Free Plus Show: Tracy Twyman | Ancient Esoteric Cults, Elite Beliefs, & Conquering The Sun

Hello, free first-hour subscribers. Greg Carlwood here, and over the years, some of the main things I've heard about the full two-hour-plus show and the membership are things like, oh, I've been meaning to sign up for a long time but have just been lazy, or that the first hour sounds so good and complete that it's hard to feel like you're missing that much or assess the value of a second hour. Basically, the old adage, you don't know what you're missing. And I understand that point. I don't really like to tease things in that sort of way. Feels too sleazy salesman-y. So I thought about how I could address that. What I might be able to do to convince more free listeners that it's worth converting over for. And there really is no better way to do that than showing free listeners what a plus show is like, or how much more a second hour might contain. And that is my plan here, at least for a while, and we'll see how it works out for me. One older plus show in the free show feed every month at the end of the month as a sort of peek behind the plus curtain. Because people who are members hear full two-hour interviews in a single file. It's a little different from the way other people in this space do it, where they split the hours into two separate files. To me, as a listener, that's annoying. It's like flipping a tape from side A to side B. I don't really want to deal with that when I'm in the middle of something else. Just keep it going. It's also a waste of the listener's time to hear two wrap-ups and two introductions trying to get back into the vibe. So that's why I do it like I do it. It does confuse people sometimes. Which means that for these free feed sample episodes, if you feel like what you're hearing is too fresh in your memory, skip ahead about 50 minutes and just pick up from there. And you can be pretty sure that you're hearing all the plus show content. My process has always been find a natural sounding cut point about halfway in, make a chop, and then tack on the whole tell us where we can get more links, etc. section that is always at the end of a full interview. So if you're trying to work it out in your head, that's how I do it. But that said, I'm trying to choose episodes that I have fond memories of, even if the material isn't 100% fresh in my mind, and ones that are also on some of the more timeless subjects. No point rehashing some old political thing or a previous year's astrology. And just going by that gives me tons of great shows to choose from. I hope you enjoy this new process. I hope it gives new life to older episodes and re-highlight some of the amazing guests I've been lucky enough to have. And of course, if you end up thinking, damn, that was good. That was more satisfying than just the normal free show. Maybe it is worth $8 a month. Well, then I would hope that you do pull the trigger. I mean, why try to make it something else? That is the goal here. So I think everyone wins with this free plus show a month plan. If you want to know why I picked this episode and the date it originally aired, I'll add that to the show notes right along with the easy plus signup links. If you want to start that seven-day free trial, if you want plus through Spotify, use the Patreon link. Otherwise, use the main one. Thanks and enjoy. Puppet masters almost surely have a plan. There's clearly maybe something there beyond the realm of man. That's true, Dr. Sayers. Where would we... Alright, higher side chatters, it seems the more one might dig into the closed door activities of the elite, the more messed up it gets. From spirit cooking and pizzagate to strange backwoods rituals and odd entity alignments that don't match anything we've seen in the mainstream circles. And not only do these activities exist to satisfy the sexual and psychopathic desires of the Capstone Cabal, but it also seems like many of these cloak and dagger traditions go back centuries as the preserved bloodlines of powerful people work towards arcane aims that make one wonder if they're even human. Well, with us today is returning guest Tracy Twyman to dive deeply into her latest work in trying to understand the rituals and symbolic meanings behind some of today's most notorious secret cults and traditions of the upper crust, perhaps tracing back to the time of the gods themselves. You might remember the previous times Tracy has been here once to talk about her book clock shavings and her personal exploration of the occult making contact with several entities including what seems to have been the legendary entity Baphomet. And again more recently to discuss another book of hers, Baphomet the Temple Mystery Unveiled, where she talks about the Knights Templar, the disembodied head of John the Baptist, and the idea that rituals and veneration for Baphomet by the Knights Templar was their secret source of power and knowledge that several of the financial alchemy tools they used to amass their wealth emerged from. But with far out and interesting shows, and of course Tracy has written several other great books about the subjects we love to explore, including Mind Controlled Sex Slaves and the CIA, The Dragon Legacy, The Secret History of an Ancient Bloodline, Money Grows on the Tree of Knowledge, and now her first novel, Genuflect, which uses fiction as the vessel to discuss these deep level disclosures a little more safely. So let's get this party started. A woman who's not afraid to stare into the heart of darkness and say, is that all you got? Tracy Twyman, welcome back to The Higher Side. Thank you so much, Greg. I appreciate you having me on. Yeah, I really love having you here. And this novel is fascinating and it goes into some really dark places. It gets into those things at the deepest end of the conspiracy pool, ritualistic rape and murder by the puppet masters of the planet. And obviously we've had a couple related dust-ups in the news cycle related to these things since we last talked. But to kick this off, since we're talking about a novel, can you help clarify where the line is between fact and fiction in this new book? Because it seems pretty detailed and well-researched, but maybe the names have been changed to protect the author? Well, it should be fairly easy if you read it all the way to tell where the line is. But there's some definite caveats and disclosures I need to make ahead of time. So if you read, you'll notice the main character, Pamela Auger, seems a lot like me because she has a job kind of like mine, writing books like mine. She has books that are like mine, except with slightly changed titles. So she is kind of like me, but she has a more exciting life and she's a little bit better suited to having adventures, you know, so she doesn't have a husband and a child. I don't think I even said what age she was. I imagined her being a little bit younger and more fit and just more able to, you know, jump around and spring around the world if she needs to. And that's where I left it because I didn't want to like really tell people what to imagine too much. I kind of just told the story. And as far as the characters were concerned, I do give a bit of description, but I really leave a bit to the imagination too. Some of the other characters involved, people will recognize as being based on historical figures and figures in current news and current events. So certainly there's a villain that is kind of based on Michael Bloomberg. And the reason for this is because when I was formulating this whole idea, which was about August and September of last year, I really have first, my first idea was just to write about just secret society cult type organizations doing, you know, rituals with children, rape rituals based on the Knights Templar. And I imagine something having to do with, you know, the deep web and some of this dark pornography that spread there. And so I started to formulate that. I decided I wanted to have it set in London. And I remembered this monument that I had seen. My husband, my previous husband's name, Brian, who's deceased now, he and I were in England in 2005. And we came across this thing when we were just walking down the strand, which is in the city of London, that borough. There's a district of London called the city of London, which is the financial district. And so we were walking through there. We ran across this thing that was an ancient temple of Mithras that, you know, had been discovered. It was left over from the old Roman city of Londinium that pre-existed everything else there in England, in London, you know, before there was, before it was called England. And so anyway, there's this ancient Roman temple, you know, to the god Mithras, but it had been moved to where we stumbled upon it from its original location, which was just really a few feet down the road. But when they found it, which they found it in 1954, when they were excavating to try to build an office building, and they actually had to build the office building right away. So they didn't even really have time to do proper archaeology there. But they picked up the temple and moved it down the road and tried to reconstruct it as best they could. So the one I found was like a poorly reconstructed version. And about a year or not even a year ago, like eight months ago, or whenever I started outlining this novel, I thought, oh, it would be great to mention the temple of Mithras in the novel. So I just looked it up, you know, refresh my memory about where it was located. And I came to find out that, you know, since 2005, last time I was in England, Michael Bloomberg has purchased the land on which the original temple of Mithras, the place where it had been discovered. And he's building his, he was calling it his European headquarters when he originally started trying to do this. But then Britain pulled out of the EU. So I think that's why he's now calling it just his London headquarters. But anyway, he's building this huge building is going to be the biggest building in terms of landmass. And I guess just the mass of the of the materials that's being used. It's one of the largest construction projects, in other words, that has occurred in London. And so it's going to be right there where the original temple of Mithras was. And he's moving, he's already done it really moved the reconstructed temple back to its original place, the exact same spot where it used to be. And he's going to try to renovate it better than ever. So anyway, when I discovered this, I thought, well, I have to have, you know, a scene there at that temple. And then I started researching Mithrasim and Cybele worship, which I had already decided I was going to work into the story somehow. And it all just sort of came together perfectly. And it became this, I mean, I know I need to wind down my answer here, but that became the, you know, opening point at which everything that I had planned on putting in my story sort of came together in this magical way that I didn't even realize was as perfect as it turned out to be. So yeah, so the location is based on a real location, which is this real temple of Mithras has been moved to this place. And the new Bloomberg building is going to be opened. And well, they told me before the third quarter of this year, when I started writing this, they weren't saying. So I just projected and I said, well, maybe it'll happen by March of 2018. And then there were some very important dates having to do with the end of March in 2018 that ended up becoming part of the story. The main character's based on Bloomberg, but, you know, it's a lot, I mean, in a lot of ways, he's different too, because my character is interested in a lot of really deep subjects, you know, a lot of esoteric occult subjects. And he's interested in philosophy and surrealist art and stuff. And of course, he's involved in some really nefarious things like raping children and murdering people. And all of these are things that I have no reason to believe Michael Bloomberg is doing. So I guess that's where the fact and fiction separate. Right. Fair enough. And I do find this Mithras temple find really intriguing. The idea that Bloomberg is concerned about it at all is fascinating. I mean, to the elite, places are so important. And also how things were in the ancient world, they always seem to try to be manifesting prophecy and all kinds of strange stuff that does often center around locations like this. And another thing you've said about this in one of your blogs was that this Bloomberg place is supposed to be like the smartest building in Europe built to generate its own energy and even share it with nearby buildings. And you mentioned technology to maximize the efficiency of the workers inside. And I just went to a conference on consciousness with like really far out Tech Valley speakers, like guys from Google and all that stuff. And one of them did talk about this very company he started that is supposed to have something I imagined it working like a Wi-Fi signal, like just radiating an area in a signal. But that's what it's about is measuring brainwaves and trying to biohack your way to greater efficiency. And I was like, wow, I mean, this is really what they're talking about. Like just having economic slaves isn't enough. You really want to squeeze every last bit of blood out of them that you can. It's messed up. Yeah, well, I mean, reality, again, was provided, you know, everything I needed to create this fictional story. And then, I mean, the whole thing just turned into this magical process, because I would write things, come up with things in my own mind that I thought were just totally made up. And in fact, I thought were kind of unbelievable. And then, you know, I just do a little bit of research to try to work things in, try to see what I could do to back it up a little bit. And I'd find out that I'm exactly right. Or that, you know, something that I had dreamed up, sometimes it would happen a couple days after I wrote about it in my story, and I hadn't shown it to anyone, you know, something very similar would happen in the news. As far as the building is concerned, yeah, you know, first I said to myself, oh, this Temple of Mithras is great. I got to have some scenes here. I started looking into the building that Michael Bloomberg is going to put there. And yeah, it's based on, there's another building, I guess, in, I think, I'm going to say the Netherlands. Yes, it's the Netherlands. And there's this Dutch designer who came up with a lot of these ideas. I forget what the name of, well, okay, they've got this term, I guess it's in Dutch, that means the new work. And here's what it is, man. So, okay, you described some of it. In Bloomberg's planned building, okay, there's something called a digital ceiling. And this, it's, you know, yeah, super energy efficient. It knows everything that everyone's doing beneath it, right? So it's monitoring you with a camera, with all kinds of other sensors that would monitor your heat and, you know, following each individual around the building as they go. And the purpose of this, they say, is energy efficiency. So they'll know when you're going somewhere and when you've just arrived, they need to provide more light and heat in that area, for instance. And, you know, the building is smart enough to figure out what your patterns are, your habits, you know, during the day. So it'll try to anticipate them. And then there's this other thing where in this building, one of these new work kind of buildings, including Bloomberg's, people will not have their own desks. They must try to score a desk when they get to work. And they're discouraged from using the same desk every day. And they get lockers to put their possessions in because the tables that they have don't have drawers or anything. So you're supposed to put your things in a locker and you shouldn't even use the same locker two days in a row. And, oh, and other things like, especially the executives, people kind of in charge of certain departments and stuff, they can set up little codes that the digital ceiling will read so they can make like a hand gesture or something. And it will know what in the building needs to happen next. And it can signal robots to come and bring you food or, you know, just all sorts of things. Bloomberg's building is going to be crawling with, you know, self-sufficient robots. And the building that it's kind of inspired by in the Netherlands is also, you know, already doing that. The gate to the parking garage opens up, you know, right before you drive in, because it knows, it senses your card, it knows who you are. And it, you know, it opens up to greet you. And, oh, then you've had a thing about how, you know, there's going to be a gym, an exercise room, and all the exercise equipment is hooked up to generators so that while you're exercising, you're generating energy. And then, okay, the windows themselves are solar panels. And in fact, from what I was reading, you know, all the new buildings, you know, ones that are built with any kind of decent budget, the big skyscrapers and stuff, they're all going to soon be covered with these windows that are actually sucking in solar energy too. So he's got this amazing, you know, building that he's building with this idea of, yes, being energy efficient, but also trying to, with this new work concept where no one's allowed to have a desk or anything, you know, yeah, supposedly try to make you interact more with the other employees or something. I just, to me, I would never want to go to work. It sounds awful. Right, right. And what do you think, Greg, would you want to work in a place like that? Absolutely not. I mean, obviously, some of that stuff from the technology standpoint, sounds pretty appealing, but it does also seem like it's a lot of razzle-dazzle to hide some potential darkness and a more cutthroat work environment for sure. And I don't think we need any more of that. But is there anything else we should say about this location of esoteric significance, either in the ancient world or the Temple of Mithras aspect, rather than Bloomberg's building itself? Well, I have had my theories about what the significance might be. You can tell it's a very significant spot. And here's why. For one thing, it's right next to several buildings that are important to, you know, finance, particularly in England. And of course, you know, thus by extension, the rest of the world, because London still is very much kind of the center of finance in a lot of ways, you know, and like the gold and silver prices are still fixed there. You know, they still lead in a lot of ways, the global markets. And so it's symbolically and in truth, very significant for the world economy. London is, and in particular, this district called the City of London, which is really the original London. You know, I mentioned there was Londinium, the ancient Roman city. Well, this, quote, City of London, which is now just a district of London, that's the original Roman city. The walls of this district basically still correspond to what those original Roman walls were. And the Romans had this object called the London stone. Well, we don't know if they, what they called it, but it's now called the London stone. And it's believed to go back to the Romans. And they used to, they theorized, they used to use it as a, I think they'd call it a malarium stone. So what it is, is it's the stone that you would put in the middle of the city or, you know, if not the exact middle, like the most significant area in the city and kind of try to put it in the middle and you measure everything else in the city out from that point. So anyway, that's what they think this rock originally was. Well, it's been symbolically significant to the city of London, even before England became a country. And, you know, people theorized that maybe this stone was involved with the coronation of chieftains and stuff before there were kings of England. And then even after England got created, the city of London continued to be its own separate entity legally. And so there's a tradition that even the monarch has to ask permission from the legal head of the city of London, which is this position called Lord Mayor. So the queen, you know, theoretically or traditionally should ask the Lord Mayor for permission to enter the city of London. So right here in the heart of the city of London, right where this London stone object used to be, and will again, I believe, according to what I've read, it'll be returned there again soon. So in this location, that's the location that Michael Bloomberg chose to put his building. That's where the Temple of Mithras originally was. And there's an underground river that flows right through it. There's several underground rivers in London. And this is one of the, you know, important ones. It's called the Walbrook. And right next to Bloomberg's building, there's several other important buildings, such as the Rothschild building. This is the building, it's called Newcourt. It's been rebuilt several times, but it is the same plot of land that the Rothschilds have been possessing and controlling in London, you know, since 1700, since they began their, you know, financial control of England, and then, you know, other territories as well. So this is kind of, you know, ground zero of at least that particular aspect of their empire. And also, okay, so the Bank of England is right next to it. The London bullion market, where they, at least they used to up until about a year ago, set the price of gold and silver in that building. That building is right there. And so yeah, you've got the London stone, you've got the Temple of Mithras, Bank of England, London bullion market association, all right there in this plot of land that's right around this, this street called Bucklersbury. And it's shaped like a Superman diamond, which is something I mentioned in the book, and has a great deal of significance. But so all these things are right there. I think it's important. Little bit of a spoiler, but I kind of think it's related to the myth that England is built on top of the island rests on top of the tomb of Kronos. So there, and this goes back to the Greeks, they said that Kronos was built, you know, after the Titans got dethroned by the Olympian gods. Kronos and his buddies got put in this tomb, they call it, but he's a god, so he's not really dead. So it's more like a prison and he's kind of sleeping there. And they described it as being underneath the British Isles. And for a number of reasons, not the least of which is that Mithras is considered the same as Saturn. Mithras is this Persian deity that was imported to the Roman Empire and, you know, worshipped by Romans in the late part of the Roman Empire. So Mithras is Saturn, Saturn is Kronos. These are all names for the same figure. So you've got a temple to Mithras right there, to Kronos Saturn, and you've got a myth that Kronos is buried and kind of locked away in a tomb underneath England. So I think it's right there. I think that's the location. There's a number of other reasons why I think that too, most of which I explain eventually one way or another in the book. But yeah, that's what I think is going on there. So it's kind of like, you know, one of these center of the world kind of areas, you know, it's a very sacred spot, I think. Right. Yeah. I love that nexus of symbolism around Mithras, Kronos, Saturn. There are researchers out there who talk about the black sun or even ties into the electric universe that Saturn might have once been our sun and just really weird stuff. But it seems to be important to them, at least. And it's pretty clear the elite want to control certain spots on the planet for deep esoteric reasons that they aren't sharing with us. And before we do get too deep, we should probably talk about those ancient cults of Mithras and Cybele. You mentioned Cybele earlier. I think people probably know a little less about that particular entity. But let's discuss maybe the symbolism and tradition surrounding them, because I guess the suggestion is that in some elite occult circles, at least some of these traditions might still be intact. Well, yes. And one of the vectors through which these traditions have continued on, I think, is through Templarism, which then influenced Freemasonry and the OTO and a bunch of other Western esoteric groups. But let's just start with Cybele worship, for instance, which goes back way further. You know, she was worshipped in the history of the Romans way further back in history than Mithras. And, you know, it is, again, a import from Phrygia, from Anatolia. But they, you know, incorporated well into their culture to the point where she kind of became an embodiment of the state to them. She's the mother goddess. And so she's considered equivalent to sort of kind of like Gaia and Rhea, these kinds of mother goddesses from Greek mythology. I make the point in the book that I think these are the same figure. And I'm not just mashing all the girl goddesses together, you know, I'm not being sexist. There's a real reason why I think all these characters really are the same thing. So Cybele's worship was marked with two very particular types of rituals. One was the castration of the priests. The priests would go into a frenzy during this festival to Cybele that would happen once a year at the end of March. They'd have a, you know, a parade. They'd go walking down the street drunk and on drugs, go into a, you know, religiously induced frenzy. And then the priests or the wannabe priests, the ones that were being inducted into the priesthood, would castrate themselves with a knife right there in front of everybody. And this is all in homage to Addis, who's Cybele's son. And the whole mythology of Cybele and Addis is really the main myth of the Cybele worship. So the story is that she was a goddess, the mother goddess. She had a son. She initially, according to the more detailed versions of the story, didn't want him and exposed him, you know, left him for dead basically as an infant and left him alone. But someone else found him, raised him up. And then when he became an adult or not even an adult really, but, you know, when he began to mature and he was like a prepubescent child is how I take it from the description, she fell in love with him. And depending on which version of the story you read, you know, some kind of gloss over this part, but it kind of seems like if you go into the more detailed versions that she had a sexual relationship with him when he was young, but then he wanted to marry a woman, you know, when he grew up and they were going to get married. And some versions of the story, they're actually at the altar, you know, getting married and Cybele shows up. And according to some versions, well, the most common version is just that she filled him with madness, deliberately inducing him to castrate himself. And then he bled out and died. And, you know, that was her revenge to him for loving someone else. But then the story goes that she felt bad, she felt guilty, she missed him. And so either one to three days later, depending on the version, she resurrected him. And then this is celebrated in the rites of Addis. So this would all happen in the same week, the last week of March, ending on April 1st. So one day they'd celebrate the castration. A few days later, they celebrate his resurrection. And, you know, again, it's all, you know, synced up with the similar kinds of death and resurrection rites we have now with Jesus. Right. You know, so it's all tied into Easter. So in my story, by the way, Easter, this is true. Next year, Easter and April Fool's Day will be the same day. April 1st next year is going to be Easter. So I utilize that in my story. We haven't had this kind of confluence of April Fool's Day and Easter since 1956. So I tied that in with my story because I had, you know, the Temple of Mithras that was discovered in 1954. I had some important events in the story taking place between those two years. So this is like, you know, when you're reading the story now, it's, we're kind of recreating things that happened the last time there was an Easter on April Fool's Day, which by the way, April Fool's Day is linked up with Easter. And with the fact that we used to have, you know, in the West, we used to have that as kind of the, well, New Year's Day was April 1st for some countries in the West up until, I forget, it was like two or 300 years ago. Anyway, so they still call this day Lady Day or the day that it's linked up with. I know I'm getting something wrong here because I'm trying to remember what was, I have to look it up. Lady Day was like maybe the 25th. I don't know. It's all explained in the book, but late. Okay. Lady Day, April Fool's Day, and this other date of, you know, celebrating it as New Year's Day. All these things are linked together. The reason why they would call it April Fool's Day is that's sort of a joke on the people that considering it to be, you know, the New Year's Day. So a long explanation. But anyway, that's some of the use of the Cybelle symbolism that comes up. Interesting. And there's way more. Greg, if you have time, I can tell you all about Cybelle. Well, I have heard you talk about Cybelle a little more and really emphasize this idea of being represented by a rock or a hermaphroditic rock. And I think that's pretty interesting because I like that panspermia perspective that perhaps an asteroid landed here and unpacked itself and eventually manifested man who will then eventually manifest some tech form. It's a really interesting concept, but a lot of people have suggested, you know, the dome on the rock is just an asteroid and people, they kind of laugh about that. But if it really was the source of life on Earth, potentially, then maybe there's deeper significance there than people realize. But I just liked that idea of the hermaphroditic rock. And it could be an asteroid that contained two sexes that built everything we have now. So that's kind of weird. But I guess I would ask, Cybelle and Mithras, is there some linkage between there? I think so. And the things that I found proved it to me. The interesting thing is that I would say modern myth experts and history experts try to debunk the idea that there's any real link between these two cults. But if you go back to the early 20th century and the late 19th century, the writings that were being done about Mithras back then, and I would suggest Jesse Weston has a good book about the subject that gets into the subject. From Ritual to Romance is good. And then also Franz Kumont wrote several books about Mithras. So if you want to get, you know, where I'm getting some of my information, that's a good place to go. Anyway, here's the idea. Okay, so first of all, yes, you've got Cybelle was worshipped as a rock. And there's statues of her that they claim were carved from a meteorite, you know, a stone from heaven that was her, and then they made a statue out of her. And then there's also references to her as a rock, where there's no statue involved. You just envision people worshipping a rock, which I think is why some authors have theorized that maybe the one at the Kaaba, the black stone at the Kaaba, might actually be the Cybelle stone. Because I think, I don't think we have the stone that they were really worshipping as Cybelle. I think that that's been lost. So I don't think we really know what it really looked like. But yeah, I think originally there was this idea, she's a stone, and she fell from heaven. They link her with this other, I think it's just another name for the same goddess, another Phrygian name. So Agditus is another name for the same person. And they described this figure as being originally hermaphroditic. And then the other gods in heaven thought that this creature was a freak, and they didn't like it. So they cut her penis off, and then cast her out of heaven. So there you have the idea of the rock, you know, Cybelle coming from heaven, but it has been castrated now. So now it's a goddess. And then she gives birth to a son, right? And that son is celebrated as Addis. But then we also have this other Phrygian god, Mithras. Now Mithras is born from a rock. And it's just like, you know, as if, yeah, there's just a stone there on the ground, it pops open, and there's this guy comes out. And he's holding, they always show him coming out of the rock, holding in one hand a knife, and then the other hand a torch, so he can see, you know, in the realm that he's coming into. So it's like, the rock is sort of a portal, you know, but it's also an egg. It's like, there's a universe inside that egg. And then he comes out, and now he's in this universe. And he's the god of this universe. And this is what I found over and over again, in the kinds of rituals and myths that I ended up dealing with for this story. That is the story they seem to be telling. Mithras is like, and I'm using sort of the most developed versions of the story, you know, when you've got all the different lines of influence coming together at the late Roman Empire, when they've taken the Persian myth and mixed in their own stuff. Then you get this god who's like Saturn, but he conquers the sun, he conquers all these other gods, and he becomes god himself. This story of him emerging from the rock, and then there's these stories of him, you know, slaying a bull and encountering all these other figures. There's always in Mithraeum's a picture of him shaking hands with Saul, and then Saul kneeling to him. So go ahead. Oh, no, I just, I think it's all so interesting. And I had Chris Knowles on the show not long ago, and he was talking about the symbolism of that Prometheus statue at Rockefeller Center, or that statue that they say is Prometheus. And he was taking a deeper look at it, and how the figure isn't actually chained to the rock, but looks like it's emerging from it. And he was suggesting that they're basically hiding that this might be actually a statue of Mithras. And it does seem like there's a lot of layers to what they're really into deep below the surface. But how should we maybe tie this to modern day? Because I think a lot of people would assume these old traditions and cults would have just died out, along with the things they used to partake in. But what suggests it's still going on? Clearly, Bloomberg has an interest in that Mithras temple. But do we see other indications that they're still very interested in this stuff? Oh, yeah. And I'll try to work that into my answer here, because I want to sort of add something to what I was just saying about the rock and Mithras, okay? The story of Mithras, there's a version of it that kind of elaborates on what happens next, and how he has his own son, he creates his own heir, right? They say that Mithras hated women. And the Mithras cult was an all-male cult. And they even, you know, the rituals they had, the kind of phrases they used in the rituals, you can tell they did not like women. And so this myth says, Mithras himself did not like women, but he wanted an heir, he wanted a son. So he ejaculated onto a rock, and the rock became pregnant. And a child came from that, which they say is fannies. It's like the Orphic egg came from that. So an Orphic egg is, you know, it's a universe in itself. So what we have here is a story of a god who came from a rock himself, and then went on to create another god and another universe, really, with the same process of ejaculating onto a rock. So, okay, this is all interesting, because I think it ties in with this idea, you know, that we're in a matrix or a false reality. You mentioned the Saturn cube idea, which is so popular now. Right. You know, the idea that the figure of Saturn, whatever he is, is created some kind of world of illusion for us to live in, and we're inside of this box. Well, so, you know, I think that that's what this story is hinting at about Mithras. But of course, whoever came up with it wouldn't have known anything about computers or virtual reality or anything. And really, that's the version of these ideas that we have now in our reality. But there's a lot of other ways you could picture the same thing kind of happening. You know, we have computers with buttons on them now, maybe it's something else in another dimension. So that's, I think this is a story about Mithras breaking out of one false artificial prison world, and then making his own, you know, and I think that the elite, there's some of them that have the same idea, because, you know, last year, you had a story that came out that was in the news, reprinted in several different, you know, mainstream newspapers and magazines, they all had kind of paraphrased versions of the same story, where they were saying, there's a group of billionaires, and they wouldn't give it a name, it wasn't like a secret society or anything. They just said, there's a group of billionaires, secret, because they're secret, there was not like a name to the group or anything. But they said that these billionaires are working secretly on some kind of way to break us out of the matrix, they believe we're in a simulation, and they're gonna break us out. And then that story just went, nobody addressed it again. There was no elaboration on who these guys are or what they're doing. And it was right around the time the story came out, just as I'm already writing this story. And I didn't intend on using that idea in my story, but it ended up just going there, you know, that's where the information led me. And so, you know, that's the kind of thing, I guess that, you know, not to spoil it too much, but that is the sort of thing that the villain in my story is aiming towards, and using the building as a technology device to do that as part of the story. Hmm. Yeah, I really do love those ideas that the elite's true plan and agenda is to try to jailbreak this enclosure. It gets into that idea of subverting the gods, you know, the whole Lucifer motif, we see a lot of Lucifer symbolism. And it really does get to that place of wondering, is the entity that built this thing, is the creator of this construct, a positive or negative entity? I know you did a great show with Marty Leeds, who I really like, and who has really become a friend of mine and is a pretty clear proponent of the flat earth model. Of course, Marty is an optimist, and our biggest disagreement is about that stuff. Like, is this creator entity positive or negative? If it's a negative entity who has this on some prison planet, arconic energy farm, then maybe the elite's plan to jailbreak it isn't so bad. But if it is supposed to be some paradise crafted by an altruistic being, then they're definitely up to no good. So it's really just depends on how you view the moral alignments of these characters. Well, I think that what I ended up finding in my research, because I got deep into the secrets of the OTO, for instance, I mean, I'm pretty sure I've seen things that only a handful of people on earth have seen, other than, you know, other OTO initiates, not very many non-initiates have seen what I've seen. And yeah, so I got into researching the rituals of Aleister Crowley, and the kind of stuff that he was into, and also just alchemy, which, you know, I've been looking at sort of bewilderedly for years and trying to make head or tail of, I figured out years ago that it involves some recipe of human blood and body parts and things like that, and the human soul utilizing all this stuff somehow. Shit. But it seems to me, what I found is a technology, a magical technology, and I'm not saying I know all the ins and outs of how it works, but I've deconstructed the symbolism of these secret rituals and recipes, and they're talking about ways of creating your own universe and destroying the one you're in now. And you could actually just look at it as you are trying to break out of the prison you're in now, and in the process, you'll probably end up destroying the one that you came from. So I believe that I found secret, encoded, magical instructions on how to become your own god. And in the process, you either destroy or imprison, or it's kind of, can be seen as both, the world that you come from. Yeah. And, you know, you can see this when you look at some of the things that are easy to find are the equinox of the gods ritual that the OTO engages in. There's writings that Aleister Crowley had about creating a homunculus through sex magic, and usually involves some kind of unnatural birth. His idea, what he thought would be the most potent way to do it, would be to somehow impregnate an anus and have an anal birth. So that all made its way into the story. Gotta warn you guys, it's pretty gruesome, but it's definitely something that Aleister Crowley was writing about. Right. And when he's talking about an anal birth, he's talking about the anal birth of a universe. And he totally, totally wrote about that in his diaries, if you look. So, you know, there's, I guess the question of whether it's bad or good for us to be in a prison, I don't think that there's an answer to that. You know, it depends on what side, I guess, you're on, in or out, right? So if you're on the outside, and you have a little snow globe that entertains you, then you like it, and you think it's good. But if you're in the snow globe, and then you realize that your world is fake, you might not like it. Right. And especially if you realize, this is what I think is happening. The world that is either created by the God, and also possibly the world that he leaves and ascends to, you know, to become higher than, I think that those worlds can be used as batteries, as machines creating energy for you. So I think that that's going on now. And, you know, to the extent that we have energy being siphoned out of our world, and given to someone else on the outside, that means that we are slaves. And so, you know, from that perspective, it seems bad, right? But I don't think there's any way to escape it without doing that to somebody else. Hmm, that is, that's pretty dark. And I guess, does this all culminate in what your calling the conquering of the sun ritual? Can you detail that piece for us? Yeah, yeah, I'll try to. Yeah. This is a concept that I just found is in all of the Greek creation myths, and you can pretty much find it in a lot of the older, you know, major cultures, creation myths. And then it's in alchemy. It's in almost all of the alchemical pictures and manuscripts. So what it is, is it's the idea that each cycle, you know, the Greeks, for instance, broke everything down into ages. The Gnostics called these things aeons. And each of these cycles had a different major god that was in charge of everything. So the Greeks have the stories of, you know, first you have Uranus, Uranus, and Gaia. So you have heaven and earth, then they split apart. And in the space in between them, then these other cycles occur. Uranus is overthrown in the process of being split apart from his mate. And then, see, I'll try not to get too detailed here. But that story is about, okay, Uranus and Gaia originally are one hermaphroditic being. And they're kind of like having sex constantly, you know, and having children, they're engendering children inside the womb of the female half of the being. But then those children cannot get out. And so the story, the myth tells about how Uranus was afraid that he was going to be usurped by his, one of his children. And so he didn't want them to be born. And then they tell this story of how Gaia gave Saturn or Kronos, you know, one of the children inside of her, a knife to use to castrate their father. And that's how Uranus gets overthrown by Saturn. Right. And then they say that heaven and earth got separated. And then that's how that creation exists. And it will cease existing if they ever come back together again somehow. And then they say that Atlas, who is one of the Titans, was punished with the burden of holding up heaven and earth. Now you've got this story, it goes on. So first you got the era of the Titans and ruled over by Kronos. And that's remembered as being the golden age. Then you have Saturn overthrown by Zeus. And the Titans are said to be locked in Tartarus. And like I said, they're still there, supposedly, they're still alive, they're underneath us somehow. So I'm going through this story here and incorporating it into my fiction story. And I realized, you know, I thought, well, okay, Zeus was the main god then during the Olympian period. Did they ever say that Zeus got overthrown by anyone? And you know, at first I'm thinking, well, that's dumb, because the Greeks would never have said that. You know, he was their god. So it'd be like us saying, oh, god's dead. Yeah. Which we did say that. Yep. So maybe there is a comparison there. But anyway, actually, they do have some specifics about who would have been Zeus's heir. And they say that it was Apollo, who was a sun god. And this caused me to think, well, okay, people always compare Christianity to sun worship. And Jesus is always depicted as the sun or having a kind of a solar halo behind his head. And then all these Christian rituals are, you know, timed to old pagan holidays, usually having to do with whatever the sun's doing at that part of the year, you know, equinoxes and stoltuses and things like that. So, you know, we definitely have kind of a solar worship going on now. Absolutely. But I know I wondered, you know, everyone says that's the ancient worship of the ancient peoples, but then they were worshiping Jupiter. And so to try to tighten everything up, I just it occurred to me that maybe this position of main god can be likened to the sun, and that we have different cycles in which someone else plays the role of the sun. Yeah, I could see that. I mean, it's, it's pretty deep stuff. And as we're getting to kind of the halfway point here, I wanted to read something from this great post you have on your blog called Mad Love. And it kind of ties in a lot of the stuff that we've talked about so far. But you say, I have revealed a number of symbols, some of them treasured as concealing great spiritual mysteries and the hermetic traditions of Western occultism, which all seems to be related to the ideas of raping children, consuming human flesh, and using the bodies of victims both dead and alive to breed supernatural entities, golems, homunculi, and many other things. The souls that are incarnated in these rites are ensnared by the magicians performing them, seduced into coming into our world and then trapped inside of a carnal container of some sort. And that is freaky stuff. But it is in line with what with what a lot of people think is going on. I guess, do you have any idea what happens next? Or what happens to these beings once they're trapped or created and how they're used? I mean, obviously, our world goes on without a lot of people knowing about this. So I don't know how epic it is. But do we know how far this goes beyond the stories of Crowley we've heard? Maybe something in the last 100 years? Well, okay, I have my own theories. And you know, anyone's free to just make up whatever they want, I guess. But basically, I think that when I'm talking about this ritual of conquering the sun, that ties in here. Because I saw this being depicted in, like I said, alchemical stories. And then there's actually two kind of fictional versions of the old alchemical stories that have been utilized in modern times. Well, I'll tell you about Jodorowsky's film, The Holy Mountain. This really kind of spelled it out to me. I thought I was seeing this pattern. And then I watched his film again. And I'm like, Oh, yeah, that's totally what's going on. Because his film, he's open about it, you know, it's an alchemical allegory. And he says it's based on two things. The Invisible Mountain book by Damal. I'm forgetting the name of it now. It's called the maybe it's called the Invisible Mountain or something. No, it's called Mount Analog. Okay. And then he's got this other one that he based it on, which is Chemical Wedding of Christian Rosenkreuz. So both Jodorowsky's Holy Mountain and its inspiration, which is this book from the 1600s called The Chemical Wedding of Christian Rosenkreuz. Maybe it's 1700s. Anyway, the story is about killing the seven archons, the seven planetary deities that the ancients thought of as being in control of our whole world, and killing them and then regenerating them. So in both the Christian Rosenkreuz story and Jodorowsky's movie, you have people that are like embodying the, you know, they have the spirits of these gods inside of them. And then they are killed or sacrificed. And then it's implied that a master alchemist can regenerate them. You're literally melting down their bodies, separating their souls, using the blood and the body material, changing it alchemically through different scientific processes, and then using that to form new bodies of hosts that will hold the spirits of the ones that you've just sacrificed. And then you make them into a new sun and a new moon, which in The Chemical Wedding of Christian Rosenkreuz, they're depicted as just having human bodies, okay? They're a new sun and a new moon, and they become the new king and queen of the universe, and they generate, they breed and create the other five classical planets, the other five gods. And there you have the gods of a new universe. So this is how I think it's done. You have to somehow entice the spirits of the seven gods down from their seats in the heavens and get them to come into human bodies. And then you can trap them, and yes, sacrifice them, and use those spirits then to make your own universe. And that's kind of the story I'm telling. Yeah, it's so interesting, but it's that last part, creating your own universe, that I don't know, I just don't see, maybe I don't see them because I don't recognize them, or maybe I can't tell what reality would be without this kind of magic going on in the Masonic basements all over the place. But I don't know, have they made their own universe? I guess they kind of have. Depends on how you look at it. Well, we, yeah, we wouldn't know. I mean, they might have a whole bunch of them. We might be in one of them now. Well, in the way I'm envisioning it, it's almost like you could be in one of them, and you could create some more, either inside, or you could try to get out and create some more on the outside. And finding out what is inside and outside becomes very difficult at that point. It becomes relative, doesn't it? It does. And this is something I think is, you know, true. Like, you can't really get a real perspective on what's up or down or in and out at a certain point. You know, when you break down these stories down to their basics, things become very confusing. I mean, how is it that Saturn is the god of the highest realm up in the heavens, but at the same time, he's trapped in Tartarus, supposedly, beneath us? Yeah. So, you know, I thought of it as the best you can do, probably, is just with the memories that you have in your own culture, try to arrange them chronologically, and then view it as one thing stacked on top of another. So we, right now, we're on top of Tartarus, supposedly. Well, that's got the remains of the golden age in it. You know, it's got the remains of that other universe, but we're on top of it. And that, I think, is part of the symbolism of Atlas holding things up. You know, whoever's on the bottom of something else is, you know, by definition, holding up the stuff on top. So this gets into the symbolism that you find in Christianity and Freemasonry. We've got the cornerstone and, you know, yeah, the idea of this sacred place that's the foundation of something, you know, whatever's on top of it. Another thing, too, is, like, this idea that we're slaves. Part of the slavery is that we're holding up the worlds that are set on top of us. Right. So I think we experience this. This is just me theorizing, just pontificating, just making stuff up. But this is how I feel, is we experience this in terms of how hard our lives seem to be. And, you know, does it ever seem to you like the whole world is an inefficient machine? You know, you're putting in so much work and getting so little out of it. And by definition, a machine should give you more product for the work that you put in. It should be increasing value somehow. Well, it feels to us like you just got value flying out the window. We can't figure out where it's going. And that, to me, is a sign that there is someone else sucking the juice off the top of us. And, you know, we just keep trying and trying, but we can't make it. There's this story about in Tartarus that there's these, I think they're called the Nereids or something. There's these three women that their punishment is to hold these jars of water. And they're constantly trying to fill the jars of water, but there's a pole in the bottom of them. So they're constantly leaking. So they'll never win. And that's how I think we are here in our universe. That is evidence that there's something else. There's a leak in the vessel somehow, but it's all part of the design, you know? Absolutely. And I love that you said, you know, we're holding up the illusionary constructs because that's the kind of symbolism that I take in. I mean, when we're talking about created universes or false realities, that's what these things are. I mean, we're the ones holding up the things we're bound to, like contract law or debt-based currency and economic slavery. These are all illusions that we know are illusionary, but we buy into them. We live our life determined by them. And sure enough, none of them are natural. They're all created by these potentially occultists at the top of the pyramid. And so if you want indications that their magic is working, look at the goddamn mind control and the spell we're all under that we literally don't do anything on this planet without green paper. So maybe we should look at those green paper printers. But man, another thing I wanted to ask you about is because you mentioned reality mirroring the themes of your book as you were writing it. And Pizzagate and spirit cooking are sort of old news now. Not that anything's been done about them, but the chatter, of course, has died down. During that time, you also wrote a lot of great articles breaking down some of the weirder symbols and phrases that came out in the glimpses that we saw. And since you do have such a deep knowledge of these arcane things, when you heard those phrases like spirit cooking and earthquake nights, along with some of the artwork that was involved, did this look like nonsense and gibberish to you? Or did you find connections to deeper themes and mythology when you tried to unpack all that stuff? Well, yeah, the Pizzagate thing broke out about a month and a half into my writing and outlining and stuff. And I, you know, I guess I wouldn't say was that surprised, because the hints that that was coming, they had already sort of released some stuff like, oh, the New York police, they've got some videos and, you know, they're going to be coming out soon. And it's got stuff to do with child sex and it's going to make Hillary look bad. And I thought, okay, so this works out because the stuff I'm writing is going to, you know, be timed perfectly with the news. But I had no idea that it was going to, you know, be such a huge story or that it was going to come out as soon as it did. Right. So, yeah, then the Pizzagate stuff happened. And my policy in general, when I'm writing, whether it's fiction or nonfiction, is I try to isolate myself from the news and from other humans as much as possible. So I won't be influenced by whatever is going on. Right. But I just got bombarded by messages one day. You have to look at Drudge Report. You have to look. Come on, just do it. So I finally did. Yep. There's the spirit cooking was like in red letters across the top of Drudge Report. And so I had to pay attention. And sure enough, everything they were talking about was the kind of alchemical rituals I was talking about, including, yes, as you mentioned, references to earthquake nights. And I was already writing some stuff that's a bit controversial, but it was about the symbolism I was seeing having to do with anal sex rituals and the creation of earthquakes, the disturbance of the earth by doing that. And, you know, so again, it's only controversial just because people are so touchy about sexuality these days and, you know, everything is political. So anyway, what I was seeing is, yeah, that Alistair Crowley's sex magic is so much about, you know, male homosexual anal rights. Okay. The deeper you go into OTO, the more homo and anal it gets. And then they start telling you, well, the best thing to do is actually do it with a kid. And so anyway, I should just give myself some legal cover, by the way. This is what I am seeing in the Alistair Crowley material that I am reading. I myself am not a member of the OTO and I cannot tell you for a fact that they do anything with children. Okay. I'm saying what I see in Alistair Crowley's rights, but anyway, so, you know, yeah, the stuff with Pizzagate came out and she mentions earthquake nights. Again, I thought, well, that's just an interesting synchronicity. There's this thing in one of her videos about putting your head on the mineral pillow. So again, that's the sacred rock, you know, that's like Jacob's pillow. Anyway, so, you know, the Cybele rock and things like that. And then, oh, then it's just some, so many of the other Pizzagate details that would come out over time ended up corresponding to things that I was writing about. So I was already putting some stuff in the book that corresponds to the myth of Pegasus, you know, and the flying horse that comes out of the neck of Medusa when she's killed. Well, I wrote this scene and then I decided to go to the, you know, the Pizzagate forum that I hadn't been to in like a couple of months, the VOAT page. And I go there and what do you know? I find the word Pegasus right at the top of the page. And it's because they just discovered that there's this thing labeled the Pegasus Museum on Google Earth that was a building that used to belong to one of these guys, Aliphantus or one of them. And I guess the building has disappeared now. Nobody knows what happened there, but it was kind of suspected as being a place where, you know, children were being held. So, you know, yeah, there's there, I could probably, I have a list somewhere of all these weird coincidences and things that happened. I guess not the least of which is just how much terrorism there is in London now, whereas London was not really much in the headlines at the time that I started writing. So I know that I picked the right spot definitely to have this story. Right. And you are correct in that it gets pretty thorny because people's proclivities for talking about sexuality and sexual persuasion. But you can't deny that this stuff is in a lot of the mythology, the whole motif rising up and raping the father figure. And we didn't put it there. And I think of it less about hetero and homosexual and more about power and domination, because there is really no more complete way to own someone, especially two alpha male type figures. I mean, that's a complete and total owning. And I think it's more about power and control than it is about what gender you're attracted to. I guess that's the way I try to separate those issues from the source material. Yeah, I usually would ignore such concerns, but it's been so heightened lately. And I know that I have fans that, you know, I guess fit into any one of these categories. So I don't want to offend anybody. Right. But definitely one of the things I was struck by when I researched the myths of Cybele and Mithras, for instance, was the fact that Cybele used to be a hermaphrodite. You know, that just seemed so significant to me. And then, you know, you got that story about Mithras doesn't like women, but he wants to breed without one. And then Cybele, a similar thing was said about her. She does not like women and she does not like men. So she tries to keep a middle gender between the two. This is a quote from one of the chroniclers, you know, in ancient times. So Cybele is not just a hermaphrodite, but specifically despises the sex roles and, you know, traditional men, traditional women. And then you got the same thing with Mithras. So it's interesting to me. And you have Franz Kumont saying, for instance, the Mithras expert, he thought that they were definitely connected, these two cults, that the Mithras, well, they performed a bull sacrifice or a bull sacrifice is a major part of their mythology. And the Cybele worshippers, that was their major ritual was cutting open a bull and then they would douse their priest with the blood and it would just rain down on them. So, you know, people would say, modern historians might say, well, a Mithraim isn't big enough to do a bull sacrifice. But Franz Kumont already addressed that over a hundred years ago. He said that the Mithraeus used to hire the Cybele worshippers to kill their meat for them and to do their sacrifices for them. And then, you know, that was just an extension of their ritual chamber, basically. And in a lot of ancient cities, when you look at the ruins, the Cybele temple and the Mithras temple were very close physically to each other. And in one case in Ostia, in Rome or near Rome, they were right next to each other, back to back. So I think, you know, the evidence is that these two cults were related. And these two cults also happened to be anti-natural sex, I guess. People even like to depict Mithras as being, the Mithras cult as being kind of ascetic and what do you call that stuff? They practiced abstinence. There's a C word for it. Oh, celibate. Celibate. Thank you so much. You got it. They might have practiced celibacy or something. But when you look, no, the archaeology and some of the details of, you know, what is known, what contemporary authors wrote about them. They had members as young as 12, okay. You would basically go through what is described as torture in order to be inducted. And they were taking hallucinogenic drugs for these induction rituals. The second degree was called the nymphos. That's the bride. And the bride is a boy. So you would be marrying a boy to a man during this ritual. Then when they have slain the bull, there's historians, historians might say, well, they never actually slayed the bull in the rituals. We don't know. There's depictions of the bull slaying, right, of Mithras doing it. And there's a depiction that involves someone sodomizing the bull. Okay. So I think that the Mithras cult wasn't asexual. I think it was definitely homosexual. And so I think that that's another thing that, you know, it's been kind of cleaned up from, you know, the way modern people like to view it. But I definitely think it was kind of a homosexual, anti-woman, pedophilic cult. And it was also, I think, I wouldn't say it's influenced by Gnosticism, but it had a similar idea, because it was really all about getting out of creation and busting out and, you know, creating your own world, which is, you know, what I said before. If you would wonder, well, how can something like that go along with the Cybele worship, which is all about, you know, it's a priesthood of castrated males. Well, it's just, again, all part of the idea of messing up the natural sexes somehow, I think. I think that Mithras's hatred of women is an extension of Cybele's hatred of men. And it would make sense if Mithras was her son, if Mithras was at us somehow, or a recapitulated version of that, you know, that he would have this memory of mother being the one who castrates people. So, you know, that would go along with his hatred of women. And I think that these things are all connected in very deep ways that are only obvious to people on the inside. Whereas on the outside, that's part of the reason, actually, it makes it easy for us or easier for us to ignore it, because it seems like all these doctrines are kind of in conflict. But really, they all have a similar origin. And it does tie into the mystery of Baphomet that I've been trying to figure out for my whole life here. You know, that's a hermaphroditic figure, or that's what I've always described it as. And that's what people usually describe it as. But as I was writing this book, I sat down after reading all the Cybele stuff, and I looked at Baphomet one more time, and I realized, oh, the Eliphas Levi depiction of him doesn't show him with a penis. It shows him with a rod instead, with a caduceus. And Eliphas Levi even describes it as such, it says, and he says, in place of a phallus. And then there's a curved line going right over above the caduceus. And this is all in front of his crotch, right? The curved line, according to Eliphas Levi, when he's describing the meaning of his own picture, he says that that represents the atmosphere. So it's like, it's the sky, okay? So it's just like the myth of Uranus, or Uranus, where he was, you know, a hermaphroditic being with his bride, Gaia, but then he got castrated, and they got separated. So the pole is now separating the sky, holding it up separate from the earth, instead of there being a phallus. So yeah, I guess what I'm saying is, I unfortunately came to this realization after I wrote a 600-page book about Baphomet. But I realize now that at least the Eliphas Levi version of Baphomet isn't a hermaphrodite so much as it's hermaphrodite that's been castrated. And, you know, when you look at other versions of Baphomet, like the drawings that Hammer Pergstall has in his book from 1818 that influenced Eliphas Levi, those also have a hermaphroditic being, but it's really just a, maybe a woman, because it has kind of a vaginal slit, or I don't know, that kind of looks like it, but it has a beard too. But you don't see a penis, okay? And then that, what I'm calling a vaginal slit, well, there's no hair around it. And it could also just be a hole, like from where the penis used to be. So this is sort of my revised understanding of Baphomet. When I look back at him now, I realize he's very much like Cybele. And in fact, Hammer Pergstall actually said that meat was Cybele. And another thing I discovered too, one of the church fathers, when he was describing the Gnostics, he said that they were essentially continuing the worship of Cybele, and they had similar rituals as the Cybeleists. So, you know, all this stuff started to come together in my head, and as I realized the Cybele worship was continued through the Gnostics, and then Cybele is Baphomet, and Hammer Pergstall and others are saying the Templars got into Ophite Gnosticism, and that was their secret cult. Okay, so they were worshiping Cybele. And, you know, they're worshiping a castrated hermaphrodite. And then, just to wrap it all up here and put a bow on it, and I look back at, you know, the famous pictures of the effigies of Templar knights, you know, recessed into the floor of, for instance, the Temple Church in England. And then there's other places too, where they have the same thing. So that you see his grave is underground, but then on the surface of the floor, on top of the grave, there's a effigy of a knight. And those effigies almost always show them with these crossed legs. Now, officially, they'll tell you that that's a sign of having gone to the Crusades, that a knight would be depicted that way on his gravestone if he had, you know, done time actually on the battlefield during the Crusades. But, you know, I can't help but look at that now and realize that that image of the knight with his legs crossed looks identical to the way that Addis is usually depicted with his legs crossed. And his legs are crossed quite specifically because he's just been castrated. Wow. Boom. There it is. Gift-wrapped and delivered. And it also seems like it kind of ties into that obelisk symbolism, that obelisk Osiris symbolism, all about the phallus. The severed phallus. Yes, I just realized finally, you know, it took me, what, I'm almost 39 years old now, but I just finally figured out all these, you know, symbolic phalluses, they're disembodied for a reason, you know? All these talismans of priapus that people have written about. In the 1800s, there were several, you know, writers who became obsessed with the idea that there was a cult of priapus that used to reign all over Europe and that this has been incorporated into Christian symbolism and that this is what the Templars were actually doing too. And so they have all these, you know, European votive statues and, and necklaces and stuff of just a penis. And sometimes the penis has a penis or it has wings and legs and things like that. And I'm realizing now, yes, they're worshiping a phallus, but it's also a cut phallus. And there's a reason for that. It harkens back to this myth. And in some of your blogs, you even mentioned that potentially that ritual, that tradition could have been dumbed down a little bit or nerfed a little bit and become the cutting of the middle finger, which is in those spirit cooking, artistic expressions or whatever you want to call them. Also John Podesta in that one picture, all his fingers are all screwed up. And you note that Johnny Depp, one of the strangest, most occult aligned actors in Hollywood, he had a strange story where he cut off his own finger in a fight with his girlfriend. Apparently it's interesting to think that potentially this is the carrying on of that tradition and just a little more mild sense. Yeah. I mean, when I published that article months and months ago, that part of it was just a tiny part of the article. It really sort of deserves its own, you know, article and YouTube video and everything, because this is a phenomenon that I'm sure, you know, the Illuminati watchers of the world could really make something of. When I put it out in that one article, I got lots of emails from people saying, oh, I noticed this and that in, you know, the stories of celebrities where they've accidentally, supposedly cut off one of their fingers or a part of it. So yeah, I think that this ties into the castration idea. And also it is just a secret society, right? That apparently, you know, for instance, they do it in the mafia. We know I found some old literature claiming that Freemasons would do it. This stuff was over 100 years old where they were writing about it. And then, yeah, I just ran into a bunch of other news stories where celebrities were doing this. But yeah, it's something that you do, for instance, if someone's a member of your secret society and they have messed up somehow, like if they had a mission and they messed up or they broke their vow of secrecy a little bit, but you don't really want to kick them out and you don't really want to kill them. So you just punish them. And part of the reason why it's such a bad punishment is because if it's like a real occult, you know, magic ritual type secret society, your hands are a very important part of doing those rituals. And, you know, there's so much power in your hands and in your fingers. In particular, there's a hand signal that I kept coming across both in ancient stuff and in some of the modern secret societies where they're using the first three fingers of your hands. So your thumb and your index finger and your middle finger. It's called manopantia and there's a bunch of other terms for it. So it's like the hand signal that you can use when you're doing magic. You know, you can like point it at the object that you're trying to bless or curse or point it up at the air if you're trying to invoke something from the sky. And, you know, there's probably a lot of different things you could do with it. But what I found interesting is that there's a lot of OTO pictures, I don't know, memes, things floating around you can find where it is definitely something put out by an OTO person and it will have these three fingers. Sometimes you'll see the hand with the three fingers extended just doing the hand signal. But quite often you'll see those fingers cut off. They'll either show you the hand with the fingers cut off or the fingers just sitting there with no hands. And so I take this as a, you know, sort of a reminder of a penalty. You know, it's like dragging your finger across the throat. You're reminding the person of the oath they took and that if they fail, they're going to lose their fingers and they're the very important fingers that you need for blessing and cursing. So it's like if you get your fingers cut off, you've lost your magics a little bit at least, you know? Mm-hmm. Yeah. Wow. I think there could be a connection there. I mean, it's really hard to say. I mean, obviously they try to keep this stuff so hidden. You're kind of just stuck trying to connect the dots as you see them. And I think it's interesting. You also mentioned Superman earlier. And when it comes to the symbolism of the diamond shaped Superman logo, in one of your blogs, you write the significance of the shape also has to do with alchemy, sacred geometry, the Masonic Royal Arch, Keystone, the gem cutters of Belgium, and the work of John Dee, who once lived at that very site of the Bloomberg building because of his obsession with the London stone, another relic that plays an important role in the story of Genuflect. And that is a lot to unpack, but can you tell us any more about this nexus of interesting threads and the relation to Superman? I can, yes. And a lot of this actually probably won't be fully developed until the sequel to the story, if I can manage to get it out here. But there's a lot going on there. The way I stumbled across this whole thing, okay, is just that I was looking at the actual physical site, Bucklersbury, you know, this place where Bloomberg's putting his real building. And I noticed that the site around it took the shape, the shape of the Superman diamond, the Superman logo. And that's what I called it for the longest time as I was writing about it and researching it, because I couldn't find a particular word just for that one thing. In fact, I couldn't even find proof that it pre-existed Superman for the longest time. So I just kind of went with that for a while. I incorporated it into my story. And as I did so and continued to try to tie it in with this and that element of the story, it really took form. It really did become something. So there's two things here. For one thing, I should just note, okay, that the Rothschild building is right there next to the site that we're talking about. I actually have some scenes in the movie, or it's movie. It's not a movie yet. In the novel, where they do the rituals at the Rothschild building. And I mentioned the name actual Rothschilds. I don't mention any, I don't have any characters that are named after real Rothschilds. But I have the name of the family, you know, and the location where they have their stuff. And so it was interesting to me when I was trying to find connections between the Superman diamond and anything else in my story. One of the first things I did was just decided to put in Superman plus Rothschild in Google. And it came up with something right away. Just blew me away, which is the fact that Lois Lane is named after a Rothschild or she's, she's a character based on a Rothschild. But as far as I can tell, it's not that family of Rothschilds. It's some other Rothschild. And she used to be friends with, or she went to school with the guy, Jerry Siegel, I think is his name, that drew Superman. So it's just some girl that he used to be in love with that he based Lois Lane on. It just somehow happens to be, her name happens to be Rothschild. And I happened to look that up, you know, of all the things I could have looked up. So that's how I stumbled across that interesting aspect. Then there's the fact that Superman himself has always been considered a symbol of Jewish identity, hidden Jewish identity in Hollywood, which is something I learned in school. And I, you know, I recently looked it up online and there's plenty of mainstream articles saying this. So it's something that's known. Now the diamond having to do with the actual diamond itself, like a physical diamond, a rock, that part of it didn't come to me until I would say the last couple of months that I was working on this, but it really exploded. It really became a huge part of, I realized it was a huge part of the whole story all along and I didn't even know it. So it has to do with the fact that the shape that you see there of the Superman diamond, that is the side view of a particular cut of diamond called brilliant round cut. And this is the most perfect diamond that's ever been invented. It was invented in the twenties by this guy from Amsterdam, which Belgium happens to be like the center of the global diamond trade. And so this guy, Tulkowski, I think is his name. He was a mathematician, but he was from a family of diamond cutters and designers. So he invented this cut of diamond to be the most perfect stone for refracting light so that it would refract and separate the colors out into the rainbow and make them sparkle and shine it the furthest possible. And it was just the most perfect way of doing it. So he invented this in the twenties around the same time, or I think it might've been just shortly before this happened. The biggest diamond in the world, raw uncut diamond was found in Africa and it now belongs to the Royal family and they've cut it up into hundreds of pieces. So this, uh, this diamond, the perfect cut diamond, I'm trying to figure out how to say this without giving away the whole story and also, um, without taking up too much time. Sure. But when it, the diamond thing, when it works itself into the story, it has to do with the idea of a Masonic keystone, right? You know, about the Royal arch keystone that they show in Masonic tracing boards. They always show, you know, you know, you have the two pillars of Joaquin and Boaz, and then there'll be this thing in between them, whether it's the eye, the all seeing eye or a triangle or an eye in a triangle, or sometimes they show it as like just an additional sun. Like usually you'll have the pillars, right? And then you'll have the sun over one pillar, the one on the left, and then the one on the right has a moon over it. And so in between you'll have this third object and they're all called lights of the temple. So you've got the sun is a light, the moon is a light. And then this third thing, the eye usually shown shining brighter than the others. So, you know, you got to dig and dig to find out what does, what does that mean? Oh, and then, you know, and then sometimes they'll show an arch in between the two pillars with what's called, you know, the Masonic symbol of the special keystone in the middle. And, and so sometimes they'll put the all seeing eye right on the keystone to show you that those two things are kind of the same thing. They represent the same thing. And then they'll put the G, you know, in that same position in the middle, they'll put the G, which, you know, nobody knows what it stands for. Does it stand for God or, you know, no one knows what? Well, so I kind of put all this stuff together. I can't even describe you how, various ways. Anyway, the way I see it, the Royal Arch Keystone, the Masonic symbol is a plug in between our world and the one on top of it. And you can see this when you look at enough Masonic tracing boards where the symbol is shown, they actually show that, you know, they show it being pulled up and then the special light of that, that other object, that other sun pours through the hole. Okay. And they'd connected with this idea that I came across. Well, this, it's a reality and there's a thing called a deck prism, which they rarely use anymore, but it used to be in the old days, they would put this on a ship in the deck of the ship so that you could get natural light from the outside and the prism would kind of refract it and expand it, you know, increase the light from the sun or, you know, the moon even. And that's a safer way of lighting the deck without having a candle or a lantern that might start a fire. Well, I thought of this keystone. What if this keystone is kind of like a diamond or something that can take a light from outside of our world and bring it in here so that we can safely absorb it and be exposed to it, you know, without getting hurt? Because I think this connects with, you know, the reality, or at least what's said to be the reality that we've got these layers of electromagnetism that we can't see, light that we can't see up above the earth. So it comes in through some of the layers. Sometimes most of it gets absorbed. We're protected from most of it. But, you know, if we were to be exposed to it, then it would hurt us and might even kill us, right? But it's light. It's a form of light that we can't see. And of course, I know there's several different kinds, like there's x-rays. And then there's gamma rays, which as far as I can tell is the highest kind of, you know, fastest, highest frequency kind of light. And it's represented with a gamma, you know, a Greek letter G, gamma ray. Well, so I thought, okay, is this connected to the fact that the Masons have the letter G there, right where the keystone goes, right where the all-seeing eye is always shown, and another sun that's brighter than the real sun, as they show in their illustrations? So, you know, yeah, I'm thinking, is the keystone a thing that, you know, it's like a window, but it's a kind of filtering mechanism also. So, you know, it's bringing light in, and it may be letting someone from the outside see in, but it's still safe for both parties, you know? It's keeping us apart safely, and perhaps also bringing stuff in. Like, we were talking before about what if there's energy leaking from one universe to another? Well, this would be a way of getting light from another universe into here safely, filtering it so that it's safe. I mean, really, you know, if you believe all this flat Earth stuff, and that we're in a made-up world, the sun could be one of these. And the truth is, the more I looked at that idea, I just freaked myself out, because I found tons of stuff to corroborate that. So, you know, we could do another show if you want to talk about what if the sun is an artificial crystal-like thing, because I just found tons of evidence that that might be what's going on. And, you know, I don't want to marry myself to that idea, but dang, I found a lot of things to indicate that, so. Right. Well, obviously, the symbolism goes deep, and that is a concept we've talked about before, not only with Crow talking about the idea that the moon is an artificial construct, but there have been guests who talk about the sun in that same way as well. It's a pretty epic possibility. But I think that Superman stuff is so interesting, especially that he's a representation of Jewish identity and hiding, Jewish elite hiding within certain industries. And it's funny, because he uses the name Clark Kent, the most boring, vanilla, like, American name. And the Rothschilds basically own the diamond industry, having started De Beers, who basically has a monopoly still. It's just, like, makes sense that the diamond would be a symbol for them in way more ways than one. And I don't know, I just, I like all that stuff. I think you're really onto something. Another thing I wanted to ask you about that kind of ties into this is the changing of the calendar, or the Gregorian calendar, or tying it to the Catholic faith, because I always thought the changing of the calendar to revolve around Catholicism was just a power move. And of course it is, but it might also be reflective of a new aeon, or that attempt at forcing one. Of course, it's tied to Jesus, and they say Jesus rules over this particular aeon, that symbolic character or archetype. And it's kind of interesting the way that might be thought of in more esoteric circles. Is that, I know you've written about it, is that kind of your contention as well? Well, yeah, so I put it just basically as a throwaway line in the story, where the character realizes that, you know, we're living in a solar age, that we may be living in the age of Apollo, and that's synonymous with Jesus in this way of looking at it. And then it occurred to me, okay, well, you know, okay, so like in late Roman Empire, they started to amalgamate Mithras with Saul Invictus. And that's really how Mithraism became, you know, the official state cult for a little while. And then it was supplanted by Christianity. These two things sort of coexisted, and they had a lot in common for a while. And then, you know, Christianity won, won the day. And we all know, really, that's kind of part of what seemed to signal the end of Rome. So, you know, Rome got taken over by the solar cult. And that's if we even believe that, you know, we're being given a correct chronology of history. So then, you know, then you have, yeah, the age of the sun, the age of Jesus, and they just so coincidentally happened to reconfigure the reckoning of the years to give year one the date of the birthday of Jesus. And, you know, I know that was all done after the fact, like it wasn't, you know, no one decided on year one to call it year one. But still, you know, that's kind of their way of saying, oh, that was the beginning of something totally new. And, you know, you can make something innocent of it. I'm not saying it's nefarious. But anyway, it's definitely a sign that we're in a new age, the same kind of classical new age that the Greeks would have thought of. And it's the age of the sun. And it also corresponds to some stuff that I read a couple years ago, and I've really not had time to make much of it yet. I don't know what to do with it all. But okay, you know, Anatoly Flamenco, the Russian guy, seven multi thousand page books about how he thinks history is fake. Familiar with that? Yes, we've talked about that quite a bit with Sylvia Ivanoa and a couple of other researchers. I think that stuff's fascinating. I still am trying to maybe get him on, but I can't find, I can only find one video of him even speaking English, and it isn't great. So I don't know if a two hour interview with him specifically would be the best, but his material is damn interesting that all of history has basically just been a fabrication cooked up by Jesuit monks, and that maybe our timeline isn't as old as we think it is. Right. Yeah, he had it condensed down to about 2000 years. So, I mean, you could literally think of it as, here's just a way to think of it. Just what if, okay? It's kind of like Dark City, the Noah story of the flood, too. You wake up in a new world, you know? That's, I think, what happened to Noah, in a way. He went into a little box, and when he came out, he was in another world, but it was a still-forming world, you know? It was a world of chaos, and everything had been covered over with mud, and you couldn't see any remnants of the past there. And in the story of Dark City, that's kind of the way they are. They wake up, and they don't have any real evidence of what their past is. I kind of wonder if that happened to us, and maybe it took a few hundred years for anyone to come up with a fake chronology to make us feel better about, you know, not knowing where we came from. Make us feel like, oh, we have some kind of a past and a history. Because, I don't know, I've spent, you know, what am I, again, I'm 38 years old. I've been doing this since I was, like, 15. Same kind of writing, basically. And I've been trying to make head or tail of both history and mythology. You know, on the one hand, you've got history that's, they were supposed to have some kind of basic chronology of it. But once you look into primary sources, as that Russian guy did, amazingly, you find that the whole thing is based on just a few people and a few documents and an agreement that was made about those. And then every other piece of history gets hung on those hooks. Yes. And so the whole apparatus, the whole thing could be reordered, and there's no reason not to, you know. And that's what he did, is he reordered it. He said, well, what if we put this here and this there? Aren't these the same stories, you know, just with different names? And kind of came up with only 2,000 years of history instead of 6,000. And then there's this other thing that he had as physical evidence for his theory, which I thought that was irrefutable. There's, there's a gap in the records of lunar eclipses. Right. So this is a thing that's been supposedly predictable for thousands of years, and yet there's a time period in which it just didn't happen for some reason. And it's recorded as that, not just that they forgot to write down the eclipse, but like, you know, there's a break in the pattern there. And, you know, yeah, I just thought about it as, well, what if that shows that, you know, our order of the universe really was reordered recently. And so our idea of chronology is recent, too. I mean, you know, in the alchemical stories that I'm talking about, where they depict this conquering of the sun ritual, you know, just graphically, they have graphics of suns and moons and what they're all doing to each other in rituals. And, you know, you get the idea that you could really have a world, a universe born from the moon, like the moon is kind of described as being this egg, you know, that keeps getting impregnated and giving birth to new aeons. So the fact that there's a lunar eclipse that happens to be, you know, the missing lunar eclipse is the evidence of history being messed up with, I don't know, to me, that just sort of set something off. I think, okay, I think that this idea, you know, the ancients had, especially, for instance, Aztecs, supposedly, when there's a solar eclipse, the sun's actually dying. And you have to do a bunch of sacrifices to beg the powers to bring the sun back, you know, because that could be the end of everything if the sun doesn't come back. Well, I wonder, you know, if there's some sort of cosmic truth to that, especially if everything we're, you know, we're in a construct, and we don't really understand how these things work. And, you know, what creates an eclipse isn't really what we think it is. Well, then, if it isn't the shadow of the earth doing anything, then it might really be, for one thing, the death of the sun, it might really be, I mean, obviously, I guess, you know, you don't see the full eclipse from every perspective on earth. So I can see the holes in my argument here. But it's like, what if this does signal some kind of existential threat? And what if the sun and the moon really are interacting with each other? You know, they say that if Gaia and Saturn ever come together again, then that will be the end of everything. You know, you have to keep them separated. And again, in these creation myths, they always sort of, or the alchemical creation myths, the creation is happening by sex between the sun and the moon. Yeah. So, you know, if you got the sun and the moon joining each other in the sky, and then it disappears, the sun disappears, or the moon disappears, I don't know, it just seems to me like you could interpret that as something literally happening between those two bodies. And then it might make something literally happen on our planet, or, you know, on our world, that I think, you know, you might not even know what's going on when it happens, right? It might be a bit like the Mandela effect, where you get transformed into a new dimension, but you don't feel it. And you don't notice any differences, except maybe some of the more subtly aware people, some of the more sensitive people might notice a difference here or there. And then you get phenomenon like Mandela effect, where people are complaining about things that are different. But that's what I think it might be. When one age passes into another, when your world has just been destroyed by one of the magicians, and you've been made into a slave world, and there's another world on top of you, that it's like a changing of the age. And you just don't even notice it. Because everything seems normal to you. So the way I see it, you could even have the fight going on between, once again, heliocentrists versus people who think that the earth is in the center. Well, again, what if this is just an effect of us living in a solar age, that it seems like the sun is the king. And if we were in some other kind of age, maybe it would seem like something else. You know, so the perspective on what revolves around what and what's inside of what gets changed when the age changes. Right. Could be. Yeah, it's really hard to get your mind outside of a construct that is all encompassing in your environment. But I like it as a mental exercise for sure. And some of the stuff you're talking about definitely makes you think there might be something to it. I find it all just super interesting. We definitely hit on most of the topics reserved for the deepest depths of the conspiracy pool. And those are the places I like to go, even if a lot of it does have to be speculation. You do bring a lot of context and symbolism to the table that has to make people think there's probably something to it. Is there anything else we should say to tie these things into a neater package? Or can you tell us about where the research is going next? Are there more layers to all this that have yet to be revealed? It seems like parts of what you just described might be in there, huh? Oh, I could, I could go on for another 20 hours before I collapse, Greg, and tell you all about the deeper levels of the last book I wrote and the one that's about to come out. But just to add to the thing that I just said, tell me if I'm being stupid here, if this seems like a valid observation to you, okay? We just so happen to live in this world where we have this kind of yellow sun, but it distributes light that's kind of white, right? What we perceive as white light. And white light is in our universe, the totality of all light. So it's just so convenient that we happen to have a source of light that will give us an accurate view of all the other colors. Because, you know, good thing it gives us white light or else everything would look red or blue or something. And supposedly the other stars, depending on where they are in their life cycle, will take on one of those other colors. So, you know, it's just, it's just amazing that we have just the perfect, it goes along with everything else, you know, we're the perfect distance from the sun, supposedly, and we're moving at this just perfect rate. And we got the perfect tilt, right? And everything's just perfect for there to be life and quite comfortable life at that here on earth. And not only that, but now we can, you know, we can also get an accurate view of everything or what we perceive as being accurate, because we've got white light everywhere. So it's really a good thing that we don't have blue light. You know, I mean, just what are the odds of that, I guess? And is it not then that our perception of reality is very much dictated by the kind of light that we're being bathed in all the time? Does that mean anything, Greg? Do you think so? I mean, it's a little over my head, but I could definitely see it meaning something. And I definitely think there is a little something to the idea, like you mentioned, about the perfection of the construct, like all the ratios that relate between the sun, earth, and moon, the circumferences and the distances, that all these numbers are just perfectly aligned with Masonic numbers and Masonic symbolism. You know, I've had Masons come on the show and describe it. And they're like, yeah, look, the grand architect, he makes everything using the Fibonacci sequence and the golden ratio and even the planets. And that's interesting, but you could flip that and be like, well, maybe this was all made up in the basements of some Masonic lodge centuries ago, and that none of it's real. So is it all a perfect construct? Or are you just describing one that reflects the esoteric traditions of your order? Or, and they could be right, too. Like, maybe the Masons are right. Okay, God is a Mason, just like us. And he's using the same kind of rules. Maybe. But it is evidence of the artificiality of it. I mean, I wonder, you know, how can you call something natural or artificial once you start getting into these things? Because, you know, everything is artificed by God somehow, right? That's true. You know, and I've heard people saying, scientists on TV saying, the fact that we have a constant speed of light and that that's the fastest thing, that's the limit of how fast something can be in our universe, is a sign that this is a programmed universe. That otherwise you would have just, all these numbers would bleed out into infinity, as opposed to having, for instance, yeah, a quanta of things in subatomic particles, for instance. Why can they always be broken down into particles at all, you know? I've heard people say that these are signs that we're in a video game. Yeah. And what you're talking about now is yet another sign. Yeah, we've got all these wonderful geometric shapes all around us. Well, yeah, maybe that's a sign that everything was very purposely designed. Absolutely. And was it God or some kind of alchemist? I don't know. I think it's impossible to really even make a difference between those two things once you start getting into this. Absolutely. I think it makes a great analogy to a really popular game, Minecraft. I mean, Minecraft is a game where you build worlds based off a couple of specific tools, a couple building blocks, so to speak. And you could say the same thing about the Fibonacci sequence and the golden ratio and pi. Like, you're looking at the code of the universe. You're looking at the ones and zeros that make up the construct. I mean, it kind of indicates that there is a pattern. Yeah. And then, okay, you know that they say that there's no pink light, right? You heard this? Uh, I mean, I guess, yeah, it's not in the rainbow. Okay. Yeah. So we're, our brains are supposedly making this, this is what we fill in the stuff we can't see with is just pink. So it's interesting because like, again, this is, there's different ways of showing the color spectrum, right? Normally for everyday purposes, they'll show it as a straight line, but when they're trying to tell you how there's no pink light, they bend it around into a color wheel and they say, well, there, this part of the wheel is missing. This is where our eyes are filling in with pink and we, you know, we don't really know what's there or what color it is, I guess, you know, what it should look like, but we have measurements of these different rays and the ones we can't see, we're filling it in with pink. So interestingly, opposite of the pink spot on the wheel is green, which is, you know, the color of the emerald tablet and the color of alchemy. They talk about, in alchemy, they talk about there being a redstone and a greenstone that as you're transforming a substance alchemically trying to make the philosopher's stone, which is the highest thing that it will morph into red and then green. And so I'm just thinking that, okay, a redstone and a greenstone, either one of those are going to absorb, you know, the opposite kind of light, right? So I guess my point is just, it seems like the emerald stone would be, I guess, blocking the pink light. Trying to figure this out, but it's like, I think it's tied somehow, you know, that these stones, especially if it was acting as what I'm describing before as a deck prism, if a stone of that color were filtering light out from the outside, it would filter out the opposite kind. So anyway, the pink light, I'll make this observation again, I don't want to offend anyone, but I noticed that, okay, on a regular rainbow, you don't have pink, but on the gay flag rainbow, you do. And in fact, that is considered to be the symbol of the gayness is the pink, you know, and so in the, you know, originally you had the pink triangle as the, the, I think it was specifically male homosexual associated, maybe it's broadened since then. So I just think it's interesting, you know, that to kind of make their statement, which I think the rainbow statement is like, you know, we should all get together, we should all accept each other or something, right? They shove this other color in there that scientists say doesn't really exist. It's kind of an illusion, but then that's the representation of deviation from the norm. I don't know. So it means something, I guess, is what I'm saying. And then here's one more layer of meaning to it. You know, you've got the seven classical planets, but meat or Cybelle, the figure that was worshipped by the Templars. According to the artifacts that have been found, it looks like she was considered to be the eighth Archon, and that she kind of swallowed up the other seven. Yeah, anyway, all these things link up together. Yeah. Oh, man. I think that's pretty interesting. I mean, symbolically, it seems fairly sound. It's the one color that isn't in that rainbow spectrum, and it is conveniently the one used to represent that community. But the idea of us not seeing certain colors jog something in my memory. I don't know if you saw this a few years ago, but apparently there's scientific evidence that humans didn't even see the color blue before modern times. And I pulled this weird thing up, but it says, Kevin Moriah breaks down the evidence behind the claim, which dates all the way back to the 1800s, when scholar William Gladstone, who later went on to become the Prime Minister of Great Britain, noticed that in the Odyssey, Homer describes the ocean as wine dark and other strange hues, but never uses the word blue. A few years later, Lazarus Ginger decided to follow up on this discovery and analyze ancient Icelandic, Hindu, Chinese, Arabic, and Hebrew texts to find no mention of the word blue, which is odd. It is supposed to be the ocean and the sky. So... I don't know. Yes, go ahead. No, it's just a very strange thing. I don't know what to really make of it. Well, here's what I make of it. Well, maybe, you know, in these eras when there was another sun, our perception of light was totally different. Maybe. And, you know, another thing I found out researching alchemy is that a lot of the things they were known to have done and were even appreciated for was just creating different kinds of pigments that didn't widely exist, you know. They knew different secrets of how to make interesting things, you know, things that looked really cool. And so they would, I don't know, there's this one pigment of red that only the alchemists knew how to make. And, you know, it was very expensive and hard to get during the, like, late Middle Ages and early Renaissance period. So anyway, you know, yeah, I wonder if part of the secrets of alchemy, they knew how to make colors and how to see with their special stones colors that other people couldn't see. And I can only imagine that there's got to be others that, you know, potentially exist. So yeah, that's a very interesting thing you just said to me. It's evidence for so many things. One, that there used to be a different sun creating a different kind of light. Another that, you know, our, yeah, our perception of history and what reality was like for our ancestors could be totally wrong. Yeah. You know, yeah. When did they invent the word blue and the color blue? When did it first appear? I mean, I'd love to see that developed more because there's got to be a lot more to it. Yeah. Yeah. I mean, it's such a strange claim, but it came out in a large amount of fairly mainstream publications. I mean, for the internet, at least. And it was just a really strange thing that stuck out in my head, but man, this has been a great time. And I'm not surprised. We didn't even touch on the Clintons using their voodoo knowledge to curse Haiti twice with an earthquake and hurricane and a tug of war they're having with voodoo priests or Arthur C. Clark allegedly picking up boys at the ping pong tables of the Otters Aquatic Club. But there's obviously a lot more meat on these bones and we'll definitely have to do a future show about the flat earth and the symbolism around the sun being a false construct. That's interesting to me, but man, for the listeners, if they are interested in this sort of stuff, Genuflect is a provocative, fictionalized story that is a great deal to flesh out what might be behind a lot of these things that we only have pieces of in the conspiracy world. And of course, your blog is great too. Let them know where to go if they want to get further into the stuff we talked about today. Okay. So the center of Twyman world is Tracy Twyman.com, which I'm going to try to keep updated more and more. And then you can find all my books on Amazon and I've got a YouTube channel and some other stuff, but you can find all links to everything. If you just go to Tracy Twyman.com, T-R-A-C-Y-T-W-Y-M-A-N.com. Awesome. There it is. Again, Tracy, big thanks. Interesting as always. Keep doing what you do. I'm sure we'll be doing this again. Great. Thanks a lot, Greg. You got it. Boom goes the dynamite. Tracy Twyman, people. Let her hear it. Straight into the deep end of the pool. The belief systems and occult traditions and rituals of the elite. That nexus is one of my favorite things to do episodes about. It's clear we can see some ritualized elements of major events, date and number coordination. So we know there's something there, but it's really hard to know what. Is there even a homogenized esoteric belief system among the elite? Or maybe there's many with an infinite number of ways to interpret each one. So it's tough. I do like that this show coordinated with a few other THC things recently for plus members who listened to my breakdown of the consciousness conference lectures. That Bloomberg smart building plan probably sounds a little familiar. Also, I'm 95% sure that the point Chris Knowles was making about the Prometheus statue at Rockefeller Center when we talked to him a few months ago was that he thought it was a cover story for an actual tribute to Mithras. So I do think some dots are being connected with this one. Big dots. In fact, if you remember the Armenia footage I put out from the trip with Graham Hancock that I took, one of the sites in that first video is Garni Temple. It's the only active, still-standing pagan temple in Armenia, and it was actually built, they believe, to venerate, I believe it's pronounced Mir, M-I-H-R, but that's the sun god in Armenian mythology, which is most heavily influenced by Zoroastrianism, and that sun god is basically an equivalent to Mithra. So two plus bonus tie-ins here, although I can't pretend to know what it all means, but I love to hear researchers make their case for the threads they pull. The idea of different sun gods actually representing different qualities of the sun, or actually different suns, is pretty wild, but it's so hard to know what the hidden truth is behind all this mythology and symbolism. It's something to think about. It might even tie into the whole Saturn-sun theory of the Electric Universe model. And who knows what kind of time depths we're really talking about. I definitely don't think it's all as simple as Luciferian Satanists trying to undermine the Christian god, so don't even bother typing that YouTube comment. You don't need to conspirasplain this stuff to me. I've heard it. It's just so funny how people think they have it all figured out when they really have probably barely scratched the surface. I would never be so arrogant as to say I know from the outside looking in. It's too complex, and I've made this point before too, but I was hiking in Denver, clearly high in more ways than one, and I was looking at all the geometric shapes made by people's shoes in the dirt and mud, and it just kind of occurred to me that if we were all wiped out and someone discovered these tracks, they might be like, oh my god, these people were so enlightened. Everywhere they went, they used the energy provided by sacred geometry to create vortexes under their feet, and they clearly knew what they were doing. They were clearly so evolved. You know, meanwhile, we're just a bunch of idiots wearing Nikes. It's just an example of how difficult it is to interpret something old with little or no context, and in the case of the elite's secret religion, something they're purposefully being deceptive about. But I hope we gave you something to chew on. Tracy's book, Genuflect, is really intriguing. A dark conspiracy enthusiast, Da Vinci Code, that's what I would say. And I also love the concepts of the elite trying to jailbreak this environment. That's a lot of fun. It doesn't necessarily mean they're doing it for our benefit. I always hear people say, why are you being an apologist for the elite, thinking that you support them against god, and it's like, whoa, whoa, whoa. Maybe the creator god is a tyrant, and a bunch of tyrants are trying to out-asshole the guy. Meanwhile, the masses play with fucking fidget spinners and wait for a new Game of Thrones. The Game of Thrones is happening, people, and you're missing the whole damn thing. But if Tracy wants to do another episode about the sun being some type of artificial crystal, I am probably down to do that. Soon enough, it seems like we're going to have a female crow on our hands here. But let me know if you want me to get her back on to go deeper into that rabbit hole. Clearly, the plus show was getting way out there. I really didn't want it to end. We got into Tracy's thoughts and interpretations of the strange symbols and phrases we saw during the Pizzagate spirit cooking season. We talked about some further revelations and understandings of Baphomet that Tracy has come to. Why Johnny Depp cutting off the tip of his own finger might have deeper related significance. We talked about John Dee, Diamonds, and Superman, the work of Anatoly Fomenko, and the new chronology folks, and why humans in the past might not have known the color blue. Oh, we went for it. So, of course, you might want to sign up for THC Plus and hear that extra hour. You can check out that conference breakdown, watch the first Armenia video, go through the archives, and it's five bucks. Join the club. But we did it. Crazy month for me, for sure. So much going on, and I still got those five shows out. I think it was a great month for the higher side. Matt Landman, Chemtrails and Geoengineering. Steven Strong with the Out of Africa stuff. Magnora 7 with the Rothschilds carving up Africa and Cecil Rhodes and the De Beers stuff. J.M. DeBoard on Dreams, and then Tracy Twyman on Ancient, Elite, Occult Orders, and the Conquering of the Sun Ritual. Lots of diverse topics with great guests. And if you don't have THC Plus, for five bucks, you could go and get the second half of all those shows and more. And I think the extra hours are definitely worth a dollar. And you also allow me to buy higher quality meat when you sign up. But who cares about me? You do it for you. But that's about it. Oh, there's also a new Higher Side Chats shirt at thehiresideclothing.com. Three symbols that represent conspiracy, paranormal, and the occult. A Bioshock-inspired theme. And I really love it. People have been asking for a shirt that actually says the Higher Side Chats for a while now, and we haven't had one because I just like the shirts that are about something. But either way, new logo shirts are pretty cool. And again, big thanks to Tracy. And I'll see you guys soon. Thanks for listening. I've done what I can. Your move, mystery cults, esoteric elites, and reality weavers. You're fucking. No one knows what it's like to be the bad man, to be the sad man behind blue eyes. And no one knows what it's like to be hated, to be faded, to telling only lies. But my dream is empty. As my conscience seems to be, since they exposed me on THC is what it's like to feel these feelings like I do. And I blame you. Lights back his heart on their anger. None of my pain and woe can show through. My dream is empty. My dream is empty. My dream is empty. My reality couldn't show through. My dream is empty. My dream is empty and