Jay Anderson explores UFOs, genetic experimentation via tridactyl mummies (CT scans revealing fetuses and eggs), and ancient sites like Peru’s Saxawaman—electromagnetically aligned stone blocks defying Bronze Age tools—and Egypt’s Saqqara, where hidden calcite carvings and 80-ton granite slabs suggest advanced, possibly non-human techniques. His 2019 UFO encounter left red triangular marks on his arm, aligning with NASA’s tether anomalies and theories of suppressed plasma science tied to Earth’s magnetic reversals. Anderson critiques government disclosures (e.g., Lou Elizondo’s Guantanamo ties) while proposing human origins for tech like zero-point energy, suppressed by Cold War paranoia—raising questions about accountability versus public safety in revealing transformative knowledge. [Automatically generated summary]
The concept is you could, if you lived in the future, you could go back in time and it would not affect the future because everything that's supposed to happen has already happened.
Yeah, I was in Peru recently not to go and see the Nazca mummies.
I wish I could have seen them.
I was out there to look at all the megalithic studies and the excavations going on at Saxo Oman, which is an incredible megalithic site in Cusco.
But the Nazca mummies, I mean, what's interesting about it is that obviously you're going to have a big knee-jerk reaction to something that's so incredibly profound as the idea of these being non-human intelligences that are mummified.
But when you actually look at the CT scans and the x-rays, you start to realize that this can't be fake.
You can't fake bone cartilage.
You can't fake capillaries and heart valves and a fetus inside the body.
These ones are meant to be like the little kind of like 60 centimeter beings with like three eggs inside them.
Then you've got the big one, Montserrat, which has an actual fetus, like a baby not in an egg.
So it's like, if these are all real, it does feel like there was some sort of genetic experimentation going on where they're just churning out prototypes of some form.
I mean, some of them, they're leaning more towards like reptilian anthropod kind of lineage.
So like the bigger ones seem to be more mammalian, whereas the smaller ones with the eggs are sharing reptilian traits.
So it's like there are all these different variations with these different bodies, different kind of like physiological characteristics, which is why it's like, okay, well, is this one lineage or is this just someone kind of like tweaking?
I mean, if you look at Jesse, when Jesse Michaels did his documentary, one thing he mentioned, I can't remember where he got this from, but he was saying that the original translation of the area of Nazca from the original language was like the area of experiments and genetic cloning.
It was like a really strange definition for the actual area that kind of says experimentation and genetic modification.
I can't remember the exact quote, but this was something that he brought up in the documentary.
I was like, huh?
Okay.
Then you have all of these various different examples.
But it's just a weird little caveat that he brought up in the documentary.
I'm not quite, he'd probably be rolling his eyes at me now.
Like, dude, I actually fucking know exactly what this is.
You're making me look like an idiot.
Yeah, I'm butchering it, but no, for sure.
But I, but just the fact that these things exist and they exist in an area of the world which is full of mystery.
I mean, the megalithic sites around there.
Like I said, that's what I was out there for to see these different megalithic sites and the Nazca lines and Saxawaman and in the Sacred Valley.
You just have like incredibly complex architecture.
You know, rose court, granite, diorite, andesite, these incredibly hard stones, like in Egypt.
But honestly, I find Peru even more baffling than Egypt with the architecture because of just the level of interlocking precision that you see and the fact that it looks like they've softened the stone in Saxawamon.
It looks like marshmallows, like all squished together.
And it just invokes a lot of different theories from people about how they were actually manipulating the stone.
And like sometimes you'll see like these corners where just a tiny bit of stone is jutting up and then the other two are connecting into it.
It's like this is such a ridiculous level of complexity for an apparent 600 year ago Bronze Age bronze chisels and stone hammer tool wielding civilization.
And also in Peru is what I find very interesting is you've got a brilliant visual contrast to use when you look at what is the Inca work, which is the rough cut stone, the mortar brick using walls.
Like this is all present in Peru next to the megalithic sites.
And the mainstream will attribute all of this to the Inca of 600 years ago.
But you'll see that the stone walls that are rough cut and use cement and mortar, they're still standing.
They're pretty pristine.
They're looking good.
Next to megalithic multi-ton slabs of granite that are broken to pieces and strewn across the hillside.
So it just looks like there was a lot of desolation, potentially geological trauma in this area.
And then these people, the Inca, discovered these sites, built around them.
You can see in like the cracks and corners of all these megaliths that there's like stone walls that they've tried to kind of, you know, reinforce.
It's very visually obvious, actually, when you go out to these places.
Like, I think at the end of the day, we're still using models from like 1800s explorers, right?
And it's like, what the fuck?
Like, we've moved forward.
There's a lot of contradicting evidence and data in a lot of these countries, whether it be, you know, Gobekli Tepe in Turkey or the potential infrastructure below the Giza Plateau.
And then the incredible megaliths in Peru, like Saxewoman.
It just feels like what we're doing is rehashing the same status quo orthodoxy, and it's coming up against an ever-piling higher mountain of evidence.
And one of the cool things that I got to do out in Peru was go to Saxawoman, where they've got current archaeological digs going on through the Chinkana project, which is an archaeological team out there, and they're doing digs.
And they have actually discovered below, like 10 meters down into the ground, precision carved blocks of stone that are coming out of the earth.
And this is where in this region in Cusco, the Andean legends are that there is a vast labyrinth below ground connecting Cusco to Saxa Woman, connecting Saxa Woman to the sacred valley, all spreading out across the Andean mountain range.
And this is like an old legend.
This is what the shamans and the sacred keepers of knowledge would say in Peru.
We're finding evidence for it.
We're literally going underground now and seeing that there are actually really precise elements of infrastructure below Saxawoman.
And they're just beginning to uncover this.
I was one of the first to go down there and actually see these blocks myself.
And it's just like, this is happening now.
We're actually getting to a place where we can start to validate some of these forgotten myths and folklores, or if you want to call them conspiracies or pseudoscience from the archaeological side of things.
This is one of the things that's so infuriating about people that are arrogant about gatekeeping information and being the only ones that are allowed to distribute the truth.
Like, super volcanoes are unbelievably devastating to just all life, you know, because it just changes the temperature of the earth, the entire surface, whatever doesn't get blasted out of the ground by the actual volcano itself.
All the other stuff on the other side of the world gets fucked.
Like, it just ruins everything.
We got down to like a few thousand people.
And then there was another time where one of these guys came, God, I forgot who that was as well.
We were talking about the reality of glaciation and about what happens during ice ages and how devastating it can be.
And they were saying that we had gotten at least multiple times in the history of the Earth to the point where it was incapable of sustaining life.
Wow.
That within a few, you know, like whatever parts per million of carbon dioxide are necessary to support plant life, we literally got to the part where there was almost impossible to support life.
Yeah, and again, they share the same signatures as places like in Egypt and in India, you know, they think you're a kook.
Yeah, they do.
And it's just a knee-jerk reaction.
It's again, it's adherence to a status quo.
And, you know, you get channeled through a very kind of fine wall in academia.
And I think that it can be a real detriment actually to opening up your ideas and being a little bit more expansive with what could be possible because you do get put into a very restrictive format in the traditional academic sense.
And then obviously you have the pressures of funding and things like this.
And you're not going to get the funding if you're talking about this crazy shit.
And it's just like a self-fulfilling censoring, you know.
But with the rise of alternative media, we're changing the game a bit because you can actually put a voice out there.
You can put an idea out there.
It's not completely stonewalled by the academic circle.
They can't actually prevent people from discussing these ideas in an open media format like this.
But like, yeah, I think about this and I think about all of these different things.
Good, good.
No, I'm happy to hear that.
Happy to hear that.
But it's interesting.
And then you have, you know, the strange stories like from the Hopi tribe about the ant people that came during a time of cataclysm and they brought them underground and then they brought them back up.
And there's a few like that.
There was a really interesting podcast.
It was years ago.
I remember seeing this, where they'd brought these two Amazonian shamans on the podcast, like full headdress.
They spoke their own tribal language.
They needed an interpreter in the room.
And the guy asked them what they thought about aliens.
And they didn't understand the question, didn't know what he meant by alien.
He was like thumbing through this book and he put up a picture of a grey.
And the tribesman went, oh, that's makenwabu.
That's makenwabu.
And they had a whole story about how this was a human that became an ant that lives underground and it can appear in the divine light.
But you should be very careful with this being because it will take your soul underground and you need a very good shaman to bring your soul back.
And they were taking it real seriously.
Yeah, yeah, dude.
So it's like these tribal cultures, they know, man.
Well, I think they have, I think there's an ancient memory in people.
I think it's one of the reasons why these post-apocalypse movies are so popular.
There's a lot of post-apocalypse movies where, you know, like people, they figure out how to make houses out of wood again, and they're surviving and they make little encampments and they fight off the intruders from the outside.
You know, real like walking dead type shit with no zombies.
I think there's a memory in us of the surviving humans.
I think there's a memory.
And I think we probably have been through some terrible moments in the Earth's history where there was an enormous disaster and we are the ancestors of the survivors.
In fact, I heard you talking about that the other day where you were saying about like the, and it's something I agree with, the necessity for post-cataclysm, post-apocalypse, the strong men would inherit the earth.
And so if we really were a hyper-advanced Atlantean type civilization prior to this, maybe even more matriarchal than patriarchal, it would make sense that when things fall apart, obviously, and now you need to survive in the wild, the strong men and the savage guys would inherit the Earth because they would be the ones who would be able to push through that type of environment.
And then if that is the case and you fast forward to where we are now, look at our incredibly competitive, hyper kind of aggressive culture that we have, it would make sense that this was formed through the seeds of trauma and through the seeds of having to fight for survival and recovering what was lost.
Which also makes sense why the past, the further you go back, the more barbaric these people are.
You're dealing, and you're like, well, it took a while for people to learn, maybe, but maybe you're dealing with people that had to, they probably had to cannibalize.
I mean, they probably had to eat everything they could.
There was only a few thousand of them left.
If we really got hit by asteroids, like if the younger dryest is correct, it makes sense that it would take like 5,000 years for civil society.
And that's why prehistory is so fascinating and the Neolithic and the Stone Age.
Because, okay, so this is a time when we were just basic hunter-gatherers.
We had no intelligence, no language, no real understanding of the world, according to the mainstream.
But this is where you have multi-ton, geodetically aligned solar equinox and what's the lunar alignment.
I've completely just blanked just because I'm a little bit nervous at being on there.
Like, you know, like equinox alignments and like alignments to the sun and the moon, mathematically, geodetically aligned to what look like telluric currents, like electromagnetic flows beneath the ground.
A lot of these stone henges and dolmens are placed on places where you have strong electromagnetic concentrations.
And just the package of mathematics and engineering and stonecrafting and the knowledge of the sun and the stars and your placement on the planet to create things like Stonehenge and these other areas in the world.
How can you do that if you're just hunter-gatherers coming out of animalistic behavior?
It doesn't make any sense.
And then we kind of regress as we go further into history and the stonework becomes less impressive, things become less accurate.
And I find that very interesting.
How is it at the beginnings of our history, some of the most impressive structures exist?
And that was my frustration when it first came out because when it came out, obviously I did some research into the people involved in the Cafra Pyramid team.
I found Filippo Bionde.
I found his Harmonic SAR website where it has listed the things like the Mosul Dam in Iraq and the Gran Sasso Laboratory in Italy, places that they'd actually done scans prior to even the Great Pyramid, which was peer-reviewed.
Their 2020 scan of the Great Pyramid was a peer-reviewed paper.
And then you fast forward to now where they've got these ones and you have people like Flynn Dibble and Piers Morgan going, it's bullshit, it's pseudoscience, it's never been done before, it's never been tested.
It's like, it has been done, it has been tested, it's actually got a patent, it's been peer-reviewed in a paper.
If that didn't exist, you'd never fucking believe in a million years there's a structure with 2,300,000 stones that's perfectly aligned, the true north, south, east, and west.
He seems to think that the spirals might have actually been tied to hydrology and using mechanical stress and the piezoelectric materials used in the Great Pyramid and the plateau itself, because what you have is a very interesting coupling between limestone and rose granite.
So limestone is a very good amplifier of acoustics and rose granite becomes electrical, piezoelectric under mechanical stress and acoustics are a form of mechanical stress.
So there's like a certainly something to be said about the fact that the pyramids are acoustically tuned.
Like they're incredible inside the acoustics and they've done lots of measurements and experiments on validating that that it almost seems to go up in a perfect scale up to the king's chamber.
And then the king's chamber itself, I believe, is focused around 110 to 115 hertz, which is interesting for neurological reasons in terms of influencing the brain.
But on top of that, you have, again, this incredible coupling between limestone and rose quartz granite, where under the right conditions, you absolutely could get energetic responses from that.
But as well as this, you have the hydrological knowledge, which is really quite impressive.
And when you look at places like the Ossyrian in Abydos, which is a kind of sunken down temple, we call everything a temple or a sacred site, but we really don't know, do we?
We could be functional sites.
It could be a power plant of some form, like you said.
And the Assyrian in Abydos, next to it, you have the Seti I Temple, which is incredible.
It's beautiful and full of calligraphy and hieroglyphics.
And then you have this bare, faceless, megalithic place called the Ossyrian, which is sunken down into the ground, perpetually filled with water.
So they've tried to pump it out and it just fills back up again because it's connected down into the water table.
And there's all these different shafts and hydrological kind of components in this site that they don't understand the full function of.
And then you look at places like the Great Pyramid where you go down to the bottom of the Great Pyramid, you have like the kind of core, and this whole area looks like it's been water eroded, as if it was flooded out repeatedly and uses some sort of like a pump or some sort of like sequencing area where you push water in and then let it out, push water in and let it out.
And so Filippo thinks that maybe these spirals bringing water up.
And if you're a thousand meters down, you're tapping into like ancient aquifers.
So you could be drawing up a really impressive amount of like ancient, ancient water.
And I just wonder if, same with Peru, there's something incredibly important about accessing this kind of water at the real depths of the earth.
And they seem to have a real interest in doing that.
So perhaps the pyramids are in some way like, I mean, if these spirals are real, it's like a plug, isn't it?
It's like plugged into the earth, connected down into these aquifers.
Perhaps it was utilizing water as an energetic medium through the materials.
I had him on the podcast and he explained to us his theory.
He's an engineer.
Yeah.
And he started studying the structure of the pyramid.
And his conclusion was the entire thing was probably used to generate energy.
And it's like, what?
But when he breaks it down in terms of, I'll butcher the math if I even try, but in terms of the dimensions, the way it's made, and the fact that you could have something that was down in the basement that was somehow or another creating a resonance.
That would have this effect, the shafts that go out straight out into space, and the fact that there's evidence that they would possibly use these shafts to pour chemicals in, and it would create gases.
But, you know, I was when I was, not the last time I was out in Egypt, but the time before then, I was out there with a guy called Jeffrey Drum.
He's got a YouTube channel called The Land of Chem.
And he's all about this in terms of the chemical mass manufacturing that he believes was going on in the pyramids and these other areas.
And we filmed all of the coverage of that.
If anyone wants to go and see it on my YouTube channel, taking us through areas in the Giza Plateau where you have an incredible concentration on the Giza Plateau of iron veins.
And they all seem to be emanating from the pyramids.
So if you go around the pyramids, you'll see these iron vein networks sort of flowing out from the central point.
And these iron veins are heading down into what are called these boat pits.
I mean, there's some on the surface, so you can actually see the snaking kind of veins of iron that's kind of rusted out and oxidized, and you can make it out, but surely it must be deeper as well.
But it seems to be stretching out from the pyramids down into these.
So his theory is that they built the pyramid.
Yeah, yeah, yeah.
His theory is that they built the pyramids on top of these iron veins, particularly because this place was getting lightning strikes frequently.
So, these are the yeah, I believe he's probably highlighting the iron veins, and these iron veins head out into what are called boat pits, which they believed in the mainstream interpretation.
It's what people believe is the continuation of alchemy and chemistry because you get so much alchemy from Egypt.
And obviously, this is the place where you get Hermes, Trismegistus, and Hermeticism, and the philosopher's stone kind of leaks out from these types of areas.
So, I think that there is a lot to suggest this.
Plus, we actually know in the mainstream that they were incredible chemists, like regardless of exotic forms of chemistry, that we know they were using acids and natron baths and things like this.
The Egyptians knew what they were doing, even from the perspective that we understand, regardless of getting a little bit deeper into it.
Like, if this structure is proved to be real, if they start an excavation and they have irrefutable proof, like without a doubt, there's some man-made structures that are beyond description underneath the ground.
What happens now?
Like, what does everybody do?
Like, what do all these dorks that think that that's a tomb?
What do you do to all those dorks that think like it makes sense that they built that?
unidentified
It was a national pastime, it's a national project.
Well, I think the pyramids uniquely stand as like an intelligence test because they are so crazy when you have stones that are so large that are taken from quarries hundreds of miles away.
And one of the things that is said so much, but I guess it's kind of shrugged off just because it said so much, but it's actually a really important point to highlight.
There are no fucking hieroglyphs in the pyramids.
Not one.
There's not a single symbol, not a single element of what we would understand to be dynastic Egypt.
And so, like, you have this incredible contradiction when you go to places like the Valley of the Kings and the Valley of the Queens, gold, and it's adorned in patterns.
You can't see a square inch of stone where there isn't something filled to venerate these people.
And yet, the pyramids are bare.
Bare.
And, you know, when you go inside them, you're going to go to Egypt, are you going to go?
Just looking at it it looks to me like an advancement of what we are.
That's almost like indescribable, like a thousand year advancement of where we are currently to build.
Something like that right, it seems so nuts, and there's obviously stuff that doesn't seem as nuts.
It's just beautiful and impressive right, you know, just like the Coliseum in Rome is exactly.
Or like you know, the Acropolis, you know, all those things are fascinating and incredible craftsmanship and engineering and architecture amazing, yeah.
But then there's Egypt and you go shut the fuck up.
That's nuts yeah, and I resent the idea that we're like taking it away from them.
It's like let's just be logical about this and actually assess the toolkit and assess the capabilities and then look at the evidence of what we're seeing.
Also, we're not, because it's people that lived in the same place, so it's literally just the older versions of them.
Right, it's not like you're saying, you know, Chinese people came and they did it all and then they flew back exactly.
No, that's not what anybody's saying.
We're just saying it's your more ancient ancestors, like your ancestors, not we're just the timeline's off.
The timeline seems funky.
Clearly there were some amazing things that the Egyptians did during the accepted timeline.
I mean, they were a fascinating culture, amazing all through till the end.
Yeah right, but the when you go really far back, whatever that is is nuts.
And when you're saying that you know exactly when it was dated, when there's so much evidence of just today, modern doing these reconstructions and fixing and all the the the, the feet of the sphinx and they're covering it with new fucking rocks, like they've always been doing renovations they always do.
So all this stuff that you're saying, like you got a piece of wood from inside one of the cracks, like bitch, that doesn't mean anything exactly.
You can't date those rocks.
No, unless you get under those motherfuckers to the bottom and take a chunk of organic material from deep underneath that thing so you can know when the first stones are placed.
You don't know, you're guessing and I I think that that's why we're coming to a point now where there's such resistance from the mainstream when you see scans like this, because they've they've built themselves into a wall, it would you basically have to admit, yeah, we've just fucking wrong.
You're also, like you know them, confronted by real evidence.
Yeah, like real evidence, and like just when someone takes you for a walk inside the king's chamber and you look up at those stones that somehow they got, like how high are they in the sky?
And there's absolutely, again, there's nothing kingly about the king's chamber at all.
It's just completely a bare room of rose granite with this sarcophagus coming up out of the floor with a huge chunk missing.
And actually, if you look at where that huge chunk is missing and you turn around and you look at the wall, there's actually a massive impact on the wall.
There's like a big part of the wall that's been broken off.
So it makes me wonder if maybe that was jettisoned off at some point from power or something.
Well, especially now, because the way universities work is essentially there's a person that is the most important person in that field, right, at that university.
And there's a bunch of people that want grants, and there's a bunch of people that want to play nice, they want their career, they want tenure, and you've got to be careful whose toes you step on.
And if this one guy is the gatekeeper of it or a group of guys like him at various universities are the gatekeepers to this information, you're going to come up with the current bottleneck problem that we see, where people are not just unwilling, but aggressively attacking people to question this.
Which is why they called Graham Hancock's show the most dangerous show on television.
But it does bring up a disturbing and worrying element of it, just how quickly the mainstream media in various outlets all aligned at once to call him everything from a racist to a pseudo-scientist to a conspiracy theorist.
And, you know, it is an alarming kickback that he's taken in his stride profoundly.
Was there like a conscious decision for you to kind of like evolve it from just comedians talking shop to actually getting different guests on from a variety of subjects?
Because I know you're a curious person.
You've probably been researching these things even at the point before you were doing that kind of podcast because clearly you were.
But yeah, what was the natural evolution of that for you?
Well, I was always into books about ancient history and whether it's, you know, like modernly, you know, commonly accepted narrative or Graham Hancock stuff.
But I got into Graham Hancock's stuff, I think in the 90s, Fingerprints of the Gods came out.
And I fucking loved it.
I was so fascinated by it.
I couldn't shut the fuck up about it.
I would tell people, they're like, you got to see this.
Like, I think this guy's right.
I think we are a history with amnesia or a race with amnesia.
And then, of course, I watched Chariots of the Gods, that film, which I thought was very kooky and fun.
It's very campy and fun.
And here's the thing about that.
I dismissed it for a long time.
And I said, it's nonsense.
And I was, I actually had lunch once.
Eric Weinstein took me to lunch at Peter Thiel's house where we talked to Von Daniken.
And it was fun, fun conversation.
Interesting.
I'm talking to he's a full-on true believer of the alien theory, the ancient aliens theory.
And back, see, I've gone in like multiple stages in my cognitive dissonance.
Pinch of salt, but he claimed that he had been told this by a military guy out in Russia that they were in the rec room of this Air Force base.
And apparently, this is according to this Russian astronaut trainer at the Yuri Gagarin Space Center in Moscow.
And he said that this Yeti Sasquatch type being apparently just waltzed in, like just walked into their rec room, helped itself to some water from the water thing, waved, and then vanished.
Like, it brings us to the same subject of what if there is a way to traverse dimensions?
What if this is not as simple as something gets in a spaceship and it comes here from another planet?
What if it's coming from another place?
And what if that doorway is open to other things?
And what if some of those things are a Sasquatch?
Like, and under the right conditions, this pathway is open.
Right.
And maybe it's not even something that actually exists, but you can see.
Exists in our tangible timeline.
But you can see under heavy stress, under anxiety.
And imagine, what gets you more stressed out than being in the woods at night?
Right?
The woods at night creates a lot of anxiety for people because there's all these sounds and you're looking around.
It's dark.
You're vulnerable.
Especially if you live in real woods, like woods that have predators in them.
It's sketchy.
And I bet there's different states of mind that you would, If there's some sort of a possibility, some sort of a way that an intelligent creature can get to a point where it has the technology to access other dimensions.
It can go into other spaces.
Would you even be able to see it all the time?
Would you only be able to see it if you were under a highly anxious state in the woods?
You're kind of a little freaked out.
You're more open to weird things.
And then it senses that and communicates with you.
And we have such a narrow bandwidth of visual perception.
You know, you get up the whole light spectrum and look at visible light, just this tiny corridor of visible light that we're able to see.
Obviously, we've developed IR and, you know, different.
And if you film the night sky with infrared, you get weird shit.
You get these orbs and things that seem to fly by.
And I think that it is a perceptual thing because the reason I even started my YouTube channel is because I've had my own experiences with UFO type phenomena that were entirely initiated by me.
But this is one of the things that people have been saying for a long time is that there's actual groups of people and there was even some guy who was like somehow or another connected to the government that was saying that they lead these people out.
They go out into the desert and they have like some sort of a secret frequency.
He didn't want to discuss it that they can push out.
They can send out the secret frequency and it'll call them in and that other people have done it simply by willing them in.
And, you know, I know that a lot of people have issues with Greer, but he was actually my intro into the UFO subject.
So I'll tell you the story.
Sorry about my throat.
let me just take a sip of water so um this was uh how did he find out about it It's a good question.
He had a near-death experience, I believe, and from that was actually apparently communicated to and shown things that when he came out of that experience, he became a samadhi type teacher.
My origin story was I was really bored during COVID.
So like honestly, though, it was actually in 2019 that I had these experiences.
And I do think that it's very important to lay a bit of foundational groundwork because I think a lot of people will recognize this as well.
And it's something that you mentioned with Bigfoot being in a high-stress environment in the forest.
Maybe that changes your perception.
And I think that there's a degree of trauma and a degree of intense emotional moments that can bring about paranormal experiences.
I don't know why, but it does seem to be something that a lot of people relate to.
Yes, I was in a very dark time.
Yes, I was having a very traumatic time.
Or yes, I was going through something.
And then this happened.
And so for me, I was in my third year of university and struggling.
Just had a whole mix of personal issues going on.
So I ended up kind of dropping out before I finished and was just in a really bad rut.
And my dad was worried about me.
And he said, look, I'm out and this is a bit of a long story, but it's important to lay this foundation, I think, before I talk about what I actually experienced because it plays in.
My dad was worried.
He was out in France at the time, and he said, Look, do you want to come out and stay at this place with me and just, you know, kind of relax and bring yourself back to normal?
I was like, Yeah, okay.
So I came out and he was like, I've got these books that I've been reading.
I think they'd be really beneficial for you.
You should read them.
And I was like, okay.
Like, you know, I don't see how a book's going to change.
He, you know, was a radio DJ, broke his neck in a car accident, became homeless, finally managed to get back on his feet, but was still struggling, wrote an angry letter to God, and then apparently woke up at three o'clock in the morning and was having voices literally telling him to write things down.
And so he wrote all of this down, and this became conversations with God.
It's literally a dialogue of him asking questions and him receiving answers, which he interpreted as from God.
Now, that is intense, and I'm definitely not here to say this is a Bible and everyone should read it.
However, it was incredibly impactful for me at that time.
The things that I was reading about, it was a very different idea of God, universal consciousness leaning towards more than some weird patriarchal cloud-living figure that just never made sense to me.
So it got me in, and I was reading it, and it helped tremendously, weirdly enough, which I didn't expect.
And that put me on a path towards researching metaphysics and philosophy and science and consciousness.
And that's where it really started for me.
But then a couple of years down the line, I found myself in another depression, in a sense, because I felt like I'd accumulated a lot of information about various different topics that I thought were like these big questions and big answers and big esoteric things.
And I just got to a point where I was like, none of this is actually helping me in my life.
In fact, I'm actually feeling like fucking worse for looking into all of this thing.
I don't know how this is going to benefit me.
So I was sitting on my bed one night and I just, I guess you could call it a prayer.
I just sat on my bed and said out loud to the universe, like, I need something that validates all of this.
Like, if I'm meant to be looking into these big picture questions about the universe and consciousness, if there's something tangible here, like I need to know and I want evidence and I'm ready for it.
So give me it.
I want that.
And then a week later, my best friend at the time, he was like, hey, I was watching this documentary.
You've got to check it out.
It's called Unacknowledged by this guy called Dr. Stephen Greer.
And this is my first introduction to the UFO subject.
So I was like, okay, cool.
Sit down, watch that.
Very good documentary.
All of these different, you know, high-level officers and missile launch guys talking about UFOs.
It got me in.
And then near the end of that is when he brings up this concept of CE5, you know, initiating contact with these.
You can actually have your own experiences by getting into a particular meditative state.
If I hadn't been making that request on my bed the week prior, I probably just would have watched that documentary and gone about my life.
But it felt like a very strong message to me personally because I've been asking for something to validate these ideas around consciousness.
Now there's a guy saying, yeah, you can actually have an experience by going out and attempting to ask for one.
It was a weird, gradual thing where things were happening in the sky that were enough to keep me going out, but not enough for me to be like, okay, this is legit.
Lots of what the contact community call flash bulbs, flashes of light in the night sky in a void of space repeatedly without any discernible object attached to it, just one flash and then send a thought, another flash, send a thought, another flash.
And this happened multiple times.
I've been someone who watches the night sky all my life.
I'm used to seeing satellites.
I know what radium flares up.
I'm sorry for maybe an hour or two hours, you know.
But I was, um, I was essentially, because of, again, being asking, asking the universe for something, the universe seemed to be giving me some sort of response.
It kind of lit a fire up under me and I started going outside.
And honestly, a lot of people, like even Grier, has this incredibly, you know, complicated method using Samadhi and doing various things.
I didn't do any of that.
I just breathed in through the nose and out through the mouth until I felt very calm and then began to very clearly model my thoughts around the concept of I want something to respond to me.
And then I would essentially visualize that that was emanating from me, that these thoughts were emanating from me.
And it didn't take very long before I'd have flashes of light in the sky that just seemed weird because I've never seen anything like that.
Or an incredible influx of what look and behave like satellites, but just at an incredibly high level.
Where it's just like, what's going on here?
And it just felt like a kind of step-by-step progression until in August of 2019, I had four incredibly vivid and real experiences with orange orbs of light.
It's going like this, and now it's going like this towards you.
High up in the sky, but it's now in my path, complete 90-degree shift from its trajectory.
And I saw it, like a jarring, now it's going this way.
Okay, so at this point, I'm rooted in place.
I'm not really scared, but I'm shocked at the fact that this thing did what it just did.
And I'm watching as it's coming closer and closer towards where I'm going to be.
Eventually, it's directly above my head.
It sounds so crazy.
And you know, Terence McKenna said something like this.
He was like, you know, if you tell the unvarnished truth about a UFO experience, you'll be taken for a fool.
It's like, it's true.
You know, if you just tell people what really happened, but this is what really happened.
So this cloud comes above my head.
As it's directly above my head, this cloud sucked into itself as if there was a central vacuum, a central point where it just got sucked into itself.
And it revealed a triangle formation of about 25, maybe 30 orange orbs of light in a triangle.
And this triangle, basically the cloud went, shh, triangle was revealed.
It kept moving.
I had to turn around and watch as it went off in this direction.
And as I was watching it, I could see that some of these orbs were actually swapping formation, swapping position in this formation.
And that was the first time I saw them.
I saw them on three other occasions, all within the space of a month after this.
Weirdly enough, I woke up the next day, and this is the only element of the story, as crazy as the whole thing sounds, it's the only element that makes me personally uncomfortable.
I was getting out of the shower, and as I was drying myself off, immediately, immediately noticed where this tattoo is now.
There was a triangle mark of three red marks, one here, one here, one here.
I would say whatever that is on your arm, who knows?
Maybe a dermatologist could explain it.
It's just a coincidence, but the actual thing itself is far more interesting to me.
And like, because one of the things that people always say is: if they were out there, what wouldn't we see them?
Like, God, if they could come here from another dimension, or if they can come here from another planet or another solar system, don't you think they could probably hide?
Like, we're pretty good at hiding.
Like, don't you think, like, we have technology right now, like the stealth bomber stuff, that diminishes the radar signal.
Exactly.
You can't pick them up on radar.
So why would it be impossible to somehow or another manipulate your visual field, project what looks like clouds on the outside?
We know that we can do stuff like that with plasma.
Like, they have these plasma things that can spin in the sky.
This is apparently what all the spooks were telling Tom DeLong when he went to the Pentagon that there's amoebas in space the size of whales and like, you know, that these things were essential.
Yeah, I remember when he was on Fade to Black and he was talking about, you know, that there are these amoebas in space that are like, you know, a couple of things.
I think with Tom DeLong and the UFO subject and Tudor Stars Academy and all the things that have happened since like 2017 New York Times, I have opinions on it because I think I might be the first guest that you've had on that wasn't already quite established.
So I've had to work my way up through social media, through the interactions in the community, to personal relations with people that aren't big names or anything like that.
I've had to work my way up it.
So I've seen and been exposed to things that perhaps people like Jeremy Corbel and others who are already quite big names haven't seen because they're too big.
They don't need to be on social media looking at fucking comments or like what's going on in the X space.
But if you are like that, you start to notice things.
And so what's interesting to me, despite what anyone wants to say about Stephen Greer, and I've got my own issues with Stephen Greer, what's interesting to me is that the only person really who was making noise prior to TTSA was Stephen Greer.
He was the one that was putting out Netflix documentaries that were getting seen by millions of people all over the world.
And he was saying, you know, these are black budget illegal programs.
This is an anti-congressional crime against humanity.
We need to be busting down the doors.
This is, you know, not exactly what they would want to hear if they were inside the national security state.
There's this guy out there saying this.
What do you do about that?
Well, do you know how Tom DeLong got linked up at the very beginning to all of this?
And because of his background and the money, he was able to secure connections.
And he was very friendly with Greer.
He was best buds with Greer at one point.
In fact, there's a video of him when he's quite young.
And he's pointing out all of the witness, UFO witness tapes that he's got in his library.
And he's like, you know, these are all, I'm holding on to these for a guy.
He's got like 50 whistleblowers.
He's bringing this all out.
And this is before Greer, you know, kind of made the announcement.
So it's obviously Greer.
And Tom DeLong's on Fade to Black in, I want to say 2015, talking about this, where he tells a story of how a friend of his at Lockheed Martin calls him up and says, hey, we're having a family and friends meet and greet over at Lockheed Martin.
Would you want to introduce the bosses to the stage?
And he said, yeah, but I want 10 minutes with your bosses afterwards.
And they were like, okay.
And so he went and he introduced them on stage.
And then he tells a story of being taken through, you know, these white noise corridors and down into this place where eventually he was chilling with the guys at Skunk Works and, you know, these big directors are all sitting in this room.
They're like, okay, what is it you want to talk about?
This is where he pitches Two to the Stars Academy of Arts and Science and this framework.
And what's interesting is on the radio when he's talking about this, he's saying, you have to approach these guys like you want to be of service.
You know, I was saying, I'm being of service.
I want to help.
I want to help.
So you've got a disruptive rogue person out there, Stephen Greer, saying all this stuff, causing commotion.
What do we do about that?
I have no idea.
Suddenly, in walks a rock star.
Use me.
Because that's basically what he said.
Use me.
I'm happy to do whatever.
I am your conjuate into the public.
Now, no disrespect to Tom.
I've met him.
He's a lovely guy and he's very passionate about the subject.
But I do think he was used.
And what you get from there is the Two to Stars Academy platform.
Suddenly you have this official kind of green lit disclosure, very soft disclosure that's nothing like Stephen Greer's disclosure.
And we're all being encouraged to partake and support in this very, what should we say, curated method of soft disclosure for the people.
I think that they were very worried about what type of disruptive truths might come out before it was time to talk about them.
And then suddenly Tom DeLong was a very useful medium for communicating this.
When you see things like the WikiLeaks emails between him and John Podesta, where he's literally saying this is about bolstering PR for the military industrial complex from a disenfranchised youth and the generations of youth today don't trust the government.
We want to change that.
We want to change the perception of the military and the government.
He's literally emailing John Podesta about this.
So it's very clear that at the very least he was willing to be the messenger of whatever message they wanted to give him.
And it just so happens that that message completely counteracts what Greer is talking about in terms of classified black budget programs that have already cracked reverse engineering.
I know I've had people on this podcast that were doing that with me.
And I know they were coming on saying a bunch of nonsense.
But you have to let them talk because the truth comes out in the wash.
For sure.
And I think what's interesting about the age of disclosure is this narrative of the reality of what happened.
If it did happen, there's lying to Congress, there's misappropriation of funds.
You're going to need amnesty.
And so this is the narrative.
This narrative is we need amnesty.
It's like it's kind of a smart way to do it, right?
Do it in a documentary, have all these people that are probably implicated in some way say we need amnesty.
All these people that say that they know about these programs, amnesty is important because people have been.
But what they've been doing, really, if they have been doing what we assume they've been doing, we assume they've retrieved crashed UFOs and they've back engineered them.
We assume they've used that technology.
We assume they're aware that there's non-human intelligences that are far beyond our technological capabilities and that we interact with them.
You've committed a crime against humanity by not telling people that.
Because we all operate under the assumption that we have an understanding of what our role is in this ecosystem of life.
And if our role is not even remotely at the apex, if we are being visited and manipulated, and if we're actually a product of experiments, you should fucking tell us.
You guys can't be hanging out at Raytheon in the fucking conference.
The more important thing is, let's find out if this is real.
That's more important than everything.
For the race, for the human race, the entire human race.
And for science and technology, to have all this stuff locked down like that and not allow the great young minds that are coming up right now to have access to this is crazy.
You're wasting one of the most valuable resources that we have with secrecy.
So when I say that the Earth's magnetic field has remained roughly constant, what I mean is if you look over long-ish time scales, its magnitude is roughly constant.
So of course it varies, right?
And it reverses sometimes, right?
And those reversals of the Earth's magnetic field, so you know, reversal meaning the North Pole becomes the South Pole and vice versa.
So those happen.
And there's even interesting stories you can tell about how those reversals of the Earth's magnetic field correlate with many ice ages and things like this.
But the idea is that if you average over these periodic reversals or fluctuations, the amplitude of the field has remained roughly constant.
And the idea is that if there was no induction, if there was no dynamo working, you and I wouldn't be talking, right?
The magnetic field would have diffused very quickly, right, in within 10 to the 5 years.
The Earth would be left without a magnetic field, and the Earth's magnetic field protected from cosmic radiation.
And if you were open to that radiation, well, you wouldn't be here, like I said, nor would I. Thank you very much.
I mean, the level of ingenuity and also the fact that they're finding that these walls go way deeper, right?
Because not just the excavation where they're going deep down and finding new blocks of stone, but just the walls.
There's key excavations going on around the walls.
They just keep going down.
So it's like this place was buried, maybe.
A lot of earth push up and submerged into the ground.
Clearly, this place experienced some form of global upheaval.
And what's really weird about a place like Peru, for example, is that prior to the, well, at the end of the last glacial maximum, around 19,000 years ago, when the Earth started to warm up again, there were certain climatologically stable corridors.
And Peru was one of those areas which was actually quite climatologically stable.
So at the end of the LGM, the last glacial maximum, to the Younger Dryas, it's about 6,000 plus, 6,000 in change.
We've taken ourselves from horse and cart to supercomputers in less than 150 years.
So the idea that areas of the world that had stability for about 6,000 years couldn't create something incredible, and then the Younger Dryas comes and it takes it all away for the most part, it's very provocative in Peru because of, again, the existence of the inca structures that are very quite pristine, actually, and still standing, very simple, and yet they are surrounded by broken megaliths and multi-ton structures that have gone through incredible damage.
It was a deep research into cycles, great cycles of cataclysmic destruction on Earth, by a guy called, his name was Chan Thomas, but I think that was a pseudonym or a faint, not real name.
And he actually had at the beginning of it, like a series of people he had listed who, without whom this book would not be possible.
And it was like, you know, top five-star generals.
And like, it's like, okay.
So, you know, this guy had the, you know, Chan Thomas, the Adam and Eve story.
It's all about this great cyclical cataclysm that does take place every, what was it, like 12,000 years or something like that.
And that the ancients had a knowledge of this.
And I think that this is something that we will probably begin to realize is that somewhere in deep antiquity, there was a level of knowledge that is very contradictory to what we understand now.
And I think places like Peru, places like Egypt and others, Malta, Gobekli, Tepe, of course, it's becoming very palpable that there was something before this.
Also, when you see the spikes of the Earth's temperature, when you see those ups and downs, those glaciers and those warming periods, is there a uniform time in between those spikes?
I mean, that's why I think plasmic intelligence is very interesting, because it's this idea that a self-organizing plasmic structure could in some way create consciousness inside of it.
And we don't understand where consciousness comes from.
We still don't.
So it's very open to the idea of possibility.
And, you know, I've spoken to some pretty interesting scientists like Dr. Salvatore Pais.
He's the guy that was responsible for the UFO and US Navy UFO patents that got put out a few years back, like underwater, undersea plasmic generators and things like this.
He was a US Space Force engineer, and he is very much of the opinion that plasma itself is capable of becoming conscious, not conscious on its own.
But 99% of the observable universe is made out of plasma.
99%.
Isn't it weird how we get taught about solids, gases, and liquids, but not plasma, the fourth state of matter?
I think that there's things within plasma physics that are so novel and exotic, like these self-organizing EVOs, exotic vacuum objects, and the science that they're studying.
Hal Putov got involved with it for a minute, where they're claiming to bottle the stars and they're creating these plasmic, you know, self-organizing plasmas inside these chambers that they were claiming could transform metals from one metal into gold or transmutation of elements and complete revolution of propulsion and energy.
What if they had gotten to it's not impossible to assume like if the earth creates gold, it's not impossible to think that we could take the elements of the earth and create gold as well.
So, but I mean, if you, if gold was a valuable, if it was about a valuable part of technology, which it is, and it had conducting aspects to it, it's very conducive or it's very good at conducting.
Particle accelerators like CERN's Large Hadron Collider achieve this by slamming lead nuclei together in near-miss collisions, generating intense electromagnetic fields that eject three protons from the lead, 82 protons to form gold, 79 protons.
Well, it's like there's like snippets, isn't there, from the black and white days, 1920s, where the Smithsonian kind of very quickly covered things up.
Well, that's the thing, is it might supersede just academic circles and archaeology.
It might get a whole bit more serious.
Why?
The implications of our ancient history and what exactly was taking place.
I am fascinated by some areas that seem to have a level of kind of like theologic reference to them.
So, you know, the Book of Enoch and the Watchers.
And they descend down on Mount Hermon in Baalbek, right?
So that's Baalbek, which is Baal Beck, the lord of the Becca Valley, and Baal, the storm god, like the one that everyone, you know, talks about the sacrifices to Baal.
But what's crazy about that as well, just a real quick aside, well, not even an aside, it's an addition to that.
Is that okay?
So the mainstream attributes is the first century Romans.
But then the Romans liked to brag about all the things they did.
And third century Romans bragged about the Lateran obelisk that's now sitting in Rome.
And the Lateran Obelisk is about 350 to 400 tons.
That's the heaviest recorded lift in Roman history.
These are 800 to 1,000 tons.
They never even mentioned them.
So it's weird that we attribute it to Romans, but it's because we, within our model for history, we can't not, if we're going to listen to academics, right?
But when I started reading it, now if that was included in the Bible, if they had, because it really was rabbis that decided that it didn't jive with the Torah, right?
Right, right.
And so they said, no, no, no, this one's kind of crazy.
If that was in the Bible, and that's what we were taught, things would be different.
But meanwhile, that is in the same area of Qumran written down as the book of Isaiah.
So all these things that are included in the Bible, that's there.
Again, I think that there's probably maybe disagreements because, I mean, you know, there's so much change for the biblical canon from all of these different councils like the Council of Nicaea, all these different censorings and changing Of the Bible, it's probably personal issue.
It could be something as simple as just someone who personally did not believe that.
It was like, that's bullshit.
Remove that.
That's not real.
There's no way they were giants.
But I love how at the beginning of the Bible, it's like there were giants in those times and the times before.
Phenomenally, but a leap that has to, in some way, have been intervened with, in my opinion.
I mean, it's such a quantum leap in our ability of cognition and the brain size.
I mean, I do find the stoned ape theory very interesting and the concept of using psychedelics.
And I think there's a role to play in that for sure.
But I just think that when you have such a novel trajectory change from every other creature, every other animal on this planet, that tells me that there is something fundamentally accelerated in humans.
And whether that can just be put down to shamanic use of psychedelics, I don't know.
I think that when you invoke again all of these various theologic stories, it becomes clear that something was interfacing with us.
And perhaps at one point we were interfacing with them.
And there was a communication and a relation that has since long degraded after, you know, cataclysmic outreaches.
I think the evolution that came out of psychedelics and primitive man was the escape from the barbaric nature of our roots.
Right, right, right.
don't think it's necessarily the development of the human brain I think it's probably a way to also a way to use the human brain with its primate background but soften the ego right Right?
Yeah, yeah.
And endorse a feeling of community, like promote a feeling of community and love and the connectiveness that you get from psychedelics.
It will allow you to traverse the timelines between incredibly barbaric hunter-gatherers with stone-tip tools to agrarian societies where people are all living together and cooperating.
And it makes sense.
But what doesn't make sense is the giant leap to being a human in the first place.
Well, again, my own experience is I just feel like there is quite obviously a vast intelligence spectrum out there, in my opinion.
And I think it goes beyond our own perception of space and time.
And I think that there are likely things that can come in from, you know, realms that we just don't really believe are real, like the astral and even the realm of the imagination is an interesting thing.
What is this place inside of our heads that we can instantaneously create anything we want?
And all things, including everything on this table, once came from inside someone's mind.
Like we are excretors of ideas into reality.
We kind of render reality into something that nothing else does.
And I think that there is a spark within us that speaks to what people would call a divine spark for sure.
And maybe that is a divine spark.
Maybe it's a highly intelligent race that intervened and gave us that spark.
But we are entirely different.
And I do think that as we begin to get deeper and deeper into kind of the physics of our reality and our fundamental connection to it, we start realizing that our physiology, our body is like an antenna.
It's like a technology.
It's an instrument for picking up on signals and perhaps even consciousness itself.
I don't know if you're familiar with microtubules and the orchestrated objective reduction theory by Stuart Hamroff and Sir Roger Penrose.
No, so I did an interview with an anesthesiologist called Stuart Hamroff and him and Sir Roger Penrose developed a model called the Orchestrated Objective Reduction Theory or Ork OR looking at microtubules, which are these tiny helical structures inside our neurons.
And I forget the exact metric, but it's something ridiculous, like 10,000 microtubules per neuron.
So it's just, you know, this incredible architecture of these tiny little helical structures that apparently are so small that they interact with quantum vibrations in fields.
That's how fine and tiny they are.
And the reason I bring this up is because I think that we're getting deeper now with things like the Orc OR theory into looking at the structures within humanity that actually seem to be receiving nodes or receptive nodes for energy that could then be translated into consciousness.
The whole idea of are we generating consciousness from our brain or are we receiving consciousness and we're just a conduit for it.
And I think the evidence is getting a little bit more clearer that we're a conduit.
And I just wonder if that's evolution naturally or if that's interaction from these others that have come and meddled with our genealogy.
Well, Jamie brought something up, which is a really interesting video that I took when I was out in Saqqara in Egypt, again with Jeffrey Drum.
He was taking me through.
And yeah, this is an awesome place.
So just for context, before we play it, yeah, take it back to the beginning.
This is inside the pyramid of Yunas in Saqqara.
And this is deep down inside of it inside what they call the burial chamber.
Now you see all of these amazing Arabic artwork that's been quite relatively crudely scratched in.
Now you see that glow?
That's actually calcite crystal and that's limestone.
Now the entire back of this chamber, like this wall, the back wall, the other wall and the ceiling and the floor is made out of a slab of calcite crystal.
But what's really interesting about this is that when you take a flashlight and you put it in a certain angle on this wall, something very interesting appears.
You can see the navel, the belly button, and the arms.
And this is completely invisible until you get that flashlight.
Now these have been actually smoothed.
Let me go promo for my episode, but these have actually been smoothed into the calcite crystal itself.
And then obviously these Aramaic writings and pictographs have been scratched on afterwards.
So clearly, this is the original artwork of this chamber, but it's not perceptible without a very specific angle of light that creates the shadows.
And these are on the other side of the wall as well.
I think in this clip, maybe he doesn't show it.
But very, very strange.
Now, this entire pyramid is acoustically profound.
I mean, the acoustics inside of this are unbelievable, the amount of echo that you get.
And the entire Saqqara site, we went around it.
And I mean, my God, it's a weird sight, man.
You've got, again, just incredibly huge slabs of rose quartz granite.
And there's one area that's like on the other side of the pyramid, not even near the entrance, which is just this huge port cullis made of granite with interlocking pieces where clearly another piece of stone was slid between them.
But this is nowhere even connected to the pyramid infrastructure.
And they don't say anything about it.
Strewn across this entire place, you've got huge blocks of granite with drill holes in them.
You can see the striation marks going all the way through them.
And his opinion, Jeffrey's, and I think there's merit to it because in Cairo Museum, there's a little cabinet of laboratory equipment, like jugs and apothecary bottles that were recovered from Saqqara, including a little plate.
There's like a little plaque.
This wasn't included.
This is put into the actual exhibition, but it's tucked into the corner of Cairo Museum.
You have to find it and you have to really look for it.
And there's a little plaque saying that the area of Saqqara was a laboratory.
And again, like this completely contradicts all of the things that they say about ancient Egypt, but it's in the Cairo Museum.
It's literally written as the ancient laboratory of Saqqara.
And so, you know, what's going on there?
Why is there a contradiction like that that's being acknowledged?
And it's truly just an incredible place with these shadow figures and the acoustic resonance of the site, the rose granite.
So maybe they didn't even know that these things were down there when they went.
There's another part of this when you're going through the chambers where it's rose granite, rose granite, and then plaster where you've got hieroglyphics pot on the top, and you can actually see the plasters kind of bleeding off into the rose granite.
So it feels like they found it.
They slapped some hieroglyphs on it.
They, you know, put their own veneration around it, but it was not an original structure of the Egyptians.
Once again, a place that they found and settled around.
But it's just weird that in the Cairo Museum, you have like this tiny little shelf full of beakers and measuring jug type things, and it says that the lab complex of Saqqara.
It just doesn't make any sense in comparison to what they're trying to tell us is the reality of this place.
Well, you know what's interesting is that they were.
So these things are absolutely incredible.
And there's a few questions with this.
One, if you go onto that image, zoom out, just go to that image on the right where you've got the entrance, just the entrance into the, yeah, this one here.
So this is, you know, this is the entrance into the Serapium or the Serapium, however you want to pronounce it.
It's a subterranean labyrinth, and these corridors are extremely small.
There's actually a half-finished, a half-finished one sitting in the middle of a corridor, and you can kind of really get a scope for the size.
But these are 70-ton, 70-to-80-ton granite sarcophagi.
They attribute it to the Apis bulls.
They say that there was a cult around this region that venerated the Apis Bulls, and that these were burial chambers for the Apis Bulls.
But you know, you know what's funny about that is the only thing that they have to evidence this is no bones of bulls or anything like that.
What they have is a single hieroglyph on one of these boxes of a bull.
That's it.
They have a hieroglyph with a bull on it, and that's why they attribute it to the apis bulls.
Regardless of the fact that these are precision-carved, 80-to-you know, 70 to 80-ton granite, marble-top-smoothed boxes with even more precision inside.
They're even more precise on the inside, which is strange.
You wouldn't necessarily need them to be that precise if they're just funerary boxes.
But the precision is actually more impressive internally than it is externally.
Yeah, if you go on that third image, actually, that's an interesting image because you've got these such low quality, that's a shame.
But you can actually see these dimples where they've smoothed out the stone.
And what's weird about this is that, so if these were funerary boxes, you would expect the external to be the most impressive because that's what people are going to see, right?
But instead, you actually have a lot of malformation on the boxes.
And one of the theories about this, and this is something that there we go, it's a good example of this.
One of the theories about this is one that Jeffrey Drum brought up for me: is that whatever was going on inside of these cases, the exterior had to have absolutely zero critical imperfections.
So any cracks, anything that was problematic, would have been dissolved out, smoothed away.
And you have this weird kind of dimpling on a lot of these, and somewhere you can actually see a crack where the crack's been removed and it's been kind of smoothed out.
And then inside, it's like 90-degree just perfect.
And so it just kind of contradicts the idea of it being for the you know a funerary purpose.
You'd expect the outside to be absolutely perfect and beautiful, but it's not.
It's all kind of malshaped and as if they were trying to remove any sort of cracks, anything that could cause a structural problem.
And then inside they're perfect.
So it does make me wonder about the real purpose behind this.
And then you have others that have got these big dimples in them where it just looks like they were trying to remove anything that might have been a critical damage to the structure.
I just find it very interesting that the inside is more impressive than the outside for something that's meant to be viewed as a funerary box for an enormous funerary box.
I mean, one of them that I find interesting is the idea that they could be like some form of a sound bath, like an isolatory chamber where they would go into and have like some form of experiences.
Like, you know, there's such a strong evidential trail of acoustic sciences in the ancient past, especially archaeoacoustics in terms of the actual architecture itself, like the pyramids, they're designed to resonate.
Like one of the most, sorry, one of the most interesting places that I've been to in terms of looking at the acoustics of places as well is Malta, the island of Malta.
And the island of Malta is very interesting because when the Bronze Age settlers from Sicily and other areas of Italy came over to Malta for the first time, they discovered an island that was absolutely littered with megalithic sites.
And Malta has got the highest concentration of megalithic sites in the world, but there were no people.
They're all gone.
No one knows who they were.
It was just a land full of these incredible megalithic temples.
And one in particular called the Hypergeum of Halcephliani.
Now, the Hypergeum is fascinating, dude.
It's a subterranean, huge, huge temple that was discovered by road workers.
And they were literally just chipping away at the road and then it collapsed in.
And they find this huge, what they call a necropolis because they found hundreds of skeletons down here.
This thing is incredible.
This is all carved out of the limestone.
And it is an overlapping geometric series of chambers that is so obviously acoustically tuned that if you actually wanted to search hypergeum acoustics, it will come up with studies where they've noticed that this is absolutely a deliberately acoustically tuned complex.
Go on the actual website, not images.
That's an interesting one.
Whether or not it's entirely accurate, someone's comparing the hypergeum to the human ear.
Specifically, because of the fact that this place absolutely is acoustically tuned to resonate between 110 and 115 Hertz, which is the bandwidth to activate certain brain states like alpha and theta brain, where you can get into more meditative states of consciousness.
And only 20% of this site is accessible to the public, 70% of it's locked off, and they treat it like a skiff.
They take your phone, they take your camera, you can't bring any audio recording devices into it, nothing.
Very curated tour for like, you know, 30 minutes and then out.
They say it's for preservation of the site because it's such a delicate Neolithic.
It's prehistoric.
They believe it's prehistoric.
And again, this speaks to what was going on in prehistory because this is an acoustically profound series of chambers that have been carved out of the limestone bedrock by people that we attribute bone antler tools to.
They were chipping away at it with bone antler tools and they made something as profound.
So when you say prehistoric, they dated to, I think, about 5,000 years ago.
It's a kind of a secret order, a bit like Freemasonry.
It's spawned from the Vatican.
The Vatican basically threw these people into Malta and said, fuck off and go do your weird stuff over there.
But now it's a very connected, you know, kind of like with the Vatican order, the Knights of Malta.
Very powerful, a very powerful group.
Very much in the geopolitical world stage.
And a friend of mine who's within that was like, yeah, they bring out this book once a year in the Valletta Museum.
And it's detailing the skulls of the hypergeum and apparently tells a story of how the locals would throw bodies down there because there are beings down there that they wanted to prevent from coming up to the surface.
And this is the strange thing: the hypergeum is full of normal human bodies, hundreds, not buried with respect, but just piled down there.
And then also elongated skulls.
And the story is, according to this very ancient book that they bring out and put out once a year, you have to be lucky to catch it.
It apparently describes that they were using this as a place to discard bodies to prevent these creatures from coming up to the surface.
I don't know but the well I mean in terms very strange that there's the hypergium itself is human skeletons down there Oh, yeah I mean, I did find a profound amount of them, which is why the mainstream labels it as a necropolis.
But there's no burial respect being done.
It was just piles of bodies, like piles of bodies, dude.
During testing, a deep male voice tuned to these frequencies stimulated a resonance phenomenon throughout the hypogeum, creating bone-chilling effects.
It was reported that the sounds echoed for up to eight seconds.
Archaeologist Fernando Combria or Combra Coimbra said that he felt the sound crossing his body at high speed, leaving a sensation of relaxation.
When it was repeated, the sensation returned, and he also had the illusion that the sound was reflected from his body to the ancient red ochre paintings on the walls.
One can only imagine the experience in antiquity, standing in what must have been somewhat odorous, dark, and listening to ritual chant while low light flickered over the bones of one's departed loved ones.
He goes on to state, yeah, under right circumstances, ancient populations were able to obtain different states of consciousness without the use of drugs or chemical substances.
Those spiral patterns are in the hypergeum in red ochre.
This is Ireland.
The same structure.
That's very famous Irish.
This, by the way, is incredible because it's completely singular.
There's no break in the line.
That's a very hard piece of geometry to actually create at the time as well.
It's extremely complex because all of this feeds into itself.
There's no break in that line.
It's a very complex geometry.
But that same type of geometry is also found in the hypergeum and it's found in red ochre on the painting, these swirling, these swirling kind of motifs.
So it's very interesting.
You have these weird correlations between places that were separated by entire oceans in Neolithic time.
Yeah, I think it's about the flow of acoustics, the flow of movement and sound.
And that was perhaps their interpretation or perhaps they had a visual hallucination that gave them the idea of it being this kind of like swirling pattern.
But yeah, I find this.
Yeah, this is Ireland.
And there's just some striking similarities between places like this and places in Malta.
So again, it just leads into the idea that there was perhaps a globally maritime connected civilization that was using these psycho-acoustic attributions in sites to produce novel effects of consciousness, inducing brain hemisphere synchronization, just like they're trying to do in My Ass with the CIA.
But the implication of it being about sound is very interesting when you find it represented in places that are absolutely acoustically tuned from prehistory.
There's another one in Peru called Chavende Junta, which is a, there's a temple built above it.
This is another thing that you find.
I mean, this one in Malta, they haven't done this, but you do definitely seem to find layering, like Gunam Padang in Indonesia, where you have like the original structure below and people are just piling up on top of it over time.
So in Chavende Hunta in Peru, you have this amazing temple site, but below ground is a labyrinth of corridors that also propagate acoustics to the point where it brings up infrasound.
So below this is an infrasonic laboratory essentially of labyrinthian passages that we used for ritual acoustics.
And they actually found inside of this conch shells that had been purposefully re-engineered to produce a new harmonic when blown into them.
Like they had actually changed them into a different harmonic.
Yeah, so, you know, it's not incredibly profound stonemasonry, but it does produce infrasonic reverberation.
They have proven that and looked it up.
And yeah, the conch shells were found there that have got all of these designs on them and have been purposefully changed to produce a different sound.
So there is a clear lineage of acoustic science way before acoustic science was acoustic science, you know, at least to our terms.
So it brings up big questions.
And the fact that it was influencing consciousness, I think that we just had an incredibly intelligent but shamanically orientated society at one point.
You know, we were using our human ingenuity, but we were using it to create effects more spiritually aligned than anything else.
And, you know, these are all chambers for inducing expanded states of consciousness.
That's what's really weird about it, especially in Peru.
Peru has so many stone nubs.
Like, there's a place in Peru called the Coricancha, which is like the kind of main temple in Cusco, the sun temple.
And, you know, these precision, there's various layers of architecture in Peru, albeit it's all being attributed to the Inca, which is weird.
Rough-cut stonework, then the weird megalithic kind of smushed together stones.
Then you have what's called ashla stonework, which is where it's like a bunker.
Look at the it's it's.
It's spelt with a q q o r I k a n c h, a Corricancha, um.
If you look it up like and and look in yeah, so you have to go inside it really to really get this um, the bunkers inside of it, these.
Look at the wall on the outside actually real quick before you do that.
Um, if you click on one of these images and just enlarge it um uh, the third, the first one's probably the best one yeah, so that's ashlar stonework.
That bottom bit, that is original.
This was built by the conquistadors right, the rest of it's been built up by the conquistadors from Spain, but this original stonework is also represented inside with these incredible bunkers.
So if you type in like bunker, it's got yeah like um, this image here, like I, the level of precision on these is is absolutely phenomenal.
I mean, we're talking just complete precise, fitting stones, not globular like saxia woman, like marshmallows, but just precise blocks like these bunkers here.
Yeah, like down here.
This is all original work.
And then they built a, you know, a Spanish Inspired temple over the top of it.
Yes yeah yeah this, this stuff, it was here first, like this stuff was absolutely here first and if you look up, there's an.
There's a little nub, little stone nub, right at the top there, and they but some of these walls have like 10 nubs on them, like one here, one here, one here, and then there's none.
So it's like they were smoothing out some of them, leaving others.
Some have speculated that it's a form of language, because in Peru, the Inca do you know what the Inca language was, their like written language?
It was called Quipu and it wasn't written.
It was pieces of string with knots on them in different colors.
That was, that was their historical language.
So it was literally like a line of different strings, different lengths, different colors, with little knots in them which corresponded to data, and most of this was lost by the Spanish conquistadors because they went over there and was like, burn this shit, burn this pagan nonsense.
Yeah, this is, this was their language.
Oh my, this was their language.
And it just made me wonder.
Obviously, this is a complete guess, but it just made me wonder.
If, like the stone nubs are stone Kipu, is it a stone version, with all these different nubs on different places and different areas?
Because it just feels like, especially in the Corricancha, which is a temple.
It's a regal temple.
Why would you leave the nubs on, like you said?
Why wouldn't they smooth these down?
So it's almost like it's it's meant to tell us something and they're left in very specific areas.
Then in Peru you get stone nubs protruding straight out of bedrock.
That's what weirds me out is that it's not just on the crafted stones but like a sheer rock face that's been obviously kind of quarried down by some unknown technique, without any chisel marks, just straight, and then you have like a group of nubs coming out of the stone.
So Peru is is just full of contradictory architecture.
And I think that you know you, the Spanish went over there and they saw places like Saxewamon and they attributed to the Inca.
You know they attributed to the ink.
The Inca the, the Andean shamans, say it's not the incandescent.
The Inca themselves to the Spanish Conquistador said, we found these places.
But we take the words of the Spanish conquistadors and we apply it to our knowledge set and we teach that and it's just like I was saying to you before, we're basing so much of our History off of like the word of people from like the 1800s, when clearly we're seeing contradictions of that, even in, as Graham Hancock would certainly say, the oral traditions of the local region.
The people are saying differently, but we're listening to the foreigners who went over there and destroyed things and burnt things and burnt the keeper and went back and taught us what their civilization is all about.
Yeah, if you want to go off into the Andean mountains, like he's finding stuff in the Andes, high up in the mountains that nobody's documented.
Like nobody's seeing it.
He's a real, you know, real adventurer, but it just proves that, yeah, like you said, there are still places like this where you can do discovery.
That's yeah, yeah, yeah.
Peru's really.
And then obviously you have the Amazon rainforest and like, you know, all of the things that could be in there through LiDAR.
We're already seeing so much geometry, so much evidence that there was a massive amount of civilization going on in that jungle.
So, you know, this is getting very interesting to me.
And again, this weird climatological stability through the last glacial maximum to the younger dryest, this period of about 6,000 years where they had access to development without being disturbed.
So, you know, you have these incredible anti-seismic, anti-earthquake megalithic structures in Peru using materials that they shouldn't have been able to use, using multi-ton stones.
That's an interesting area, although I will say that it's made out of tough, which is volcanic rock, very easy to cut because it's actually compressed ash.
So that's a really cool place, but it's not as mind-blowing in terms of how they cut the rock because it's extremely soft rock.
In fact, if we could, could you go on my YouTube channel real quick?
There's an area in Saxawaman which has got a diorite outcrop, which is incredibly hard stone.
There's a measurement of hardness scale that goes up to 10 with diamond being the hardest and diorite sits at about 6.5 to 7 out of 10, whereas bronze sits at 3 to 3.5 out of 10.
So, you know, there's a discrepancy with the hardness of the material to start with.
But yes, there's, if you go back to the beginning, sorry, I wish I could see the screen.
It's going to be difficult, I think.
Keep it playing, though.
I'll talk about this and it will come up in a moment, I'm sure.
But all across Peru, you have these incredibly precise cuts into bedrock with very little evidence of any sort of chisel marks and no real understanding of how they were able to excavate it.
You know, these incredible just voids into the rock.
But there's one area in particular, this is just the beginning of my video, but there's one area in particular in Saxawaman, which is this gigantic.
In fact, you could probably just type it in if you typed in Saksawaman diorite steps or something like that.
To give some context, you know, the stones at Saxa Woman are extremely impressive, but they are made of limestone, a little bit softer, a bit more workable.
This is impossible.
If you can find a HD, I've got a 4K video of this.
That's why I wanted to see it in that video.
But if you can find a HD image, it's shined like a marble top.
Like, these are just precision cut into this huge outcrop of diorite, which they actually believe was a magma burst.
So a huge blob of magma came bursting out of the ground and formed into this huge stone mound that's adjacent to Saxa Woman.
And you've got cuts like this, where it's just insanely perfect.
And this is not possible with a Bronze Age toolkit.
This, to me, is actually more interesting in some ways than Saxa Woman itself because it's just a complete contradiction of the Bronze Age tools.
Yeah, there's all these weird little cuts into the stone like that.
And across Peru, you just find like, you know, these voids where it's just like a 90-degree cut into stone with perfect finish and no sign of chiseling.
I will say this, and I'm sure you'll be happy that I'm bringing him up.
There is one guy out there who's trying his best to prove how they were liquefying stone and then bringing it back.
And I only know his X handle, which is Fo Ma Hun, like F-O-M-A-H-U-N.
I can't remember his actual name, but I've been talking to him.
I'm thinking of actually going out to visit him and film him doing this.
But he's been demonstrating making teddy bear casts of rose granite and things like this.
And for a long time, he wasn't revealing how he was doing it.
So I kind of just was like, whatever, dude, like, I don't think that you're actually doing this.
But he's now actually revealed his secret ingredient, which is a slaked lime, like this slaked lime, which was very easy to make for them, and water glass, which again is something that they could have made.
I don't know the science behind this, to be fair.
So I'm just going to briefly say that I think he's got some provocative ideas here because he's actually adding like this water glass and slaked lime to like, you know, mixed up compounds of granite or limestone, like crushed up granite, crushed up limestone, adding the slate lime, adding the water glass, and then it's solidifying into solid granite like within six hours.
Yeah, and he's got like literal like teddy bear casts and like, you know, different like cookie cutter casts of solid granite.
And so there's a potential that it's really simple, but totally been overlooked.
You know, it's just using the right compounds, the right components, and the right stone mixture.
Again, how do they learn this?
But it's not definitive, but he's one of the only people I've seen that's actually presented actual evidence that could explain how they were doing this.
Brilliant idea to create artificial granite with nothing as an additive to water glass, the latter being the glue between original granite grains.
Why?
Because I realize we need full transparency in order to clearly see the original granite grains like quartz.
We need a fake quartz as a binder.
Well, nothing did not work because the outside layer prevented the thing to get hard inside.
Oh, well, nothing did not work, I guess.
I don't know how he's saying that.
Now, what we're seeing is made with a secret additive, let's call it almost nothing, that did not change the transparency of the water glass, but forced it to set from the inside.
So, remember, this is the wannabe binder only of artificial granite, not granite itself.
It's very interesting, and he's revealed that it's slaked lime, this secret ingredient.
For a while, he wasn't saying what it is.
Now he said it's slate lime.
So, I'm actually going to go out to, he lives in Budapest.
I'm going to go out to Budapest and actually film him doing this to see if he's right about this.
He's actually, I think, one of the originators of the whole Natron theory, which I haven't dived too deep into, but it's one of the explanations behind melting the stone.
So, I started paying more attention to him once I was in Peru, and he was messaging me saying, you know, this is what I think is going on here, is they were using these ingredients to melt the stone, well, to solidify crushed up stone and create molds.
The thing that these amazing sites have in common is that they are so spectacular, no one really has a logical explanation.
It's one of the coolest things about the most ancient of sites is that it forces you to go, wait, wait, wait, wait, even the best people don't defies probability.
Zahi Awas originated in the Edgar Casey Foundation.
So he got funded.
And weirdly enough, he was actually quite pro these ideas until about the mid-90s.
There's like a 1993 quote from him at a university in Cairo where he was saying something along the lines of there are tunnels underneath the Sphinx that lead down into greater structures.
And when we truly understand this, we will understand the real builders of the pyramids.
That was the last time he said anything close to that.
Post-1993, about 1993, maybe 96.
But after that, complete polar opposite, 90-degree change.
I think there's maybe a bit of a cultural arrogance.
Like, who do you think you are, Westerner, coming over here and teaching us about our history?
I think there's a level of that, like, you know, at least on a surface layer, before you get into the deeper implications of, you know, Freemason secret societies keeping things from us.
I came through the toxicity of the UFO community, which is like so bad.
And, you know, I thought it would be.
Yeah, a lot of kooks, but also just a lot of bad actors and hackers and people that want to, you know, one thing on the UFO subject, actually, which I do think is worth noting, because like I said to you, I think I'm one of the first people that you've had on that had to actually make their way through the social media interactions.
And one of the things that a lot of us noticed, and I have to give credit to a couple of people like Red Panda Koala and Tupa Cabra on Twitter, two very good researchers that have been highlighting this, is that when the whole kind of 2017 narrative and Lou Elizondo and Chris Mellon and all these guys started coming out, obviously we were all extremely excited about it.
Over time, you know, there were some issues, like some contradictions.
Lou Elizondo especially has contradicted himself quite a lot.
And some of us started to get a little bit suspicious of these people and just started asking questions.
It didn't take long for us to be targeted by a pretty significant network online of people that were trying to hack and dox us.
And people like, he doesn't put his actual name out there, but people like Red Panda Koala was doxxed online, had his family house put out online, photos of his underage sister put out online by a group of individuals who are all very closely connected to Lou Elizondo.
And this is something that you would not notice outside of being in the minutiae of X, because you would see these troll accounts, these really nasty troll accounts that were all being followed by Lou.
And when they were having their accounts shut down and reinstated, Lou was one of the first people following them.
Some people have actually come out about this group now and revealed screenshots of DMs where they're in private conversations with people like Lou and Gary and some of these other guys who I got connected to early on, very early on.
I got some of the first interviews with these people and was very pro-it until I started realizing that they were very much trying to control the narrative and there were things you couldn't speak about.
Can't talk about reverse engineering or consciousness initiated contact.
Anything to do with Greer is completely poisonous.
Lou Elizondo was actually, he called Greer and a couple of other people terrorists.
He said I wouldn't negotiate with terrorists when asked about Stephen Greer.
But what people have dubbed this as is the UFO hate group.
This is very well known online, the UFO hate group.
And it's a group of people that are so savagely in favor of people like Lou and this kind of modernized narrative that if you even go half an inch, like I really gained my accolades in the UFO community.
People, you know, really praising me for the interviews I was getting until I started asking a few questions about people like Lou.
And suddenly I get an absolute maelstrom of hatred from people that were once really enjoying my content.
And I'm quite lucky.
I haven't been targeted so heavily.
Some people have had their lives ruined by these people who are all connected to individuals like Lou.
And Lou actually said that he came to burn UFOG to the ground.
I think it was just about the way in which the UFO community has been misrepresenting the phenomena and the confusing spaghetti junction of narratives.
They all know something, but none of them can tell us.
And they all knew it from someone else.
And someone else told them and they knew it.
And they know this.
And like, dude, I was so in love with all of this.
You have to understand that I was truly, I was a believer.
I was like, this is amazing.
I had my orb experiences.
So I had a bias already.
I was like, I'm ready to believe in whatever you're saying.
It took me a while to start actually realizing that this is not going in a direction I think it should be going and that there's a heavily curated narrative.
And if you try and question the narrative, you will be punished by groupthink.
It felt like, honestly, I started to feel like I was in a COVID cult for UFology, where you just can't talk about Louis Lazondo in a bad light, regardless of the fact that this man has gone on stage and presented literal fake UFO photos to the public, which have been debunked in less than 24 hours.
And he had to admit that they were fake because of the debunks.
But people are just happy to forget these things happened.
Like he went up in a congressional setting and held up a UFO photo that was proven to just be fields, like agricultural fields.
Yes, this is a fake.
That's not a shadow.
That's a darker field next to the lighter field.
These are two circles.
And this was proven.
He had to admit it.
He had to.
This is in a congressional setting.
This man apparently ran the advanced aerospace threat identification program.
Aqual bullshit.
I don't believe he did because he seems like more of a government stooge.
And he feels like someone that would be sent out to do what he admits he was doing, counterintelligence.
He's a counterintelligence, counter-terrorism, counter-espionage guy.
Primarily, there seems to have been a bit of an issue with the way that I've been talking about Lou and his association with ATIP, because I think that ATIP was actually a cutout.
It wasn't a real program, and it was a cutout that was actually created for To the Stars Academy.
And ORSAP, which was more of a kind of precursor program, wasn't being run by Lou Olazondo.
That's the Advanced Weapon Application Space Program.
I forgot the actual acronym now.
ORSAP.
ATIP is meant to be Lou's.
And I just think that I have to be careful, but a very prominent journalist in the UFO community literally told me that Lou told him that this was all created for To the Stars Academy as like a way to generate an understandable structure.
Here's this guy.
He's running ATIP.
I have an issue with the idea that someone like Lou Alizondo can go to the New York Times and say that the Secretary of Defense wasn't being briefed on UFOs.
And I'm the one that was running a program when people like Julian Assange and Edward Snowden are being thrown to the wolves for just revealing standard national security issues.
This is meant to be even deeper, right?
This is a black, black budget.
This guy can just roll out to the New York Times.
Seems a little bit planned, seems a little bit curated and forced.
So I started asking those questions, and especially when things like this were happening, where there were discrepancies, where he's bringing up images that are being debunked.
I was like, who is this guy?
You know, who is this guy, really?
And then his book comes out, and he's talking about being the torture czar in Guantanamo Bay.
And, you know, that the people there called him the Darth Vader of the United States.
This is in his book.
You know, that he admitted they called him the Torture Czar of Guantanamo Bay because you know he ran Camp Platinum at Guantanamo Bay black site, CIA black site.
So, you know, he actually had in his book that he was known as the Darth Vader of the United States by certain people and the torture czar of Guantanamo Bay.
I don't really trust people like this who, you know, waterboarded people for a living and are now trying to tell me what's going on in the UFO subject.
What purpose would there be to muddy the narrative if you wanted to have a government agent come out and have what you're claiming is like a fake disclosure, like a government narrated disclosure?
I think for me, again, coming up through it and just seeing how these people actually act when you challenge them and the fact that there were absolutely organized groups of, quite frankly, quite mentally unstable people that were very easily misled into believing they're important, who are getting brought into these signal chats, these private group chats.
And, you know, I'm in touch with Lou Lizondo.
I'm one of those guys.
I'm being brought in.
And, you know, they tried to use it.
Useful, useful idiot.
And like, there's a lot of them.
And, you know, there's a few people out there that are extremely dark individuals.
Like, we're talking like, you know, connected to all sorts of weird Satanism groups.
And Lou's just there of selfies, like hanging out with these guys.
Like, he's a dodgy dude.
I don't care.
He's like, you know, I'm freaked out even saying this on the Joe Rogan.
He's like, he's going to remote view my brain or something.
What do you think is that there is a clear decision somewhere in our government to muddy the water and to put out this narrative that these whistleblowers are trying to tell everybody.
So to slowly trickle this stuff out there and then float out amnesty, which is a big part of the age disclosure documentary for really the first time.
Yeah, like I think that that's the goal is to create a curated soft disclosure that does the very best to paint the government in the best possible light and allows them to actually kind of not face too much punishment for what's been going on in the legacy programs.
Again, if you only had someone like Stephen Greer out there, he was offering a completely different thing.
We need to punish these people.
They are criminals.
They've ruined humanity for 100 years of stagnating technological progress.
That's why Gary Nolan, who was originally with Greer, then changed over to Two Stars Academy and they poached quite a few people from his team and brought him over to TTSA and he became a pariah.
You know, again, he says a lot of things that, quite frankly, I don't agree with.
But I just think that basically they tried to overtake the narrative and they needed government representatives to run this.
The person who made this documentary died of an aggressive form of cancer not long after making it.
He was quite a young man as well, documentary filmmaker who made this.
But Mark McCandlish, military illustrator, he had a friend called Brad Sorensen.
Now, Brad Sorensen was a government guy, aerospace engineer.
Lockheed Martin had quite an extensive portfolio.
And Brad Sorensen goes to his buddy one day, Mark McCandlish, and he says, I was shown something, and I want you to draw it.
I'm going to describe it to you in great detail, and I want you to create the illustration.
Brad Sorensen says that I think it was in like the 70s or late 60s or early 70s that he was invited to a private air show at Lockheed Martin by an individual who was a good friend of his in the military who was higher up than him.
And apparently this, you know, he didn't have what they call the tickets, the right classifications to actually get access to this private air show, but his friend brought him because he had the tickets.
And essentially, they bring him into a hangar in Lockheed Martin where three large sources of varying size were hovering a few feet off of the ground.
They were described as instantaneous nuclear payload delivery systems.
That's the way that they were actually classifying them, had a nickname for a mummy.
Instantaneous nuclear payload delivery systems.
Like the idea that you could just instantaneously deliver a nuclear payload to anywhere in the world.
What's really interesting about this is that Brad Sorensen has never gone public.
But I was in the room when he was phoned.
And I've heard him say things that have never been on the record before.
No one's ever contacted Brad Sorensen.
Mark McCandlish took his own life a number of years ago.
His closest friends would say that that was not anything untoward.
It's hard to know.
I didn't know the man.
All I know is this is the man that produced an incredibly profound illustration and then eventually took his own life.
But his friend Brad Sorensen has never gone public, ever.
Never.
I've got quite a few contacts now because of my research and affiliations that I've managed to gain with people in like the US Navy and Intel.
And a good friend of mine who was able to actually find his number and get in touch with Brad Sorensen.
I was present when he was phoned.
And, you know, my friend introduces himself to him and he'd never spoken to him before.
And they were just talking shop, first of all.
He said that he wanted to reach out to him because he'd heard about him through various stories online.
But, you know, anyway, to cut the long story short, he asked him, my friend asked him about Mark McCandlish and this alien reproduction vehicle.
And Brad Sorensen went off on quite a diatribe, actually, very angry about Mark and how he said that I gave this man the keys to the kingdom and he went out and told the whole fucking world.
And I will never do that because my employers will fry me.
He said they will fucking fry me if I speak out about this.
But I am capable of building and designing an aircraft that can go 210 times the speed of light.
You know, we found a correspondence between Nikola Tesla and British and Russian royalty, like the high top levels of Britain and Russian royalty, about them acquiring a super weapon of incredible power.
There's a video, I actually posted it on X, of John G. Trump, a vintage video of him talking about coming across these correspondent letters that he never found the true method of the secret weapon or what it was, but there was correspondence between the king and Russian czars.
about acquiring it from Nikola Tesla.
So I think that they took things from Tesla, his electromagnetism studies, I think people like T. Townsend Brown, you know, these original ideas of being able to use field induction to create positive lift.
This is something that was being looked at by humans.
You don't need to invoke flying sources crashing from Alpha Centauri for that.
Maybe it happened, but I would be more on the line that we've done it ourselves.
We've done it ourselves.
Yeah, some of it.
The Cold War happened, Cold War paranoia, and we've never got rid of it.
All the iron walls came up around that.
And it's a case of how do we kind of get rid of all this legacy program, you know, stoving and stovepiping because of Cold War paranoia.
It's too late now because we're in 2025 and you've got to try and tell us that you've got zero point energy.
You know, we've been flying around in fucking Wright Brothers planes for 100 years and shit.
Like, you know, the control structures around something like free energy would have to be quite profound because of the things we were saying about some psycho with a ZPE device.