Steve and Kyle Snake Bros challenge conventional timelines, arguing Göbekli Tepe's T-pillars and Easter Island's Moai share a volcanic tuff origin linked to a Younger Dryas restoration. They propose Egyptian pyramids functioned as Tesla-like piezoelectric power plants using granite friction, while White Sands footprints dated 23,000 years ago suggest an advanced prehistoric civilization vanished after mastering lost technologies like five-axis milling and acoustic resonance chambers. Ultimately, the hosts conclude that myths of gods and demons mask a collapsed society possessing capabilities far beyond standard historical narratives. [Automatically generated summary]
Transcriber: CohereLabs/cohere-transcribe-03-2026, WAV2VEC2_ASR_BASE_960H, sat-12l-sm, script v26.04.01, and large-v3-turbo
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Accident Pain and Car Seats00:08:06
There is something here.
Oh my God.
The engineer is just like, you know what this wall needs right here?
And there's a matching face, a complex curve of the block.
It's almost like the face has a twist in it.
Again, you see all the same marks, scoops, right?
It's the same.
But I love this.
You know, the idea of the story is like, this is your trench, Johnson.
Take your pounding stone.
This is where you work.
Yeah.
And so each guy just sits here for his entire life, entire life, and digs.
So, I draw a line down the corner, and you'll notice that that giant block goes around the corner.
Oh my God.
It's like, yes.
You're showing off.
Then you go in with your magic granite flattening tool, whatever that is, and you remove all that granite.
Now you have four blocks that go around corners.
I think part of our thing is like, we have no idea.
Snake Bros.
Wait, how do you guys do your intro?
Ladies and gentlemen, brothers and serpents, angels and demons.
That's right.
Welcome back.
Ladies and gentlemen, boys and girls, angels and demons and monsters and serpents.
This is Brothers of the Serpent.
We are on the Danny Jones podcast.
This has been a long time coming, fellas.
Yes.
I'm psyched to have you guys in here today.
Glad to be here.
Thanks for having us.
I'm super glad.
Yeah, and thank you for helping me solve my audio issues just now.
We just spent the last 30 minutes talking about audio problems.
Kyle is a wizard.
I love the studio.
Thank you.
This is great.
Thank you.
I'm jealous of your.
Of your wall back there, I want one of those.
The foam blocks, yeah.
I got some extras I can give you guys.
We're gonna fly home with this giant bag.
So, uh, I need you guys to tell me what you guys know.
I know you guys have the secrets.
Well, let's see.
Should we start with uh, where we come from on this stuff?
Yeah, okay, yeah.
Well, how did you guys start your podcast?
Tell me, tell me the whole origin of the snake bros.
Okay, so uh, the beginning of the investigation into this kind of mystery happened because.
We actually got into an accident.
What was it?
Is it 2002?
Yeah, one or the longest.
I think it was 2002.
Yeah.
So basically, it was a really, really bad car accident.
Before that, we were just rocking and rolling, playing music.
We were actually in the car accident because we were coming back from a band practice late at night.
But this guy was drunk and he just came over onto our side of the road and we had a head on collision at 60 miles an hour.
So it was really bad.
It broke my back, did a whole bunch of other damage to me.
The cars burned.
To the ground, bullets were flying everywhere because we were in Texas and we had ammo in the car.
Lots of ammo.
Yeah, the cops and the fire trucks, they all had to leave and everybody had to hit the deck because it's like.
Because the car was on fire?
Yeah, the car started burning and then the ammo started going off.
Holy shit.
Yeah.
We had all of our guitars and amps in there too and they burned.
Yep.
It was terrible.
Yeah.
So then I spent a long time in the hospital in recovery.
You know, and it was one of those deals where they're like, well, you may never walk again, all this kind of stuff, because my spine had basically exploded, my lower back.
The L3 vertebrae was a burst fracture into 27 pieces.
And Kyle had a bunch of damage too.
He was driving, I was in the front passenger seat.
So the seatbelt cut me from, you know, my upper right shoulder all the way down to my hip, like I had got cut with a sword.
So broke my clavicle, ribs, you know, all the way down.
So I was really damaged.
And then, so then I was.
In recovery for a long time, hobbling with a cane, couldn't really go anywhere, couldn't really do anything.
And after I had like read every fiction book I had again and played every video game I had again, I started just, I was like, I just want to, you know, I want to read some interesting, mysterious stuff.
And I started going online and just looking up, you know, let's check out the pyramids.
Let's look at ancient civilizations.
Like, I know there's mysteries involved in this.
And then I started to understand, like, holy crap, there's, There is a lot of fascinating stuff that I've never really been aware of just in this stuff.
You know, just the first time I saw the interior diagram of the Great Pyramid, and you understand that most of this huge stone triangle doesn't seem to have anything in it.
There's just these passageways and these little rooms, and you're like, they built this entire thing, and that's all that's inside there.
Maybe there's other stuff, you know?
So I started getting interested in that.
I started looking at out of place artifacts, just objects that people have claimed to have found or have been found in places where they shouldn't be.
You know, that so something that might imply transatlantic trade a long time ago.
You know, some people have, you know, coins, very ancient coins in the Americas.
You know, so it would be in a time where supposedly there wasn't nobody making coins or even using metal, right?
Just stuff like that.
And then, you know, Kyle and I were hanging out and I'd start going to him and tell him, like, dude, have you seen this inside of the pyramid?
You know, have you looked at this?
Like, so Kyle, what happened to you during that accident?
How fucked up did you get?
It was mostly whiplash.
But I mean, I was suffering from like a lot of pain.
And I was going to all these doctors, had MRIs done, did physical therapy.
And I'm trying to, you know, they were trying to figure out why am I in so much pain.
Did your spine explode too?
No.
No.
No broken bones.
Wow.
Yeah.
Were you wearing a seatbelt or no?
Yeah.
You were.
But you didn't have the seatbelt cut like your brother.
No.
Well, see, what happened to him is one of the big amplifiers in the back flew up and hit his seat.
Oh.
And it just shoved the whole seat forward.
Yeah.
So he had hit the.
Against the seatbelt?
Yeah.
He hit the brakes and, you know, your seatbelt locks.
So, I'm sitting back when the seatbelt locks, and then this giant speaker stack hits the back of my seat and jams it forward, and the seatbelt was locked.
So, it just cut me, you know?
Yeah.
But basically, yeah, we're still dealing with all that.
Yep.
How long did it take you guys to get back on your feet and start moving around normally?
For me, it was just, it was literally like a week.
And then I was back at work, and we were working on a, Land development.
So it's hard labor outdoors.
But he had long term tissue damage that no one was really aware of.
That's what I'm saying.
Like within a month, I couldn't hardly move.
Yeah.
You know how whiplash will affect you?
You'll be like, I'm fine.
And then two or three days later, you're like, oh my God, I can't sit up.
Yeah.
So, like one of the things that we found out later with him is he had his right foot slammed on the brake when the impact happened.
And that jolt went up his leg, hyperextended his knee, hit his hips, and twisted it.
And that entire twisting motion went all the way up his spine and into his neck.
And did tissue damage all the way up.
You know, it just takes a long time to manifest.
It's basically like they call it arthritis because when you get a severe injury to the spine or to your bones, like not severe injury so much as like just something real hard on it, like bull riders get this.
They get like an early onset arthritis called traumatic arthritis.
That's what I got in the spine.
Right.
But it was almost instantaneous.
It begins from that moment.
So, yeah.
But I remember, you know, I once I was still climb through a pyramid though, yeah.
Still climb through a pyramid, it hurts a little more than it should, but you can still do it, yeah.
I mean, we went, you know, eventually we were going snowboarding again, you know, eventually, yeah.
Which is, it's you know, it's everything is harder, yeah, right.
You're not nearly as don't take as big a chances, yeah, as before, which is kind of good, right?
It's like maybe I shouldn't jump off this, yeah.
I probably shouldn't try that jump on my snowboard anymore, and then and then you guys get rear ended on the way to the podcast, yeah.
Grime Erica Collaboration History00:09:12
That was awesome, yeah, yeah.
I was.
This is the thing.
I'm holding my phone like this.
We're looking for a restaurant and we get rear ended.
It just flies out of my hand and just hits me in the face.
Like, dude, okay.
Yeah.
Even a passenger, you shouldn't be holding your phone in your face.
Oh, God.
Yeah.
Yeah.
I think that the person that was behind you was probably a plant following you, CIA plant, because we got to show everybody.
Oh, yeah.
My father in law was driving down the beach this morning, right five minutes away from here, and he sends me photos of.
Mobile Tactical Operations Center for the U.S. Space Force.
It looks like the Star Trek emblem.
Yeah.
Mobile Tactical Operations Center for US Space Force.
Space Force is here, bro.
It looks like a nice van.
I wonder if somebody just bought that van and just did that to fuck with people or if that's for real.
It could be.
I mean, I mean, that's pretty.
If you were Space Force, though, why would you want to be so blatantly out in the open like that just on the beach?
I don't know.
Maybe they're proud of being Space Force.
Maybe they have nothing to hide.
Yeah.
They're fucking installing the rods from God, man.
So you guys are, you started reading books, started getting into all the science fiction stuff.
Yeah.
And then at what point did you guys come up with the idea to start a podcast?
Well, after, I mean, after years of us sort of taught, we had long, you know, we're brothers.
So we would have these long conversations.
I'd go down to his house and hang out, or we're just hanging out with friends and drinking some beers.
And we would just have these long, involved conversations.
And we started to develop a kind of sort of an alternate or possible alternate ways of looking at this stuff, you know.
And then we would just have these amazing conversations about it.
And I was like, and then I started getting into podcasts as well.
I was listening to them and, uh, And I started telling Kyle, I'm like, dude, we could do this.
You know, like these guys, there's all these different podcasts that are discussing this kind of stuff.
I think we have something to add to the conversation, and I want to be part of this conversation.
I want to talk to these people as well.
Yeah.
And then the other great thing about having a podcast is you can kind of be just a random person, but you can invite scientists and doctors and experts and, you know, and thinkers onto your show to talk to you, and they'll come and do it.
Right.
Whereas if you're just like, well, I don't have any, I just want to.
Can I just call you scientist and talk to you about some science stuff?
And they're like, I'm busy, but if you have a show, they'll come and talk to you, maybe.
Right.
So we talked about podcasting for, I don't know, a couple of months, maybe six months.
And then finally, Kyle was like, Look, he already had all the equipment.
I already had a studio.
Yeah.
Cause he's, you know, musician.
Right.
So he's like, Well, I got a studio.
I got the mics.
I got all the software we need.
He said, You set up the internet side of it, whatever it is you need to do to get a podcast going.
And then once you tell me, like everything's ready to go and we can publish the first show, then we'll record one.
Right.
So I did that.
I made an RSS feed.
And then I was like, okay, well, I have an RSS feed.
And he's like, okay, let's record one tonight.
And we recorded episode one.
It's a very mysterious episode, which no longer exists.
Why?
What happened to it?
It is a hidden history of our podcast.
It was like.
I brought a bottle of wine and I, you know, by the end of the show, it was like, that was great.
Then I look at the bottle of wine.
I'm like, I almost drank that entire bottle of wine.
Yeah.
Then I listened to the show and I was like, no.
Yeah.
Because he's hammered.
I got hammered.
It was a big bottle, too.
It's like one of those.
Oh, so it was you guys who chose to take it down.
Yeah.
I was like, dude, it was him.
I was like, that was awesome.
He's like, bro, no, we're not publishing that.
Yeah.
So our show starts at episode two.
It starts with episode two.
Yeah.
That's funny.
Yeah.
So, you know, it just, and that kind of stuff, we do that kind of stuff with our show all the time.
We have, Our show specifically is a conversation between us two, between the brothers.
We do get guests on, but that's not nearly as often as it's just us talking or we're reviewing somebody's book or whatever.
It's our conversation.
And then we bring our listeners in on it.
We read their emails, we get them involved.
And so we have a lot of inside jokes.
And one of the inside jokes is episode two is the very first episode.
Yeah.
But you guys also do or have done like a weekly podcast with Randall Carlson, right?
Yes.
Yeah.
We started that like four years ago.
Yeah.
How did that come about?
So.
We had been aware of Randall for a while, and we mentioned him on our show multiple times.
And then I found out that he was going to be at an event in Colorado with the Grimeira Boys.
Yeah, with Grime Erica, with our friends from Grime Erica.
And yeah, so they were hosting it.
And I was like, and I had listened to Grime Erica for years, you know, so I was like, hey, I told Kyle, I was like, dude, we should go to this.
We can meet the Grime Erica guys.
We can meet Randall.
And so we signed up for it.
They were going to be there for 10 days.
We were going to be there for three.
It's like they were pulling three groups of people through.
So we were signed up for the first set.
And we went and met Randall.
And we sort of became staff.
They asked us to stick around.
So we stayed the entire 10 days.
Help drive the vans, you know, sort of help manage the event.
And by the end of it, we were telling Randall, like, dude, like, we'll help you start a podcast.
Let's get it going.
Like, you have all this research material.
Let's do it in podcast format and start publishing it, you know?
And so, and that's how he started Cosmographia?
Yeah.
Really?
Yeah.
Once again, I helped him build the RSS feed.
We, you know, we went back and forth on graphics website.
They have a, you know, I built them a simple website.
They have a much more advanced one now.
But yeah, at the time, it was just like, let's just start doing it, you know?
Like, let's just get it out there, you know.
You will get better as we go, right?
And so, we started it, and it was a weekly show.
We started with uh, I guess we started talking about what's that guy's name, the Orgone Energy.
That was the first episode.
We kind of did a sort of cover all this different stuff, and then we went into Atlantis, and then we started doing Younger Dryas, right?
And then we went into, I guess, climate change.
Now, we're doing what are we talking about now?
The we went into the sun, the sun a little bit, and now we're doing like mounds of America, yeah.
So, that's right, wow, yeah.
So, you guys just picked.
Different topics to talk about, like every month or something?
Randall runs the.
Because he does, like, I noticed he does multiple episodes on the same topic.
Many, many, many episodes.
Yeah.
He decides the show content.
We're just really on the production side.
Okay.
But it's almost like a classroom where we're students.
Yeah.
So he's presenting all this information.
We can ask questions, make stupid jokes.
Yeah, we're good at making dumb jokes.
But yeah, I think he seems to really thrive in that.
Sort of like classroom setting.
Oh, yeah.
Yeah, like I was telling you guys last night, I could listen to him read the phone book.
Yeah.
So interesting to listen to.
Yeah.
And then how did you guys eventually get in touch with Ben again, Ben Kirkwick?
That was simple.
When he started publishing videos, I think he had only published two or maybe three.
And then I went and watched them.
And then I was like, these are amazing.
I just sent him a message on Twitter.
I was like, bro, your videos are sweet.
Come on our show.
He's like, okay.
What was his first video about?
Uh, this is about the ancient or the high technology stuff.
Was it about like one of his trips to Egypt or I think it weren't they the earlier ones were about the Peru stuff?
I don't know what the first one, yeah.
Oh, sorry, Ben, I don't remember.
I the first thing I remember watching specifically was the pull up his channel, we'll find out.
Yeah, yeah, we'll find out.
The yeah, he did make stuff some stuff on Peru and he was talking about the drill cores, I think.
The core, yeah, the tube drills, tube drills, yeah, yeah.
Maybe he also deleted his first episode.
No way.
I know he made Sarah PM videos in the very beginning as well.
Oh, yeah.
So, but yeah, so we just messaged him on Twitter and he just agreed to come on the show.
And then we've been, you know, we've been doing stuff together ever since.
Like, he's been on our show multiple times.
We've been on his.
We've gone on tours with him.
We go to Egypt.
We're going to Egypt with him in a couple weeks, actually.
We're going to be gone for six weeks.
You guys were there just in what, in May of last year?
Last year we were there in November.
Oh, you were there literally two months ago?
No, no, no.
I'm sorry, the year before.
In 2022.
Yeah, yeah.
Two.
Yeah.
Oh, okay.
I'm still in last year, so it was last year from last year.
Yes.
Right, right, right.
Yeah.
We went to.
We were in Turkey in April.
Yeah.
Yeah.
Oh, that's where you guys were in Turkey.
That's your recent video all about Gobekli Tepe.
Yeah.
Yeah, we were actually in the process of working on an Egypt video on the Serapium, and then we went to Turkey and we're like, okay, this is all fresh in our heads.
Let's make one on Gobekli Tepe right now.
So Serapium got put on hold.
That video was incredible.
Thank you.
That you guys did on Gobekli Tepe.
Thank you.
I loved that.
Can you explain for people who don't know the origins of Gobekli Tepe?
Flint Grinding Stones Obsidian00:07:56
And obviously, there's the theory that it was deliberately buried, but you guys come up with like, You guys found out you guys are very you guys dug very deep, yes, and you found out it's nuanced, it wasn't necessarily just buried all at once, it was like over a thousand years or more, right?
Yeah, yeah, and it's it's uh, well, the so the thing about the deliberate burying is it's very mysterious sounding, and that so when when you're looking at mysterious stuff or looking for mysterious things, stuff like that can affect the thinking on the entire site because then you begin to think, well, why would they do this?
Like, what would drive them to build something like this and then purposefully bury the whole thing?
And leave it, you know?
So if that didn't happen, then that's very important to know.
And the thing is, we wondered about this for so long.
When you hear that they intentionally buried this massive site, you're just like, what?
Why could that be?
And so we're going down these roads of like, was it a time capsule?
Were they trying to preserve a message for the future?
This became like a common idea, you know, people, because this is what you ask yourself when this is a monumental treasure.
Yeah.
Yeah.
So why were they doing it?
Were they hiding it?
Were they trying to preserve it for the future?
All these narratives pop up because of that.
And I mean, this goes back to like my earliest interest in the ancient world was looking for arrowheads here.
And you start to learn what campsites look like, what human occupation sites look like, you know, in the Neolithic times or whatever, when they were just working with rough stone tools.
And you can see what their debitage looks like.
And that's when we first walked up to the site of Gobekli Tepe, it was almost instant.
I was just like, This is Midden.
Yeah, you can see it.
What is Midden?
Midden is basically human occupation layers.
They're layers of sediment that are all of the bits and pieces of debris and debitage from normal human activity.
Now, obviously, there are walls and structures in there.
This is a funny question because I thought we would, I figured we would talk about this.
And it's interesting because Kyle learned about Midden.
And then we would, Kyle and I would go on arrowhead hunting trips and we'd be walking.
And he'd be like, oh, this is bitten.
And I'd look down, I'm like, what are you looking at?
Like, it's just dirt.
What is the difference?
Right.
And eventually you learn to see it.
And it's a lot of times a bunch of very similar sized rocks, like that are kind of squarish, you know, and you just sort of recognize it.
You're like, ah, this is somebody made this pile of stones and it's just very old.
They didn't like, they weren't carving the rocks or anything like that.
It's just that when you bring a bunch of stones in and you make fires with them, they sort of break in regular patterns and you end up with kind of a gravel.
Like a cobble sized gravel.
Okay.
They just look very regular.
It doesn't look natural where everything can be just randomly different sizes.
Right.
They're all sort of very similar, like fist shaped, fist sized rocks.
And you recognize a whole, there's a pile of these, you know, covered in grass, very old.
And then you start digging in it.
And I mean, you don't have to dig very much.
And you find specific like markers, like there will be a certain kind of shell, at least in the States, you find this.
There will be a certain kind of snail shell all in the middle.
Yeah, it just depends on the types of materials that they were around.
Yeah.
At the time.
Okay.
Like the dirt, for example, looks a little more sooty.
It's like got ash in it.
It's got a lot of charcoal.
But, you know, there's all this stuff that people collected.
There are, you know, broken, tiny little broken shards of flint just everywhere.
Everywhere.
Yeah.
Well, that was the material they were working with.
So if you were in a place where they were working with quartz, then you would be finding chunks and little tiny bits of quartz everywhere.
If that's the stone they were working with, or obsidian.
Or obsidian.
Yeah.
So there's another example of we were at a place that we had.
Basically, confirmed was an occupation site.
We were just like, okay, yes, people were living here.
We were finding Flint, we were finding all this stuff.
We're walking away after about an hour of looking around, and somebody finds a little piece of obsidian.
Tiny, tiny, tiny little one.
Yeah, we're going back.
There's an obsidian arrowhead up here.
Yeah, there's no reason for this piece of obsidian flake to be on this hill.
It doesn't belong here, it's not from here.
There's no volcanoes anywhere nearby.
Humans brought it here.
Yeah, is that where they made something out of it?
It's volcanic.
Yeah, so it's stuff, it's little tiny things like that.
And sure enough, we found a work piece of obsidian there.
Yeah.
Really?
Yeah.
You found an obsidian arrowhead?
It's not complete.
It's a little tiny bird point like a dart.
And where was this?
I'm not going to tell you about that.
What?
It was in Arizona.
Yeah.
Okay.
It was near.
Secret spot in Arizona.
Yeah.
Where was that?
We were.
It was near Sedona.
Yeah, Sedona.
Yeah.
Okay.
So when you.
The first time you pulled up to.
So which part of.
Is this Gobekli Tepe the proper where now there's a big dome over the top?
Yeah, this is before the.
Okay.
Yeah.
That chamber right there, that's the enclosure C.
Yeah, the one in front there.
Yeah.
So D is the one to the right.
To the right, yeah.
So you can see the obviously there are rock walls.
And a lot of the stones that you're seeing that are just kind of bigger ones are probably broken down rock walls.
But when you look closer at that material, you can tell that it's midden.
It's basically like full of little tiny flint flakes.
From a people who were working flint every day of their lives making tools.
There are pieces of grinding stones which were made of basalt.
Now, there's a basalt outcrop within a few, like a kilometer of this site.
So they were going down to this basalt outcrop, which is basalt is a volcanic stone as well.
And it's a good grinding stone.
So they were making grinding stones for grinding whatever grain, ochre.
They ground all kinds of stuff.
They ground a.
Massive amount of stuff based on the number of grinding stones found in this place.
In fact, the archaeologists were blown away.
They were like, why?
Like, they even did this pretty cool experiment where they got people to grind on one of these.
They made their own grinding stones, just like the ones at Quebec Litepe, and they grind for eight hours in a day to see how much material that they came up with.
And it was enough to feed like five people.
Really?
One guy.
And so, one guy for eight hours.
Yeah.
So, based on the amount of grinding stones.
One college kid who's never done it before, a grinding for eight hours can feed five people.
So they were just blown away.
They're like, there are way too many grinding stones here to support whatever population may have been nearby.
So what the hell were they doing?
They were manufacturing a lot of stuff.
Whoever these people were, they had the grinding stones.
Now, I'm not necessarily saying that's connected to who built this place, but there are broken grinding stones all over it and broken arrowheads, broken flint shards.
So people were living and working there.
All the way up to fairly modern times.
I mean, to at least medieval times.
And I mean, it's being farmed right now.
So technically, they're still there.
People never left.
Yeah, see the trees up in the upper top there?
That's an orchard.
Those are olive trees.
Yeah.
So, the radiocarbon dating here says it's at least the farthest back it goes.
Is how old again?
It's like, oh man.
God, look at the landscape there.
The view there is just unbelievable.
I'm just going to say roughly 12,000 years old.
Yeah.
Roughly 12,000 years old.
Yeah.
Now, they had a lot of difficulty in the dating.
They already had, for I don't know how many decades, an established.
Keto Brains Nootropic Creamer00:03:30
Oh, wow.
What a great view.
A well established.
Dating of artifacts by style.
Okay.
Yeah.
So in the whole Anatolian area, they have been digging in midden piles, human occupation layers, looking at styles of flint points, arrowheads, tools, and had all this, and then had very good carbon dates from those layers in multiple different sites, corroborating the evidence of each one so that they had a well established time period for the types of arrowheads you would find.
So, if you pick up this type of arrowhead, they could instantly say, well, that's, you know, 8,000 years old because of the style.
Okay.
At the very bottom layers of Gobekli Tepe, they were finding the arrowheads of a people that were 12,000 years old.
And how do they know those people were 12,000 years old?
Because of the dates from other sites.
Because they had dug so many other sites all around Anatolia that had those arrowheads in layers that had carbon datable materials that showed that date.
Okay.
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Back to the show.
Many, many times over at many different sites, when they found those arrowheads and they carbon dated something from the same layer, they would get the same date.
So, it's pretty good corroborating evidence that those arrowheads are consistent with a date of roughly 12,000 years.
Pillars Relief Cat Stone Circles00:14:57
So, when they get to the bottom, the archaeologists looking at the bottom layers of Gobekli Tepe are like, this is 12,000 years old.
The burial layers, not the stonework, but the layers at the very bottom that start to build up of dirt, right?
That are burying the site.
Now, in some cases.
So, that means the stonework is older?
Or.
It has to be at least.
At least as old.
At least that old.
Yeah.
It can't be, yeah.
It can't really be younger unless there's something, another drastic, like they dug through all that stuff.
And the idea is that the people that were using, making, and using these arrowheads were just like very primitive hunter gatherers that would not be capable of.
Up until this point, that's who they were.
You see what I'm saying?
Up until the point of the discovery of Gobekli Tepe, those hunter gatherers were considered primitive hunter gatherers who never really built anything astonishing.
Yeah.
And they didn't have pottery.
The name of this culture is called the PPNA, Pre Pottery Neolithic A, because there's a PPNB.
Pre Pottery Neolithic A.
Yeah.
So they didn't have pottery, yet they were making gigantic standing stone circles by flattening bedrock.
I mean, they took a slope of bedrock and flattened it.
Yeah.
See, made it level.
If you look at an enclosure C there, you see the little pedestal that the central stone is on.
Yes.
Yeah.
See how it's on a pedestal and then around it is flat?
That is smoothed, flattened limestone bedrock.
It isn't.
Oh, wow.
The pedestal itself is still the bedrock.
So they basically removed, cut out all the negative stone bedrock around that pedestal.
Yeah.
And then they cut a slot into the pedestal and then slotted that standing stone into it.
What?
Yeah.
So it's not a simple construction.
And, you know, the floors of the enclosures are smooth and beautiful.
And even, I don't know if this, I can't remember if this one, but in some cases, the.
Sides of the pedestal are decorated in relief carvings.
So you're like, there's like a row of.
It's not high, it's like mid relief, but it's.
But they are sticking out.
Yeah, they stick out.
It's not like they're cutting the thing into the stone.
They're cutting the stone away and leaving the carving.
Right.
There is a high relief one.
It's almost as.
It's a sculpture of a cat.
It's behind that pillar.
Yeah, it's directly behind it there.
You can't see it in this photo.
Yeah, but it's amazing work.
How much deeper do you think it goes?
How much?
Well, that's the bedrock.
So I. That's the bedrock there.
That's the bottom, yeah.
Oh, that's the bottom.
Yeah.
In some places, there's a lot of tunnels in the bedrock, not at Gobekli Tepe, but in this area of Turkey.
They were tunneling into bedrock.
Notice this in the picture here.
This is another thing to point out.
They had these portal stones where they had cut this.
So you imagine you cut a big square slab and then you completely cut the middle of it out to make a portal stone.
That one's broken.
That one in the middle.
Yeah.
We didn't get to go to the museums, but I've seen some photographs of portal stones like this that have high relief carvings of cats.
Standing on the edge of that portal, reaching over as though they might be drinking out of a pool in the center of the portal.
Beautiful.
Yeah.
Works.
You know.
Yeah.
So when we went, the earthquake and flood had just happened in Turkey.
So we could.
Oh, yeah.
So all the museums.
We were talking about that.
Yeah.
So the museums were closed and they had moved, you know, 40,000 crates of artifacts out of the museum.
Dude, a ton of people died in that earthquake.
A lot of people.
Yeah.
Yeah.
See the high relief cat there?
Oh, my God.
That's nuts.
Yeah.
Yeah.
So I think we're.
You know, we're most interested in the building techniques.
You know, there's like that.
That is awesome.
So, think about this.
Like, to make this pillar, the person at the quarry had to leave a sizable chunk of stone sticking out of the side of that pillar so that the artist had material to work with.
Right.
So, this is thoughtful.
This is planning.
The guy at the quarry may not be the guy who carved this cat or whatever this thing is.
I doubt that it's the same person.
So, you have to have engineering and planning.
And there's actually some new data coming out.
By some scientists that looking at the entire layout of the stone circles that suggests the entire site was planned.
The original narrative was that the original idea was that one circle was built and used for a while, and then they sort of like, you know, they put all this stuff into sort of a religious context.
Like, well, it has to be religion.
Why else would you build a stone circle?
Yeah, it's ritual, it's religion, it's yeah.
No one builds, no atheists ever build stone circles.
Apparently.
No atheist ever builds beautiful temple buildings or stone circles or monuments.
Could be true.
I don't know.
Maybe they don't.
But it's like they do all these rituals and then it's like, okay, the rituals are done.
The gods are appeased.
Bury that circle, dig another one, build another circle.
This was the early on ideas.
But now it looks like the entire site was planned.
And it's interesting because when you start reading the papers, with the artifacts and the carvings, they have.
Yeah, the totems are strange.
That is sick.
Yeah.
With the artifacts and the carvings, it looks like each enclosure may have had a specific animal type associated with it.
So you have like the circle, you know, the enclosure of the cat, the enclosure of the boar, the enclosure of the bird, the enclosure of the serpent, the enclosure of the fox, right?
And so it's like you start to think of like, is this a kind of magic school?
Yeah.
What is your guys' wildest theory on what the fuck it was?
I think it might actually be.
I think the Gryffindors are going to beat the Slippery.
It's the Gryffindors.
Yeah.
Which is too bad because clearly we're part of Slytherin, right?
Oh, yeah.
The brothers of the serpent.
But yeah, it's, I mean, I really like the idea that the standing stones themselves, at least the central pillars and the flattened platforms, may be very, very old, far older than even the artifacts and found in there.
Because that's the thing.
When you dig into the archaeological papers on this, they do say, specifically, they say the dates that we get from the lithics, which would be the arrowheads, the PPNA stuff.
From the pottery and also from dating organic material in the mortar of the rough stone walls at the very bottom, give us these early dates of, you know, 12,000 before present, cannot date the megalithic architecture.
It just doesn't give you the dates for that stuff because it could have been there before that.
The big T pillars.
Yes.
Yeah.
And the shaping of the bedrock.
Right.
Also.
So is it possible that, you know, that somebody built this stuff a long time ago and then they just disappeared?
Or went somewhere else or whatever.
And then later peoples found it and started rebuilding it.
And then some of the outer, smaller pillars are their attempts to recreate.
So, in other words, they're learning some of these techniques.
And then they live here.
They build the rough stone walls.
Then maybe they cover them over.
Who knows?
So, we kind of came up with this idea that I love the idea of ancient archaeologists.
Yeah.
There is evidence that people get.
Think about what archaeologists do.
I mean, the people that have come here and dug out this site, they have excavated the site, they've stood up.
Pillars, they tried to rebuild some rock walls.
So, when I look at this site from a construction standpoint, these rock walls between the pillars don't look like they belong.
The building style doesn't match.
The rock walls are not shaped stones, they're just sort of whatever size and shape that they are.
They use mortar, they don't have carving on them.
They used plaster, supposedly.
And in a lot of cases, the rock walls cover up the carvings on the pillars.
So it looks to me like someone came in and tried to restore an already ancient and dilapidated site.
And so they would be doing what modern archaeologists do they come in, they find this pile of rubble, and then they start lining up the blocks and numbering them, reorganizing them, try to rebuild the entire temple or whatever it is.
And why do we do this in the first place?
Because we're interested in our past, it doesn't wouldn't surprise me in the least if some people 12,000 years ago found this site and were like, We've got to see what this was all about.
12,000 years ago, that was right in the middle of the Younger Dryas, right?
Right at the right after the end of it, just after 12,000 was the very end of it, yeah.
And it lasted for one like 1,000 years, right?
Like 11,600 or something like that, yeah.
11,006 would be the like the the uh end of the Younger Dryas, something like that, and yeah, you're right.
So, yeah, then you're looking at people, this would be just after.
Right.
The end of it, I'm pretty sure.
10,000 something BC.
So this was built after?
Yeah.
Well, no, the dates for the lithics and the bottoms of the walls.
Like, we don't know when the.
That's what we're trying.
That's what I'm trying to say.
Like, it must be, maybe much older than that.
So these ancient archaeologists could have been after the younger Dryas, trying to figure out what this was and trying to preserve it and look into our past.
There is evidence that later peoples came and dug down into the midden, specifically into the.
If you look at enclosure C again, That one.
See how the top of that pillar is broken?
Yeah.
And the pillar down on the lower right, the big one down there, is also busted.
There's two huge pillars there and they're broken.
You can see all the shattered pieces lying around in the bottom of the enclosure there.
Somebody specifically around, was it 6,000 BC?
I think something like that.
6,000 BC.
So, you know, four to 6,000 years after the site was no longer in use, somebody came along and specifically dug a hole down to the tops of those pillars and smashed them and then reburied the site.
At least that's what.
It indicates, we don't know if they really smashed them, but you know, it could be that someone smashed them.
Yeah.
What was the term they used?
Iconoclasm.
Iconoclastic.
Yeah.
So I wonder, I mean, thinking about the earthquake that just happened, I wonder how many of those earthquakes has this had to survive?
Right.
That would be one reason to bury it on purpose if you didn't want it to, you know, if you're like, I'm not going to be here to take care of it anymore, but you bury it so the earthquakes won't destroy it.
Yeah.
It could protect it, huh?
Yeah.
But really, the burial looks more like collapses of the midden.
In something maybe like the heavy rainfall that they got.
Yeah.
Because you can see at the site, you can see that they have used sandbags and all this stuff to shore up the walls around the excavation site, the modern excavation of this site.
Oh, okay.
They're trying to prevent all of this midden and soil and rocks and rubble from falling back into these enclosures.
Right.
So if these enclosures were already, like at the time, maybe covered in midden.
And people dug them out, then the midden would collapse back into it and, of course, be jumbled up.
That's the other problem with the dating of the site is that the midden from within these enclosures is in some cases inverted.
The older stuff is at the top, the younger stuff is at the bottom.
Oh, like it.
And this is why they thought it was buried.
It's like they're just throwing material in.
Yeah.
But it could also be from natural collapses of material that have fallen back into the enclosure.
Yeah, they described the material that was in there as in a series of lenses, which is, you know, that's what the soil falls in and makes this sort of.
Lens shape in the hole, and then another set falls in from this side and makes another one.
And then you, so when they dig through it, they can see it's it doesn't have a stratigraphy really like naturally laid sediment, but you can see that it's several different collapses.
Um, so it's so has this all been accepted in like the mainstream now?
Like now that this has been discovered and tested and looked at and analyzed for so long, is it is this now have they officially rewritten the human timeline?
Or is it still the human timeline?
Is it still just YouTube speculation?
No, no.
Like when we were doing all the, you know, the reading and the research for making the Gobekli Tepe video specifically, we were reading the scientific papers written by the people who had been working on the site, right?
So all this stuff we're telling you is stuff that came from them.
Not so much.
They probably wouldn't specifically say that the stone pillars could be far, far older, but they have specifically said that they cannot date them.
And all that they have been able to determine is like, you know, the latest.
Possible date for those things.
Like they must have been built at that time or before 10,000 BC ish.
So the pillars.
Yes.
Yeah.
Because the, you know, the material in the bottom is basically that.
Yeah.
The other thing that it did really to the human timeline, what I feel like it should have done was made people accept that humans were doing megalithic stonework, like, or that a.
That civilization may have started quite a bit earlier than what was previously believed.
But instead, what they did was they modified what they believed that hunter gatherers do in their spare time.
Yeah.
Which is, in my opinion, ridiculous.
It's like, well, we don't want to cede the point that, you know, everything that we've said about humans' advancement through time is incorrect.
We'll just modify this.
That's a definition of this term.
See the anthropomorphizing of the.
Pillars.
This is the other weird thing.
And this is, you'll love this.
Like, we aren't, we didn't come up with this connection, but many people have pointed it out.
See how each pillar there, the two central ones, they've got that V, the V shape going down.
That's a sideways V. It's a sideways V. Yeah.
It's an arm.
So there, you can view the pillars as basically standing human figures.
They have arms that go down the side and then wrap around in the front.
See if you can find a picture that shows the front of them with the fingers.
Yeah.
They're standing there kind of holding their belts.
Yeah.
They have belts on.
So you can view the T shape at the top as sort of the head.
And there's arms carved into them?
Yeah.
They're staying with their fingers wrapped around the front of their belts.
Yeah.
It's a very strange and kind of eerie representation.
They're wearing stars.
Yeah, there it is.
There you go.
See his fingers?
Statue Sketches Volcanic Tuff00:11:32
Are there?
National Geographic.
Right there.
Yes, this one.
This one?
Yeah.
See if you can open that up.
Right.
So he's.
There we go.
Yeah.
I wish I'd have thought of that.
So this is like his hands down to his side?
Yeah.
So see the belt going around?
Down there, and it's got a fox pelt hanging from the belt on the front, and those are his fingers coming around the front there, just above the belt.
He's kind of holding his belt.
They're real thin, they're incredibly thin.
And you can see the two lines going up the center.
He's wearing like a jacket, yeah, like he's got a robe or a jacket on.
That's got a belt with complicated buckles or something around it and a fox pelt or something hanging from the front, right?
This is a very interesting carving.
So they are supposed to be anthropomorphic figures.
Aliens.
Right.
Yeah.
Or some kind of strange hominid god, right?
Now you want to start thinking about longheads or Anunnaki or something.
Right.
There's two of them in each enclosure and they're, you know, like twins or brothers or two different guys standing there in the middle, taller than everything else, sort of surrounded by.
A council or knowledge in the shape of other T pillars facing them.
But the so the other weird thing, and this is wild, see if you can.
Oh, he's up.
Yeah.
If when you get back there, pull up some pictures of the Moai statues on Easter Island.
Yo, Easter Island just got like burned down, right?
And a bunch of those heads got like torched.
Oh, no.
Yeah.
How do you burn stone heads?
It's not, they're not stone.
They're all.
They're what are they, Steve?
They're volcanic ash.
Yeah, they're made of ash.
They look like concrete, but like tough.
Is it volcanic tough?
I don't know, but it's we can find out.
You can burn it.
I thought they were basalt.
So you can see some of these.
Yeah, just pull up one of the pictures of whether there's a bunch of them in a row.
Yeah, it may be tough to see on this.
Oh gosh, this can make me zoom in.
Oh, yeah.
The ad zoom bigger than the regular picture.
Can you find out what exactly these stones are made out of, Steve?
Well, if it's ash, it might be volcanic tuff, which is actually a pretty soft.
I don't know why they call it tough.
It's not tough at all.
Right.
Okay.
Yeah.
So there you go.
It's volcanic tuff, solidified ash.
Oh, you're right.
Okay.
So, yeah, that stuff, that's what the tunnel systems.
Why can't I think of Darren Q?
Yeah.
Darren Q. In Turkey, they're dug out of volcanic tuff.
Oh, really?
Yeah.
It's actually not that underground labyrinth.
Yes.
Yeah.
It's not that.
Difficult to dig.
Whoa, look at the shit on his back.
Yeah, this is one that was buried for a long time and he has all kinds of stuff on his back.
Yeah.
All kinds of stuff.
There are a lot of stylistic similarities to some of the things that are carved onto these Moai statues as what we see at Gobekli Tepe.
How have you never showed me this?
This is the first time I've ever been.
Keeping this from the back.
You know, I got to hold back those snake facts, bro.
Sometimes.
Did you guys go to Darren Kuyu?
Not yet.
No.
Can you go in there?
Yeah.
Really?
Yeah.
What do you think Darren Kuyu was for?
What was that built for?
I mean, the first thing it makes me think of is like a.
Oh, go to that one with the people standing next to it.
Yeah, there you go.
See if you can get in on the.
It may be one of the many arcs.
Oh, looky there.
There, those fingers.
Dude, look at that.
Oh, yeah, the fingers.
Yeah.
Do the.
Oh, my gosh, dude.
Yeah, see the fingers?
That is wild.
It's so weird how it's similar.
There are other statues in other places that have this same pose.
Now, you could argue, like, this isn't that big of a deal, the pose or whatever, but I do find the.
Long, thin, strange looking fingers to be sort of.
It's just weird that they would come up with that two different things at so different places and different times.
You know, that's the question.
How old are these things?
You know, are some of them very old?
They have no way to carbon date the tough stuff.
Right.
Yeah.
And look how deep it is in the sediment.
So deep.
Yeah.
Now you could carbon date that sediment possibly.
Yeah.
Like if you get to the bottom and you find a piece of organic material, like a burnt, like say maybe somebody had a campfire.
Nearby, uphill slightly.
And so then, when this sort of inundation of soil came in, maybe it pushed some of that charcoal around in the same layers at the base of this statue.
You could date those, and then you could maybe make a correlation that the statue was stood up in this place at least by this date.
Right.
But that date could be very young because when the statue was not buried, the statue was already very old.
You see what I mean?
The date of the charcoal of somebody's fire pit near the statue doesn't mean the statue dates to the age of the fire pit.
The statue could be much older.
Right.
Just can't be the same.
That's just the minimum date.
Yeah.
The other interesting thing with this, I remember when I was first, you know, like soon after the accident, when I'm looking at Easter Island, you know, years and years ago, you can find, or at least at the time I did, I found old drawings where, you know.
What is that airplane on the bottom right of the picture?
Sorry, go ahead.
No, it's not.
Oh, that's the image.
Sorry, I'm not going to bring that up.
It's like an airplane.
Yeah, there isn't.
Is it somebody's watermark?
I don't know what that is.
Yeah.
There are sketches where some of the first people to visit the island sat and sketched the heads and the sort of the landscape, and they're very well done.
And you can find a photograph of that same spot.
So 400 years later, 400 or 500 years later, of the same spot, and it hasn't changed at all.
The heads are all in the same, you know, how some of them are tilted this way, some are tilted that way.
Right.
They're buried to the same spot, you know, like up to the chin or just up to the shoulders as this sketch from 400 years ago.
And then you look at the timeline where they're supposed to have all been built between, I can't remember exactly, was it 1400 to 1500 AD, something like that?
That was when they were all erected.
So the people who did the sketch came there around 100 years after that, and the statues are already buried up to their necks.
And then in the next 400 years, nothing changes.
And so it's sort of difficult to believe.
But the other interesting thing is.
So, wait, 1400 AD, they were stood up again?
No, I think the idea is that the first European explorers that showed up on the island showed up about 100 years after the statues had been put up.
According to the standard story.
The standard story.
Got it.
Okay.
Yeah.
And don't, you know, like I may be getting some of this a little inaccurate.
I can't remember all the dates exactly, but it's basically around 100 years after the statues had been completed.
Or nobody was making them anymore is when the first Europeans showed up.
And then they made sketches, and then you can compare those sketches, you know, to, yeah, look at the.
Look at how similar this looks.
It's very similar to the T pillar carving.
Is that really?
The birds, the vultures, the.
Yeah, it's very strange stuff.
Keep scrolling down a little bit, Steve.
But, you know, see, this is what people do when you find volcanic tuff.
You just do this.
This is like a natural human thing.
Oh, look, there's a whole video.
What's carved on their backs?
Yeah.
That is beautiful.
Now, the.
Wow.
Somebody superimposed paint onto a.
No, they actually painted it.
Oh.
Did they paint a real one?
Yeah.
Wow.
That's amazing.
That's so weird, man.
Check out that bird thing with that.
Yeah.
Like a vulture.
Yeah.
Yeah, it looks very ceremonious, ritualistic.
Yeah.
So the other thing.
It's like if you're that advanced, why are you wasting your time carving stones?
I also love that they have these red hats, you know?
What are those things?
That's a Fez.
It's a Fez.
So interesting.
Ain't never gonna do it without your Fez on.
Do you think this was just super easy for them to do?
It does seem like.
Creating this stuff is like, it's like nothing to them.
Or do you think that they actually spent fucking months and months and years creating this stuff out of this stone?
Well, either way, you want to know what is the reason.
Like, what was the drive to do it?
Right.
You know, like if it was easy or even if it was difficult, like what, why did they want to do this stuff?
You know, and I just, a lot of times you find the standard story to be sort of, it's just not very satisfactory.
Anyway, the thing I was pointing out is that a lot of.
What is that?
That's the caldera.
The extinct volcano.
Oh, that's the volcano on Easter Island.
Yeah.
Okay.
There's also a form of writing called Rongo Rongo that comes from this place that's never been deciphered.
Well, they haven't found very much of it.
Yeah.
Some wood carvings of the writing style, but it looks very interesting looking.
And there you go.
Yeah.
And it's extremely similar.
Lots of very similar characters to.
Wow.
Can you zoom in on that a little bit?
Isn't that awesome looking?
That is incredible.
It looks almost perfect.
Yeah.
That may be a recreation.
I've seen it on a wood.
On wood, yeah.
But yeah, that's awesome.
It's like figures and stuff.
There's somewhat stylized hieroglyphs.
Think of semaphore.
Semaphore is like the language of body.
People at sea would use this, or it looks like semaphore.
It's like little stylized drawings of human figures doing different positions.
Which is why we came up with this idea that it was a.
There's the wood.
Yeah, there's the wood.
No, that's the same thing.
It's that papyrus.
Oh, okay.
But there's.
So, what's interesting is how similar it looks to the Indus Valley script, which is, you know, that's in Pakistan.
And it has.
There's an undeciphered script there that looks almost exactly like this stuff from Easter Island.
Again, on the wrong side of the world.
So, is there a connection?
Now you're thinking, you know, okay, so you got Indus Valley, you got Gobekli Tepe.
So far along.
And both of these are pointing to, in stylized ways, and even with the writing to Easter Island.
There's a lot of very, very same kind of figures.
Some of them are different, but it's very similar.
Hmm.
Yeah, I mean, it's one of the most perplexing things to me.
How, like, based on how advanced these people were, how long it took them to do this kind of stuff?
Like, did it really take them that long, or was it just super fucking easy for them to do?
There's some stuff that looks like it was easy to do.
Just based on how I just don't know.
It's like some of the granite stonework that you see in Egypt, where they're like removing material after they've put the stone in place because.
That they're essentially facing off a wall to make it flat.
The amount of material they're removing from some of these stones is just insane.
Like, you can't imagine.
Zombie Cells Aging Limestone Hard00:03:02
I could pull some up here if it's this.
Yeah, like, I mean, just like that's what I'm sorry, I interrupted you.
No, no, I was just going to say, like, the Serapium boxes by themselves are just so fascinating because, as you know, Chris talks about in his book, Chris Dunn talks about in his books, he asked one of the biggest granite manufacturers.
In the country, what it would take for them to reproduce that box.
And he said, We couldn't reproduce that the way it is.
We would have to take separate slabs and bolt them together.
And it would cost upwards of a half a million dollars.
Yeah.
Yeah.
We can look at some of those too, the boxes in the Serapion.
But this is Menkara, the third pyramid on Giza, the small one that people mostly don't pay attention to.
But it has this very interesting stonework at the base of it.
Like Minkara, just like the other pyramids there, are built out of the core material.
All this stuff up here is limestone, right?
This is all limestone blocks.
But down here, I can move in.
So this is the smallest one in the line of three?
Yes.
Okay.
Yeah.
Look at those granite blocks.
Like, you know, some people in here for scale.
These are huge.
And these would be the casing stones or the facing stones, right?
So the other two pyramids were also cased.
Right.
In this beautiful Tura limestone.
It's a very hard white limestone, and they were flattened all the way up.
And, you know, there's old writings about how they would.
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Exact Start Top Substantial Much Stone00:15:27
Back to the show.
Shine like mirrors in the desert before the casing stones were gone because they were so.
And they were stripped off and looted.
Yeah, there were earthquakes and then they're gone.
The way to look at this is like this is the roof of the structure.
Yeah.
That casing.
Right.
So you build the interior of the structure with.
You can build it with much softer stone.
In some cases, they build them with mud brick.
But you then case that in a very hard stone.
Tura limestone is a very hard, silica rich form of limestone.
So it's much harder.
It erodes way slower.
Granite, obviously, is even harder than that.
It takes forever to erode.
But that's like you're putting a roof on the structure to protect the structure.
And then when it's gone, you can see that the core masonry there is just heavily degraded.
Do we know if the interior of these smaller pyramids is anything similar to the Great Pyramid?
They have passageways and chambers.
Um, I actually haven't been in Mankara yet.
We're going to do that this year, but do we have diagrams like we have diagrams of all the single chambers?
So we have we know what the insides of these look like, they're mapped out for the most part.
If I recall correctly, the Great Pyramid is the only one that has any substantial structures in the body of the pyramid itself.
The rest of them mostly go underground.
So the whole it seems like the entire the bent pyramid has some pretty substantial structures.
Yes, you're right.
The bent pyramid has structures inside of it.
I scanned that one, yeah.
Uh, but most of the time, it's just see that see the entrance back here.
This is the entrance right here.
So, this is just a descending passageway.
It basically goes straight down and into the ground.
And then there's chambers way down in there.
The Great Pyramid does this as well, but there's a descending passage that goes up as well.
And then you have the Grand Gallery and the Queen's Chamber and the King's Chamber up inside the body of the pyramid.
But when you go into Khafre, the middle pyramid, it just has a descending passageway and you're down underneath it.
But there's nothing in the closest to the pyramid.
Not that it's known.
Yeah.
But anyway, look at, so you're noticing these blocks.
And we're, you know, we're talking about this because of like, was it easy, right?
These are, this is not in substantial amounts of stone.
As you can see from the people standing here, these are huge blocks.
They have to be tilted, and they're also notice how they're kind of puffy or like pillowy.
Yeah.
So they were leaving extra material on because they were going to flatten it like this.
Let's see, I move forward.
Oh, some of them are flat and puffy.
Yeah, just right around the entrance.
And also notice all these nubs.
Yeah.
Those are the same nubs on the ones in South America, in Central America.
Yeah, they have these all over the world.
There's a lot of interesting ideas about these.
I kind of lean, Kyle and I kind of lean towards the idea that they're functional, like they were used for maneuvering, and then they were cut off.
During the finishing process.
But here you can see the part of the flattened face.
Oops, let me zoom back out and move here.
Yeah, and then there's some like reverse nubs, you know, insets, you know, for grabbing this block.
But look at all this extra material.
Like look at this huge, you know, and granted, it's heavy.
So you're talking about a lot of extra material on here.
I could come back to some of that, but here's the flattened face.
So how come the rest of it's not flattened like this?
Well, that's the question.
That is a great question.
It's like, why didn't they finish the job?
You know, but this is, there's this big square of flattened area right here in front of the entrance.
Uh huh.
Which seems funny, you know, if it's, if this is a tomb and you're trying to sort of hide the entrance and everything like that, well, this makes it relatively obvious where the door is.
Right?
Yes.
And also because the other two large pyramids had casing stones all over them and those were completely flattened out.
They were perfect.
Yeah, they were finished.
This just looks like it was not completed.
Like they were in the process or they were using this surface as a survey point.
This is the other thing we've discussed.
Yeah.
We actually have some evidence after walking all the way around this pyramid looking.
So you can imagine that one of these blocks, this flattened blocks, because it has a top and bottom, and then it has this beveled, this angled face, then there's going to be a certain cut degree angle, a flat surface here and a flat surface there, that the other blocks will not have because they're all puffy and pillowy on the front.
So when we were walking around the pyramid, there's just piles and piles of granite laying on the sides of the pyramid.
They've been quarrying it.
They've been quarried out.
So we were looking for blocks with this angle.
Two flat surfaces like a prism stone, yeah.
And we found them, yep, on the around the other two sides that are not uh uncovered.
So I think that there was a flattened surface, we think that there's a pretty good case to be made that there was a flattened surface about this size on each side of the pyramid.
There is one on the other side, which we'll look at in a minute.
Like on the this is the this is the north side, so around on the uh east side of the pyramid, there is another flattened face.
That and the other interesting thing, just to point out, is the only reason we have.
This pile of casing stones here is because as people were quarrying the stuff above it, the granite off here, they were making piles of rubble down here and it basically just covered this stuff up and it became too difficult to dig out.
So they just left it.
So it still survives because it got buried under the other quarrying rubble.
Intentionally buried.
There you go.
Intentionally buried, right?
Right.
So, but the other point, the thing to.
So if they were going to smooth the stones, they would start from the top.
Maybe you would want to, yeah.
You'd think that you'd want to start from the top stones, right?
But you have to build it from the bottom.
So this is the thing.
How do you.
How do you maintain as you're going up the integrity of this flat surface as you're stacking these blocks up?
In other words, as you're setting each stone in, you know it has enough material on it that when you flatten it out, there isn't going to be a hole somewhere.
Right.
So maybe you flatten out a square area at the first few courses at the base to give yourself a survey platform so that you can check as you go up using whatever method you got.
A really simple method.
To check the distance from the bottom of this to the top of it and then extend that further out as you make new courses.
Like, do we have enough stone sticking out where they actually meet each other in this crevice?
Is that far enough out so that when you flatten it, it won't be a void?
So there's no void.
See this deep crevice between the stones here and here?
You want to make sure that when you flatten it to here, there's not actually going to be like a hole in here somewhere.
Right.
That makes sense.
Yeah.
Yeah.
So you can do it by, you know, you can just put a couple of like rods in here with string and pull it.
You end up pulling the string all the way up and you're just checking distances as you go up.
Do we have enough stone in each place?
And you can move it this way and that way.
Yeah, you can sweep it back and forth and check the whole face.
And so that was the idea is like, did they have four of these on each face?
And you have one facing crew per side of the pyramid.
And they just didn't have time to finish the job.
Which is another interesting.
Yeah.
So it seems like they built the Great Pyramid first.
And then this was the last one.
Or maybe the, maybe Caffre, the central pyramid was the one built first.
Ben actually thinks that's the first one.
Oh, really?
Yeah.
And it's interesting because that one.
The other great thing about that one is it has a couple of rows at the very bottom of granite casing stones that have been finished.
And they are, I mean, they're just unbelievably magnificent, you know, just perfectly cut, beautiful granite casing stones.
And then as you walk around that pyramid, there's a row of granite rubble all the way around the thing because people were cutting them up to take these beautiful faces that have been cut.
Because the source of this granite is 500 miles away.
So if you're somebody living near this area, that's so wild.
Yeah.
You need to fucking get a plane to go.
You need to fly there when you're traveling.
Yeah.
That's not wild.
It's not wild.
This is just what people do.
It's the easiest way to, yeah.
Totally natural.
Like, listen, when you want to build a cool structure in the desert, you bring stone from 500 miles away and you stack it up into a triangle.
It's like the simplest thing to do.
Like, everybody does it.
It's crazy.
It really puts it into perspective when you're there and you realize, like, like you guys were telling me last night.
Yeah, we had to catch a plane to the quarry.
Yeah, that's how far it is.
Well, we catch a plane and then we have to ride a boat for four days to get to the quarry.
Yeah, how do I get there?
What do you want?
I just want to go back to the original point of bringing this up that the perspective with to show you how much stone was removed here.
So, I was just I was wanting to show this one photo because it really gives you an idea of why it looks to me why it was easy for them because you wonder to yourself how much.
Work would it take to take away that much stone to make that flat surface?
Now, the next photo should give you an idea of how much that is.
Look how much material that is.
It's a lot.
It's wider than this guy's shoulders.
I mean, in some cases, it's up to like two feet, 18 inches at least.
Wow.
They were removing of that granite.
Now, they weren't.
Oh, this is granite.
This is granite.
They weren't just cutting it with a saw.
I mean, how do you get a saw in there?
Yeah, go back to this.
Notice that there's a radius.
They're grinding it away somehow.
You see how it curves up.
You know, it's like there's a, like you can imagine just putting a giant belt sander down on this thing.
Right.
You know, and then they're removing this much material.
That's also, that's hundreds and hundreds and hundreds of pounds of stone.
This is granite.
That's a lot.
You know, think of a.
I mean, this is waste.
Yeah.
Like, think of the amount of waste that would create on the ground.
Oh, yeah.
I mean, it's just going to be piles of it, especially if you're doing an entire pyramid like this.
So, is there evidence of like layers that they had to take it away in layers, or is it just one go?
We don't know.
But yeah, we don't know.
There is no evidence for this.
The problem is because there has been occupation.
And people working on this site for thousands and thousands of years after this pyramid was supposedly built.
I mean, you just, it's so hard to figure out who did what.
This is the other thing, you know, just to put this in perspective, this is like fourth, this is like fourth dynasty old kingdom.
Like all these big pyramids are in that area, right?
So they're, it's like the beginning of the dynastic period of Egypt.
So in the oldest part of their civilization, you know, New Kingdom would have looked at these people and thought of them as ancients, the people who built this stuff.
So this is, you know, so you're talking about they start out with these monuments.
Practically.
The other thing to point out here, this is really cool because, you know, now we've looked at all this.
You see how big the blocks are, how much stone they're removing.
And then you see something like this.
Let me zoom in on that where they've just.
Oh, my God.
You know.
Holy crap.
So you're setting these giant blocks in, and you're also like, yeah, just make that next one, you know, a quarter inch down from the one next to it because it's easy.
Like you were saying.
That's the point.
Yeah.
It's like this.
This makes it look easy.
Oh, my God.
At least, whatever method that they, it seems like the method they used to do this, just doing stuff like this was easy.
I can't help but think.
I mean, people always want to know, you know, was this a geopolymer?
Was this whatever?
Was there some way?
I just, to me, it looks like grinding.
Like that if they were, if they had something connected to that stone that they were laying down, the one that they're putting on there, that they could vibrate that stone, it would eat away both faces.
All three faces that the stone is going up against, including its own, and basically make the mating faces perfectly match each other.
Yeah.
So let me back up here.
And that's what I want to talk about.
We can talk about that a little bit because there's evidence here.
And then there's something in Peru we can look at about that as well.
So let me go to this slide.
This one here.
So see the blocks at the top here.
This is what we're looking at.
These would have been sitting up against each other when the, you know, before the destruction and all the quarrying happened.
So this face.
Of this block sat against that one, probably this face sat up against here.
I can probably zoom in a bit.
Now, what's interesting, it's hard to tell with this picture, but these faces aren't flat.
They have these very slight curves, like the side of that block does something like this.
And then the block that it matches has the matching slight curves.
Yeah.
So let me switch over.
To uh, that's the point.
If you take two stones, they can have whatever face, and you start grinding them together, eventually their faces are going to match.
They won't be flat, they'll be curved, but the contours of that curve will match each other.
That's why I'm like, to me, I'm not saying that they ground the stones together, but that's what it would look like.
Yeah, so these were sent to us.
How the did they do that?
I have no idea.
These were sent to us by one of the people that listens to our show.
He's been to Peru and he took these pictures specifically.
Uh, so you can see.
It's tough to tell, but you're basically there's a big block here and a big block here, and you can see that the inside face of this block, the corner goes out on the top here and goes in on the bottom, and there's a matching face, a complex curve of the block twist.
It's almost like the twist has a twist in it on both sides that match.
Here's another picture of the same area.
You can see that this interior face of this block has a twist and it matches the twist of this block and the one it's sitting into at the bottom.
I don't know how to explain that.
The only thing that I can think of is that they're being ground together.
I don't know any other way to make that happen unless you had a computer.
Controlling the device that was cutting the stones and making each one exact.
But if you had a computer that was cutting them exact, why would you leave the bulk of material on the front to be flattened later?
Why not just cut it exact?
You know what I'm saying?
If you were so good at laying these stones that you weren't worried about it.
That's the other thing that's interesting about leaving all the extra material on the front, you can also look at it as a protective layer.
You know that your final finished product is going to have this glossy, glassy, polished surface that's completely flat.
You want that protected by multiple layers of stone during the construction process.
Not layers, multiple inches of stone.
So you drop a block against it, it hits it, right?
Yeah.
And if a block was dropped near the top of the pyramid and it had tumbled down, it's going to do a lot of damage.
Yeah.
The very last thing you'd want to do is basically just cut down the edge of it.
Right.
So just like painting the inside, you start at the top and you paint your way down.
Exactly.
And that's the last thing you do, right?
So, it's the finishing work.
And a lot of times these places look like it's the finishing work that didn't get completed.
And that's why you see things like nubs because the nubs would be gone once it's finished.
Right.
Whoa, man.
Yeah.
Now, when you guys are walking around those pyramids, is it just like some of the pictures that Ben shows of those massive circular saw cuts in these things?
Rubbing Acres Rope Saw Pyramid00:14:55
Are those just laying there for everyone to see, like in the open?
Yes.
They're all over the place.
Yeah.
And you can tell there's multiple different types of saws, and you can kind of tell the differences between them.
Like, you can see the leading cutting edge.
And if that, like, let's say there's a stone that's broken in half, but it has a saw mark on one side.
If the leading edge is concave, in other words, going in, then it's got to be some kind of circular saw or something like that, or at least a curved blade.
If the leading edge is convex, in other words, it's coming out at you.
Then it's a rope saw or some kind of right because that your yeah, rope saw would never have a concave edge to it, so you can kind of tell.
Plus, a rope saw can twist and make all these interesting curves as it goes down, and you can see that in many cases.
Rope saw, chain saw.
We went to um, is that what they called it?
A chain, it's like a cable saw, yeah.
We went to we visited a quarry, a marble quarry in uh, in Vermont, and they showed us some of their quarrying techniques, like the old style where they were drilling and using and blasting, do multiple drill holes next to each other.
And then blast it out to get the block, right?
And then now they have this new thing where they drill one long hole and then they run a chain through it, basically, or a cable, pull it back around.
It's a cable studded with diamond.
Diamond.
Synthetic diamond.
Diamond surface.
And then they just have this machine that sits at the end and spins and just runs that cable through and just cuts this beautiful face through that, you know, through that marble.
And it will leave these interesting, warped, complex surfaces.
Interesting.
Because the cable just kind of does what it wants to do, right?
It's basically flat, but it's got this.
Very slight, just like we see on these blocks in some cases, like they cut it with some kind of cable.
Yeah, so it's possible that they cut the blocks in the quarry with something like that and said these two go together, but you can't do it on both sides, top and bottom.
Do it with the whole block.
Yeah.
So it has to have been something else.
Another possibility we've talked about, and this is, you know, some of this stuff gets way out there, but is it, like Kyle was saying, what is it, like a lapping?
Is that what it's called when you're rubbing the.
I don't, yeah, probably.
I think it's lapping.
So one of the, you know, you had Chris Dunn in here, and he talked about, you know, these AAA granite surfaces that they have where they use this flat plate to check other flat stuff for manufacturing.
And it's kept in a climate controlled, humidity controlled room.
You know, where it because that way it never changes.
If it gets a little warmer, it'll shift a slight bit.
You don't want that because these are very precise things.
You make those by basically rubbing two granite surfaces together and then add a third one.
And as you do that, when you have three surfaces you're rubbing together back and forth, you end up with this beautifully flat surface.
But if it's just two, just rubbing two of them together, they can become very smooth, but they may have some kind of contour, but they'll match because you've been rubbing them against each other.
So, is it possible?
That some of these stones are basically like you put them in there and you get a vibration going, and it just works its way into the other stone until you've got the surfaces all matching.
And then you've set it.
You get it roughly square, and then when you put it in there, it matches.
You can make all the faces match and mate all the way across.
Because, like some of the casing stones we were looking at, they may be three feet tall and like eight feet wide or something, but they also go back in towards the body of the pyramid.
Four feet or something, or more in some cases.
Or maybe they weren't perfectly fitting together originally when they built it.
And after using them for whatever their purpose was, they all vibrated and then it just like they all sort of melded together.
But one of the things Chris was showing me you can see how deep they are here.
This is how, you know, this is the depth of the casing stones.
One argument I would make against that let's say that you had one inch that it would vibrate down.
Because, like, if they're not perfectly mated, there's gaps and stuff like that in the first course and the second course and third and fourth and all the way to the top.
Then they all vibrate together and move down.
The top layer is going to have moved many feet down once you take up for all the gaps that were in all the courses going all the way up.
Plus, they would have to come together side to side.
So it looks like they were doing this individually.
As they were doing it, as they were building it.
The other thing that's great about this is that you pointed out as soon as we pulled it up about how similar it is to Peru stuff, right?
The nubs and everything.
Also, Peru is some of those walls there are famous for being.
You know, all the blocks are different shapes, sizes.
You know, you'll have tiny ones next to enormous ones and their affinity.
Because they're building a pyramid here, they are doing it in regular layers.
Courses are what these are called.
But you can tell that each individual block is very different from the ones it's next to.
Like these two are narrow.
This one's got a serious angle to it.
This one matches the angle, but then straightens it out here.
This one's kind of square.
Some of these are really long.
Like, you know, in other words, every block is completely different from every other block.
Right.
So it has the same.
Sort of like non homogenous style as Peru, except that because it's done in courses like this, you know, they have regular layers.
And then let's go around to the side.
We can see this other flattened surface here.
This is around the east side of the pyramid.
There's another flattened face there.
Oh, wow.
And the angle.
Yeah, it got this beautiful sort of reverse keystone in there.
What is that?
That's really strange.
Is that the only one you saw like that?
Yeah.
It's like a trapezoid.
Yeah, if it was flipped over, it would be like a keystone for an arch.
But it's like upside down for some reason.
But yeah, so there's this flat surface, and the archaeologists have come in and cleared this area out because there's a sort of exterior temple in this area.
So they dug all this stuff out and removed all the rubble.
It's possible that thing is a door.
It could be a door.
Is it an entrance?
Right.
Doors back then were really hardcore.
Doors were fucking crazy back in the day.
Yeah, it is a really strange.
That is wild.
So, we kind of showed you this.
The pyramid itself has this angle, 51 degrees.
Yep.
Yeah.
And then, so they built it out of the limestone courses.
Then you start stacking the granite facing stones on it, and they're sort of puffy or whatever.
Then you set up survey equipment and you figure out where your finished flat face will be, this line here.
And then you flatten those first two or three courses there, like this.
Then you can use that flat surface to continue facing the pyramid all the way up, knowing you don't have any missing.
You won't have any holes in your stone.
Oh, okay.
Yeah.
So that's the idea.
The diagrams can help sort of.
Yeah.
Yeah, that makes a lot of sense.
And then when you're done, if you have time, which these people didn't, you flatten the whole thing and then you have this beautiful flat granite face.
Hmm.
What is your guy's wildest fucking out there theory of what the pyramids were?
I think part of our thing is like, we have no idea.
Yeah.
I just, I mean, we've gone through so many.
Sometimes I think that's the wildest.
Thing that we say because people are like, What do you think it is?
And we're like, We don't know.
And then people are like, What?
Yeah.
You don't have any idea.
It's just like, What's your favorite theory?
Man.
Here's what I will say about it it's hard to believe that a society would support a system that required that immense amount of labor and planning and engineering and all that for no other reason than to bury, like, One tyrant.
100%.
Yeah.
So the question I ask is what did it provide the civilization or the society of people that agreed to do this?
Now, people make the argument, ah, that was slave, that, you know, they just had slaves and they just made them do whatever they wanted.
It's hard to imagine that you could make that work.
I don't know.
I just think that it had to benefit the society in some way.
So I do like.
Chris stuns the idea.
The power plan idea is cool because it's like it benefits everyone.
It benefits everyone.
Everyone agrees, like, yes, we should take on this monumental task, right?
Because it's going to benefit society.
So it wouldn't surprise me if we found out in some way that it did have a function.
And I think it's really hard to ignore the reverse engineering that Chris has done on it and the ideas he's come up with.
And he's even remodeled these, some of like the shafts and stuff like that with the chemicals and stuff.
He's He's recreated that to prove that those would have worked in that way.
That's the other thing there's something that, like Yusuf would talk about, the pyramid.
Well, it's just part of the pyramid complex.
And you get to see this if you go on these tours with Ben and Yusuf.
Around these pyramids, there will be other things in the area, which are like granite stones in the pavement, deep under the paving tiles, because the paving around the pyramid is actually gigantic limestone tiles, as big as this table, four times as big as this table in some places.
Underneath one tile, the size of this room.
It's ridiculous.
Underneath those are these some granite stones that have channels cut into them, like a channel like this that water would flow through or whatever.
And they go into or from the pyramid.
And so it looks like there's this whole system of like channels that had some liquid possibly moving through them and bowl shaped stones cut with these tiles over top of them.
So something was going on under the floor around the whole pyramid area.
Then there's the basalt stones.
Tiles that show up at various pyramid sites.
So it seems like there's a design that has multiple things outside the pyramid that are always around it that also suggests some kind of function.
And, you know, people have looked at the possibility of chemical processing, metallurgy, you know, like.
It wouldn't surprise me if it would ultimately be found out someday to be something like that.
Yeah.
It's crazy to me that some fucking billionaire hasn't just paid a bunch of money to have it reverse engineered and recreated to see if they could do it.
I mean, bro, if I had a billion dollars.
I mean, think about it.
You could buy a pyramid in my yard.
You could reverse engineer or try to recreate the pyramid into a functioning thing.
At least try to do it for less than you could buy Twitter for.
Wow.
It would cost less money.
You're right.
Wouldn't it?
Yeah.
Well, I mean, I don't know.
That's the question.
Like, would it actually cost less money than Twitter did?
We don't know how expensive.
You would need to get a team of people, engineers, and people, and be like, Like, you know, price this out for me.
I think Chris said it would be around a billion dollars.
Really?
Yeah.
Okay.
I think he said that on the podcast.
Listen, billionaires, does NASA really want to build a pyramid?
Our area, our country is a great place to build a pyramid.
Yeah.
We have land if you would like to build a pyramid.
There's limestone there.
There's red granite nearby in a giant batholith.
Yep.
So come on down to the Texas Hill Country.
Yeah.
Yeah.
That's what Chris was saying.
If you wanted to rebuild the pyramids, you'd do it.
There's a place in Texas that you would do it.
Yeah.
There's a place in Texas that has more.
Of these, what are they called?
Those lights that come out of the ground.
Marfa.
Marfa, Texas.
Marfa, Texas.
That's what it was.
Yeah, he was talking about building it near the Earth energies.
Yeah, that's right.
Yeah.
You could build it out in that plane.
That's his newest theory, the Tesla connection.
Now, his newest theory on it is that there was some sort of a jackhammer or device in the subterranean chamber that would like pound the ground and create seismic vibrations in the igneous rock beneath the pyramid.
That would create electron flow.
Oh, piezoelectric flow.
Yeah, up through the base of the pyramid.
Because it's what?
It's 14 acres, I think it is, the full base.
Between 13 and 14 acres.
Between 13 and 14 acres.
And that would capture all that electronic or electron flow up through the bottom chamber, through the grand gallery, into the main chamber.
And then around the edges, there's these pits where they would pour chemicals that would somehow turn into liquid hydrogen that would then come down the shafts and.
That would somehow create some sort of chemical reaction in the queen's chamber going up through the king's chamber.
I can't remember perfectly, but.
And this is where, and then microwaves are being run through.
The microwaves, yeah, yeah, yeah, exactly.
Yeah.
And then heats up the microwave.
It's making a maser or something like that, right?
Yes, exactly.
Yeah.
I mean, yeah, that's like a power plant idea that is, it's like really fascinating.
And it also points to, you know, an almost completely different, like, line of thought in terms of generating power than we have in our modern times.
You know, we have like, we basically like, let's heat something up.
Let's heat up water, turn it into steam, make the steam spin something, and then we can run magnets on the spinning thing and get electricity.
Right.
This is a completely different mindset, which is really interesting.
Would have been free energy, right?
Because he says there was a dome that was constructed around the pyramid.
Well, you'd have to build it.
You need a billion dollars, so it's not free.
Right, right, right.
No, but what I mean by it is that the pyramids, his theory is that the pyramids would have put out this, whatever energy they created in his hypothesis, would have created this free energy that you could just get out of the air.
Yeah.
Oh, yes.
Yeah.
Like thinking of Tesla's wireless transmission.
Exactly.
Yeah.
Exactly.
Like his tower.
What was his tower called?
Warden Cliff Tower.
Warden Cliff Tower.
Yeah.
Yeah.
So he was talking about actually turning a layer of the atmosphere into ionizing a layer of the atmosphere into a very good conductor.
And then you just, if you attach that to a source of electricity, then you can just plug into it anywhere else on the planet and draw power from it.
Now, that would put load on the source.
But also that the source might possibly become the sun.
It could be, yes, because the sun is dumping an enormous amount of energy into the atmosphere all the time.
So it could become a sort of free energy ish thing, you know?
It's like the kind of thing you'd have to build a tower anywhere you wanted to grab it.
Eroded Heavily Erosion Limestone Wall00:11:42
Yeah.
Yeah.
And then the other two pyramids, he says that those could have been like backups, like backup generators or something.
Backup generators or test sites or who knows.
Right.
Yeah.
I love those kinds of ideas.
And the great thing about that is it's just like, let's do that.
You know, but the idea that they were tombs is just no bodies were found.
You know, like there's no writing.
Right.
We've been in tombs in Egypt, they're full of beautiful.
Artwork and writing.
I mean, just covered.
The whole, every wall and the ceiling tells you a story.
There's stars.
It was painted.
The tunnels are big enough for like a procession of people to carry the body in, you know, a box or whatever, all the way down to the bottom.
And then there's traps.
Yeah, there's big traps.
Yeah, pit traps with enormous stone doors on the other side.
You know, it's that you can tell it's a tomb.
And then you get in the pyramid and it's more like walking around in a machine.
Right.
Yeah, he talks about that NASA engineer Friedman Freund.
Or Friedman, this is in the new book, Freund.
Yeah, in the new book.
Yeah, sorry, Chris.
I have the new book, I haven't started reading it yet.
Yeah, it's I can't wait.
Yeah, and um, Friedman Freund was known for his study on the earthquake lights.
So, I guess there's a bunch of places around the world where he found there's their most seismic activity, and it could be days or weeks before an earthquake happens.
There's these lights that come up out of the earth and they show up in the atmosphere, they look like UFOs.
People have mistaken them for UFOs before, and his.
Sort of theory on this and what he wanted to test is this could be a way to be early detection for earthquakes to avoid catastrophe during earthquakes.
So, if you see these earthquake lights coming out and you're in a seismic activity, evacuate because there's going to be an earthquake.
And it was proven.
He proved that this actually happened.
They did tests, they did studies, and they measured exactly when these earthquake lights would come out of the ground and how much longer after that there would be an earthquake.
And it's fascinating.
I do remember you talking with Chris about this on your show.
Yeah.
And then, so what he did was they took two big pieces of granite, these big, like, long square chunks of granite, and they brought them into a lab and they put some sort of electronic conductors on the ends of them and they rubbed them together.
And they found out it made electricity when they rubbed these pieces of granite together.
Yeah.
That really fucking blew my mind.
A piezoelectric effect, right?
Is that?
Yes.
Yes.
Yeah.
Flexing the quartz crystals in the granite is going to generate electrical charge.
Right.
Yeah.
The other thing is, you can't really disconnect some of these other structures around, like this.
Yeah, what is this place?
This is the Valley Temple.
This is the same construction style.
It's enormous limestone core blocks.
Some of them weigh hundreds of tons.
They're heavily eroded, and then they've been cased in granite.
And this granite has been clearly finished and flattened, right?
So the pyramid we're looking at, a lot of them were sort of still puffy.
Yeah.
These have been finished.
Right.
So inside this, you know, if you pulled these granite stones off, you would have limestone right behind them.
Oh, okay.
I can actually show you.
Is there pieces where the granite is removed?
Yes.
And you can see there's entire areas where that used to be cased in granite that are not cased anymore.
And the limestone itself has all these squarish, like divots in it, where you could see, like, okay, that was a block.
That was the back side of a granite block that was sitting up against it because it's got this rectangular divot.
In the limestone wall.
Wow.
Like the whole thing is made up of them.
The whole limestone wall is made up of these divots of various sizes.
So you can tell that it was completely encased in granite.
And not, so it's not only were the granite stones mating faces like perfectly flat, but they were flattened up against the limestone to the point that the whole limestone wall is.
This is what the outside of the.
Oh my God.
See the square indentations and rectangular marks on there?
But of course, this limestone is heavily eroded.
Right, right.
So it's very, yeah.
And you can see the size of the blocks, like, you know, There you are.
This is another place.
What kind of erosion is that?
That's the Kintkawa's pyramid.
Yeah, this is Kintkawa's.
That is a pyramid.
That's the core of a pyramid.
Now, that is the bedrock limestone.
So, they made the bottom of the pyramid out of the bedrock.
They shaped it because it's actually like what they call a yardang, which is like a protrusion of the bedrock sticking up.
They shaped the bedrock into a pyramid.
It has the slopes and then they cased it.
Probably never seen this pyramid before.
It's right there on the Giza Plateau, but it's just so heavily eroded and torn apart.
Why does it look like it comes out?
When it goes up, like this, this third layer comes out wider than the second layer below it.
It might be the angle at which I'm taking it, but it's, you know, we're kind of standing.
It's just eroded.
Yeah, it's very eroded.
And is that water erosion?
Is there any evidence of water erosion on it?
I'm not qualified to answer.
This stuff up here is, you know, very suggestive the way these vertical erosion marks and this, you know, but I just don't know.
This is definitely cut.
Yeah, oh yeah.
But this is, you know, this is the outside of the Valley Temple.
So that's the inside of it is still finished in granite, but somebody has come along and removed most of all of the granite casing out here.
But you can see where they were cut to set against this, you know, these squares are where that granite was cut to set against it.
Yes.
So let me move back to the, but this is, there's some interesting stuff in here when you're looking at this thing.
The size of some of these blocks, like this one on the right here, look at that thing.
Oh, wow, look what you did there.
That's magic.
That's physical.
That is magical.
I love that.
Yeah, I love how, like, that's what you were showing earlier.
Some of the blocks, they're like wider, and then the fitting, the block that fits into it fits perfectly into that little 45 degree angle.
Yeah.
This guy's like six foot eight.
So that gives you an example of how tall this block is.
That's Zhao Ming.
This dude is tall.
Then this one on the other side is also an enormous block.
Oh, man.
But what's really interesting is when you get, uh, The corners, right?
So the corners here.
So, I've drawn a line down the corner, and you'll notice that that giant block goes around the corner.
Oh my God.
No way.
That's like, that's like just arrogance.
It's like, you're showing off.
Right.
Well, it's interesting because when we, and also you'll see this one here, I didn't make any cool graphics for this one, but you know, it's just like, here's your layer, but nope, let's drop it down a couple of inches for this next part, you know, and let's give it a nice curve.
Let's not make it square, you know, just let's make it harder on itself.
So, yeah, you're right.
It's kind of a, uh, What is it that?
Um, well, there's a quote from 2001 A Space Odyssey where he was talking about the geometric perfection of the monolith was a kind of mathematical arrogance, is what he said.
Yeah, and it's sort of, I always think of that when you're looking at this stonework, is it's like they're just showing off, dude.
Um, so here's another corner in a different part of the so you can sort of clearly see the corner line, yeah, right?
And it looks like uh, the corner, like I don't have good pictures of it here, but when you walk up close and look up, that corner line has a regular radius.
Like it was drilled from the top all the way down with a single tool.
I don't know if that's how they did it.
It's a square tool.
Like, no, it's not.
It's got a round radius, right?
So the blocks come in and then there's a curve where the corner is.
It's not a perfect 90 degree.
Like there's a tiny bit of a curve.
Like there was a bit that was used.
Like a one inch drill bit.
They just went from the top of the wall just all the way down.
Drilled all the way down to the ground.
So, yeah.
So that's the corner.
Now, I'm not saying that's what they did.
It's what it looks like.
It's like the radius is.
The same.
And it's continuous across the blocks, but also look, this block goes around the corner.
This block goes around the corner.
All three of those go around the corner.
This block goes around the corner, and this one goes around the corner.
Here's a picture of another.
Oh my God.
What the fuck?
Yeah.
And notice the radius of the corner.
Like it's a continuous line going all the way down.
Yeah.
And it's a tool.
It's clearly, it looks different than the faces of the wall.
Yeah.
Like it just stands out.
Yeah.
It's got a different sort of.
Aspect to it, and then you could see this one around the corner, that one goes around the corner, this one goes around the corner, yeah, reflects differently than the rest of it, like, yes, and all the way up.
They go around the corner and they mostly alternate.
And then, you know, just this is my favorite, right?
Just in case you're in doubt about blocks going around the corner, you got this block.
Oh my god, it is the corner.
So, you start to think, how big was this initially?
You know, like this block has to go deep into the wall to the right and deep into the wall to the left, and all the way back into the you know, it's a That's a big damn block right there.
And they've just cut one corner of it off to make it the corner of this wall.
That's absurd.
So, this is what we came up with.
Let's say that you want to have a top down view.
Yeah, a top down view.
You want to make a chamber like we were just looking at, right?
So, you build big limestone casing blocks and you make a big rectangular chamber here with limestone casing blocks.
Then you case the interior in irregular granite.
Sort of puffy, irregular granite.
Now, notice when you're looking at these that none of these blocks, these granite blocks, go around any corners.
Right.
Okay.
Then you go out onto the top of those granite blocks and you find the place where you want the actual interior wall to be.
This is where you want the surfaces of the wall to be.
It's inside the stone right now.
Okay.
Then you drill four holes at the corners of that interior future wall.
Then you go in with your magic granite flattening tool, whatever that is.
And you remove all that granite.
Now you have four blocks that go around corners.
Yep.
That makes total sense.
Yep.
We know that they were removing, they were facing the granite.
So, if you had six or eight inches, we know that they were facing that pyramid at least 18 inches deep.
Yeah.
So, yeah, if you're going to go face it, this is what's going to happen in an inside corner.
And we have, there's places we can look at later, like the Osirian, where they were in the process of facing the wall.
And we can look at that too.
Yeah, the Osirian stuff is nuts.
Yeah.
Well, one more thing in the Valley Temple is I'll just show you some of the joins.
This is, I'm just putting my fingers up there for reference, but there's a.
A horizontal join and a vertical one here, right here, and here they're almost invisible.
Yeah, I mean, look at that.
You can barely see it, the only reason you can see it is because there's like slight erosion and there's slight discontinuities in the crystalline structures, basically.
Right, right, right.
Otherwise, it would be invisible.
Yeah, so uh, it's just so crazy that there's another one.
Oh my lord, yeah, so that's a you know, this is an outside corner, uh.
Tuning Damn Time Long Commit Number00:02:51
And it's just, it's also very heavily eroded.
It's really interesting how deeply eroded this granite is.
And granite is, you know, not a weak stone.
How long does it take for it to basically begin to decompose like this?
It is one of the hardest stones, right?
It's like one of the top three hardest stones.
Yeah, it's a seven, I think, on the most scale.
Nine being, or was it, is it diamond as a 10 or is it nine?
I can't remember.
I think it's a 10.
I thought it was a 10.
Yeah.
So it's seven.
And, you know, we had a geologist on one of the tours with us and he would look at this.
You know, he'd stand there looking at this, like this, uh, decomposition of the granite, and he's just like, You know, I'm like, How long does this take, Chuck?
And he's like, A long time, a long time.
He wouldn't commit to a number, he just said, A long damn time, right?
So it's just so wild to me, like, just try to imagine what those tools would have looked like.
And there's zero evidence of any of these tools, and no remains, yeah, from any of these machines that they would have used to do this.
No, known.
Yeah.
No, no.
I would love for there to be, you know, someday somebody finds a, like, an unopened tool, an unopened one.
Chamber.
Well, Chris Dunn talks about the, you've heard about him, the tuning forks that he mentions.
Yeah.
The, you mean the ones at the base of the staffs?
Is that what you're talking about?
Well, he said there was a row of giant tuning forks in the Grand Gallery going up to the King's Chamber.
Oh, that's right.
Metal tuning forks, because he shows that they're, like, the shapes of them, what he hypothesizes they would have looked like.
Whenever the explosion happened in the King's Chamber, it would have been like an electronic explosion.
And there's burn marks on the top of the Grand Gallery going all the way up where those tuning forks would have been.
And he superimposed a graphic showing what they looked like.
And he thinks that somebody stole those tuning forks.
I don't know if maybe that's a theory.
The Helmholtz resonators?
Is that what he's talking about?
Maybe.
Yeah.
They're kind of a tuning fork.
There's a conspiracy theory I found out there that somebody found a photo of some of these tuning forks.
They're like, Hidden away somewhere.
Oh, man.
And somebody like stripped them out of there and they're hiding them somewhere.
Yeah.
That's, well, see, that's believable because if, you know, if you have ancient tools and they're made of metals and other valuable things, and then, you know, civilization collapses and a long time goes by, and then you have people who are just trying to survive and they find sort of rusting, degrading remnants of tools, they're going to peel bits of metal off to make knives, spears.
Right.
They're going to scavenge it.
And whatever time doesn't destroy, people will destroy if they can.
Yes.
You know, and so there's just going to be nothing left.
Scratch Diamond Options Coated Cutters00:02:19
But if they used, hypothetically, if they were using diamond cutters to cut this stuff, we would still have the diamonds, like the remnants of the diamond, right?
Well, our diamond cutters are coated in dust.
Yeah, there's an entire desert full of sand.
Yeah, and it's, you try to find diamonds and grains.
We talked about this.
Yeah.
You'd have, you're just sifting sand, hoping that one of those little bits of silica is actually a diamond.
It's a.
Wouldn't the structural integrity of the diamond, if it was a blade, wouldn't it still be?
Intact or would it erode to dust?
No, we're thinking of dust to start with.
So you have like, you know, if they.
Our diamond blades are just coated in diamond dust.
Oh, ours are.
Yeah.
Okay.
So that's the cheapest side of diamond to get is like this dusty bort stuff, right?
You get a metal blade and you set or you have some way of setting the diamonds into the metal.
So as the metal is wearing away, it wears away and there's a new diamond in there.
Oh, that's.
And that starts scratching the stone until that one gets worn off, falls out, and then there's more underneath and you can keep wearing that blade down that's embedded with.
Diamond.
Ah, I studied.
I understand.
I was picturing like a pure diamond saw blade.
Yeah.
Shows how much I know.
I'd like to have a diamond sword.
That'd be cool.
Holy shit.
Yeah.
That would be sick.
Yeah.
So, yeah, that's what I was thinking of.
I don't, you know, the same guy, Chuck, was talking about making, you know, kind of doing this as a test by pouring, I can't remember exactly what he was doing, but pouring, Some kind of metal that he had put a bunch of diamond into, into some kind of grinding disc.
And you can, he's trying to kind of do these little experiments to say, well, maybe they were doing it this way.
And you don't have to have diamond, you just have to have something harder than the stone that's in there, or at least as hard as.
But you don't, there's not many options.
There's not a whole lot of options.
Yeah.
What is there besides diamond?
Well, quartz would cut most of granite, except the quartz in the granite.
That's the problem.
But it will scratch itself.
It will scratch itself.
But the hardest thing in Granite is the courts.
You're just going to wear through so many bits.
I just don't.
They should be everywhere.
Yeah.
Column Notch Thick Feel People00:15:08
This is great because it gives people a real idea of how far away these places, these complexes are.
Yeah.
Giza and Menkara are up there in the north near the big delta.
Right.
The Osirian is 300 miles south up the Nile.
And that's the next place we look at here in this.
Yeah.
This is.
It's next to the, you know the, the Temple Of Seti, the first.
That's what this is to the.
This is the temple.
This is above ground.
Okay big massive, beautiful temple.
It's one of the.
You know it's still got its roof on it, which is a lot of the Egyptian do.
These dynastic temples no longer have the, the roofing blocks on, so this one does, and it's.
It's cool to go in there and just, you know, it's dark and cool and there's these holes that shine these beams of light down on certain parts that move around during the day.
You know it's an amazing experience to walk around in here and the carvings are beautiful, But then you get down into this thing.
This is the Osirian.
So this is outside the temple, and it's like 40 to 40 feet below ground surface.
So it's underneath the ground, like a basement.
This is looking down into it.
Holy cow.
So you can see, if you're looking in the back there, you can see the cliff walls there.
That's all Nile sediment.
So this thing is deep down in Nile sediments.
And you can see that it's in the water table.
The green at the bottom is water.
But this is just the top of this structure.
It actually goes down another like 30 meters.
It's got multiple levels below this.
That we've never accessed?
Well, I think people have dug down into it.
Yeah, there's some very old pictures from before the dam was built when they were digging it out.
And you can see that these were deep pits, which is part of what makes this structure so strange and mysterious.
Just like the pyramids, when you're walking around in here, you don't feel like people were supposed to be walking around in here.
In here?
Yeah.
You sort of feel like you accidentally found the basement access to a skyscraper building and you're down there where all the machinery is and you're not supposed to be there.
Wow.
So these things full of water would have been incredibly deep pits.
You know, before they're full of water, now they're full of water and material and dust.
You see through the water?
No, it's not good water.
There is some areas where you can see through the water where the sediment and stuff that has basically filled up these deep pits are, you can see down there.
Uh huh.
Okay.
But there's also a stairway that just disappears into the water.
Yeah.
You can't see down there.
We need to get scuba divers.
Strabo wrote about it and called it.
He said it was referred to as the well.
Yeah.
You're ready to do this, right?
No, I'm not ready to scuba dive in that shit.
Oh, come on.
I mean, you need the same kind of scuba divers that were like scuba diving in Chernobyl.
Those guys got balls.
My balls aren't big enough.
Oh, check out the top.
You see the top, the block on the top first pillar?
Yes.
See how it's cut that cut in it?
Oh, yeah.
Yeah, people were quarrying this stuff.
Those are quarry marks, right?
These dashed lines.
Is that what you're talking about?
It's like a notch cut out.
Yeah, it's got an L notch on that top one.
Oh, here.
Right.
Yes, yes.
Yeah.
Like it's, you know, it's made, they've cut it like this so it's not going to move or something.
It sets up against this block.
There are also, I can't remember if I've got pictures of this, but they sort of tongue and grooved these.
Oh, really?
Yeah, I can show you that in a minute.
Genius.
Yeah.
But that, yeah, that column was basically split in half almost.
Yeah.
But look at this thing.
It's hard to describe the sheer size of these columns.
This is all granite, also.
It's all granite.
And it's.
Now, okay, how do the people that give you these.
When you're going on these tours of these places, what do these tour guides say about this stuff?
When you say, how do they do this?
What do they say?
They don't say anything.
Like, there's no.
I mean, I haven't heard.
You know, Yusuf will walk around in here and ask questions like this.
I would feel like he's like giving a tour of this.
Yeah, that's what I'm saying.
When.
If the tour guide tells you how they did this, it's not a good tour guide.
Yeah.
Because we don't know.
Right.
So there's no explanation.
I mean, if there's accepted explanations.
Well, the standard explanation is that SETI's engineers built this thing, right?
So it's a new kingdom that they built, but it doesn't look anything like his temple.
It's not the same at all.
And I'll show some comparison pictures here.
The standard explanation would be manpower.
And rope and sand and copper tools.
Copper tools.
And a bunch of guys dragging stones and whatever.
Yeah.
Like.
That's the standard.
I love the video or the clip on Ben's video where he's like on the pyramid looking down at a tourist using the pounding stone.
He's like, You're going to be there a while, mate.
Yeah.
Exactly.
Yeah.
But it's also interesting how they, you know, this, you can see the water lines on the bottom of this column.
Yeah.
Because the water table would go up and down.
And just, yeah, just the enormous size of these columns.
So there is a picture of a dynastic temple.
And just look at the difference in everything.
The dynastic temple is covered in art and writing.
Every surface is telling you a story or giving you a picture of the night sky or the stars or the pharaohs.
And those columns are stacked pieces, correct?
Yes, those are column drums.
They're discs, basically stacked up.
And they did this in a very similar way.
They stacked up these puffy discs, then they came back and ground them into nice circular columns.
But it's also limestone or sandstone, much, much softer.
Then they covered it in plaster and then they carved the plaster.
Yeah.
And when you're walking around in these places, and like, you know, notice the tops of the columns, like each one is like a plant.
It's a lotus or it's a, you know, it's all these various different flower types up there.
Beautiful, but you feel like people were supposed to be in here looking at the pictures, reading the stories.
It's open and airy and sort of you know, and beautiful.
And then you're in places like the Assyrian or the pyramid, and you're just like, This is a machine, I'm not supposed to be in here.
This is a giant pump or a power plant, or yeah, the Assyrian is definitely just the weirdest place to be because what's so weird about it?
It's weird because there's no like weird in the sense of do I belong here?
Yeah, because the walkway, the places where you can actually go are like, There's too narrow, you know, that it's.
You just, and if it was empty of water and all the rubble, it would be a huge drop off there.
Yeah.
I mean, OSHA would be all over this thing.
You got to have handrails.
No, but yeah, there's no room to walk.
Like in front of that small door back there, there's like a ledge about a foot wide or something.
Yeah.
Well, I'll show some pictures of that in a minute for sure.
So it just, it's just strange.
It's like, you know, there's no place like that in any of the temples.
Everywhere you go in the temples, it's open and the floor is big enough for multiple people to walk side by side.
The doorways are large, you know, but it's still a doorway, it is, yeah, which is so confusing.
It's a doorway to a tiny room.
Have you ever had no decorations?
Have you been in like you know, uh, there was a well, we grew up in Georgia and there was some like abandoned like base, you know, like Fort Benning, I can't remember what it was.
Some, some it was a band, it was like barracks, yeah, barracks and other things and like large buildings and they had big concrete slabs and but all the stuff inside had been taken out, so in the concrete slab, there would be just unexplained sockets and holes.
Where machinery used to sit.
Oh, yeah.
You know?
Okay.
And it's like, you feel like that in the pyramids and in some of these places where you're looking at these and you're like, something was mounted here.
Sort of like what you were talking about with Chris saying in the Grand Gallery, there were these tuning forks or Helmholtz resonators mounted in these slots going all the way up the Grand Gallery.
Right.
You look at the, you know, like, what is this little alcove?
What is this hole in the floor?
It's like stuff was put, stuff was here, you know, it's just gone because it was metal or it was valuable or it was the machine that was taken out.
And now we just are left with the, you know, the superstructure.
Or whatever.
Right.
You can see quarrying attempts here.
That's what this.
Those notches.
Yeah.
Yeah.
Like they would make these notches and they'd put wooden wedges or something in here and try to split the rock.
But that was much later, right?
Yes, way, way later.
Yeah.
Yeah.
And probably that rock was buried in sand.
Yeah, it was buried up to here, so they didn't know how deep it was.
So they just made notches, hoping to get this corner off there, not realizing that the thing went all the way down to here.
So then when they tried to split it, it just gave them.
They broke the top off and then they quit.
Right.
Yeah.
I mean, that's a guess.
No one really knows.
The other thing is, look how the.
Everything here is a guess.
Look how the columns are actually set in their own countersunk sockets.
Can you tell how far down that column goes?
Well, that's interesting because here's another one.
You can see it's in its own socket, but then there's this in the middle.
And you can see it's very faint here, but you can see around the edge that here's the socket, and then there's this deep part.
So there's a small depression.
There's a small depression around the edge, like what the other.
Oh, so they like notched the bottom of the stone that was sitting in there to where it would cover the outside but then go deeper?
That's the question.
So instead of just something simple like this, where you're sitting a big block down on your floor, you actually built something more complex and interesting like this.
And then you plug that in.
Whoa, dude.
Oh my God.
That is impressive.
So you got these enormous, you know, multiple hundred ton.
Or whatever.
I don't know what these are estimated to weigh.
I don't know.
100 tons, maybe?
These columns.
And you're like, okay, if I put that down, it's not going to move.
But no, we're going to make sure by sock.
We're going to plug it into the floor.
You know?
That's what my brain hurts.
That's actually a question.
We don't know because we haven't looked at the bottom of one of these columns or whatever.
Yeah, but this is weird.
So this is what Kyle was talking about.
You're trying to walk and you got to kind of like Indiana Jones your way around here, leaping across, you know, puddles of radioactive water.
It's like.
Well, it could also have been a like a wooden walkway over this.
It could have been, yeah, there could have been a floor, but it's see that that thing that we're looking at there that's full of water was a very, very deep pit.
Like it, there are old pictures where it just goes down into darkness.
Really?
You fell off there, you would break your neck.
Yeah, it's like it's not an insubstantial thing.
It's you know, so but you're right.
I mean, there could have been a wood floor, right?
You could, or something else covering it.
Yes, can we find the pictures of this with no water?
Maybe he can look them up online.
Old pictures of the Osirian when they were first excavating it.
Osirian excavations.
Like Osiris.
Osirion.
Osirion.
I always have to look up the spelling of that word every time.
O S I R I O N. O S I R E O N or something like that.
Osiron.
Osirion, yeah.
So this is the other, looking the other way in this same channel.
Look at those.
These are the only three that I know of remaining roofing blocks, the ceiling blocks.
Those, they're huge that cross the top.
So these massive things, and they're what, what do you think, Cal?
24, probably like 24, 35 feet up there.
And they're, the blocks themselves are maybe like five foot thick.
Yeah.
So it's like five feet thick up this way.
And, you know, so, so what you're looking at here, that you got a column, and then on top of the column are these things spanning the column.
Like a lintel.
Yeah.
A lintel going across.
And then across that were these gigantic things.
And most of those have been removed.
They're all gone.
Yeah.
Yeah.
They're part of this rubble, you know, whatever.
There's pieces of them lying around.
And then, you know, you're looking at this outer wall.
So, are those like parts that stick out more?
Are those like parts of those knobs that were like.
Yeah, the nubs.
Yeah.
The nubs.
Yeah.
Yeah.
So, you notice that this wall has like the blocks again are unfinished.
They're puffy, right?
And they have nubs on them.
There's two nubs there.
And then you can see here, like, there's just a whole bunch of interesting stuff here.
There's indentations.
There's this one here.
And then these inserts, these little tiny inserts.
Now, we saw a whole lot of these things.
And initially, you imagine this tiny little rock goes all the way through to the back.
Like it's a big, that's not what it does.
It's actually possibly, it looks like it was a cosmetic fix.
So, the one on the left would be a better example that the corner of that block may have been chipped off.
Now, this is the exterior, right?
This is inside.
This would be inside.
The Osirian has no exterior because it's in a hole.
It's just underground.
Right, right, right.
Yeah.
Yeah.
But basically, if the right corner of that block had been broken or chipped away, then instead of just leaving it a void, they carve out a little square notch and then put a little block in there.
Hmm.
It doesn't go all the way through.
And there was one on an outside corner that we confirmed does not go all the way through the wall.
It just was to fix a corner that had been chipped away.
Yeah, I used to have that picture in here.
I took that one out.
How dare you take that picture out?
Wow.
Yeah.
Yeah, so if you broke the corner off here and then you just insert this in too, so that when you finish the wall, you don't have a hole, right?
Right.
That's the idea.
But it's also interesting how all of this.
This is granite?
Or no, this is.
This is like a.
This is granite.
Is it granite?
Yeah.
That is.
Inside those rooms.
Is quartzite or something.
There's some.
Yeah, there is some other kind of stone.
Yeah, but this outside here is granite.
And then, like, the other thing, notice here, along this central block is this angle or the layer change.
The course changes.
Like, the whole course just shifts down an inch or two.
Around this sort of central small block here in the middle.
Like, I love these kinds of little design details.
Yeah.
And then if you look at the whole surface, you can see, you know, again, there's nubs all over the place.
And then there's these strange, interesting scoop marks.
Those are a couple of clear ones, like somebody was scooping material off of the surface of the block.
And then there's this strange thing that we found when we were looking at this.
I'll just show you this real quick.
There is.
Something here.
What the?
Oh my.
Where this little tiny sliver of this block goes underneath the other one.
Now, this is what I started thinking about.
Like, the engineer is just like, you know what this wall needs right here?
One Degree Outwards Messes Block Half00:02:13
Yeah.
I need this block to have a half inch thick thing that sticks out to the left.
Like, yeah.
It's just ridiculous.
So I think this is another example of, of, The building of this wall actually shapes the wall itself.
Yeah.
Like it, in other words.
You don't think there was an engineer that demanded it?
Like, I need this whole layer.
That's functional right there.
I need this whole layer to drop down one quarter of an inch.
And I want it to happen inside the wall.
To get it resonating at the right frequency, you had to have that little notch.
If that's the case, you'd have to give serious credit to those contractors.
Yeah.
Because they would be like, okay, yeah, sure.
We're actually going to do that.
Yeah.
We got no problems doing that.
Nowadays, they'd be like, Well, the other thing about this entire job, like looking at it as a job site, is that everything is very, nothing is straight up and down.
These outer walls are very slightly angled out.
Outwards.
Yes, outwards.
And then all the columns are very slightly tapered inward as they go up.
And it does this weird thing with negative space, right?
So the space that's far away from you is bigger than the space right in front of you.
So it all looks the same size because you have this natural foreshortening as the space goes far away.
But because it's actually getting bigger, the It messes with your head.
It messes with how far away it looks.
Yeah.
What?
So, can you imagine?
You're like, yeah, I want my whole house built, but I want the outside walls to tilt outwards one degree.
And I want everything on the inside to tilt inward one degree.
You know, can you imagine what your contractor would say to you if you told him that?
Yeah, I'd imagine.
No, that's fucking insane, man.
Yeah, again, it's the design details that you see, you know, that are just.
Are fascinating, yeah.
So, here again, look at the look across the top of the courses.
We're looking at that same wall, but I'm on the I'm up, I'm up outside of the thing, zooming in.
Okay.
Look at these huge scoop marks taken out of the tops of these blocks.
Like somebody was removing an enormous amount of material kind of in a rough fashion.
And I think they were getting ready to smooth this wall out.
Solomon Child Jews Legends Sloth00:15:15
What do you think about the idea that they had a way to make the stone softer so they could do this kind of stuff?
Yeah, the geopolymer idea.
Well, not full geopolymer necessarily, but softening.
Like a way to make it softer.
The chamois.
Chris Dunn talked about this a little bit.
Yeah.
I have a hard time with granite being softened.
I don't know.
It could be possible.
Basically, you already are thinking of non conventional, completely unknown ways of working with stone.
And so to rule something out completely shouldn't do it.
But it's just not.
I think that there are other ways, but yeah, maybe they could soften it.
Could you use some kind of electromagnetic something to just make it?
To change the crystal in nature, I think there are interesting legends about this supposed thing that could soften stone or cut stone, like the Shamir.
Yeah, what's the Shamir?
That's it, it's basically a tool for working with stone, and there are just strange legends of it.
That I know one of them is in the um, uh, what do they call it?
It's like the legend of Solomon, or some of the stuff in the um, yeah, you know, apocryphal texts, yeah, the the tales of the Jews.
So, the story of Solomon and You know, he has, he basically gets this ring from God that allows him to control all the demons.
And the demons have all these different abilities and stuff.
And he ends up convincing one of them, like, hey, I got to build this temple.
I need you to, I'm not allowed to use iron or anything to cut it.
Yeah.
So he's supposed to, yeah.
God is like, I need you to build my temple and you may not use iron on any of the stone.
Yeah.
So he convinces this demon to tell him where the secret tool is or whatever.
And it's out in the middle of the desert and it's, You know, there's this weird story about a bird that is protecting it.
And the bird, the way to get the tool from the bird is you trick the bird into thinking its nest is being attacked and then it uses the chamois and then you can grab it.
It's essentially something like that.
It's a really strange story.
Yeah.
And that's apparently.
Where does the story come from?
It's in the Legends of the Jews.
It's like the Legend of the Jews.
Legends.
Yeah.
The Legends of the Jews.
Like it's a collected works of old oral traditions and things and other written works.
Of the Jews about Solomon in ancient times.
Like, this specific story has fascinated us for a long time.
Like, the concept that one of the things that Solomon got when he asked for God for wisdom was the ability to control all these demons.
Like, he knew their names and he had this ring and then he could command them.
And because each one of them had all these specific superpowers, basically, all of those superpowers were at his, you know, he could use them.
Oral traditions or texts, when do they say that this was?
Do they have, do they give you any sort of idea?
When was the time of Solomon?
I don't know.
I don't, I don't think they give dates.
Yeah.
Yeah.
They're like, can you compare the time of Solomon, uh, 3000 BC?
Yeah.
Yeah.
Like, when was Solomon?
I don't know.
I don't know.
When was the time of David?
Yeah.
It's like, right.
Oh, no.
Yeah.
Wow.
I'm not sure.
I, I, I, it's possible that information's out there.
I just don't know.
I typically take these types of stories like, I wonder about this.
Is this a story that is a lost?
Like, in other words, if you were to try to describe a modern lathe, for example, when you have completely lost all of the knowledge of what a lathe is, but you just know that it does, that it can magically do stuff with stone or wood or metals or maybe even materials you don't even understand.
So, how would you tell a story about it?
Right.
You know, they, they, so it's like the idea that a bird is protecting this, this tool that can just, Manipulate stone with ease makes me wonder is like, is the bird important?
Was it, in other words, those people that use the tool could also fly?
They could fly, yeah.
So that's the kind of way I look at these stories is that what there's, or it's hidden up in the mountains because, yes, that's where the bird is supposed to be is up high, you know.
Yeah, this is kind of like what we were talking about last night, right?
Like, if we were, if a comet hit the earth tomorrow and wiped out everything that we have, and we had to talk to our kids about like what the iPhone was, how would we describe the iPhone?
We would say, Oh, it was this magical.
Square we held, and we could connect to everything across the world.
Yeah.
So it'd be hard to understand.
You would be able to talk to your family members.
Yeah.
Somebody who never saw it or touched it would be so, it would be so hard to describe in words.
Yeah.
Yeah.
And eventually, a thousand or two thousand years later, people would be taking their little stone tablets all together to go outside to get service.
Yeah.
Yeah.
To get reception.
Right.
So they can talk to their ancestors.
So they can talk to their ancestors.
It's, you can see how these things could turn into these types of beliefs.
Well, the people of old.
You know, knew these great powers.
Yeah.
In the golden age, in the time of the gods, you know, they had these powers and they could answer any question.
They saw, you could see any part of the earth from anywhere, right?
Like all of these things.
Sounds like gods.
Yeah.
It comes like, and these are actual, you know, these ideas that they could see far.
They could see instantly to any place that they wished.
Like these are actually in ancient myths, like these same statements about ancient peoples.
And so when you nowadays, where you're looking at Google Earth or you're asking Syria a question or whatever, you're like, Is this what they're talking about?
Something like this, like that they had a very advanced civilization, you know, and they had fully computerized.
And that's what's great about Ben's work and, you know, and these other people like Chris Dunn that are doing with the vases is that they're basically giving you a smoking gun saying you can't explain this except with advanced tooling.
Right.
And the kind, you know, to make a five axis mill that can make something like these vases with the precision it has requires.
An enormous industrial civilization to get all the metals, to like, you know, manufacture all the stuff, to have all the precision, to make the bearings, like Chris was telling you.
It's not a simple task.
Right.
You can't make a wooden lathe and get the precision that you get with these vases.
Right.
And then, you know, any five axis tool has to be controlled by something, you know, like a computer, something like it.
It doesn't have to be exactly like what we have, but you, like, in other words, to turn a design into analog motion.
Yeah.
You know, the motion of a machine from a design, there's no real good way to do that without a computer.
So, suddenly we have basically the vases, and the precision on the vases is good evidence to take another look at these structures and say, What are we really looking at here?
And to take another look at the myths and the ideas of the times of the gods and the time of the Anunnaki, of the shining ones, or whatever, these people that seemed to come out of the sky and were very advanced and powerful and may have ruled over.
Other places, you know, with their technological tools.
They don't have to be aliens.
They could just be humans from an advanced civilization from somewhere else on the planet.
Right.
Like us compared to some of these uncontacted tribes right now.
Yeah.
We were talking about last night.
Like, look how advanced we are.
We have iPhones and fucking Uber, but these people are still living in the same time as us that are wearing fucking loincloths and throwing six foot spears.
Butt flaps and Birkenstocks.
Yeah.
They're in the Stone Age.
Yeah, they are.
It's crazy.
And that, there's no reason why that couldn't have happened in the past as well.
And it's probably.
Anytime, I think there may have been multiple times that hominins, hominids have been advanced.
There's no reason why they couldn't have.
And they lived alongside Stone Age peoples.
And then, if anything was destroyed, this is kind of one of the things that Graham Hancock talks about.
It's like once your great civilization is destroyed and all of these systems that you have built that everyone relies on to survive.
You've forgotten how to be a hunter gatherer.
There's only going to be a few people in your society that really do that, that know how to do that, know how to go out and just get the resources from the ground itself.
Yeah, the people who are still hunter gatherers are the preppers who no one likes, right?
So those are the guys that end up surviving.
So if there was a cataclysm today, those would be the guys that survived.
Those would be the ones that survived.
And they would, if how would they tell our story?
But if people from our civilization went to seek refuge with them, right?
Like our entire civilization fell, I need your help.
Maybe some of them would be killed, some of them would survive.
Some of them would learn the hunter gatherers' language, would then be able to transfer some of our knowledge to them, maybe give them help them, uh, so it learns some new concepts, right?
And then they're so, to those people, it's like, ah, they were the ones flying in the sky, they were the bird people, yeah, you know, or they were the ant people, they were mining in the ground, they were bringing up all this stuff out of the ground.
Um, and so in some places, the you know, we would be like vericocha to them, yes, vericocha, yeah, or the Anunnaki, right?
You may have in some places the survivors go and they and they.
Become like tyrants.
They use the technology they save and they become rulers and they're, you know, God kings.
And in other places, they're like, Vita Cocha, I'm here to help you.
You know, let me show you about agriculture and like building structures and, you know, yeah, and peaceful, peaceful, peacefully.
Yeah.
Don't make the same mistakes we did.
Right.
That sort of thing.
But I just, and the other thing is, is like all the big cities and all that kind of stuff, they'd have been on the coasts, they'd have been in the river valleys.
Yeah.
They're all gone.
They're buried.
Yeah.
400 foot sea level rise gets rid of a lot of coastal cities, like all of them.
Where would Giza, what would Giza have looked like?
Like how.
Giza's on a plateau already.
So it's on a plateau or so it would have been offlifted.
But that was all during that time, 12,000 years ago, where it would have been all green, right?
Yeah.
It's like it would have been much more lush than it is now.
Yeah.
Like if you go back, I think, what was it?
At least 9,000 BC, you begin to get rainfall.
Like a lot of rainfall there, and then it becomes green as you keep going back.
Yeah, so it would have been a much better.
I'm not exactly sure about those dates, but somewhere around there.
Yeah.
Yeah, don't quote me on that.
But look, we have that kind of stuff here.
Like, one of the things that's been fascinating me lately is this the footprints in White Sands, New Mexico.
Yeah.
Yes.
There's hundreds of thousands of footprints there.
There was a whole society of people that lived on this ancient lake that's now dry, right?
It's a dried up lake bed.
And the footprints of those people and the animals that they lived with are all there, preserved.
And it's now been very successfully dated to be around like 23,000 years old.
And it wasn't too long ago that scientists believed that nobody was here at that time.
No humans were here.
They thought they came over the Bering Land Bridge or whatever.
I think the first humans ever to get onto the American continent was like between 12 and 15,000 years ago, is what they thought.
Before that, no humans had ever been here ever.
How did they?
So when they found these footprints in white sands, how did they date that it was 20,000 years ago?
It was something having to do with seeds that were in the.
Like at that time, the sediments that were, what's the word?
At the same time as the footprints were made, have seeds of plants that were flowering or whatever at that time.
And the seeds are like pushed down into the mud by the footprint.
Oh, wow.
And so they were able to carbon date those, something like that.
I don't remember.
Yeah, there's a couple of other, they have multiple lines of evidence now because people question it.
They're like, that's too early.
Yeah, it was debated for a while and it's pretty conclusive at this point.
How?
Bigger the footprint, like, do they think that the people looked similar to us, like, same size as us, or they think they were like small or big?
Or, well, the famous ones, anything about that, just they're like, yeah, they think they were either like a teenager or a young woman, yeah, implying they're a little smaller than you know, a little smaller, yeah.
There's one set that particularly fascinates me, which is they think it's either a young man or a woman, and they're um, walking very brisk, walk right, really fast.
Along, they say, the banks of the lake.
In other words, it's a straight line.
The line goes for a mile and doesn't deviate more than a meter from straight.
So, a very straight line.
So, the idea that just walking in the mud along this lake shore, the set of tracks goes out and occasionally stops.
And then there's a tiny little set of tracks that circle around like a child.
And then it's just her tracks.
And then again, a rest stop and the child.
So she's carrying a child, a toddler or something like that, really fast along the bank of this lake.
And after she passes, a sloth, a giant sloth, comes by and arrives at her set of tracks and then stands up on its hind legs and looks around and then gets back down on all fours and keeps going, crosses her tracks.
Another occasion, a mammoth goes across her tracks.
And then a short time later, she comes back along the same set of tracks, walking beside her own tracks.
Now, no longer brisk walk and no child.
Whoa.
And those tracks were not trampled by thousands of animals in the days and months and years ahead into the future.
No, something happened very shortly after those tracks were made that caused them to be buried and only uncovered recently.
And how recently?
Yeah, 23,000 years later.
What was that?
You know what I'm saying?
That is crazy, dude.
Yeah.
That kind of stuff just fascinates me.
So, I mean, like, how many times did.
What was she doing with the kid?
What was going on?
I mean, it's like.
So, a giant sloth came along and stole her baby?
No, no.
It just encountered her tracks, probably smelled her scent, stood up on its hind legs, looked around, but she had already passed.
Yeah.
Mammoth, too.
Mammoth just walks by.
He doesn't care.
Yeah, Mammoth doesn't care.
Yeah.
Maybe he was being ridden by it.
I think she came back, though.
Without the kid.
Without the kid.
Like, the idea, like, you know, the first thing I thought was she was bringing the kid to some other family.
Without Kid Dew Scablands Goes Looks00:02:31
On the other side of the lake, or something like that, right?
She's delivering, you know, she's like, here's your child.
But going really fast.
But she's running, like practically running with this child.
And then having to take a break, put the kid down, and it runs around, pick it back up, boom, keep going.
So she's like in a hurry.
Well, a mile is all they've uncovered.
Yeah.
We don't know how far she actually went.
And the crazy part is it was preserved immediately after that.
Yeah, because there's, I mean, there's so many animals that live along this lake that if nothing drastic had happened, those footprints should have been destroyed by other animals and birds and wave action, wave action, and sedimentation.
Yeah.
So something happened and they were preserved.
And I mean, it had to have been fairly quickly.
After she made those tracks.
That's the thing that gets me.
What could have happened?
If there was a significant rise event in the lake, therefore no more animals were walking along that part to disturb, no more waves would ever disturb that area of the sediment, and the lake just suddenly became deeper.
Yeah.
Then every year the lake varves that would form from the natural sediments that are just sort of raining in in the water all the time leaves and Whatever they'd fill in the footprints, and then later, if the lake dried up, there might be some sediment on top that dries up, but they would never be disturbed down there.
Yeah, so that could have happened.
And that's like a lot of the footprints that they find, they can tell that they're you know they're actually still under sediment, and they can kind of break it off there and get you know, or just scan it and see it without actually disturbing it.
But they say that, like, at certain mornings when all the environmental conditions are right, like there's dew on the ground or whatever, you can see these little spots.
On the surface, that are showing you that there's a hidden footprint below.
Oh, really?
Yeah, by the way, the water collects or the dew or something, it's like a little tight, slight temperature change.
Yeah.
Yeah.
I mean, looking at some of the stuff that Randall goes and looks at in the, like on the West Coast, the scablands.
Yeah.
And those, how he talks about what were they like, 100 megatons of water flowing through the earth at like hundreds of miles an hour.
When the comets hit and melted the ice caps, like if the water was rushing at that volume at that speed, it would just, I would imagine, everything would just be fucking vaporized.
Alternates Boats Flattening Wall Different Tool00:09:07
Yeah, just ripping up everything in its path.
Yeah.
I mean, and then of course, you know, you'd have tumbling boulders following all that and they're just grinding the surface up.
Yeah.
Yeah, there are huge potholes in this guy, like, you know, it's 50, 60 feet across this giant hole in the ground drilled into basalt from just a whirlpool by a whirlpool that was in the water during the flood.
Boulders and gravel in there just like acting like a big drill.
Right, right.
It's nuts.
God, that place is insane.
You guys went there?
Yeah, we've been three times, I think.
Yeah, it's amazing.
Yeah.
Yeah.
That's so crazy, man.
Gotta detangitize.
Yeah.
So we'll go back from White Sands.
People could have done this many times in the past.
Get back to the Shamir.
There could have been technologically advanced things that cut stone.
Back to the Osirian.
Look at the way they cut this stone.
Yes.
Wow.
You remembered all the tangents.
That's fucking impressive.
So we're completely detangitized.
So you're now looking at these scoot marks.
Were they using some kind of advanced tool here?
Right.
And it definitely looks like they were going to, you know, they were in the process of getting ready to flatten this wall.
And we actually, we know that that's what they were doing because they were flattening the wall.
This is the part of the same wall.
And you can see that they were coming along and just shaving off the excess material somehow.
It really looks like shaving it.
Yeah.
Yeah.
And their razor was about a nice razor.
Yeah.
Wow, dude.
Diamond razor, bro.
Like a diamond squeegee.
Yeah.
Look at the little, yes, just like a squeegee.
You see these little, I don't know what to call them.
It would be streaks if you were using a squeegee, right?
Exactly.
But it's actually extra.
It's a ridge of stone.
Ridge of stone where the tool was being removed from the working surface as it got to the edge.
Here it looks like when they pour concrete floors, they take those big things on the sticks and they drag them across it to smooth it.
Yeah, yeah, but this is actually troughs, that's what it is.
Yeah, like a trowel, but they're just how do you just or a bull float?
Yeah, yeah.
Here's another image of the same surface.
There from and they were gonna what they were gonna, what is like a penguin in the side of that rock right there?
What is this?
Yeah, you're talking about a carving right here.
I never even thought of that.
Maybe.
Is that what that was?
I think it's like a nub.
It's just the remnants of a nub.
If your tool has like a lip on each side because it's holding like, say, a rotary disc or something, then you have leftover spots that need flattening, right?
Yeah.
It doesn't look like they have any, any, any, anything like that.
It's like a spinning drum or something that if it was grinding the stone.
That's the question.
What was the cutting acronym?
Was it grinding?
I would, it, It seems to me like it would be grinding.
Now, was the grinding done by vibration or was it done by spinning something?
Who knows?
And it doesn't have to be all the same tool.
Like, you know, if you're, if I've done a lot of painting of houses and, you know, you use a roller because it covers a lot of surface, but to get up into the corners, you got to use a small brush.
You got to cut it in.
Yeah.
So you have different tool tips.
Yeah, you got different tool tips or whatever.
But yeah, it's just, this is just fascinating to me.
And like, you know, so again, you can see that this work is unfinished.
That somebody was in the process of doing the finishing work and they just didn't quite, what, they didn't have time, they ran out of time.
But it looks like people put their tools down one day and then just never came back to the job.
But this also kind of explains why you have these tiny little insert stones in the corners.
Because if that corner was chipped out, you'd want to put this little insert in there because you knew that when you came back to flatten it, when you flattened it, that little insert would flatten off and you would not have any voids in the wall.
Mm hmm.
Yeah.
Right.
So it's like you can see into the mind of the builders here, like what their intentions were for this wall.
Yeah.
And the arrows here are just pointing out the sort of scoop marks at the bottom that we were just talking about.
Right.
The other thing that's great about this is there's like when we were talking earlier about why blocks go around corners, there's great evidence for this here.
If you look in the corner here, this block goes around the corner.
Here's the corner right here.
And this block goes around the corner.
So you know, because they were flattening this wall, that this block had extra material.
And it got flattened and now it goes around the corner.
Right.
Wow.
That's nuts.
Yeah.
So again, it's all these little details.
And when you start to look at the construction style, you know, like how were they achieving these surfaces or whatever, then you start to see like this really mysterious things about blocks going around the corner.
It's part of the process.
You know, it's a result of the process.
Did you see any other places like this or any other structures that had blocks going around corners like this?
Or are there any other places you're aware of?
In Peru, they do.
In Peru.
Yeah, they go around corners there for sure.
Yeah, yeah.
And they're smooth like this?
Yeah, well.
I mean, we were looking at the Valley Temple just a little while ago, and I don't know.
That's far away in Egypt.
That's on the Giza Plateau.
Yeah.
So this is the Osiris.
I don't know if that's what you meant, but yeah, I mean, those blocks go around corners.
Those blocks do too.
Yeah.
So that's why I'm saying, like, it looks like the Valley Temple was completed.
Because there aren't any pillowy rocks on the outside.
They had flattened the entire thing.
Yeah.
So, you don't have, but this clearly shows evidence that the style of building was to build with this excess material on the stone.
It protects that finished face that will eventually be there once you do the flattening, once all of this major stonework is done.
And this is why you get this appearance of rocks going around the corner.
It's not necessarily the engineers saying, like, I need this cornerstone to go around the corner by an inch and a half.
It's just a result of this style of flattening the face after you were done.
Yeah, with the construction, but you can also imagine that the engineer knows that and he's planning this in, right?
Yeah, because in a lot of cases, you see that it alternates, it alternates perfectly.
Yeah, sometimes it doesn't.
Sometimes there will be two blocks from the same side that go around the corner, like their teeth that fit together.
Yeah, but that would be a result of just like bricks, like you have one brick like this in the corner, the next one goes this way, and that's the result that the blocks alternate going around the corner.
Yeah, exactly.
It's the same deal, yeah, but it's not like that in the rest of it, like that stagnating, it's only in the corners.
Well, the going around the corners will go back and forth.
Yeah, they're not bricks.
They're all different sizes, but they do have that basic interlocking corner.
Whether the blocks are all the same size or not, still the same principle.
Then if you did this with a brick wall, they would go around corners in alternating courses.
Exactly.
So, where are we going next here?
The quarry.
Aswan, another 300 miles away.
Yeah, 200 more miles.
So, the total.
You know, 500 miles from Giza, 200 miles from the Osirian.
What was it like?
Like, what sort of shit were you running into on that drive from Osirian to the quarry?
Well, we get to do that on the boat, which is way better than driving.
Oh, you could just do the boat the whole way.
Yeah.
Ride the Nile, bro.
You rode down the Nile.
Yeah.
Yeah.
What was that like?
It's amazing and beautiful and just peaceful.
You know, like the first parts of the tour when you're in Cairo, you're doing a lot of driving, you know, going to sites or whatever.
And then you.
You know, we go to the museum and then we get on a plane and we fly to Luxor, and then from there we get on the boat, okay.
And we go all the way to uh Aswan on the boat.
And so, you're just you, the boat will cruise for a couple of hours, stop, you get off the boat, the site's right there, or maybe you have to drive a little bit, you know.
But usually, the site's right there, some of them are right on the river.
Oh, wow!
So, it's it's uh, it's yeah, it's the best part of the tour, yeah.
It's great, yeah.
Lots of partying on the boat, lots of how what kind of boat, how big is the boat?
They're you know, they're like river cruise boats.
They're all they all have to be the same size because they have to fit through the canal, the locks.
There's a lock that lifts them up, right?
They look like pontoon boats, but they're like three or four stories.
Oh, okay, four stories and lots of booze on them, 60 feet wide or something.
They have some bars, they're all standard.
Yeah, yeah, there's a little pool on top, yeah, you know, yeah, water slide, casino.
Is there a water slide?
No casino.
Let me know when they get casinos.
I'll head over there.
So, this is a The Google Earth view of the quarry.
So you can see the, you know, the rock outcrop there.
This great, this big granite piece sticking out of the ground that's been quarried for thousands and thousands of years.
This whole section.
Wow.
And the whole fucking city is just built around it.
Yeah.
Yeah.
All these people around it.
And you can see this thing.
That is the, oh, that's the obelisk.
That's the unfinished obelisk.
And it's, you know, that thing is huge.
Yeah.
Trench Grid 137 Zahi Chiseling00:15:05
So we'll be looking at that in a minute.
But there's, there's a whole bunch of interesting stuff.
The quarry is full of interesting stuff because you're looking at lots of different tool marks.
Like I said, everyone's used it.
You know, from the ancients, possibly these mysterious people who built this stuff earlier, the dynastics used it, the Greeks used it, the Romans used it, you know, everyone has used it all the way up into the modern times.
At least until it became an archaeological site.
So, this is like, this is standard what you would expect to see with chiseling.
Like, if you look at this granite, it's been chiseled.
It's a nice uniform chiseling, but those are chisel marks.
These are also, this is Roman chiseling here and here, just to show you what that kind of looks like.
You know, sort of striated lines.
Yep.
Then we have these marks, which we've seen some of these.
This is, you know, the split quarrying technique where you're splitting the rock.
So, they would make these divots into the rock and then drive wedges in there, notches.
And then drive wedges in there.
Right.
And then break it off.
Yeah.
It's called the feather and wedge technique.
This is the kind of tools that were used.
This is what it looks like.
You drill a bunch of holes, you put these in, you drive them in in a regular fashion.
It splits the rock.
This is what we do today.
This is the modern version of it.
Yeah.
It looks like that.
Then we have these.
You know, you look at this and you're like, well, that doesn't look like either one of those techniques.
But the work would have been in between those square divots in the part that looks just broken off.
So they made those divots and then the piece in between them was the work that they took, broke it off.
Yeah.
So right here, it's broken.
So what they did was they cut a trench down this side and cut a trench down this side and then started cutting inward and then they just split the block, which was sitting above this, off the bottom here.
They break it off.
So that's what this is.
But the question is how are they trenching these?
Because this is basically you're looking at the bottom of the trench now.
Right.
Here's more of them.
And this is where you get the dolerite pounding stone.
The guy.
Yeah.
Yeah.
They tell you this.
You get this fantastic propaganda video when you go to visit this quarry.
Like everybody, you pull up in the buses and you get funneled into like a little.
It's the only place.
The only place where this happens.
And it's like, you know, you can tell that they know that people are going to get in here and be like, how do they do this?
So they have to tell you first so you don't start making up crazy stories about melting ice.
Right.
And so there's a bunch of seats, and you're watching this little tiny TV with everybody in there, and it's Zahi Hawash showing you that they're pounding with, you know, using pounding stones.
Is it really him doing it?
Zahi is in there, yeah.
Oh, that's great.
We, you know, when we go with Ben, you, you know, you get everybody starts cheering when Zahi shows up because it's all sarcastic.
We're all like, woo, yeah, buddy.
Oh, my God.
That's amazing.
So there's another set of the, you know, anomalous, Corrying marks in there, these are kind of like this weird stair step.
I got another picture here looking up this same set.
Look at that, and how they're very regular.
You know, this is uh, I don't know, 18 to 24 inches wide, and you know, that you can kind of see it's difficult sometimes, but you can kind of see how they're a continuous trough that goes all the way up, and then they have these regular places where it goes down, right?
And that kind of continues all the way along here, so it's like something is scooping out and scooping out and scooping out.
It looks like a like something on an articulated arm.
Here's another really great example of that.
Yeah, that's just ridiculous.
And notice how there's a kind of an angle change from here going across to here, right?
Where this is like scooping straight across, but as they get farther this way, it begins to sort of tilt.
It has this curve in it.
What do you think that was about?
It looks like something that has a central position rotating on an articulating arm.
Like think of a backhoe, but maybe more complex.
I don't know.
Yeah, so if you're.
If you're digging with a mini excavator or something like that, and you go right in front of the machine, it's going to be moving like this, towards you.
And then if you get way out, it's moving more vertically.
The arm is.
Right, right.
So as you move closer and closer, if you were looking at a wall of a ditch that was dug, when it's to the left side, it would be vertical marks.
And then the closer it got to that machine, it would start to slant towards the machine, be more.
Ah, yeah.
So it kind of looks like some kind of.
It does kind of look like that.
That there's a radius that matches the changing angle of these marks.
Interesting.
Like somewhere is you, if you knew what you were looking at, you could figure out where the center of the machine was and where it was rotating from, right?
Dude, it left a lip.
You see the top part?
Yes.
Yeah.
This up here.
Yeah.
Yeah.
Oh my God.
Here's another great example of how these can be long continuous marks.
So you can see it goes all the way up.
And every one of them is regular going all the way down this wall.
And there's an interesting sort of discontinuity in the granite here that kind of goes along here.
And there's also a color change, right?
Maybe indicating a shift in the Material type or quality, and so it's like they were scooping off this good stuff above it and then sort of ending the you know the digging right here at the uh where this material change starts.
I don't know if that's what's really happening, just looks like that.
It's an interesting thing.
And then here's the obelisk.
How long is that roughly?
Uh, I think I may have the information.
Yeah, here we go.
Oh my god, 137 feet.
Yeah, 41.75 meters, roughly you know, estimated 1200 tons, that's 2.4 million pounds or 1.5.
0.09 million kilograms.
137.
I never realized that.
Yeah.
137 feet.
Is that a sacred number?
It's a number that physicists worry about.
Yeah.
It's the fine structure constant.
Don't ask me what that is.
One over 137 is the fine structure constant.
Yeah.
Okay.
Yeah.
That's all we know.
All we know is that physicists worry about this number.
And so it's interesting when it shows up.
So, yeah, again, you can see now that we've looked at these marks all over the quarry, you can see it's very faint here because they were sort of making a nice finished surface.
But do you see this grid?
Yeah, yeah, yeah.
And then there's some, like somebody dug a little deep here.
Like they bore down a little hard on their belt sander and dug into the material.
But it's like, again, think back to all the other structures we're looking at where we know that their standard method was to deliver stones from the quarry with lots of excess material.
That would be removed on site.
So you can imagine that this thing has maybe it could have a foot of excess material on each side.
Like it was going to be a much thinner and smaller thing.
Right now, they're, you know, they're cutting it out.
And of course, they say this is the largest one ever found or ever known about.
It would have been had it been completed.
Yeah.
So it makes sense if it had all that excess material on it that it's going to be larger than any of the completed ones.
Yeah.
Because eventually, when they get it to the site and they're ready to stand it up, they face it.
Right.
Well, what's great?
We look at this again.
So, This one, one's 137 feet, 1,200 tons.
The largest existing standing obelisk is 105 feet and only 455 tons.
So, this is the largest ones that they successfully constructed.
Where is that one?
It's now in Rome, I believe.
Oh, wow.
It was stolen, right?
And is it the same material?
Yeah, I think so.
It's granite.
Yeah, I think so.
Oh, man.
I might not be in Rome.
I don't remember where the Lateran is.
It's no longer in Egypt, I don't think.
So, this is the front of the unfinished obelisk.
It has a cross on top of it, so it's probably not.
Yeah.
And you can see, like, They were already making it sort of obelisky, right?
They were giving it the pointed tip.
Right, right.
Shaping it already.
But look at also, look at the trenches.
The trenches are insane.
This is the most detailed photo I've ever seen of those trenches.
Yeah.
And then you see the test pit to the left there.
Yeah.
They dug way down.
This is what they call them test pit.
To test the quality of the stone, see what it was like.
Yeah.
That's the idea.
Yeah.
But yeah, just look at the depth of the trench here.
And it's very regular.
It seems very interesting.
How wide is that little gap, that trench?
Can you stand in there?
Yes.
Yeah.
Yeah.
It's wide enough for you to stand in.
Somewhere between three and four feet wide, maybe, you think?
Oh my God.
Three feet.
That's bizarre.
Yeah.
Now, what do the tour guides say when you get here?
I want to know this.
There aren't any.
Oh, there aren't any.
You get the propaganda video, but you get to walk around.
Yeah.
But Yusuf is always with us, you know, and he's talking.
He's all asking the same questions we are, yeah.
But the angle of the sun here also gives you a really good.
You know, you can see the sort of grid work here.
And then also notice in the trench, it becomes very, like, there's, it's rough out here.
You see how it's sort of all these scoops and it's sort of grid like.
There's, the next picture might show this better.
Man, imagine spending all that time scooping that motherfucker out of there and they crack it like, motherfucker.
Well, that's the other, that's the weird thing, right?
Is the idea that they were making an obelisk and it, they discovered a flaw or it cracked or there was an earthquake or whatever.
And they're abandoned the entire thing.
Abandon it.
Not like we have to cut granite blocks for anything else.
And we've already done all this work, right?
You could chop this up into a bunch of beautiful granite blocks, but no, they just leave the whole thing there.
All that work.
So that doesn't make any sense.
It doesn't make any sense.
If it broke when they were working on it, they could just make it into smaller blocks to be used for a wall or something.
But they didn't.
Yeah.
So it suggests that whatever work they were doing just all stopped.
Yeah.
And then it gets buried, and then the people who were quarrying later didn't even know it was there.
This correlates with the woman on White Sands running.
Yes.
Yeah, get there.
Yeah.
There you go.
It gets buried.
Yeah.
The other thing you'll notice, like, I can back up and show you this here that these lines go all the way down the trench, across the bottom, up the side of the obelisk, probably pretty regularly across the top, down the trench.
You know, it's a continuous.
I would love to scan the whole thing and find out is it really a rough grid?
Does it do it this way as well, all the way down, you know?
Right.
But it looks pretty regular.
Like, look at it.
Look at it down here.
See how these scoops are going up and then they start going across the thing the same way here?
Down?
Somebody did something weird right there on the top of the obelisk.
Right here?
Somebody messed it up.
Yeah.
Yeah.
I mean, that's clearly like hand done by hand as opposed to the rest of the grid.
You think so?
I think they.
It's so machiney.
They left the machine running when they went for lunch and the arm just slowly let down and.
Yeah.
Somebody lost their job.
The smoothing machine was sitting on top of it.
They just unplugged it.
And when they came back to work after lunch, they plug it back in and it starts bouncing around on there.
But yeah, again, this just shows you the regularity of the lines going across the bottom of the trench.
And then the ones coming down the side here.
Right, right.
Oh, and here's Kyle attempting his.
I'm making an obelisk right there.
Yeah, he's building an obelisk.
Dude, look at your hair, man.
Oh, yeah, I just cut it off not too long ago.
No wonder you're so good at playing guitar.
I'm growing it back.
But yeah, you do that for a little bit and you're just like, no.
This is not how they did it.
It's going to be there a while, Mike.
Yeah.
So you can't, we couldn't get down in the trench next to that obelisk, but there are other places in the quarry where you can get down next into the trenches next to some really large blocks that they were cutting out.
This is one of them.
So this is showing you scoop marks next to that.
Here's another good set.
Oh, wait, wait, wait.
Go back there.
Go back there.
So that, so see the edge on the right?
Mm hmm.
Would that, does that look like a radius?
Because look how perfect it is.
Yeah, that curve.
Yeah, it does.
Yeah.
Could be.
It's very interesting.
But they're definitely working.
The work is the piece of stone to the left.
Yeah, this is going to be the piece of stone that they were trying to remove.
Okay.
So they're like cutting in and then cutting down deep and then cutting up underneath this thing.
Now, wait.
There actually could have been a piece of work to the right.
Broken off here.
Like you're saying.
Yeah, they dug under it and broke it off.
Yeah.
Could be that.
Yeah.
So he might be right.
Well, I'm just thinking that if it's a machine that's got like a.
You mean it's a radius this way?
Yeah.
Yeah.
Like that was the extent of the reach.
Yeah.
So it's going.
From one side to the other, and that's part of that radius.
Yeah, that's a good point.
It is a good point.
So, this is it, just looks like sand, looks like a sand castle.
Yeah, it does.
Yeah.
So, this is down in that next to that work on the other side.
You get an idea of the width of that trench.
Yeah.
So, you can again see how the lines are continuous.
Now, I'm down in there looking up at the trench walls.
This is looking underneath the work.
So, you can see the scoops continue up underneath the block and then.
Go up onto the underside of the block and then continue up.
It's like, what was making this turn here?
Yeah.
And again, it seems to happen.
There's like a line in the granite here.
Is it a curved line?
Well, I mean, it's like there's a natural stone.
The natural stone is just lighter right in this section where they were turning.
Right.
It's strange.
But yeah, see how deep these scoops are.
You know, you're standing in it when you're walking through them, it's very strange.
But, like Ben has said before, that if you're using pounding stones, the place where you want to use the stone is on these ridges.
That's where you're going to break off the most material.
If you were actually doing it by pounding rocks against it, you would hit this part or this part because you could have the most chance of breaking off a large amount of material instead of a little bit of dust.
Yeah, the point is, you just would never end up with ridges that high, that raised.
Right, right.
If you were just pounding away at it, not at all.
I don't think.
But I love this.
You know, the idea of the story is like, this is your trench, Johnson.
Take your pounding stone.
This is where you work.
Don't come over and die.
Don't work on this trench.
You work in this one.
Priority Thickness Contents Theories Vise00:09:20
Yeah.
And so each guy just sits here for his entire life.
Entire life.
And digs.
Oh, my Lord.
So that's the quarry.
So now we can look at this RPM real quick.
All the way back up next to.
Next to Giza.
Serapium is so fucking crazy, man.
Yeah.
So, this is a good map of the interior.
It's the Greater Galleries, is what this is called.
There's a whole bunch of.
The complex was really big, lesser galleries all over the place, but the only part that's open right now is these.
The Greater Galleries.
Look at how big that thing is.
There's Yusuf.
It looks cast, like cast concrete.
It does.
Now, Chris said that the outsides of these things aren't perfect, but the insides are.
Well, I mean, in some cases, the insides are.
Extremely flat, like he found when he was measuring them and polished.
But there are definitely other ones that show like non flat surfaces and they have different angles.
But what's weird is that, you know, you have to think about this in terms of priorities.
So there's the priority of the quality of the stone, number one.
There's the geometric perfection priority.
And then, of course, you know, what is more important?
Is integrity of the stone more important or is the geometry more important?
Right?
How much time do you have to do this?
So, in some cases, to me, it looks like from looking at the insides of stones, I've found.
Inside of the boxes, I found places where like an entire inside bottom corner was not finished.
There's just this whole piece of stone in the corner.
When you go to look at the outside, that same corresponding corner, it's cut away.
So it was like, was the thickness of the wall a priority?
Was wall thickness a bigger priority than geometric perfection?
And then, of course, there's plenty of these that have these big, Divots, these scoops cut out of them.
And so that brings to question like the integrity of the stone.
Is there a crack, you know, that they wanted to remove?
Yeah.
Like, look at this.
So, does the integrity of the stone again supersede geometric perfection?
Like, they seem to not care whether it's the inside or the outside because I got into another box that had huge bowl like scoop marks out of the rear.
Yes.
Polished.
Polished.
It's been scooped and polished just like this exterior is here.
What?
And in one case, like I would say, so.
Also, just pay attention to this.
Yeah, there's a big inclusion there.
Like a crystalline inclusion.
So, this is like a vein.
A vein of other material in here.
Right.
Yeah.
One of them, say the wall, this narrow wall of the box, on the inside, the whole thing was like slanted towards you.
Like the wall was like this.
I have no idea why.
I mean, it's just.
That's what I'm saying.
It's like it's not simple enough to say the interiors of the boxes are perfect and they didn't care about the exterior because some of the exteriors of the boxes are magnificent, also.
And some of the interiors are very, very, you know, made to a high degree of precision and vice versa.
It seems like what they were going for was, especially on the interior, a kind of perfection, like, you know, these beautiful 90 degree angles.
Right here, that the lid needed to fit flat or whatever, but that there was something else that superseded that in importance, like the integrity of the box or the thickness of the stone.
That took priority.
That would compromise the perfection of the interior surfaces if they had to.
So, like what Kyle was talking about, there's a box where the entire bottom of the outside, the bottom corner is just cut away.
For some reason, it's gone.
So, it's flattened down here.
So, the interior surface of the box also has a bevel that matches this cutaway.
So, it maintained the same amount of thickness.
Yes.
Yeah.
Or they add, they just left enough stone on the inside to make up for some of that.
It's just.
Here's another one with a bunch of scoops taken out of the outside.
You know, it's just.
Now, what is your guys' theory on what the purpose of these boxes was?
I like destroying theories about the purpose of the box.
Our favorite thing is to ask people to send us their theories and we destroy them.
I was trying to pry this out of Chris and it was like pulling teeth.
The thing that.
Okay.
I think they make a really good hermetic seal.
If you have enough precision on the lid and the box itself, they would basically ring together.
Yeah.
It's a way of, it's some kind of adhesion that happens like a molecular flat surfaces that touch each other.
They can, you can't pull them apart.
You could slide them against each other, but you can't actually pull them apart.
They make these sets of blocks to use to measure precision.
They're precision measuring tools that you can take different thicknesses of block.
Well, you know, you need a certain length.
So you grab a couple of different blocks and you ring them together.
You can't pull them apart.
Mm hmm.
Right.
So if you can imagine a fine, precise, flat surface on the lid and the box, and you slide those lids together, then you may have a hermetic seal so that you could contain something for a long period of time without it oxidizing or, you know, whatever, being destroyed.
They also act as a kind of a technological gate or a safe.
Yeah.
Yeah.
Right.
Like there's, it's so heavy and so massive and in such a tight enclosure that without some kind of technology like, you know, rope, capstan, wheels, The idea of the lever and pulley, you're not going to be able to open them.
So, you could effectively lock away something in these boxes from anybody that's not primitive, not advanced enough to open the box.
And I love the idea that because all these boxes were empty when they were founded in modern times.
Right.
I love the idea that they used to have something in them, and whoever came and opened all but one of these boxes knew the contents.
They knew what was in them because they left one box unopened and it had nothing in it.
It was blown open in modern times and it was also empty.
So, if you.
Well, how do we know that whoever blew it open didn't find what was in it?
Was that Marriott that did that?
I think we couldn't figure that out.
Was it Vise or Marriott?
I thought it was Vise.
It could have been Vise.
Yeah.
He liked to use gunpowder on stuff.
Gosh.
Yeah.
Some of the corners of these boxes.
Vice.
I'm just telling you what.
Is in the record that that box was blown open and it was empty.
Okay.
And he would have loved to have found like the Apis bull or something in there.
Right, right.
So it's just if this was a vault that contained, for example, documents or some kind of knowledge, that and that's what I'm saying.
I just love this idea that somebody that had the knowledge of where they were and what contents were in the boxes would have come, opened them up, removed the contents, and never touched the one that was empty.
Yeah.
Yeah, leave box number 13 alone.
It's empty, but open all the rest of them and get the contents out of it.
Yeah.
And they're all open.
They're all open to just a certain amount, just like this.
Like if you were a bank robber and you went to rob all the safety deposit boxes and you had information on which ones had stuff in them, you would only open those.
Yeah.
So that's what I'm suggesting here.
They're not marked, are they?
Some of them have writing on them, one or two.
Now, when I asked Chris about this, He said, he, you know, he was very careful about giving just random theories about what he thinks they could be without evidence.
Yeah.
I'm not sure of that.
You know, because he, you know, he writes books and he wants to be taken seriously and he doesn't want people to take, you know, clip one of something he said out of context and say, oh, this guy's a crackpot, which is fine.
But when I was asking him, I was like, really trying to drill down, like, what he thinks they were.
He goes, he said, I need to read the book called Engines of Creation to understand what they were.
Have you heard of that book?
Nope.
But I did listen to that show, so I need to read that book also.
Yeah.
Yeah.
I remember him saying that now that you mention it.
And he was saying there's a theory like some kind of battery?
Well, yeah.
So something about like crystals were grown in there or something was growing.
Oh, yeah.
You could do that.
That's cool.
You could grow.
Yeah.
Yeah.
So you grow a giant crystal in there, and then we get the crystals out.
And the crystals turn into laser beams, which cut the stones.
You know what I'm saying?
I'm like, yeah.
Then what?
And then we put the lid back on.
Put the crystals in the pyramid so they vibrate.
Yes.
Yeah.
I don't know.
Polish Retaining Walls Lid Tambo00:14:35
There's a lot of missing stuff, too.
This is the other thing about going through these sites in Egypt is that, like Kyle was saying earlier, thousands of years of people.
Have been going in and out of these places, taking things, breaking stuff, removing stuff, stealing stuff, adding things, putting candles in, setting fires on things, worshiping stuff, worshiping things, letting camels live in there and goats.
And then, of course, there's all the environmental stuff wind and sand and precipitation and just time.
And so every one of these vaults that had a box in it also had two granite slabs to either side of each box that had false doors carved into them.
There's a couple that are left, but most of them are all gone.
So, either side, so then you start to see a picture of like, okay, there's a box and it's in its own particular alcove, and to either side are granite slabs facing it with these false doors cut into it.
And, you know, so what does that mean?
Does that make it some kind of resonance chamber?
You know, I don't know.
I find it hard to believe because, you know, this box doesn't want to move, it really badly wants to stay still.
Yeah.
This is not, I mean, but, you know, the sound waves inside.
They like to be sustained.
I mean, they're echoing, bouncing back and forth across the walls.
So you go in there, and when you hit the fundamental frequency of, say, the width of the box, it's just amazing.
Yeah.
You know, it's incredible.
And then you can find the one that's the height and the width to the height, they're slightly off.
So they're a little dissonant.
And if you can kind of get them both, they put this third beat in there, and it's just wild.
It's incredible.
It's pretty deep.
And really hard to reach with my heart.
Yeah, hard to teach.
You need a deep voice to be able to get the length frequency.
But yeah, that, I mean, but, you know, it's hard to imagine that, okay, let me get down in there and you slide the box closed so that I can resonate the box and, you know, reach enlightenment.
Yeah.
You're going to let me out, right?
Yeah.
I don't know, dude.
I don't know about that as a purpose.
Fuck, man.
It's just that to me seems to be just a.
That's just a result of whatever the actual function was because the function resulted in these geometric proportions that make it make the sound resonance inside amazing.
This is a good example of the like they're aiming for this kind of perfection.
Like, look at this edge.
The edge is like a razor.
I mean, it is perfect.
This prism shape that they're going for, whoops, right, is awesome.
But then they, for some reason, have scooped material off the front edge here and then polished it.
Right?
Yeah.
The scoops are all polished too.
And, you know, it's hard to see the polish because of the dust.
Yeah.
But I mean, it is like a mirror.
There's a giant scoop taken out of that one.
Yeah, that one looks crazy.
So it's, and then you see they smoothed it and polished it, right?
So they're very concerned with removing, for whatever reason, whatever was contained in this part of the material.
But then they carefully polish the remnant.
There are certain inclusions.
I mean, you can see this in the quarry.
Not the quarry where these came from.
I don't think anybody knows where the quarry where these came from.
Oh, really?
But the asphalt.
Yeah, this particular kind of diorite, this dark.
There will be spots in the wall where you can just see like a completely different type of rock.
Yeah.
Just stuck like a chunk.
So I'm wondering if maybe some of the scoops were just like, let's get that different type of stone out.
Yeah.
Oh, yeah.
You can see on this one, they cut the entire back corner off of the, they've cut this whole bevel off there.
And then on this one, they've done it to the front side.
They've completely chopped the entire front edge off of there for some reason and then polished it, right?
You can see how shiny it is.
Right.
Well, you said it was also really important that they didn't want cracks in there to remain in.
Keep the integrity of them.
So if there were cracks, they wanted to scoop them out.
That's a question.
Like, is that what they were doing?
That is incredible how big that is.
Right.
Yeah.
You can walk underneath.
So we're all standing on a floor, a wooden floor that's been built, this raised up above the floor the block is sitting on.
And yet you can still walk beneath the lid, standing up straight.
So it's the boxes are enormous.
Unbelievable, man.
You got to have them.
And that lid was moved how?
We don't know.
Yeah.
Who opened them?
They were opened in antiquity, so nobody really knows.
I don't know who opened them.
And they're all, like I said, if you've paid attention, they're all just slid open a little bit, right?
Just enough to get inside.
In some cases, I'm not sure you could actually see them.
How you can get in that?
You can get in most of them.
Really?
Well, yeah.
I mean, it's like three feet off this end.
Yeah.
There's an opening in the back.
You can get in for sure.
Yeah.
Because you can see how far.
And how would you even move that top part?
Like today, if you wanted to move it, how the fuck would you do that in that tiny little space?
Yeah.
You could use hydraulic jets.
Hydraulics, yeah.
Up against the walls.
Yeah.
I mean, this is bedrock walls.
I mean, you could put a lot of force against those walls.
They're not going anywhere.
You could frame it out with something, wrap it in cable and get some winches.
And I have no idea.
Pushing it would be easier.
Pushing it would be easier than pulling on it.
Yeah.
Which is interesting because a lot of them are pushed.
The lids are shifted towards the, the, The central walkway from the back, which is suggests you put something they put something against the wall, yeah, right.
Uh, here's Kyle's stand.
This kind of gives you the scale, right?
That's Kyle standing on the upper edge of one of the.
This is a box made of the rose granite, so it's different than the rest of them, yeah.
And it has no lid, the lid is in the hallway, it's gigantic and it has losses, it has the nubs on it, yeah.
There he is, down inside the interior.
It's completely legal science.
Totally legal.
Is he praying?
I was praying.
Praying to the box god.
Please tell me what these were for.
The inside of that thing doesn't look smooth.
Yeah, this one isn't finished in the same way that the rest of them are.
You can see on the outside here, it's, you know, I mean, it's beautiful still, but it isn't polished like the other ones.
This just kind of shows you.
The other thing is that, you know, they're, The question about how did they get them in there?
You know, they weigh a lot and they're enormous.
And, you know, there's no like dropping the boxes in and then building the roof because this is all cut into the bedrock.
These are tunnels that were just basically drilled through the bedrock.
Right, right, right.
So they had to maneuver them through these long hallways.
And they were almost as wide as the hallways themselves.
Yeah, like this one.
Holy shit.
What the shit?
What?
So this one is magic.
This is another.
It's gotta be magic.
This is another, you know, point of the whole unfinished.
Concept.
Like they didn't finish the job.
They were in the middle of transporting boxes to their places in their alcoves and they didn't quite get it done.
Most of the boxes are in place.
They're polished.
They're finished out.
But this one is rough cut.
It isn't polished.
And it hasn't been completely moved into place yet.
And its lid is also sitting there.
Its lid is laying in the hallway, too.
Near the entrance.
It looks like if the lid was on it, it almost wouldn't fit.
Right.
That's, that's, it does seem like there's two ways to look at this.
Like that may be why they're moving this one without the lid.
That also might be why the lids have bevels.
Those angles.
Right.
Oh, yeah, yeah, yeah.
I don't know why you would want to move them together.
That makes the job easier.
Makes it harder.
Yeah, move them separately.
Man, this is the biggest fucking mystery.
Here's it.
This is showing you the scale.
And again, remember that he's standing on a raised platform.
The box is sitting on the original floor.
Yeah.
Like six or seven inches high.
And they built the floor around the fucking floor.
But it's still taller than he is.
You have to look up to see the edge of the box.
If you need to get past this to get to the other boxes and you open up those other boxes to get shit out, how do you get it past there?
There are two ways out.
There are more than.
Actually, I think there are probably three ways out and maybe possibly more.
I haven't.
We haven't.
There are some places down here that are still.
Just closed off and some collapsed.
Oh, I can go back to the map here.
Oh, okay.
This is the box that we're looking at in the hallway.
This is its lid.
So, this is the like, this is the you know, all the beautiful like, we showed you a bunch of pictures of these guys in these.
And look how they're kind of you know, staggered.
None of them are like exactly facing each other.
It's really interesting.
This whole thing looks like a key, right?
So, you got this box, and then there's a space.
That space is opposite this other box.
So, there's always a wall facing the alcove.
Like, if you needed to mount machinery to work on this box and get it in place, you have a place to mount it right here.
Yeah, or push it.
Or push it to get it in there.
And then each alcove is a deep hole, right?
So, you're walking in these hallways, and then where the boxes are, they're set down lower to the point where the lids are almost at foot level.
Like, so that, you know, you can kind of just slide the lid in on top of the box.
It's interesting how it's set up like that.
So, yeah, this is what we were looking at.
Let me go back to where we were.
Thanks, Gregor, for the map.
We really appreciate it.
This is incredible.
I've never seen any kind of map of this like that.
It really puts it into perspective.
It's great.
And yeah, you can see how this box is a little wonky.
It is.
They're wavy.
They've made it, you know, it's going to be a box.
It's hollowed out and it's got a lid, but they haven't flattened it and polished it.
And this also implies that they did all that on site in its place.
They weren't doing it on the surface and then moving them down in, which is another interesting implication about precision.
Because we were talking about the precision flat plates that they make out of granite.
They're in climate controlled places because if you let the temperature change or humidity change or whatever, it will shift around.
The granite, the shape and size can change.
So if you want to make a hermetic seal like Kyle was talking about, you have to do all the finishing work down in the tunnels.
So here's a quick look at the writing on one of the boxes.
Right.
I know you've talked to Ben about this, how it's very rough.
You can see they couldn't even really make the line straight.
And there's, you know, there's a big interesting, this is a big scooped out piece.
They removed a bunch of material here and polished it.
And the people who are making these marks are just cutting through the polish.
Right.
Hammering through it.
Hammering through it.
Yeah.
Yeah.
It just looks like toddlers came through afterwards with crayons.
Yeah.
And you can see that in some cases they couldn't even finish, they couldn't make the lines connect.
You know, you sort of get this idea that like the guy is working along and then the guy in the dark, and then he gets.
Tired, and it's the end of the day, and he's just like, Fuck!
And he goes home, comes back the next day, and it's a little better, you know?
Yeah, yeah.
He's wearing candles on his head, dude, trying to hammer and chisel that.
Oh, God.
Yeah.
This is amazing, man.
So, just to show you a few more things around the world, this is Ollante Tambo in Peru.
So, look at the, you know, megalithic.
Same thing.
Yeah, same thing.
You see the nubs, you see the scoops, you see the striations, you see the.
Are those the drill marks?
The vertical strips, yeah, those vertical, those not drills, it's flat.
No, I mean, like the vertical, like in between.
Oh, these are like inserts between each one, and they have a little nub on each one at the bottom.
So, those little things are separate from the other stones, yeah.
Those are also stones.
Wow, they're little flat inserts in between each giant block, yeah.
What this is also at Eliante Tambo, giant blocks, big nubs.
Oh, you know, it's just beautiful stuff.
This is cool.
This wall is almost complete, but notice how the nubs show up around this opening door.
The blocks all get way bigger, and then the nubs are all around here.
This is why it seems like this is indicating something about construction.
And you can see a little bit of symmetry in the blocks on either side of that door.
Yeah, it's cool.
And then notice how these giant blocks are sort of strewn around the landscape up here.
Right.
So, this is another thing that you see in Peru is like evidence of some kind of enormous destruction to some of these sites.
Now, Luke was mentioning something about some of these sites in Peru and how they were built to be earthquake proof.
Yeah, this kind of thing they call this one term for this type of stonework is cyclopean.
You know, like it's made by giants, basically.
But it basically means that the idea of cyclopean stonework is they're non homogeneous.
You know, every block or piece of stone is a different shape and size.
They're dry laid, which means there's no mortar.
Right.
And then, so that means that if you have an earthquake, each individual stone can sort of move around on its own.
And they'll go back together.
And then they'll just kind of go back together.
Whereas when we make a wall out of bricks and mortar, number one, you have multiple fracture points that are very, that go all the way down the wall.
Right.
And then also we've glued them together.
So instead of each brick being able to vibrate, the whole wall starts shaking and then it splits and falls apart.
Right.
These are able to withstand earthquakes a lot better.
But these are actually.
There's no straight fracture lines here.
I mean, you can't.
You know, even with a brick wall, you can get these little stair step cracks that go run all the way down the wall.
Right.
You won't, there's no way to do that with these.
What's also amazing is these are retaining walls.
These are terraces holding up the mountainside.
So it's, you know, so retaining walls.
Yeah, retaining walls.
Inca Retaining Walls Baalbek Three Different00:07:56
What is it?
There's two kinds of retaining walls those that have failed, those that have failed, and those that will fail.
Right.
Those that are about to.
Yeah.
But these are amazing to have withstood.
This, all that weight of that dirt for so long and still be so beautifully.
Now, those little tiny rock walls to the side and like on the top.
That's yes.
Yeah.
On the top edge.
Is that something afterwards?
Same thing.
Same thing, same dudes.
Yeah.
The next day, they were like, you know what?
This other style of construction is dumb.
Yeah.
We got to do it this way.
This looks cooler.
No, I'm obviously being right.
This is the idea of the, you know, the three that, that, There's this sort of theory of, I can't remember all the terms, but it's Hanan Pacha and.
Udon Pacha.
Udon, yeah.
Yeah, there's three different terms, but basically, it's talking about three civilizations in Peru.
The oldest one seems to have been people who came along and did rock cut work, which is where you don't make blocks.
You just take, you cut something out of the mountainside and leave a temple or a shape, right?
This is called rock cut instead of stacked construction.
Then you have the Cyclopean style megalithic work, which is also, it's still beautiful, but it's completely different from the.
What the rock cut stuff.
And then you have this.
Where's my pointer?
Right here.
Then you have this stuff.
Right.
So this is Inca.
And then this is someone mysterious.
And then there's Hanapacha, which is even older, somebody else mysterious.
And they kind of surround each other.
Like notice how this repair or Inca work is at the tops of these walls.
You see it here too?
Yep.
And here, right?
So this wall is ancient.
And the Inca come along and sort of repair it with their own style of stonework.
But in some places, you'll find the very ancient rock cut stuff, and this stuff is repairing it or enclosing it and protecting it.
And then the Inca stuff is on top of that.
So you have three different stages.
Hmm.
Here's Saxehuaman.
It's so wild.
Again, you see all the same marks, scoops, right?
It's the same.
Yeah.
It's the same, man.
Yeah.
Even the way they bevel the edges towards where the join is.
Yeah.
It's.
It's just like the Osirian.
Yep.
I wonder if they were planning to go back and flatten this.
Yeah.
Can you imagine being the Inca guy that gets this job?
You better make it look good, Johnson.
Oh.
This is going to stand there against this rock work for all of eternity.
Well, where did this block go?
Dude, this is incredible.
This is.
Here's another one.
Unbelievable.
This stone is kind of famous.
It has.
Yep.
Yeah.
But again, you see the divots, the scoops, the nature of the stonework, and then the Inca stuff up at the tops, sort of repairing things.
Now, are these photos that you took?
No, we haven't been to Peru yet.
I can't wait to go.
The Egypt photos were.
Yeah.
Egypt photos are all from our trips.
Oh, okay.
Yeah.
Now we're looking at the Moa.
We were looking at these earlier.
Is this at Easter Island?
Yeah.
He's in the quarry, right?
So he's unfinished.
They haven't completely dug him out of the rock yet.
This would, and the other thing that's interesting about this is this would have been the largest one ever made if it had been completed, just like the obelisk.
But it's still in the quarry.
Then you got Baalbek.
This is in Lebanon.
We were going to go see this, but circumstances changed.
So this is the quarry for Baalbek.
And what's fun is this, for a long time, This block right here was considered the largest block ever cut by mankind.
It's an estimated 1,200 tons, something like that.
It's completely removed from the bedrock.
That's bigger than the one at Aswan?
Yeah, well, the Aswan is estimated, but it's still connected.
This one's not connected.
Yeah, this was completely dug out.
This is called the Stone of the South or the Stone of the Pregnant Woman.
It's famous from the quarry.
But then some German archaeologists went in and started digging down around it because it was buried.
The dirt line was like here.
Oh, okay.
So they started digging around and they found out that it's sitting on top of two even larger blocks.
Oh my God.
These are estimated between 1600 to 1800 tons.
Yeah, so the story was that they cut this top block out and they were like, ah, it's too big.
We'll just leave it here.
Again, it's like instead of cutting it into smaller blocks and moving it, you know, they're like, put it down.
No, they just, it was too big.
And yet when they dig down, they find out they actually stacked it on top of other blocks.
Jesus, dude.
So, no, it wasn't too big.
This gives you the scale.
That is wild.
Yeah, it just goes to show that the historians don't really have no fucking clue what was going on.
Yeah.
Yeah.
And why didn't they?
So, it's obviously they just never finished the job.
Wouldn't it be great if we could actually like discover what this was all, how this was done and what it was done, who it was done by in our lifetimes?
That would be great.
That would be great.
Yeah, I mean, the standard story will tell you this is the Romans that did this.
We know the Romans could move some very heavy stones and they built some amazing stuff, but they didn't ever move anything like this.
No.
And the idea that, and they did build a temple on the Baalbek platform.
I don't have pictures of this right now.
Right, right, right, right.
Trilithon, which is the collection of three of these giant blocks, they're not quite as big as this one, but there's three of them and they're stacked up and, you know, 30 meters high.
It's a big wall.
It's a sort of a separate construction from the entire platform that the Temple of Jupiter is built on there at the Baalbek platform.
Right.
And the Temple of Jupiter is on a part of the platform.
It's got this big pedestal and the temple isn't quite big enough to fit on the pedestal.
And it's so, it's like the Romans found this platform because it's very ancient.
They honored it by building a temple of Jupiter there, but they couldn't make the roof span all the way across this part of the pedestal.
So it doesn't quite fit.
It's too small.
Yeah.
It's like that stuff, the stuff on the bottom was there way earlier.
Yeah, the platform was already there.
It's like in Japan, they have these giant megalithic stone platforms that the emperors have been building their palaces on for a long time.
Right.
But the platforms are megalithic stone constructions that go down into water.
Mm hmm.
And they have survived thousands of years of earthquakes.
It makes you wonder, like, how much stuff like this is there underneath the ocean?
Oh, man.
Because what does the ocean cover?
It covers like more than 70% of the surface of the earth, I think.
76%, something like that.
Yeah.
Yeah.
But I mean, the continental shelves, you can see on the maps, like, the continental shelves that go way out in many cases.
They would have been above sea level before the end of the Young, you know, before the Melbourne Pulse 1A.
Yeah.
So it's interesting with all this stuff, and then Ben and Chris Dunn's work with the vases, and then the stuff with the Comet Research Group and the Younger Dryas, that the evidence for some advanced civilization in extremely remote prehistory that was able to do some of these large megalithic anomalous projects all over the world,
Beings Project Fighting Knows Long Wars00:10:21
and they just almost completely vanished because we know there was a massive destruction, extinction event, and flooding event.
And with the younger, yeah, with the younger, dryest period.
Do you think some of them are still here?
Yeah, I do.
Where are they?
Underground and under the water.
They're living under the ocean.
Yes, and under the ground.
Yeah, I do.
Have you heard of Project Looking Glass?
Nope.
It sounds familiar.
What?
Remind me.
It was, I think it was in the 60s or 70s.
It was a project done by CIA and the Air Force, or maybe the Army.
And it was one of those psychokinetic programs they were doing or they were working on during the Cold War.
And they built some sort of a device for remote viewers to go into.
And in this device they built at S4, they could look actually remote view into the past and into the future.
And there was a guy, I can't remember his name right now, but he went into the device and he basically saw like a cataclysm that wiped out the human race and the survivors went underground.
And built like underground cities and catacombs.
And over thousands, tens of thousands of years, humans evolved in this weird way because there was no sunlight.
They human beings evolved into what looks like these gray aliens because there's no light.
Their eyes got big, their bodies became really skinny.
And it's a theory now that those gray aliens are like coming back in time to like visit us and like make sure that we go down the right path.
Right path to result in them exactly, exactly to protect, to make sure to ensure their survival in the future.
Love that one.
Yeah, it just seems like I don't want to completely pick that one, but that's a good one.
Yeah, if you're already there in the future and you're there, it seems like anything you do going back into the past is only going to mess it up.
Exactly, right?
Well, unless there's some other force trying to change it.
That you're fighting against, all you're going to do if you go back in the past is going to actually change the future, which is what you're already in.
I don't know.
Which is why the UFOs are trying to stay completely out there.
They're trying to stay away from us.
They're trying to observe us, right?
The zoo hypothesis, right?
Yeah.
I don't know.
Why do they keep starting cults?
You don't even need the time travel, right?
Really, you could just have this continuous civilization passing down knowledge, and they've been doing this for who knows how long.
And if they were living underground, Turning into the grays or whatever, they could still be flying around in crazy UFOs, but they're not necessarily time traveling.
I'm saying you could remove the time travel aspect from that and still have it work.
Right.
That they're just involved in things that are going on today, but they're not widely known.
Yeah.
No, yeah, you could.
And they've maintained their technology for who knows how long.
Well, I mean, I do think that something that, you know, I think of this.
Like, sort of like the third party hypothesis that something has been sort of injecting information or very slightly interfering with human development for a long time.
Like paleo contact.
You know, I don't know if it's aliens or if it's a future version of ourselves or if they're, if it's something even stranger.
I don't know.
It could, it could just be a parallel track of human development that went underground or underwater a long time ago and they're just us, but they're.
They treat us like uncontacted tribes.
Right, right, right.
Like a breakaway civilization, but we're talking about they broke away 20,000 years ago and they just don't want to have anything to do with us, except then they see we start blowing up nukes and they're like, whoa, whoa, whoa.
Right, right, right, right.
This is our planet too.
Then they start showing up and they're like, yeah, yeah, we're from, I don't know, Venus, whatever.
Stop blowing up nukes.
They don't want us to know that they actually live here.
You know, and then you get this idea of like how often in.
Ancient texts, when they're writing about visions or religious experiences, is it really an encounter with this other, this third party?
You know, yeah, and maybe some of it is like I don't know, Project Bluebeam style, where they're just making a projection.
Here's the angel, and it's covered in light and it descends from the sky.
It isn't, you know, a person, it's a hologram or something.
What is Project Bluebeam?
The Project Bluebeam idea is that somebody would have the technology to sort of make a lot of people believe that an alien event had happened or the second coming of Jesus or whatever.
You know, it's like a mass psyop, you know, like that would be visible to everybody in the sky, you know, some kind of giant hologram.
Oh, like 3D holograms.
Yeah.
Kind of like maybe what happened with Joseph Smith, right?
He saw something like that.
Some angel came down and told him a message, you know, in his bedroom or whatever, told him about the tablets.
And it was like connected to a beam of light or something.
Yeah.
I mean, Bramley wrote about this, you know, the Gods of Eden book was his idea.
He was like, I was looking in history for who, like, what are the reasons for all the conflicts and wars?
You know, like who, like there's this idea of that maybe there's this secretive cabal of people who have been profiting off of wars and causing them for a long time, like some kind of secret brotherhood, you know, that has been doing this for a long time.
But the farther back he went, he was just like, well, wait a minute.
When you go far enough back, it looks like they were gods.
And the texts talk about them coming down from the sky.
So he connects it to aliens and UFOs.
But it's just as likely, I think, that it could be something from here.
And all you have to do is sort of fly over to the less advanced people and descend from the sky, and they'll think you're a god.
You don't have to be from space to do that.
One of the weirdest things to me about the whole Anunnaki story is how they seemed like very similar to us in a way that they would start wars or be fighting over things.
Yeah, breed with us.
And I wouldn't, yeah, whenever I think of like super advanced beings, I feel like they would evolve past that.
Like these deep primordial beings.
Instincts of like fighting and being territorial and that kind of stuff.
And if you're like this crazy enlightened god, why the fuck would you be going like starting wars?
It was you would think that they would have a better way of doing things, yeah.
I mean, maybe it was just a game to them, yeah, maybe you know.
It's like you get two like anthills and you make sure that they start fighting each other just to watch, you know.
We call it hurling humans, like you go all the way back in time and you see like these gods were gathering.
Large groups of humans around them and they would throw them at each other.
Like, my humans are going to attack your humans.
Oh, yeah.
Who has the best army?
I've got the best humans.
Yeah.
My humans are going to kick your humans' asses.
Right.
Right.
Yeah.
And this guy, that guy who I had just had on here, was explaining to me all about how apparently, according to these texts, that we were created and our lifespans were dramatically shortened.
And people were living like tens of thousands of years before us, and then all of a sudden we only get to live 120,000 years.
You blew my mind last night when you're talking about how it's in the Bible, that's actually in the Bible in Genesis.
Yeah, yeah, his days will be 120 years or something like that.
Yeah, it's right after the flood that God basically decrees that man will live no more than 120 years.
And before that, the antediluvian patriarchs of the Bible were you know, they had 600 years old, 900 years old, 800 years old.
Noah was old, you know, Noah was like 600 when the flood happened, something like that.
Methuselah is famously the most, I think he lived to almost a thousand years before he died, but they've lived a very long time.
And then after the flood, no one lives that long anymore.
It's like this decree.
And there's a similar story with the Tower of Babel where it's like God is looking down at the people building the tower.
First, the people are like, they have survived the flood.
Yeah.
It's been maybe 600 years or something like that.
So these people are aware that the world was destroyed in the past.
And they're like, hey, let's come together and we'll build this tower.
So they have this goal of building a tower to the heavens and being all of one language so that they won't be scattered throughout the earth again because they witnessed that.
You know, their ancestors had witnessed it with the flood.
And then it switches to the God narrative, and he's looking down and seeing that they're building the tower.
And he's like, because they're all of one language, nothing that they set their minds to do will they not be able to achieve.
In other words, they'll be able to do anything they want.
So we must go down there, destroy the tower, and scatter them and confuse their language so that they will be scattered.
And it looks like confuse their tongues so they can't work together.
Yeah.
It looks like another set of attempts to prevent us because the The follow up is otherwise they will become like us, yeah, is what he says.
So it's like, so if you're thinking of them to from becoming like the powerful, so if you're going with the you know, if you're going with the like the pure religion, and like, is this this is supposed to be the creator of the entire universe and he's worried that the humans are going to become him, or is this something else?
This is a story about something else, you know, yeah, because the traditional interpretation is that man's hubris makes him believe that he can be like God.
Post Become Us Fruit Tree Eat00:02:23
Right.
And that's true.
Like we can be arrogant, and that is a flaw.
But another way to look at it, when you just think of the narrative, that there is some other group of beings out there that are concerned about us becoming as powerful as they are.
Yeah.
And when we look like we're getting to that point, they put a stop to it.
So, yeah, Tower of Babel, the gods didn't want us to unite and become them.
Yeah.
So they made us, they spread us out, made us have different language.
So we became territorial apes.
It's a similar story with Adam and Eve.
Like they eat of the fruit of the knowledge, right?
The tree of knowledge.
And then God is like talking, it goes to the narrative, his narrative.
He's talking to whoever's with him.
His command.
He's like, if they then also eat of the fruit of the tree of life, they will become like us.
If they have knowledge and life.
So it's like the same deal.
So it's weird.
Well, guys, thank you so much for doing this.
This was.
Extremely fun.
I appreciate it.
And now we are going to jump into the Patreon episode.
But first, before we do that, tell everybody about your show, where they can find it.
Obviously, I'm going to link everything below.
But Brothers of the Serpent podcast on YouTube, everywhere, Spotify.
That's right.
What else?
What am I missing?
Yeah, that's it.
I mean, we got Snake Bros, Brothers of the Serpent.
You can look us up on Twitter.
I hardly post on Twitter, but sometimes I see good stuff and I do post things.
Yeah, we do tours also.
We're doing actually a little eclipse event.
For this eclipse, it's coming because it's passing right through our area.
Yeah.
So if you go to contactathecabin.com and look up the eclipse, it's a little camp out.
You go camp out, we're going to have some bands and some songs and stuff.
This eclipse will be there.
Where are you doing that at?
It's in a little town called Utopia, Texas.
Utopia, Texas.
Yeah.
And I also have a band, $50 Dynasty.
And yeah, go to $50Dynasty.com, check out some music.
Hell yeah.
It's been on the Cosmographia show.
Okay.
Yeah.
It's the intro for Cosmographia, right?
Yeah.
Cool.
Yeah, brothers of Serbia.com is the website, and everywhere else you can look except for podcasts.
Yeah.
Dope.
I'll link it all below.
And if you want to get some jams, listen to some of the tunes, we're going to do a Patreon episode right now.