David Mathisen: Star Myths of the World

Hey, how are you. This is Cliff Dunning, the host of Earth Ancients, startling new discoveries from our planet's distant past. This week we are covering mythology and we have a new author who I have heard about. He hails from Sydney, Australia, and I think i've just we've just missed each

other. His name is David Mathieson and he is a research investigator who has written a number of books on worldwide mythologies and how if you look at a certain time period Romans, Greeks, Romans, Egyptians, Maya, Chinese, they all fall together when it comes to traditional myths, flood myths, catastrophic

events, even some of them are linked to specifics on asteroids. And we've talked a little bit about this with our different guests, but today it's interesting to note that Dave has spent three decades thirty years studying the various traditions and why they are important. Now one of the features of this program is an artifact I have not heard of until now, called the philos agt, and it's a carving, and very intricate carving that was done on a small piece

of stone, hence the name agate and the relief sculpture. The relief carving is so minute and so gorgeous that there is a huge questions about how it was done. And we're gonna talk about this agate today and the possibilities of it being machine because when you see it, and by the way, I'm putting up an article on this stone carving philos carving filos Agate on the Facebook

page. You can see it on the video page on YouTube. But if you go immediately to the Facebook page and see this amazing carving, there's also an article that breaks down what the scientists use to detect what they believe was how it was carved. They still don't know how it was carved. Is the most elegant piece of sculpture from prehistory, because there's nothing like it in the Greek world. There's nothing like it in the Roman world, nothing like

it in the Egyptian world. And it stated to fifteen hundred BC, well before the various Caesars, well before and Alexander the Great. But when we look at it and you see the details, you'll know what I'm talking about. It is amazing. It's a war scene of soldiers in battle, but the musculature, the shadowing that is seen and cut into this stone is unheard of. You don't know how the hell they did it, and it's we

talk about this today in our interview. It is definitely one of those out of place artifacts that we talked about with our guest last week, Luke Caverns. And you know, I'm going to send this to a couple of people. I don't even think Ben van Kirkwick knows about this because it is not widely published, just very few images of it. But I got a whole page of analogs from a Russian institute that did some amazing photo photography and you

can read the whole thing on Facebook. So go to either either go to go to Facebook and then go to Earth Ancients group or international page. I'll have it on both including Instagram. Now the question comes around as to who were the ones who carved this, what were the instruments, because you have to have a microscope to cut the fine lines and shave the arms and the legs to the point where you get this reflective quality that is it's on a

very very high level. And you know, these are definitely out of place artifacts in the same way that other are objects that are carved in a certain way, like these unusual stone vases and plates and things. How would they cut We don't know. But this is what we're talking about today. We're talking about ancient history and these clues to this pre deluvion, pre flood, pre catastrophic event civilization. Sometimes it might be referred to as Atlantis or is

it MoU otherwise known as Limoria, Is it Pangaea? Is it a place that we don't know about? It was which was so thoroughly destroyed that all that was left were the temples, perhaps the pyramids and other megalithic buildings that withstood this horrific event, simply because it was made out of huge blocks of stone known as megalithic buildings. So we really don't know. Here's a short excerpt from Graham Hancock talking about why our ancient history matters. Have a quick

listen. I think it's part of the human condition to be curious about the post and I do think it. I do think it matters, particularly when it comes to the issue of a lost civilization. Because here we are today in the twenty first century, highly advanced technological civilization, feeling very secure in

our own achievements, and very proud of what we've done. And the present model of history and prehistory that is presented to us by archaeology allows us to feel that way because it encourages us to see ourselves as the apex and the pinnacle of human achievement. I think that this is a very dangerous position to take. I think it's important to note are there missing chapters in our story?

Particularly? Is there a lost civilization in our story? A civilization perhaps not as advanced as ours, but much more advanced than the hunter gatherers who's supposed to have been the only population of the earth during the last Ice Age. Now, obviously, this is the premise that Graham has kind of runs

through all of his books out of place artifacts. We've talked about. Michael Krimo's book for ben in Archaeology filled five hundred plus pages of unusual, characteristic and out of place artifacts from around the world, and Graham brings it home and basically tells us that we need to look at all this unusual evidence and

recharacterize it. You know, it's funny because I kind of caught Luke Cavern's off guard a little bit when I said, and I asked him I said, do you believe that the problem lies in the fact that the education only allows thought of certain time periods to be valid in dating ancient cultures. So when you find go Beck, the Tepee, Carahan Teppe, some of these early pre Dynastic Egyptian periods where there are these unusual stone balls that were cut

on laths, why can't you reach beyond that time period? Well, if you're been reminded and damned if you do a damned if you don't kind of a philosophy that if you skip beyond hunters and gatherers four thousand years ago and consider an earlier period, then you are not following the approach to history that

are historians, anthropologists, egyptologists, archaeologists are laying down for us. And until they accept the fact that they don't have it correct and they need to be more flexible, we're left with a lot of questions, a lot of anger and hate towards Graham Hancock, towards anyone who's in the alternative or pseudo scientific fields, meaning that it's a joke and we're not going to accept it. It's very threatening, it's very threatening to them. And the bigger issue

is and We've talked about this before. When you have Ancient Apocalypse on the TV on Netflix and you got sixty to seventy million people downloading it and watching it, you can't know. National Geo and the Smithsonian, they can't even scratch the surface of that. They're lucky to get, you know, under a million for their stuff. So fantastic. Possibly. So today's program is Star Myths of the World, and my guess is David Matheson. Hey,

our last tour of the year is the Sacred Temples of Maya. It's going to be November eight through the seventeenth in the Yucatan Peninsula. And I got Ed Barnhart on the program here to talk a little bit about a portion of the trail. Ed, what do you guys go on? What's the itinerary? Talk a little bit about your planning of this. Well, you know,

I love the Yucatan. I have been traveling there for over twenty years, and I'd like to say I really have figured out nice routes that maximize the interesting things we're seeing without spending all day on the road and wearing ourselves out. The pook part of the trip is going to be especially nice. We're going to get to go to some of these remote ruins where I guarantee you we'll be the only ones there looking at these fabulous palaces and stela.

But we're going to go to labnas Aiel Kabah, and of course the headliner of the Pook is USh Mahl. Yeah, so all those sites will be visited from a very comfortable hacienda hotel. We'll go back and forth from our hotel to the ruins, spend most of the time in the morning so we're not too hot. I've got the route worked out really nicely for you. And you know, in these crazy days of the world, you know, so many violent events are happening, the Yucatan is really an oasis of safety

and peace. A great time to be visiting, a great safe place. Yeah. And one of the things I like about the Pook Trail is that you can literally walk on most of the buildings and the structures there, whereas in Chichinisa it's completely roped off. So the access is much greater on the Pook area, isn't it. Absolutely. You know, we will do our we we always do, which is to respect the ruins. But there's no guard telling you to not walk in this room, or that there's a sleepy

guy up in front that takes your pesos and then the site's yours. That's November eighth through the seventeenth. For the full itinerary and to register, go to Earth Ancients dot com forward slash tour. All right, ed, thanks for that brief highlight my pleasure. We support a number of conferences and programs on ancient civilizations known and unknown, and last year we missed a featured presenter

at Seapac David Matheson, who's with us today. And I had heard about David and I got a sense of his work through other authors, but I haven't had that on the program intel Now. David is kind of a prolific writer. He has written a number of books, including Star Myths of the World, The Ancient Worldwide System, Ancient Myths and the Undying Stars. That's just a couple of his books. If you go to Amazon, you'll see

he's got quite a slew of him. And I'm having David on the program because he fits beautifully into Earth Ancients because he is talking about his own research into star system. Not only it's connection to various no civilizations, but it looks like a lot of the astronomy, a lot of the science has been handed down. So David, Welcome to Earth Ancients. Great to have you on the program. Nice Cleff, so great to be here. I appreciate

that introduction. And it's really an amazing world that we're living on and we're still discovering so much about it. You know, we're gonna talk shortly about a video you did on some discoveries, but you emphasize the fact that it looks like no civilizations like the Pharonic Egyptians, the Maya, had much of their astronomy handed down to them. What did you make the connection that these ancient cultures that we consider, you know, prehistory in some ways, like

early Dynastics, were connected to an earlier civilization. Yeah. Well, I've been studying this now, Cliff, for about fifteen years, you know, full on, really diving into this, since being alerted to the existence of

a book called Hamlet's Milled. So a lot of people have talked about Hamlets know and they say in the introduction, you know, it's published in nineteen sixty nine, but they are talking about some vast ancient system that exists in myth that exists in fable that exists in rituals that appears to connect civilizations across the globe that conventional history or conventional paradigm of human history says could not have

possibly been connected. And that fascinated me. And I was already fascinated by myths. I've always been fascinated by myths, and so that book was published in nineteen sixty nine. Unfortunately, it is a bit haphazard and hard to piece together exactly what the two authors are talking about. They just throw out an awful lot of evidence, and kudos to them for seeing that something was

going on. But I really devoted myself to figuring out what is going on in the myths of the world that they allege are tied to these heavenly cycles, and that they allege is popping up and similar manifestations around the globe. So that's what really got me started on it. And for fifteen years I've been looking at the stories of ancient Greece, Ancient Egypt, ancient India. The stories in the Bible can be shown to be based on this same system.

So if we've got a system that is connecting ancient Egypt and the stories of the Bible, and the stories of ancient India, and the stories of ancient Japan, and then as you said, the Maya and other cultures in the Americas, also the cultures of the Pacific, across the vast Pacific Ocean, from Hawaii all the way to New Zealand, Aota Aroa, there's stories of Maui. Those stories are using this same system China, I mentioned, Japan, already, Australia, Africa. So it appears to be an ancient

worldwide system. And that's what I set myself to exploring. And as you said, I've written, you know, well over five thousand pages of material, including charts and diagrams and pictures of ancient artwork, and analysis of stories in the Bible, or analysis of the Mahabhta of you know, ancient India, some of the Vedas, the Sanskrit texts, Greeks, ancient Greece. Why am I going to write so many pages? Because it's like there's just

so much material we could never run out of it. All these myths are using this system around the world. It's like it's like discovering dinosaurs in your backyard and you keep pulling out the dinosaurs. And someone said, how are you able to produce so many dinosaurs? And I say they're already there,

They're just sitting there waiting to be discovered. That's a good analogy. Talk a little bit about what we do know, because you know, Rubbert Beaval Hancock and Robert Schock, while they were in England or England Egypt, showed that the Pyramids and the Sphinx and a lot of very important buildings are aligned to the Orion constellations. That's a huge deal to do that and for us to identify that. Why would they ancients care about aligning their buildings and their

monuments to a constellation. Yeah, that's a great point. And also let's not leave out the tremendous work of Robert Shock, Robert Shock's partner in this endeavor, John Anthony West, who said, Hey, I needed a geologist, somebody you know who's who's willing to come over to Egypt with me. And that's how Robert Shock got involved in this. And you know, I had the opportunity to meet both of them. Just wonderful, wonderful individuals who

have moved research forward so far. In Graham, Hancock, Rubber boot Ball, as you mentioned, But your question what is so important about the stars? You know, I'm alleging that all the world's ancient sacred stories around the world are based on the stars. Why what's so special about them? And some people have said, well, it just seems natural that they would be based on the stars. No, it doesn't, It doesn't just seems that's an objection. I sometimes hear, well, everyone can see the stars,

so of course they would base all their religious stories on them. Well, maybe some of them would, but I wouldn't expect it everywhere. I believe that it has to do with when you're looking into the sky at night, you're looking into the infinite realm. You're looking into infinity basically, when as far as you can see, those stars aren't out there at all these distances, and the galaxy, the Milky Way, it is a representation of the

infinite realm. If the you know, Egyptians were concerned with the duot, which is this realm. It's called the realm of the dead. It's the realm of the West where the stars are sinking into. But it's not really the realm of the dead. I mean, this gets into spiritual questions, and we don't have any ancient Egyptians to actually ask. But there are Egyptologists

and researchers and writers. I think Jeremy Nabler, who talked about the Shamanic texts in the Pyramid or the Shamanic Pyramid texts, said, the do WoT is more than just the realm of the dead. It's this invisible realm that

connects everybody. I would say, the short answer to your question is the stars are a way of depicting the infinite realm, the infinite and connecting to the infinite realm, and saying by making a reflection of the infinite realm on Earth in the pyramids for instance, or different sites around the world, lying to the stars and the heavenly cycles, it's saying, you know, we

feel disconnected from the infinite realm, but we're actually not. You have to remind ourselves that we're all actually connected in some way to this invisible realm. And modern we don't need to get all this path. We don't need to go down if you don't want to. But the modern kind of materialistic paradigm

is, oh no, there's no such thing as an invisible realm. And yet we've all experienced weird synchronicities, or I feel like I haven't thought of this old army buddy in ten years, and he lives in Texas and I live in California, and I think of him that morning and he calls that afternoon, and I say, wait a minute, how did that happen? You know? Or we dream about something the night before and then the next day it happened, or something like it happens, and we say, how

did that happen? And there's psychologists and people who have said, well, it's almost like an echo of something that happened can show up in a dream before it happens. Well that's weird, and you know, I can't prove it, but it seems to be part of everyone's experience. So to cut this long answer short, I believe they are reflecting the heavens in this architecture and in the myth to say, you know what, there is an infinite

or an invisible realm that connects all of us. I can't prove that that that's what they were doing, but I can prove that the myths are all based on the stars. So the question is why. The real answer is we don't know why for sure, because we can't ask them, but I believe it has something to do with what all those things I just said. Is alignment though, Dave, is the alignment the signature of the ancestors, the ancients, the handed down the astronomy is because like I mentioned, aligning

the Great Pyramids with the Orion system, that's not a simple thought. That's a major physics and scientific law that's handed down to these people. And your best and your best guess is that this is not developed from the Egyptians. They inherited this, right, So talk about that. Yeah, So all this archaeological evidence around the globe points to archaeological I mean big stones, you know, in megalithic construction in Central America, in you know, the Giza

Plateau. There's pyramids in both Central America and Egypt and China and India. They're you know, different shapes and different proportions, but there appears to be connections to the polygonal stones of Central America and some of the polygonal stones in Egypt. And researchers have shown, hey, look at these nubs on the stones. That's what Rust and Kyle and the Brothers of the Serpent call them nubs. And they said, look, there's nubs here in sticking out of

the stones, these pillow shaped stones with nubs on them. What's going on? And the the physical remains around the world point to the possibility or very strong likelihood of an ancient civilization with advanced capabilities that aligns things to the stars. And you know, the alignments of the pyramids are quite remarkable, especially we're told, you know, there's continental drift of about one you know,

centimeter a year. Well, if they're six thousand years old, but are five thousand years old, shouldn't they have drifted, like, you know, off the alignments. It's some you know, but they're still very close to true North. Anyway, my research is about the myths and showing the myths are quote aligned to the stars or connected to the stars. They're based on

a celestial pattern. And that celestial pattern is already in use in the normal palate of you know, the first dynastic king of the First Dynasty of Egypt and also the seal of King Den who's like the fourth dynastic king of the First dynasty. We're talking literally three thousand BC, and they're already using this

sophisticated system which is already in use in Mesopotamia. You can look at artwork from Sumer and you can also look at artwork from India, and you can look at artwork from the Maya, and they're all reflecting the stars in the artwork, but also in the myths. I show the artwork a lot, but we could talk about just the stories themselves, even without artwork are based

on the stars. For instance, there's a there's a myth about Apollo gets more of a woman pregnant and he says to a pro to watch her closely, you know, crow needs to guard her. Name is Karina. That may be where we get our name Karna and Karen and the modern versions of it. Karina is overwatched by this crow, and the crow makes Apollo mad and messes up, and this whole thing. But a pregnant woman being watched by a crow in the sky, the constellation Virgo, who looks like a

woman giving birth. She's got her legs elevated in a part. There's a crow constellation right next to Virgo, staring right at the star Spika or speaker, right at the hip of Virgo. So this crow is staring at her in the sky. I mean myth can be shown to be based fund the stars orriguing to be based on the stars. That's just one simple example.

I could literally pull out thousands of examples. So if they're using this system in the earliest Mesopotamian text like Gyogamesh is based on this system, they're using it in the earliest Egyptian paletts, they're using it in the earliest Indian vedas, they're using it in the stories of the Maya that are recorded in the Popol vu Okay, did they all come up with it simultaneously, Yeah,

that's what's really weirdly or did they get it from somewhere else? And I would argue that argues for an ancient origin, like it was already pre dynastic, or the earliest dynasty already had it fully developed. The Sumerians already had it fully developed, but different as if it's already evolved or mutated. So

it must have come from somewhere much earlier. And so what I'm saying about all the archaeology that people like Graham Hancock, Robert Boval, Robert Schock, they're looking at the physical stuff and saying, hey, something much older, you know, Ben from uncharted X is showing these vases and things like that

that it's just amazing. Okay, something much older and sophisticated. So all that physical stuff is showing it. And I'm saying, yes, I agree, and the myths show if people could really grasp what I'm saying about the myths that they are using the same system in ancient Japan, ancient China, ancient Mesopotamia, ancient Egypt. That would, oh and the Maya and the

cultures of the Pacific and Australia and Africa and China. That blows away the conventional paradigm because either the Egyptians were sailing around and giving it to everybody, which nobody, nobody are I don't argue that that's what was going on. I argue that they all inhered it from something much earlier. That's the most likely explanation to me, is that kind of answer where you were going?

It does. And I want to bring up this varmer palate because you just did a video which is I'm going to post it on Facebook for those of you listening, is very very good. We're going to talk about some material, but within that discussion, you bring up the King's List, the Egyptian kings list, there's a Sumerian kings list. These ancient ancient cultures have king lists, and the Egyptians goes back I think one hundred thousand plus years,

but conventional archaeology only goes to say known pharaohs. Why do you think they won't go back to the beginning. They think that anything before three thousand BC is a myth because they can't accept the date of a one hundred thousand years ago. And we see this with sumer too. Why why not? Why why are we restricted in the ability to go further back where this early civilization may have been formed. It's a great question, Cliff, This this denial.

So what you're mentioning with these king lists is an acknowledgement in all these ancient cultures of something that came well before them. And in those acknowledgments they also say, and they were more advanced, they were like God, they were the sons of forests, they were the you know, they were advanced, and they were before us. And if you look at the different ages that they talk about, they say, yeah, things are kind of getting

worse. We're we're in the you know, there was a silver age before us and then there was a Golden eight. You know, there was a Heroic Age, and then before that a Silver Age, and before that a Golden Age. We're just kind of the we're in the crummy age down here, We're in the you know, that's what the ancient civilization basically acknowledged. And it was a it was a different paradigm than what we're used to. You know, you and I we grew up in the United States of America,

and it's like progress. Everything is getting better. You know, no rocket ships at the beginning of the twentieth century. Now we've got rocket ships or you know whatever, cars. Everything is just getting better all the time. That is our paradigm. It's a linear view of human history that just keeps getting better. We started off kind of in the ooze, in the slime, and then we crawled up, and then we started doing kind of

pastoral stuff, and then we started doing some primitive farming. Well, first of all, nobody can explain how those grains that we can eat even became the domestic grains, or how the cows, you know, bulls, big giant o roxes became domestic cata you know, how did that happen? It's just kind of a handwave of oh yeah, well people just started growing grain. Wait a minute, honey gatherers. You know that whole thing is actually

hard to explain. But anyway, this paradigm of constant progress is blown away by the evidence the ancients acknowledged. The ancients that we know of acknowledge something more ancient than them. But for some strange reason, we are stuck in

a paradigm that absolutely refuses. And when Robert Shack and John Anthony West talked about the furrowing on the Pyramids, I can give you quotes from Egyptologists who say the furrowing the rain erosion, who say, well, they're looking at rain or they're arguing for rain erosion on the Sphinx, and that thus they're pushing it back to ten thousand BC when the climate was different. It can't

be because we know there was no civilization back then. So it's like we can't look it epan because we already know well, you know, the Egyptians were just figuring out primitive farming at that point. They couldn't have been making us thanks. We know that that's our paradigm, so we can't look at evidence that you know, it's That's what I'm saying, David, is that we're screwed because we have this academic uh historians that are saying there's nothing but

hunters and gatherers before this time period. And what the problem I see is that if the Egyptians are coming up with this king's list of pharaohs or kings before there were pharaohs that goes back to early prehistory, why is that a myth to them rather than actual people who lived with the civilization. I think that's a huge issue for us. It is a huge issue, Cliff, and it's it's it begged the question if is somebody trying, you know,

to get conspiratorial. We don't have to get conspiratorial, but how could all this evidence be so stubbornly and like condescendingly resisted, Like it's not even oh well that's interesting, let's look at it. No, it's basically saying we have our paradigm and therefore we know that your interpretation must be wrong. It's like saying, we've already figured out the culprit in this crime, now don't bother me with any other evidence. Wait a minute, are we trying to

figure out who really did the crime or not. And it's possible, Cliff, that there was some kind of catastrophe. There's a lot of people who talk about a catastrophe that separated the ancient cultures we know of from something before, something much before. I like to use the terms deep ancient and near ancient. I wasn't going to introduce those terms right away. I was going to show some evidence first, but it's helpful. Like the the ancient cultures

we know of all acknowledged something in the deep ancient. Maybe that in deep ancient was before a catastrophe, or maybe, you know, if they were still advanced, maybe it was a war. Maybe they I was just watching an old Star Trek episode last night, The Menagerie, the very first Star Trek from nineteen sixty five. The Menagerie, they go to this planet, the one planet you're not allowed to visit on these Tolosians who have these huge

heads and they can do illusions. But what it turns out you find out, well, they destroyed the surface of their planet because of war, and so they have to live underground. I remember that one. Yeah, yeah, it's a really it's a really thought provoking episode. I mean, those things were great writing they were really they were playing with deep concepts. But anyway, why do I bring it up? Because they're in this storyline they

have destroyed their planet. Well, I don't know. Could it be that the catastrophe also involved some kind of advanced civilization destroying the service and people had to live underground. Maybe that's why I don't want to talk about it. I don't know. I don't know why it's so hard to admit that if humans have been around for eight hundred thousand or a million years in their modern form, you know, the difference between six thousand and a million is pretty

big if you think about it in US dollars. If somebody tells you you need a million dollars to retire, and you've got six thousand dollars in your account, you got six thousand in your account. How far are you from a million? Well, you're not even to ten thousand yet, right, you got six thousand dollars. You got a ulmpost double it just to get to ten thousand. Then you got a ten x that just to get to one hundred thousand. One hundred thousand is still a long way from a million.

You got to stack ten hundred thousands on top of each other to get to a million. So six thousand. So if people have been around a million years and they're saying, well, yeah, we've only had civilization for six thousand of those years, Well that's possible we were just you know, hanging out for all those hundreds and hundreds and hundreds of thousands of years.

But it's also possible that we had advanced civilizations. The ancients talk about it, and it is possible that there was a catastrophe that separates us from it, in which case we might want to know about that. That's what Graham Hancock and you know, Robert Shock keeps saying, is keeping if there was a catastrophe and weren't like blindly closing our eyes to the to a to a

world altering catastrophe in our ancient past, that's not smart. Like we might want to figure out how to how to preserve our knowledge somehow the knowledge did get preserved. Anyway, I'm talking about a lot of stuff. I could show you some evidence just to really drive it home with well, I think

you did in this video. I want you to talk about a piece of artifact of pelos Agate, uh that is featured and this thing must but have been cut from a previous civilization, because not only is it exquisite, it's very I mean, you show that it is cosmological in its representation. Talk a little bit about this and where it was found, when it was found, and what this speculation is on how it was carved. Pelos aged am I saying it correctly? So it's Pylos, Clio, Pylos kid, that's

our Yeah, that's our American pronounce fish. I do believe that British researchers might pronounce it Pilos. You know they call we call things the ancient temple of Delphi, and they would say, no, it's Delphi. I think we say Pylos and they say Pelos. I say Pilos because I'm American. But Pylos is on the western part of the Peloponnese in Greece modern day Greece.

The Peloponnese is where the Spartans lived. They were down on It's that hand shaped part of Greece that points into the you know, the Mediterranean, the Aegean on the west. There the the ancient city of Pylos is even mentioned in the Odyssey, which is an ancient you know, epic ancient poem which I've done a whole study of the Odyssey and published my arguments as to how all those different events in the Odyssey are based on the stars. They're

clearly based on the stars. But anyway, in the Odyssey, Pylos is mentioned they go to visit Nestor. Telemachus, the son of Odysseus, goes to visit Nestor. So Nestor is in Pylos, and there's a place, there's a ruin that's called the Palace of Nestor. An archaeologist in the eighteen hundreds said, oh, yeah, that's this beautiful palace. I'm going to call it the Palace of Nestor because Nestor is mentioned in the Odyssey. Did nest Or ever exist? I think, you know, it's a myth,

so that's arguable. But anyway, there is a thing called the Palace of Nestor, and it's incredible. It's even got indoor plumbing, and it's ancient. You know, it was a pretty advanced palace in very early ancient Greece.

And there were some researchers from the University of Cleveland in twenty fifteen who wanted to dig around the Palace of Nestor, it's so called Palace of Nestor, and because of some red tape, they didn't get to dig where they actually wanted to, so they ended up digging in this olive grove and they stumbled across or found or I shouldn't downplay what they did. I mean a very important discovery of a tomb in the olive orchard near the Palace of Nestor,

near the city of Pylos, which still exists in Greece. This tomb that was undisturbed, still sealed, containing the bones of a man in his thirties and all kinds of artifacts and armor. There's swords, there's helmets, there's mirrors, there's hair clips, there's rings. And they called him the Griffin Warrior because of one of the seals that they found, and so they

call it the Tomb of the Griffin Warrior. And they said, you know, we can date this tomb because it's got bones and organic matter in it. And they discovered that it was fifteen hundred BC, which is or BCE if you prefer. That's pretty ugly. What we think of as classical grease is like five hundred BC four hundred BC. Alexander the Great was in the middle of the three hundred's BC. So if this is fifteen hundred BC, that's a thousand years before classical Grease, and it's in the time of like

the Mycenians. And Thenan's because it's gonna say this Mycenian area manan. Yeah, so he has a sophisticated gear. It looks like huh, very sophistic beautiful art work. And so they didn't even discover this to him until twenty fifteen. And then they go to work, you know, uncovering the artifacts and they find this. I'll show it up on the screen for those who are watching on the YouTube or and also send you an image of it to put on Facebook. But we can describe it too. Let me go ahead

and share my screen once you enable it there and we'll get that. I need to get it enabled. I don't know how you enable me right now it says I can't share. I'm seeing your screen. Okay, let me there you go. Thanks, Okay, I'm gonna give it a try. Here share a screen perfect, Okay. So I'm gonna hit share the whole desktop and go over here to you. Where's mine and for those of you listening that don't get the video, we will have this on Facebook. This

amazing new artifact that is featured in David's most recent video. Right, yeah, and and so it was. It was this this little stone was encrusted with lime deposits and kind of mineral deposits, and they cleaned it off and I'll show it to you. So care you seeing my screen? No, I got the Narmer palette up there. It's oh, it says your screen share is loading. Hold on, I'm sorry, what's taking it so long?

Here? Let me know when you see nice screen It said your screen share is loading, and I don't know why it's taking it so known. Sorry, go ahead and describe it. I'll just start describing it first. It's just an amazing piece. I mean in the video you spend a good fifteen minutes on the description because it's nothing. It is the most exquisite carved a piece of stone I've ever seen. Actually three people, it is beautiful.

Yeah, and I will describe it to you. So, this little agate, it's made out of agate, so it's sometimes called the pylos Agate, and Ago is a fairly hard stone. I don't remember you know, I don't know if they've done a mores scale on this particular agot, but agot is pretty high up there on the moors scale, so it's hard. And it is also this particular artifact tiny. I like to put up a picture of Okay, now now you can see my screen. Can you see

it? Yeah, Cliff, perfect, Okay. So this is the common the Pilos agot, or sometimes it's called the Pilos combat agot, and it's because it's got this scene of combat on the stone itself. But it is tiny. Here's a I put Could it be Minoan? That's what researchers believe. It's really kind of got a Minoan look to the artwork, not typical Greetic or even Mycenian. What was the size of a dave? Is it? Like? Yeah? I think he says it's like a size of a

quarter. Oh there, it's three point six centimeters, which here in Australia people understand what centimeters are. But that is really small. It's like an inch and a half and I need to put up a quarter in a second. But I've got the scale on the bottom. It's about three point six centimeters all the way across. Here's a quarter for comparison. Now look at the detail to find detail on that quarter. It's not really that fine of detail, of course, it's just a quarter, but you know that's how

big a quarter is. A quarter covers more than half of this thing. So if you if you had a quarter in your pocket in the pilot's combat agate, the pilot's combat agt would only be a little bit wider than the quarter, you know, the US twenty five cent piece. So let me show you this is detail. I'm just going to zoom in to show that, like the rib cage on, it's got the three figures on the artwork. As you said, there's one guy at the top who I call the

swordsman. He's brandishing a sword that he's about to plunge down one leg really extended out, and he's got a sword in one hand that he's carrying it up over his head, and his other hand is reaching out and grasping the helmet crest of this other warrior who I call the spearman. This other warrior had a big, long shield, a big spear. You see, he's

got his own app holding a spear. But the spearman has a crest on a like a like a plume, like a Roman helmet kind of, but it's in a big arc and the swordsman is grabbing that crest as he's about to kill the spearman with his sword. He's about to plunge that sword right down the guy, basically right down through his boulder, blades into his chest cabin and kill him. It's a death blow. And down on the ground beneath them is another individual who has already been killed. Me lying on the

ground. But the musculature on these figure is fantastic to remember. The Look at the rib cage on that the swordsman. The ribs are rippling in his torso. And look at the back muscles on the man who's slain on the ground. His back muscles are all you know. There's a trapezoid muscle. There's a loud on his doorside. There's his his his kilt. He's wearing like a skirt or a short kilt, and it's like a tartan kind of plaid, the skirt or that he's wearing, and you can see almost practically

see the fibers of it. The hair on this the hair on the swordsman is all these little ringlets. This is tiny, tiny, and it's so detailed that this is one of the researchers who discovered the Iilos combat Aga and the tomb of the Griffin Warrior. Her name is Sherry Stocker. She and her husband were the team. They were the leaders of the team that discovered

this tomb. She said, this staple should change the way we view prehistoric art because and she's they don't know how these details of them are like a of a millimeter. We're gonna take a short commercial break to allow our sponsors to identify themselves, and we will return shortly with my guest today, David Mathieson, talking about unusual artifacts from the ancient past and unknown civilizations. Will be right back. My guest today is David Matheson. He's coming to us

from Australia. One of the features of his interview is this amazing sculpture known as the filus Agate. It's a stone carving of great intricacy. In fact, it's so intricately carved it must have been done with unusual unknown tools. Well, I was gonna ask you have they done any kind of scan like been Van Warwick is doing with those stone vases. Have they put it through

any kind of analytics. You know, this was shown to the world in twenty seventeen and there were tons of articles that came out saying, oh my goodness, this is amazing. I have not seen much new research on it since twenty seventeen, which is now, you know, this is now seven years ago. It's still a very new find right archeologically speaking, but the the I haven't seen any new If you go searching for Pylos combat agot,

you will not see I don't know. Maybe there's some scholarly literature writing about it, but I do not know of any scams like like you said, Ben Varren Kirkwick of Untarded X has been doing these detailed computer you know, engineering scams. A vasive this would be something, but he's he's looking for symmetry. This is obviously a piece of artwork, but it appears to be using some there there's been you know, when it first came out, people

were saying, I don't know how they did this. They must have had some optics, meaning some ground glass that can you know they were writing that. But but since then I haven't seen anything. But here's what's amazing about it. To me that I think is so important because, as I said, it wasn't even shown to the world until either late twenty sixteen or early twenty seventeen. I think November twenty sixteen, if I'm not mistaken, when

it was first shown. Somebody contacted me on Twitter and texted a picture of it to or twittered tweeted a picture of it to me and said, hey, look at this, because I had already been writing about you know, for years, I'd already been writing about them myths being based on the stars and artwork being based on the stars, and somebody said, hey, you might want to check this out. And I looked at it and I immediately said, yeah, this is based on the same patterns that I've been writing

about and seeing in other myths and artwork. So I was writing about it before this tomb was discovered. Then they find this thing and let me show you what I'm talking about briefly, and as you said, I've got a whole video about it. But before you before you move on, yeah, go ahead. Is this in a museum where or is it just shown one time where it is? Okay, So I don't know where it is. I would suspect it stayed in Greece. Nowadays it's not as common to take

stuff to other countries as it used to be. You know, there's a lot of things in the British Museum and in the Lout that came from Napoleon, you know, and Napoleon actually brought back a bunch of stuff from his trip to Egypt. Yeah, but the British Lord Nelson defeated his fleet and so the British got a whole bunch of this stuff. That's why the Rosetta

stone is in the British Museum. Anyway. Now there's a lot of arguments about taking stuff back to Egypt, So I would doubt that the Greek government. I would hope they have it on display somewhere, but I have to go. I have to go look and find out where it is. Cliff, it's a real mystery that this has not changed our view, Like like

this quote says, this should not just change you of prehistoric art. This should change our view of human history because this is advanced, This has advanced capability being displayed on a very hard but very tiny piece of stone like that artwork is incredible. It's almost like it's it's it's it's machine quality like that it's been imprinted. And then uh, it's it's obviously a relief. It's it's ticking a stone and cutting away the bodies and the and the objects so

that it comes forward. But it's too ornate and too sophisticated to be to me to be uh carved by hand. This smooth musculature is just amazing. I don't know how you even do that, and I don't know how you do that by hand, like you said, but is it a piece?

And yes, they think it's a cylinder seal, so they call it, you know, a seal that you would impress into some not a similar seal, but they think it's a seal, like a kind of a They think he might have worn it around his wrist because it was found in the vicinity of the risk of this skeleton. This was a young thirty something year old warrior, right, and he was obviously he was obviously very highly positioned in society because he had like three thousand artifacts. Oh my goodness, so three

thousand artifacts and this this cylinder or not similar seal. I keep saying cilinder seal, but it's like a seal of a kind of an official seal is what they think it might have been, because it was around his wrist. Okay, we're going to start a gallery on for this show, and if you could send me this this disc and you're lit it up on the Facebook page, Yeah, sure will, Cliff. That's that. But the thing I want to emphasize is this scene of combat of a warrior brandishing a sword

with his you know, exaggerated, extended. I can show you in all kinds of artwork around the world. I can show you this in artwork from ancient India, artwork from ancient Mesopotamia. You can look up the god a Dad. You can see it in artwork from ancient Egypt. It's so common in ancient Egypt that they call this particular type of scene a smiting scene.

The king smiting his enemies, and he's got an exaggerated lunge posture. In the smiting scenes, you can even see it on the armor palate he's holding often the hair of his enemies. In this case, he's holding a crest on the pilot sagat. He's brandishing a weapon overhead. Sometimes that weapon is a sword, but more often it'll be a club or a mace. The god Zeus does this exact same posture, but he will be holding a thunderbolt. There's maya gods who are a sociated with the same things that Zeus is

associated with, thunder storms, rain. There's a Maya god named Chalk, and I show him in this exact same posture, and it is a posture that is celestial. So this is the stars. I just quickly show the Can you see the constellation that I'm outlining? There's the Milky Way? Sure, can you see this constellation that I just outlined or is Hercules? Yes? Yeah, okay, so that's the constellation Hercules. And you can see in the sky the constellation Hercules is in this deep lunge posture, holding a

weapon overhead and reaching forward with the other hand. So one hand holds a weapon brandishing overhead, one hand reaches forward. And now some let's say I have a university professor here and I show this and I say, look, this is just like the combat agat. He might say, yeah, yeah, well, when people smite somebody, they do go into that posture. So you can't prove that this is based on the stars. Well, yes I can, because they've put detailed into this artwork. For one thing,

he's grasping a crest and I'll show you. I'll show you down below is a constellation called O Fucus that I'm outlining right now. That's the spear man. I won't because of in the interest of time, I won't go all into the evidence that O. Fucus figures in myth almost always have spears. But they do because these these serpent halves on either side of O. Fucus can be envisioned as you can draw a line through them and envision them as

spears. I can prove that, but I won't right now. I'll just say figures associated with O Fucus. For instance, to Goddess Asina, she wears a helmet, just like this guy down below in the pilots Aget, the second guy with the spear wearing a helmet. The goddess Athena carries a spear. She comes out of the head of her father Zeus. Zeus is associated with hercules. So, oh, Fucus figures carry spears. Just trust

me on that. I've put lots of evidence out there. I won't go into all the evidence, right So are you saying that this is like a worldwide myth, and this is the reproduction of this myth. It's like a worldwide system, and the system pops up all around the world, but with different clothes on, so to speak. It's almost like the same bones underneath get fleshed out into myth around the world with different kind of permutations. Does

that make sense? Yeah? But tell us what the myth is. If these are two battling warriors, one's been slain, and is this like the Maya's two hero brothers? Is this, I mean, what's the symbology? Good? Good question? On the Pylo's combat at I don't know, and nobody knows what exactly this scene is. Some have speculated, oh, could this be a scene from the Iliad, you know, the ancient Iliad, But nobody knows for sure. That didn't come with any writing. But I

will tell you. Let me, let me explain one myth that is based on this scene. The figure of Hercules plays the role of the god. Well, he is a god, but he's the son of Zeus, Hercules or Heracles. He's a demi god. He's kind of half human, half mortal Hercules, but Zeus is also associated with that same constellation Hercules and Zeus fights a monster called Typhon. Have you ever heard of Zeus versus Typhon. I've actually got to pick up right here. Let me show you this.

Let me just show you Zeus versus Typhen in that in the myth of Zeus versus typhen you can see this is a vase that's found in Berlin. It's the same part of the sky I'm showing as the pilot's combat agate. This is a drawing of it. I just make it a little more clear. Zeus was fighting this monster who had a human torso and serpent legs. And you see Zeus is in that posture, that same posture with the defended rear

leg Zeus is in the same posture as the Constellation Hercules. Instead of holding a sword, this time he's holding his thunderbolt, but he's reaching out with his arm and touching the wing of Typhon. Typhen is actually associated with O Fucus. I'll bring Hercules over here that I've got a bunch of animation here. This is actually from seap but you can see the parallels are just undeniable. But he's throwing thunderbolts at Typhan and in the story, Typhen was like

Zeus's greatest adversary because Typhen was unable to be killed by thunderbolts. So Zeus is throwing thunderbolts at Typhen. I'm arguing that Typhen is O Fucus. Just like in the Pilot's combat Agot, the figure associated with Hercules was fighting a figure associated with O Fucus. This monster Typhen. He has a human torso and then snaky legs. Well, that's O Fucus. And if you look

at the constellation of Fucus. I've got it on the screen for people who are able to watch the video, but I'll send you a screenshot of this too, Cliff. O Fucus is this constellation with a central body and serpent. The name O Fucus I mean serpent holder. It's like he's holding a serpent. Can you see how he's got like a snake like on either side of him or it's a big snake. He's holding it with two hands. Yeah. Can you kind of see that on the left side and the right

side of the fucus are these snaky halves? Well, if you just imagine that the lower feet aren't there, you can see how the ancient myths would say, oh, well, this could also be something with a central torso and two snaky legs coming out of the bottom of the torso. Do you see that? He sees it on the screen, and I'll show you. I've labeled them one and two the serpent halves serpent. Half one is usually called the tail serpent. Half two is the serpent's head, and that is

the two legs. I've put him on the of Typhon. Well, in the myth, Zeus is unable to defeat typhan so he has to finally defeat tight. He can't kill him with thunderbolt, so he slams a mountain down on top of Typhon to imprison Typhon under the mountain. And according to the tradition, the mountain that he used was Mount Etna, which is in Italy. Mount Etna is a volcano, and every now and then Mount Etna will rumble, and every now and then Mount Etna will erupt, and the ancients

would say, well, that's Typhon down there. You see, Zeus couldn't kill him, so he had to trap Typhon under a mountain. But Typhon every now and then, lets you know that he's not dead. He rumbles around and spews out fire. So Mount Etna to this day erupts and Mount Etna so Ofucus. Can you see how it looks almost like a mountain on top. You see how there's a triangle on top of the figure of Osfucus. Yeah, so that's that's a This myth is based on these constellations.

So you asked, well, what what is this myth? Well, it takes different forms around the world. Hercules, the hero Hercules, he fights, Well, he does all these different labors, the twelve labors of Hercules. One of them is to fight the hydra. Who is this nine headed serpent? That's actually the constellation below a Fucus. I haven't outlined it here, but I outlined it on a difference slide. That's the constellation Scorpio.

I know Scorpio. We would think, well that's a scorpion, yes, but sometimes Scorpio plays a serpent with multiple heads and I could show you why. But what I'm saying is you ask what myth? Well, many many myths use these same constellations, but in creative in different ways. Does that kind of answer your question? Yeah, So like in the in the Zeus

myth with Typhon. It's that in the myth, the same constellation of Hercules plays the role of the Norse god four instead of having a thunderbolt as a thunder hammer, and he goes fishing from the Midguard serpent and pulls the midguard serpent up out of the ocean. That's another myth based on the same pattern. And Thor has the same characteristics as Zeus. He's a thunder god. He likes to party. He's pretty jolly, but when he gets angry, he you know, you don't want to get the thunder god mad. So

Zeus has a short temper, Thor has a short temper. These thunder gods have a short temper. Anyway, there's a lot of myths based on it. It's it's shows up around the world. There's there's thunder god's mountain gods. In Japan, there's one called Zao gon Gen and I show zau gon Gen is in that same posture and he has a thunderbolt weapon. So I are are these are these early gods because you're showing classical Greek, But are

they following and early people? Is there a representation? I mean this philos Agat likely is older than fifteen hundred BC. Maybe it's a couple of thousand or two or three thousand plus BC. We don't know, right because we can't date that's right. All we know is that it was sealed up in a tomb no later than fifteen hundred So if the tomb was sealed in fifteen hundred BC, so that's three thousand, five hundred years ago. It was

sealed up then, But we don't know when it was made. It could have been made the day before they put it in the tomb, or it could have been made ten thousand years before they put it in the tomb. We just don't know. But it's pretty amazing. It is. It's pretty astonishing. And the fact that it's based on this the artwork, you know, when it came out in twenty seventeen, I looked, took one look at it and said, this is based on the stars. I've written about

this. I published this before. Let me show you one other scene that I had written about this many times before The Pilot's Combat even came out. I was talking about this, this story from the Bible. This is the story of the judgment of Solomon. These are artists depictions of the judgment of Solomon. I don't know if you remember this story Solomon. You know, these two would come to Solomon and they they're actually too hard. How they're

described in the King James version of Prostitutes. They both have a baby three days apart from another, but one of them the baby dies. And then they come to the king and one says, hey, this dead baby, it's not mine. She switched it. It's her. She she she lay on her baby at night by accident and smothered it and it died. And then she gave her baby to me. And the other one said that baby's mine, one of mine. She's the one. And King says, I

don't resolve this problem. Says to a swordsman. They pick up a sword and chuck in half and will give one half to each other, and then the mother's one mother says no, no, no, don't do that. Give it to her, and the other one says, yeah, cut it in half, and Dolman says, okay, get it to the one who says kill that that's obviously her baby. But it's in the Bible. It's in the Book of First King, and the Bible doesn't have pictures. The Bible describes it as a you know, as a myth or as a story.

It doesn't come with pictures because sometimes people say, hey, you're just showing a bunch of ancient art that doesn't prove you know, that could have been later will know the texts themselves already. What I'm trying to point out is you can just read the Mahabharata even without any pictures from ancient India, and I show how it's based on the start. You can read the stories in the Bible and show how they're based on the stars, the swords who's

going to cut the baby in half? And you can see in the artwork the baby is always shown arching very very strongly. See the arching baby. The one on the left is eighteen hundreds. The earlier one right is from Raphael, the famous paint of Raphael. See how the baby arching that the swordsman is holding. Yeah, that really strong arch. Here's one more I'll

show from the seventeen hundred. See how the baby is arching. The swordsman is leaning forward with the sword over his back, and the baby is arching. Well, I had already written about this and said this is based on the stars. Let's go back to the Pilots tomb that I get real quick, and i'll show you i'm talking about. We'll close the loop and finish up here. Here's the stars, here's Hercules outline. Below is the fucus.

Below the fucus is Scorpio and Sagittarius. And I think in this case the man lying on the ground has characteristics of Sagittarius, but we won't go into that. When I want to point out his arm is in a position that corresponds with Sagittarius. If we have time, I could get into that. But look up here. What I've circled the second circle that I just put on there is the swordsman is grasping this arc shaped crust. You see

it in that circle. I talk about it in the video. Right in front of Hercules is this coustillation I've just outlined it all Corona borealis, or in English, the Northern Crown. It's beautiful arc shaped constellation. You can see it in the night sky. It's actually quite easy to see the Northern Crown if you know where to look. And you can imagine Hercules reaching out the constellation I'm talking about reaching out to grasp the Northern Crown. I've drawn

a little dotted line there on the screen. The ancients obviously envisioned the constellation Hercules sometimes grasping the Northern Crown, because they show it in artwork or they talk about it in myth. That's the crest that the swordsman is grasping, and that's a that's a key detail because it means this isn't just the posture that some that that we humans with our anatomy take, because someone could say, well, you're you're that's a long thretch to say that this is based

on Hercules. Well it would be, except that got supporting evidence. The Northern Crown is right there. And look this guy grasping a crest right where the Northern crown would be. You see that. And also the swordsman has this scabbard sticking up from his hip right there that I put a white arrow there, And at the tip of the scabbard is this ball shaped knob on

the end of his sword sticking out. I'll circle it. Right there in the night sky, there's a very bright star above the hip of Hercules right there. I'm just wow. Called the star big. So there's no doubt in my mind that this, you know, I've there's no there was no doubt in my mind. But I've got evidence that I can show, like I've seen this enough to we know this is celestial. But if I'm showing this to some university professor who's trying to argue against it, there's just too

much evidence. And I can show that going on around the world. Here's Hercules from a vase from about five hundred and thirty BC. Much later, but he's got the same reaching out for a crest right there, and he's got this little lion's tail with a little tuft on the end of it. You see it's And I can go across well with Egypt the knarthout he got, you know, that's thirty two hundred BC. But I can go across the ocean to the Maya. And let me go to this piece, this

artifact here with this god chalk he's got he's brandishing his acts on. I'll skip through all this text over here. This is in the that museum in New York City. People can go ask to look at it. I don't think it's on display right now. But he's out his hand is reaching out to grasp this disc which is again in the proper position for the Northern Crown, just like in the night sky, just like in the pilot's combat agat. Can you see the where the crown, where the northern town is.

Yeah, And I can even look at the I've I've superimposed without doing any alteration. There's no soda shopping going on here. That's the stars of Hercules superimposed with the outline of Choc and the ancient artist who depicts Chalk has him in the posture of Hercules where the legs match up almost perfectly. You see that, yep, and and the northern crown in front of Hercules. It's right where that disc that Chalk is grasping is right there. Yeah. Chalk

even has this tuft on the end of it. He's got like a a waistband or something where there's a tuft. There's a tail sticking out of his waistband with a tuft on the end, right in the proper position for the star Vega in the constellation Lira, right above the hip of Hercules. So this is across the oceans. It's just clear evidence that the system. So as we conclude, Dave, what would you say are the the attributes of this mother culture. Some people say that they were maritime, that Atlantis,

Lemoria, Pangaea. This is the These are the people who, after the great devastation, created go Beckley Teppe, which is dated at twelve thousan, five hundred years ago. This is such it's so confusing. But I'm just curious about your thinking, your thoughts on who this mother culture was and how far back do you think they went. I mean, if we look at Michael Krimo, is it a million year old culture? Where are their buildings?

I mean, there's so much confusion. We could spend another hour talking about Number one, the reuse of buildings by the pharaohs, the reuse of artifacts and putting cartouches on existing statues that were probably thousands of years before these pharaohs even showed up, but they were their eagles were so big they decided to put their cartoonshe on a beautiful statue because they liked the idea of it being associated with their dynasty. But talk a little bit about your thinking as

we conclude. Yeah, thanks, Cliff, those are some great points, and I'm glad you brought up go Beckley Tepee, which you know is a very important site because for the first time, you know, we have some undeniable evidence of I believe if you radio carbon date the material that it's buried under, so it was deliberately buried, which you know Robert Schak has said, it's almost more work to bury it than it was to carve those stones

in the first place, because it's it covers acres and acres of it's enormous. It's only been a tiny bit has only been uncovered. But ten thousand, five hundred I think it's bury no later than nine thousand or eight thousand, five hundred BC, which would be ten thousand, five hundred years ago,

which would be still extremely ancient. So if we the conventional Egyptologists say the Pyramids, the States two thousand, four hundred, two thousand, five hundred BC, Okay, let's just grant them that, even though I think it's much I think the Sphinx is literarly much older, probably the Pyramids too, Certainly the Osirian and some of the Valley Temple, some of the megalithic

stuff much older. But if conventional, if the conventional guys are right, two thousand, five hundred, three thousand BC, for the ancient Egyptians. Think how far back that it is from us? Here in New Year twenty twenty four, exact two thousand years plus three thousand years five thousand years ago

roughly, let's say four thousand, five thousand years ago. Well, if Go Beckley Tepe was buried in eight thousand, five hundred or nine thousand BC, let's say eight thousand, five hundred, and let's using the Egyptologists who I disagree with two thousand, five hundred for Egypt to eight thousand, five

hundred. That's six thousand years before ancient Egypt. Go Beckley Tepee is six thousand years before the conventionally accepted Old Kingdom of Egypt, right, And the Old Kingdom of Egypt is only four thousand, five hundred years before us. Like, Go Beckley Teppe is more ancient to the Old Kingdom of Egypt than the Old Kingdom of Egypt is to us. We're closer for the Old Kingdom of Egypt than they are to Go Beckley Teppe. That is mind blowing.

Actually, when you think about it, what was that deep ancient culture that created these monuments and myths like Again, the honest answer is we don't know, because I don't even think the ancient Egyptians knew. I think all the ancient cultures that we think of as ancient are near ancient, and they looked back to that deep ancient with one and maybe they didn't even know what the myths were about. But I will say, although we don't know for sure,

these myths are profound. These myths do talk about an invisible realm, the realm of the gods. I believe it shows a culture of or cultures. Could have been many cultures. It could have been one monolithic on the world culture. I don't know. It could have been multiple, but they were sophisticated, both technologically and spiritually. I think those myths can be shown

to have remedies for the problems of civilization. What do I mean, like the problems of bad government, the problems of you know, oppression and exploitation and oligarchy and you know enslavement and impoverishment. The myths actually deal with those things and say, hey, this is a danger, watch out for, oligarchy, watch out for and the myths depict this. They also show on a personal level, the danger of becoming actually I like to say, separated

from yourself. But there are psychologists who talk about trauma as a loss of your own self. Like. There's a lot of myths that have twins. You mentioned the hero twins of is Balanki and Kunapu of the Maya popol Vu. The hero twins they go down to the underworld, which is also a pattern we see in you know, this just goes down to the underworld. Orpheus goes down to the underworld. Inana of Ancient Summer goes down to the

underworld. These patterns around the world, there's often twins. There's twins Castor and Polyx. Hercules even has a twin brother named Ifocles. There's twins in India. There's twins everywhere. What are the twins? Yogameshan and n key Do are kind of twins. The twins are actually our our own self, like becoming reintegrated with who we are. As don't have time to explain it

all. But I believe in answer to your question, what were they like, I believe they were spiritually sophisticated and profound and they said, on an individual level, here's what you need. On a societal level, here's what you need. And their answers were quite beautiful. Profound in theory. It's like the ancients revered this ancient withsdom, the ancient cultures, they all said, yeah, we have to live in accordance with the universe, with the way of the gods. Or in China, the Doo, the the outed

jing. I've shown that that's also based on the stars. The Doo is like this is like the duot, it's like the invisible realm. But it's like the way of the universe. And if you try and go against it, it's kind of like trying to swim upstream. Or if you're a surfer, it's like trying to surf when there's not a wave, or it's trying to battle the waves. The waves are going to win. You've got to

go in. You've got to go with the flow of the waves. If you try and like the wave, you're just gonna you know, is a great surfer because he's with the way. We were only using incremental portions of these this wisdom here and there. I mean, I follow I've been meditating for thirty years because I was attracted to the Indian philosophy of meditation. And then there's yoga and taichi, these ancient systems of wellness are thousands and thousands

of years old, but what you're saying is true. Some of these wisdom keepers have been trying to pass thoughts down about government, about treating your neighbor in a certain way, and without getting into the Bible, it's kind of repeated in the Bible. But we need more than just religious philosophy to really have an idea what's going on with our society. Dave, this has been a great hour plus with you. Give us your website and let us know

what you're up to. If you've got a book coming out when you're gonna be speaking next give us to Dave mathieson story. Yeah, thanks so much. Cliff. You can find all my work at undyingstars dot com undyingstars dot com and there I've got you know, links to resources like if you want to find the books, if you want to take online courses, I will be We're planning a trip to Egypt in November this year of this year, Yeah, with myself and Patricia al Jon Lehman, who lives in Egypt and

has been leading tours there for years and knows so much about Egypt. And Patricia and also my partner Cassenya Moore, who's an astrologer, will be doing a Stars over at Egypt tour in November. So there's links to links to express interest if you want to go to that. And yeah, working on I'm always working on a new book, Cliff, Yeah, so excellent. I am working on a new book. So there's a lot going on, and it's just you know, this is such an exciting subject. I love

sharing it, so thanks so much. What you're doing is important, getting the getting the information out for people to consider and explore it for themselves. As we've been talking about, there's just so much out there that expands our parent on. I do think that the old paradigms are starting to crack in the face of all this evidence. The evidence around the world is just like a flood that's starting to crack through the dam. So as we close,

Dave, give us a give us your thoughts on that subject. One paradigm ending a new what's the new paradigm look like? Do you think what are some of the what are some of the what are some of the hints of you know, because I think wellness is a big one. People are rejecting allopathic medicine where you're being drugged and opened up surgically and kind of looking towards

more holistic herbs, homeopathic remedies, exercise, stuff like that. But what do you say, is kind of the new paradigm points give us, give us an idea. Wow, that's great. You know, I do believe that much of Western history has involved the suppression of this ancient wisdom. You know, the Bible is based on the stars and has profound things to tell us, but it's been used to excuse conquests and colonizations and separation of people.

Oh, I'm right and you're wrong. But that whole paradigm is trumbling right now and the world is rearranging, and I hope that it will be an age of more. Look, these ancient myths were given to every culture around the world for our benefit, and they were revered all culture. You know, the Native Americans have their ancient sacred stories, the Maya, the Greeks, they were all revered and by those cultures that they treasured them.

This is like a profound treasure for us, with so much to teach us that I hope that we can realize this isn't just for ancient this is for us. We need it. It had it Like you said, tai Chi, why wouldn't we want to tap into those ancient traditions that are so beneficial and have such positive impacts on our life. The myths are full of this ancient wisdom that someone was trying to give to us. Why would we not want to go to them and learn from them? And That's what I'm trying

to point people towards. And so this future. You know, we could always be on the brink of a new dark age, but I hope we're on the brink of not a new dark age. Let's move towards more of a golden age. Dave a pleasure of speaking with you, and continue success and thanks for your time. I really appreciate it. Thank you to Cliff,

thanks for what you do, and thanks for having me on. I fail to mention that I have spoken about the tour to Easter Island previously and that was not great because now we have about thirty people that are on a list, and actually more than thirty, and if everybody on that list says yes, I'm gonna be I want to go, that's going to be stretching us a bit. I don't think everybody on that list will be you know, locked in. So if you're interested in Easter Island and you want to

go and you have questions, send me an email. Send it to Earth Ancients the number four of the letter you at gmail dot com. If you have any questions whatsoever. The itinerary is gonna be up shortly, but I can send you the actual finished itinerary that Ed just sent me a couple of days ago, and it has all the details. It's a one week tour. It's intents. You have to fly into Chili, San Diego. Chili

is the capital. We do overnight there, we rest, we recuperate, we have some food, and then we fly right into Easter Island for a one week excursion. And I got to tell you, if you look at the itinerary, it's it's fabulous. These sculptures which run into you know, a thousand sculptures. We see the different sizes, We get the chance to go to the different there's a couple of different quarries, there's different language museums.

It's a real blast. I've been wanting to go for years. It's the ones in a lifetime deal, flat out, it's ones I'll never go again. But if you can join me, come on along. It's a reasonably priced tour and send me an email said earth Ancents for you at gmail dot com. I'll send you the current itinerary. It's not up on our page yet Earth Agents dot com Forward Slash Tours. It's still being kept low key. We're just announcing it now. It's going to be dialed up very

very so soon. And if you have any interest in Easter Island, send me an email. I'll send you that terrory and you'll be set. Yeah, and it's fun. And oh, by the way, Ed's going to be doing a special interview probably just before November on Easter Island. He has done some significant surveys there and uncovered some very unusual features to the island, the Maai, which are the big sculptures, the big monstrosity, the megalic sculptures. And he'll be giving an a lecture, but he's also going to

give a talk. He's going to do an interview with me, I should say, just before the beginning of November of twenty twenty four, that is this year. So hey, if you're enjoying Earth Ancient's Destiny and the Earth Ancient Special Edition the Archives series. Please consider becoming a subscriber for as little as five dollars a month. You can support the work that we do here on Earth Ancients, Destiny and the Special Edition. It's a lot of work.

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have enough space. These books are amazing. I upload them once a month. That's a gift. We have unpublished archiveal interviews, have some galleries and I'm gonna be posting once a month a chance to speak with me in a round robin discussion. Ask me questions, what's going on? What does this guy mean? What was your feelings? And I want to hear from you.

What's your mindset? What do you think about these interviews? So to become a subscriber, go to Patreon dot com forward Slasher than just become a subscriber, help us out and also get some nice rewards. All right, that's it for this program. I want to thank my guest today, Dave mathieson coming to us from Australia. As always the team of Gail tour Mark Foster and everyone who makes this thing happen. You guys rock all right,

take care, be well and we will talk to you next time. Speaking audio spo