we stole fire and if we stole other tool mechanics, older species, would those other species be considered, like, extraterrestrial? Not really. Right. This is the thing. Some people come from the old Sumerian sort of beliefs where, if you believe what we think they’re telling us from that time is that they came here from somewhere else.
They became us. We’re them, we’re the aliens. Right? That’s the story from that. We came here from somewhere else. We colonized this place. Personally, I think we came out of this place biologically. Whether this place was seeded by something else, whether something was done to the biological soup, like, I don’t know. Whether primates were by something like I don’t know. Those things I haven’t studied. I have no way to study any of that.
But I consider the possibility. I think I very much believe in life outside of this planet. I think it’s very likely that we’ve been visited. I think that there’s some people don’t believe in space, Luke. Some people look, I’ve met people in Egypt talking about this stuff who will tell you that there’s nothing outside of the Earth whatsoever. Some people believe that. I happen to not believe that.
But I don’t know. I try to stay I try to stay open to stuff. But that’s one of the things in the last few years with all this QAnon crap and all this unbelievable, it’s really just crapped in the pool of interesting conspiracies and figuring out what’s going on. I mean, right now everybody is talking about UAPs, UFOs, aliens, all this kind of stuff because of the military videos.
I mean, they’ve been scrambling to figure out a way to explain that it took them like, four years to come up with it. It’s not really moving very fast now they’re saying that it’s been orchestrated by the government. And I’m like, well, what about all the depictions before the government was a thing? The problem is, we can just play this game forever and it becomes the same thing as the liberals are stealing a eating children.
It’s like, I’m going to need to see some proof. And this is the same thing we get into with all. Well, okay. This is all being created and suppressed by the government. Obviously, the government suppresses a lot of things on a lot of different subjects. It’s what governments do. Like, they make decisions based on national security and what they think is the right thing to do or to protect themselves or various other nefarious reasons.
Governments throughout human history make terrible, horrific decisions all the time, and our government’s no different. And are they hiding stuff? Like about the aliens? Probably. I don’t know. Have we recovered tech? I tend to think we have. There’s guys out there like the fire in the sky guy, whose actual story is more interesting. The movie’s pretty interesting, travis Walton. So there’s guys like Travis Walton that, you know, very believable, and I find a lot of that stuff is credible.
But there’s so much grift. You’ve got these guys like Greer, he’s a grifter. You got a lot of these people who are just making a lot of money off this. This is why I’ve never. Charged for anything. I didn’t even take payments for my tours. I’m not trying to sell something. I’m not trying to sell my theory. I’m not trying to convince anybody of anything. I’m just interested.
I want to know. I want to try to ask the questions that I think other people aren’t asking. And I’m not always good at that. And I try to answer the questions for myself. I’m still trying to figure out it started off like, did we really build these things? Like, what’s going on? What happened? Our ancient history? And now I’m like, what the are we? What the what is actually happening? I don’t know what I am.
I don’t really know the reasons for any of this. What the is going on? And there comes a point, I think, in your life sometimes if you’ve progressed or you’ve had certain experience, whatever it is, where you realize the vastness and the depth and the intricate detail and the overwhelming, just infinity of it, and it’s like you realize on some level that you’re not capable of understanding. You’re not capable.
You’re a glorified monkey, and your brain is not capable. You have to almost let go of the brain and just try to absorb I’m just trying to get to a point where I still want to be here. This is not the human experience that it could be, and it’s really sad for me. This planet is an amazing place, and there’s so much beauty and there’s so much that we could share and do for each other if we ever decided to do away with the primate pissing contest, and we’re just all locked in it.
It’s like this worldwide dick measuring contest where we’re all trying to accumulate and win the game. It leads to this point where you have people who have enough money, enough assets to fix world hunger with a small fraction of their assets, but they’d rather spend it on something ridiculous and like those hungry people, and I don’t believe you anyway, and, oh, this is all I think about evolution a lot.
And evolution for me, it’s not wings. It’s not like gills. It’s not like any of that stuff. It’s not even a bigger brain or anything like that. It’s like, can we put the weapons down? Can we try to treat each other from a starting point of kindness? Can we try to put all of our research into medicine and technology and how to stay in balance with the planet that we are? Animals that came out of this planet.
We’re part of the ecosystem. Most of the animals on this planet who are our livestock, a vast amount of the natural animals that were here are gone. And this thing, we go through cycles. This stuff happens, but we’re kind of a parasite. And if we need to there’s an old movie now, old movie called Kayanis Katsi, I think it’s on, like, prime again, I think, or something like that.
It’s like from, like, 1980s. This is like a Philip Glass soundtrack, and it’s just a comparison of industry and nature. And you watch that movie and you come out of that afterwards, and if you’re not like, we are doing this wrong. I just don’t know what to say. We’re doing this wrong, and I don’t know how many chances we get. Maybe it’s already too late. I went through as we went into this pandemic and all this stuff, and there was all this division and hatred and trying to take things away from people and make people feel bad about this.
I just decided at a certain point, my only goal really from now on is to try to act from a place of kindness always. And it’s so hard, it’s, like, almost impossible. But if I can come close to accomplishing that, 70, 80% of the time, I’m going to have made the world a better place. And it’s a stupid thing. It’s a very simple thing, but if you go out of your house and you’re kind to people, that’s a chain reaction.
They feel good about that. They’re kind to the next person. If you go out and you’re like, dude, get out of my lane. What are you doing? Learn how to drive. What do you hey, move a little faster, buddy. Whatever it is, don’t do that. They have that reaction. Somebody came at me aggressively. They’re going to pass that on today. And I don’t know if you’ve ever heard here’s, like, an origin conspiracy, whatever theory for you is the Loosh farm.
Do you know this one where they’re using us for negative energy? It’s just energy, right? Like, there’s entities and they live on energy, and we produce the energy and they live David Ike shit. So there’s all kinds of people who talk about this, right? So it doesn’t matter what the energy is. Could be all happy, it could be all bad, it could be a mixture they benefit from.
It the same. But it’s much easier to produce that negative, unhappy energy than it is to produce the happy energy. It’s the same thing in The Matrix where Smith is explaining, we tried to make your prison perfect, and you guys were like this. I want division and horror and all the rest of it, and all of those insights are valid. I don’t mean to get preachy. I’m at the point in my life where I’m looking for something that’s not superficial.
I heard this sort of hoarding this richness thing, this billionaire thing is like, if there was a monkey who hoarded all the bananas and didn’t share them with anybody else, he’d be like, what the is wrong with this monkey? But if you hoard all the money as a human and you don’t help anybody else, you’re like, oh, he’s awesome. He won masterful work. Like, way to go. I wish I was him wrong with that monkey.
And somehow this is all start for me, really, when my dad died, and I was like, what the is this? And then I just really buried myself in connecting with these ancient cultures and trying to figure out did they know something? We didn’t know what was really going on. And then it’s just a constant existential lesson that I don’t have you come to any conclusions as to what that secret could possibly be? If it’s the building or if it’s like, something are you saying more not as superficial as we believe it to be, and it’s something more esoteric and occulted? Do you mean like building the structures or do you mean what is no, what they knew that we don’t.
Was it the knowledge of those buildings and how to do them, or was it something beyond that knowledge? You know what I’m saying? Well, I do think about that, and one of the things I think about and I don’t know the answer to is many cultures have stories of different ages where humanity’s awareness was at a different level higher, lower, what have you. And that when our awareness was at a different level, we were capable of accomplishing and understanding more things.
Right. And this was one of the theories about Akhenaten in Egypt. And Akhenaten was interesting because he looks really weird. People think he’s kind of like, alien, and he was the guy who we’re not none of this polytheism. We’re focusing on the otten. It’s the sun god. It’s just the Otten. That’s who we’re going to worship. Looks like an alien. Yeah. And so the interesting thing about the Otton is that the time of the Otten was actually the age before.
So this would have been like, at a time when perhaps the Egyptian empire was at its peak, like what we think of now as the old kingdom that might actually have been an even older kingdom. And what he was trying to do by forcing everybody into worshipping the Otten is he was literally trying to move the epoch back into the time of the otten, when these other things, these greater things, were possible.
He was willing to try to sacrifice whatever it took to try to get civilization back into that era of the Aten, when the consciousness was more raised and not even to the higher. So I think with the Egyptian idea, there were, like, the five ages, and I think the Aten was like the fourth Age. And after that is what we’re in now is the time of Amun, which is the time of darkness.
This is a dark age. People think this is like our high technological era. Look around you. This is a dark age. This is absolutely a dark age. And the time of Amun is hopefully what we’re about to come out of in the Egyptian cycle and into this new age. Right. We’ve all been waiting for the dawning of the Age of Aquarius for a long time or whatever that consciousness shift is.
I don’t know if any of that is true, but I’m hopeful that there is something like that for humanity because we’re kind of reached like a technological peak, but socially we’re just degenerating civilizations, collapse and then rebuild and collapse. And it’s every 300 years, isn’t it? Is that what they say? Something, I think really the Egyptians were like one of the real exceptions to that because they had like an incredible civilization for thousands of years that then somehow forgot all about itself and what it was able to accomplish.
The most hated pharaoh. And then it has akhenai. That’s what people say. I don’t really view him that way, but he’s thick. Look at those hips, bro. Yeah, he had these really sort of like this sort of womanly lower figure and this elongated head. And that was not hip at the time. So it’s a very interesting decision. I kind of look at that and I think of those old kind of prehistoric Mesopotamian, like the great mother figure.
And it’s like he’s half that and then he’s like half pharaoh. It’s like he’s like this androgynous sort of figure female physique. What the heck an Androgynous appearance? Because the way he’s depicted looks like that. I’m not sure he looked like that. They were inbreeding like all the royal families did. But I think it’s possible that he was trying to convey or there was an idea. A lot of his teachings, a lot of what happened in his realm, his time, his reign is destroyed.
Like, if you go to Amana, I went to Amana and everything has been smashed off the walls there. Everything that had to do with his history is almost completely destroyed by the Cult of Amun, who were know this, you know, Tutankh Amun, he was born toot ankh Aten. And he had to change his name and suck up to the Cult of Amun or he would have gone the same way.
And he was probably murdered by Horimheb. Anyway, who became the next was a general. Anyway, it’s one of the most fascinating histories, and we just don’t remember. Like I said before, the New Kingdom, everything is very shaky. I got led into kind of a special area the last time I was there, which is on top of the Necropolis across from the pyramids. So if you’re standing by the Sphinx or the pyramids and you look to the south, there’s a large cave system that plateaus above it’s actually higher than the level of the Sphinx.
And if you go around and they let you in back there, you can either go through, like, the Wall of the Crow, which is megalithic, and then there’s a bunch of tombs back there because they’re like, this is the camp of the workers who built the pyramids. Right. That’s what they think, or that’s what they tell us. And I was allowed to go in, you know, I’ve spent enough time there that I know the difference between certain dynasties, style of writings, of hieroglyphs on the wall.
And we went in these tombs, and I’m like, this is Fifth Dynasty. This is like fifth or 6th Dynasty. And Yusuf was with me. He’s like, yeah, you’re absolutely right. None of those tombs that I went in, and I went in, like, 20 of them that were supposedly for the tombs of the workers who built the Great Pyramids. None of them were Fourth Dynasty. Like, maybe they were helping building something later in the Fifth Dynasty, but most of that stuff was going on at Sakara.
According to the historians, pretty much everything on the Giza Plateau was built in the Fourth Dynasty. That’s 85 years. They’re saying. The Three Great Pyramids. The Sphinx, the Temple of the Pyramid of Hentacaus or the Tomb of Henta. Kalis. All that stuff around there. They tell you all of that stuff was built in 85 years. And then you look at the museum, right? Their new museum, the Grand Museum, they’ve been building that for 30 years.
It’s not finished. Like, you’re telling me you built the Great Pyramid in 20 years and you’re still building the museum 30 years after you started it’s? Like the timeline is wrong. It’s like that huge, crazy one of the biggest museums there is, right? I think you and I had talked about that one time. It’s large, it’s got very high ceilings, and they’ve made the sort of roof, so that lines up with the pyramids.
They’ve got, like, a design on a roof that lines up with the pyramid. It looks cool. It’s still not open. Every time I go there, somebody’s like, give me $300 and I’ll take you in. I’m like, there’s not really much in there. It’s a new building. Why would I give you $300 to go in there? But it is going to look good because they’re able to put some of these statues up.
And I think that one standing there, he may be from Memphis. There was one laying down in Memphis, and that may be him that they’ve moved from Memphis and put in the museum. But what’s interesting about a lot of those and the guy in Memphis, and I think it is that, like, you can tell all the names on them. It’s all added later. He’s got a belt buckle on him, and they can’t really fit the name in it’s like Skewed and kind.
Oh, but we’re supposed to believe that this is the name of the person it represented when it’s just a name that’s been written in at a later time. It’s really funny, too, that statue they found in the late 18 hundreds, and it took them weeks and hundreds of men and cranes to get the statue up out of the mud. But the ancient Egyptians are moving those things hundreds of miles.
Hundreds of miles. That’s what’s wild, dude, is. It levitation was it magnetism? Was it freaking giants? Was it or? I mean, dude, they try to tell you it’s sleds, that they poured water in front of sleds and they dragged these things on sleds. Some of these things, like the Colosse of Memnon, right, down in Luxor, those came like, I forget, like 7800 miles, like across a desert. It’s incalculable really? Down rivers and everything too.
Yeah, they were very, like, Hatshepsut documents, like moving columns on boats. And I think the earliest one is the Pyramid or the Causeway of UNUS, or Winniece as it would have been pronounced. He’s got stories on his causeway wall of bringing granite columns from Aswan up to Sakara. But the columns are one piece, but they’re a reasonable size. There’s no indication of the real supermassive obelisk like Pompey’s Pillar or the unfinished Obelisk at Ask One.
Like the unfinished Obelisk at ask one. You have to look at that and you have to think, the Dynastic Egyptians knew they couldn’t move this, right? It’s over 1200 tons, right? It’s in a granite quarry pit. Like, you’re going to have to lift it out of that pit. There’s really no clear path to the river. You had to wait for the river to flood anyway, but there’s no clear path from there to the river.
Somehow you’re going to have to get a 1200 ton monument out of a pit and down to the river. And then you’re going to have to have a boat that is like, big enough for that thing. And the Dynastic Egyptians had to know they didn’t have a boat big enough for that and they couldn’t move this thing. So then why are they going to spend all that time trying to cut that out? And if I got a video on YouTube, I got to do another one too, because I got better footage this time.
There’s another unfinished obelisk that you can actually go down next to it. They won’t let you down underneath that one, but there’s a smaller one that is kind of hidden in the back. If you know where it is, you can go down in there. And what you see is that here’s the obelisk, right? And here’s the rock wall. That’s all granite. And they’ve cut away all of the shitty granite on the surface.
And now they’ve identified like, a good solid piece of granite, 15ft down or something. Now they’re going to try to extract that. And so they core in. They’ve got like these scoop marks, right, that come down, but not just straight. They come down at a slight angle and they go to the bum and they curve around underneath the obelisk, kind of like this. And then they come back up and it’s like one corkscrew motion that you can see that comes down the side of the wall and underneath the obelisk and out.
And they’re not straight. They’re angled slightly to the side and it’s like over and over again all the way down. And on the opposite side on the obelisk, there are, like, these straight, narrow lines, as if something has been braced against the stone. So these things are scoop. Like there’s a machine. There’s something that’s held here, and this thing is scooping underneath. And what they’re trying to tell you is that some guys had, like, dolomite balls and were, like, doing this and then somehow got down underneath.
And these things are perfect. They’re pretty close to perfect. There’s some kind they were using. Whoever was doing that was using. And look, I didn’t even point this out in the video. I got to do this right? There’s, like, four different techniques that you see there. And, like, three of them two or three of them are reasonably modern. Like, the ancients were doing them, like the Romans were doing them.
Everybody’s like where they make the little tic TAC lines in the stone, and they put some wood in there. They jam wood in there, and then they pour water on the wood, and the wood expands. And if you’ve done it right and you’ve gone deep enough, it’ll crack that piece of stone. So you see that. And that’s common. That’s everywhere. Romans did it. People quarrying this stuff later did it.
It’s just very common. And then you see the scoop marks, and this is not so common. And across in this quarry, in several places, there are just walls that are just sheer and flat, just perfectly flat. And one of them all the way across from the obelisk, the unfinished obelisk, it has these red ochre paintings of ostriches like emus don’t click on it. Don’t click on it. Don’t click on it.
Thank you. Has these ostriches, right? These red ostriches on the wall. Well, those ostriches were extinct by the time in Egypt, by the time, like, the Egyptians, the gymnastic Egyptians were there, right? So who’s painting pictures of long extinct animals on the quarry walls? Well, people quarrying it much further back. This is what I’m talking about, though. Like, those pictures underneath, the scoop coming down underneath. I’ve got really good video of this.
I got to do another one, talk about it again. Anyway, so you’ve got these pictures of these ostriches on the walls there, and it’s just clear that what the Egyptologists will say or what Zahi HUAs will tell you, oh, we brought in workers from very far away who’d seen ostriches, and they painted them on the walls or this stuff’s much older than we think. There’s a lot of stuff there.
Some of those pictures are like test pits, right? So they’ve got a pit that is literally like 1ft by 1ft. And you can see the scoop marks. This time, they go sideways, and they go all the way down. And that’s what you would like, the quality of the granite. But what is the tool they’re using for that? This is really hard, actually, yeah. This is granite. So if it’s a guy, like doing this in a circle with a stone, you’ve got to hang him upside down so he can get the stuff at the bottom.
There’s some kind of tool. You can see in this picture where it says Instagram, like unfinished obelisk. You can see in that picture there, right? You can see, like, the angle, how they’re not straight lines. That’s an angle. Right. And it’s coming down. Underneath the stone on the left is the top part of the obelisk. And so it’s that, and it just curls down underneath. Yeah. This is really interesting.
And like you said, there’s a lot of old techniques that you don’t see, but with enough people luke, do you think occam’s Razor right. With enough people, if you get enough people together to come together to work on a project, they could still get this done somehow? Or, like, if you have enough people lifting, enough people pushing, you think that they would I mean, that’s what’s his name, the comedian? Lou, what’s his name? The guy who got canceled for Louis C.
K. That’s what he says about he’s like, how did they build the pyramids? They threw, like, unlimited suffering and death at it until it was done. And I get the point. I just think our timelines our timelines were yeah. If you’re willing to sacrifice everybody, how many millions of bricks is it? I think that they figured that the two great pyramids are somewhere, like, 2. 72. 32. 71, and the other, I think, million blocks.
You can do calculations on that. If it’s one team placing the blocks, they have to go 24 hours a day, million placing, like, a block every 3 seconds. But if you have 100 teams doing it, then you can start cutting that number down. But you have a lot of mathematical problems, and I object to some of the reasoning they give you for stuff while they say, oh, we found a ramp here, so we know that this was being built because they used ramps to build stuff.
Yes, they also used ramps to quarry stuff. So how do you know they weren’t quarrying? Like, you actually don’t, because the Egyptians quarried this stuff for thousands of years. The great site of the Great Pyramids is one of the largest quarries in the world. Like, half of Cairo was built out of blocks from the pyramids, and the Empire State Building has 10 million bricks. And how long did the Empire State Building take to make yeah, but their bricks are how big are the bricks you’re talking about? Like, the pyramidal ones are, like, a ton or more.
Like, some of the interior pieces of granite are, like, 60 tons. But you see, during the Dynastic times sorry, during the Old Kingdom, they’re not supposed to have had granite coring capabilities because they didn’t have the tools. Right. And supposedly they didn’t have the mathematical understanding for that stuff. This is what the academics are telling us. They literally will tell you that all of the granite that they used to build the pyramids, they found lying around on the surface.
And so as soon as you know anything or you learn anything about stone and quarrying, you know that the surface stone is almost always no good because it’s been exposed to weather, the sun, whatever, and it fractures very easily. Granite, in particular, has this problem. If you actually go to as one, you can see a lot of the surface stone is bad. You have to go down. And so they didn’t have those techniques.
So they say all of this stuff. So how are you getting really good stone? How are you getting 60 ton blocks of granite? All this stuff from Aswan laying around in Cairo? Do you know what it’s, like, really brought it there or what’s really going on here? I think there’s a lot of room for a different explanation still, and I understand that it makes academics angry because they’re like, who are these armchair dudes who come in here, all these crazy portal bros? Or just there’s so many bad explanations in Egypt and South America, and it’s not until you actually hear them or investigate, okay, so you say that this know, Arab wash, you say this is Jedfra’s pyramid.
That was actually the second pyramid because it’s built after the Great Pyramid, but before the second pyramid by Jedephra. And you say that he built it, so how do you know that he built it? And they’re like, oh, because we found a reference to Jedephra’s starry sky, so that must mean the pyramid. Is that all you’ve got? A we got a bowl that we found near the pyramid.
Like, okay, what’s cool about the bowl? How does the bowl tell you? Well, the bowl has Khufu’s name, has his Nebti name and title in it. I’m like, yes, you found Khufu’s name on a calcite bowl. What does that prove? Well, that means that Khufu came and he saw that this pyramid was going to be built, and he was like, yeah, this is cool. You should build this pyramid here.
Thumbs up. Jennifer that’s literally the conclusion they reached from finding a calcite bowl. And what you discover in Egypt is that a lot of times the reasoning is that poor and that they show you the conclusion that they reached without showing you the steps that they took to reach that conclusion. Because if they showed you those steps, you would laugh them out of court or so many endless examples about that.
The only statue of Khufu, the greatest god king of all time, is, like, a four inch piece from the 26th Dynasty, which is closer to our time than was to his time. How come there’s no great Khufu worship? How come his stuff isn’t everywhere? So you’re saying the second pyramid was built by Kayafra because they found a statue that they think is kaya upside down in a pit in the valley temple.
That’s like they look for circumstantial stuff. They tell you stuff all the time. Like, there’s no writings on the inside of the Great Pyramids because they didn’t write on the inside of tombs in the Fourth Dynasty. They sang the songs for the pharaoh to go to join in the duat, go through the do and join his ancestors and the gods and all this stuff. And then what you find is that the pyramid text the Fifth Dynasty.
All of a sudden, they’re telling you how important it is. Without these prayers written on the wall, he wouldn’t be able to get to where they were. And then you go and you spend some time on the plateau and you start going into Fourth Dynasty tombs like a prince, like Khufuka F, they just closed his tomb. But if you go into his tomb, what do you see on the walls? All the iconography of a tomb.
You see, like, the front of palace, the false door, anubis guarding the gateway, a hotel over here, walls full of offerings and stories of his life. It’s a fourth dynasty tomb. You go inside the pyramid, supposedly the grandest Fourth Dynasty tomb of them all. There’s no writing. There’s no writing in any of them. They weren’t tombs. There’s no writing in them because they weren’t tombs. They were spaceships.
Bro they were something, I got to say. I do have a soft spot for the movie stargate and how they used them as, like, landing things for that. I thought that was a cool idea. Oh, man. Well, Luke always loved talking to you. Bro yeah, likewise. Diving deep into this ancient world, the enigmas of the ancient world and all these different things, this is something that got me into research and all of that.
It’s like something I’ve always thought about as a kid. Always wondered who or what built the pyramids and what they were used for, like their original intention. Imagine talking to the architect that first thought up of that idea. Like, we’re going to tackle, I think, sound, and I think vibration is the key to everything. Sound is vibration, frequency. I think that is really the key to everything. I think everything stems from sound and vibration, and everything is contained within that and geared towards that.
I think some of these buildings are musical. Like, if you read about the Bent Pyramid, there was an archaeologist before the time of who was really just a blight upon the field, but there was a guy called Saleem Hassan who was an excellent archaeologist, who really was just honest about stuff. He wasn’t making stuff up for whatever, National Geographic, chasing mummies, whatever the he talked about the Bent Pyramid and going in the Bent Pyramid and how it was like a musical instrument, how the wind would come through from places they weren’t even sure where it.
Was coming from, and it would make all these different tones. And then they just started filling all the pits with rubble from stuff. They were excavating and all the sound stopped. But if you look at the internal structure of some of those, they kind of look a little bit like saxophones, even. Or there may be some kind of vibrational element. Like, some of these may have emitted tones.
Like, I think about that a lot. I think the third pyramid third of the three pyramids has a plug on the east side. Like, there’s the door on the front or where they’ve blasted the hole in. There’s actually a flattened area where they’ve flattened, like the granite casing stones. And there’s actually some hieroglyphs written in them that came later. But if you go around, like the east side, there’s an area which has again been flattened, like right there.
And there’s definitely some stuff that’s been removed from the ground. Like some of the casing, the floor casing stones have been removed and then covered with something else. I think there’s another entrance to that or to catacombs underneath which we know there are. The entire plateau is absolutely riddled with passages and Catacombs, some of them are still explorable. And like I was saying about have, they’re always telling us we’re making stuff up.
But the Osiris shaft and tomb, right, is this huge sort of triple pit underneath the causeway in front of the second pyramid. And it goes down something like 60, 75 meters, I want to say, like, it’s deep. And you have to go down, like, three different ladder sets to get into the lowest room and the lowest rum is still underwater. And I have footage of it. I’ve gone down in there.
But Zaki Hawas announced this to the world as the Osiris tomb and just told everybody it’s a symbolic tomb to Osiris. That’s its purpose. So one thing you won’t find anywhere is any writing. Specifically, you won’t find the name Osiris anywhere. What you do find is one Dasite and two gray wacky boxes that are very large and would have been very difficult to get down under the ground under know, I don’t know what that is, but it certainly doesn’t have anything obvious to do with have to.
If he comes out and says that he can stamp it with that, it’ll be referred to that. I call it that. There’s no proof of it, like, whatsoever. And Egypt is just absolutely riddled with that. And what you find if you start to question them is they don’t explain, they get angry, and they start telling you you believe in aliens in Atlantis. And it’s happened to me in South America, and it’s happened to me in Egypt.
And I generally try to be really polite and friendly. I’m not trying to embarrass anybody. I don’t want to have an know if there’s a really simple explanation or not. Simple. Educate me. I just want to know what it is. I’m really curious and I’m still waiting. And I’ve met Sahiwas three times. He screamed at me twice. He just refused to answer questions. He accused me of calling him a tomb robber.
All I was asking him was why he was so sure the Great Pyramids were tombs. What makes you so sure that that was their purpose? Oh, you think I take everything and I sell? I mean, spitting on people with his rage. And I’m like, this is a tactic. He doesn’t even really think that. He doesn’t think I said that. He’s going to shout, he’s going to make noise, he’s going to throw the toys out of the pram, and then we’re going to move on to the next fucking question.
And he doesn’t have to answer that. This is like when you have that kind of response from academics, it’s really disappointing. Educate people. Educate me. I’m curious. I want to know. And if we don’t know, tell me. We don’t know. The joke would be on them because I actually do believe in aliens in Atlantis. So, yeah, I don’t know where that puts me. But yeah, that dude seems like a piece of work.
I saw that documentary I had sent you on Netflix. It wasn’t really nothing new, really under the sun that was revealed with that. But that should there won’t ever be there’ll be like pretty things, things to go, oh, isn’t that cool? They will. I hope things are changing. Like when I talk to Yusuf occasionally about some of this stuff, and I don’t necessarily believe know, because let me tell you, there are a ton of snake oil salesmen and grifters in Egypt, too, that are going to tell you they think you want to hear something.
I know a guy with a master’s, right? He’s got a master’s in Egyptology. He’s a very bright guy. He can’t wait to tell everybody how his father’s a general, he’s a tour guide, all of this kind of stuff. And he found out I’d been underneath the Step Pyramid and I’d gone down like four levels. And he’s like, what level were you on? Tell me somebody describing this is not the fourth level.
This is the second level. You didn’t go down far enough. There are eight levels now. I went down there in 2018 with, like, a special permission, and they were really cool. They showed us into the 6th level, which the French archaeologists had just discovered a few months before. And we were able to crawl down this tunnel and see the hole under the 6th level and how there was still moist because it was getting so deep under there and stuff, and there was stuff we were not allowed to see under there.
I saw some glowing boxes that were really interesting, definitely designed to glow. There was some interesting stuff. There were areas we were definitely not let into. But I know the inspector there rab. He’s like a really nice guy. This other guy is telling me eight levels down there’s a police station. And then if you get beyond the police station, I was allowed to go because I paid the fee.
And then my father’s a general. And then you go back into this room and there are these giant green statues of Horus and it says Horus and those and his followers from across the water, and it’s the link to the old civilization. And I’m like, okay, so this is let me do an elon. Big if true. So I’m like, okay, this is cool. How do we tell me about it.
Well, that was the extent of his information. I’m like, okay, so I want to go down there. I need to see this. I won’t take my video cameras. You guys can search me. I won’t take my phone. I just want to see it. I want to touch the stone and I won’t tell anybody about it. I want to lick how much yeah, I want to lick the stone.
How much does it cost? And he’s like, $8,000. And I thought, I’m going to call this bluff. And I was like, all right, I will get you $8,000. Organize it. And then he’s like, I cannot organize this. You are not the son of a general. All this kind of so I went and I talked to Reggae one day. I was over there and I was like, hey, do you ever find any statues under here? He’s like, oh, yeah.
He’s like going through his phone showing me all the statues and stuff they found. You find any green statues under there? And he’s like, oh, yeah, I think there was one. Maybe this know some like, you find any large green statues of Toth? Sorry, I think I said Horace before I meant toth. Do you see any large statues of Toth? He’s like, no. I was like scanning his face for bullshit or anything.
He had some micro expressions and he was really cool. He took us down underneath the there’s another area near the Step Pyramid which is very similar to the underneath the tomb area, the box area underneath the Step Pyramid. And he took us down in there and really nice guy, but there’s a lot of guys out there, the same guy. He was telling me, I can prove to you that Egypt is 300,000 years old.
And I’m like, well, that’s really cool. Show me. And he’s like, well, there’s all these objects in the museum, like these boxes, and these boxes are much older. And I’m like, I agree. There are much older boxes in there. Let’s go in and you can show me the ones. Oh, this cannot be done. Just like I would believe 30,000 years. I have trouble believing 300,000 years, but I’m open to it.
Show me what you got. And the guy’s guy’s got nothing. Maybe one day we can figure those secrets out. Once you finish the documentary, bro, I’m looking forward to I mean, you’ve already just heard a fair amount of it. Honestly, I’m looking forward to being done with it. I’m not here to be an expert on this. I don’t want to go to contact in the desert and sit on a panel.
None of that stuff is interesting to me. The only thing that’s interesting, I never even turned on YouTube money from my videos or anything. I’m just trying to find out what the is going on, really. What are we what is this? What really is our history? And a lot of people believe a lot of really terrifying stuff about our history. I know you’ve talked to a lot of people about reptilians and what’s going we’re being controlled and all this kind of stuff.
Again, I find it interesting and I’m just like you trying to find answers and ask hard questions. But at the end of the day, I don’t think we’re going to ever really truly know. Is that Nicolas Cage in like a Michael Jackson jacket? No. Yeah, it’s Nicholas Cage and some jacket. I don’t know, it looks like no, not Michael Jackson. I was going to say Eddie Murphy. He did like a couple of raw and there was another one where he wore like a black leather.
Anyway, sorry. Yeah, well, look, let’s get the out of here. It’s midnight here. I have to work tomorrow. I got to wake up early. But this was fun. Yeah, that should be a couple of things maybe. Appreciate you and we’ll do this again soon. Hopefully once you finish the project and we can air it or something. Yeah, if you want to do something on OMT Tombow or some of those other yeah, we’ll set it up.
I can give you some footage for awesome. Appreciate you, bro. Thank you again and as always, everyone kind of fun. See you on the next one. Thanks, Luke. I’m only getting by and I don’t know the why I’m searching for a high it eludes me I’m looking left or right every day to sign say I’m on my side only confuse me and I hope this roll I’m on is worth it.
Everyone seems to end in a serpent from the mouth of the ancient is a moment and I feel only darkness is I get when the hunters cry. I can smell the so far under the COVID of the mic while we stop by. What day? Walking on my skin what they walk in my game. The light is my accomplice. The state of Catholic I’m just feeling sparse. The land of a heartless.
What? If it’s on caucus. Just another caucus on another carcass. They just say it’s harmless, but I hope it’s what I want is worth it. Everyone seems to end in a darkness and I feel only darkness is I can. When the hunter cry I can smell the so far under the clapper all that might while we suffer what day walking on my skin what day walking in my skin what day walking in my skin me and I feel like only darkness I can feel the color but me but everyone.
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