Speaker 1: Picture this. It's the year nine sixty six a d.
We're in the Susa Valley, deep in the Italian Alps,
and I mean this is the dark Agent, truly.
Speaker 2: It's a time of stone of swords, mud.
Speaker 1: And candle light exactly. So you have this Catholic bishop,
a man completely steeped in the the rigid theology of
the tenth century, right.
Speaker 2: His whole world is defined by scripture.
Speaker 1: And he's making this grueling ascent up a mountain called Pucheriano.
Maybe he's looking for solitude, maybe a sign from God.
He's climbing higher and higher, the valley floors to shrinking
below him, and then he stops. He looks up.
Speaker 2: And this is where the history books, if they mention
it at all, tend to get a little vague. They
smooth it over with religious metaphor.
Speaker 1: But the specific records from this event they are startlingly clear. Yeah,
and they're very, very strange, they really are. He isn't
met by a choir of angels playing harps on a cloud.
He doesn't see a burning bush on the ground. No,
he is met by what he describes as strange lights.
But it's more specific that he talks about planks and
globes made of fire. And here's the kicker. They aren't
just sitting there, They are performing maneuvers.
Speaker 2: That description is just it's the key that unlocks this
whole thing. Planks and globes, not angels, not chariots, right, I.
Speaker 1: Mean he sees them first appearing on the mountain, almost
like they're docked, you know, sitting right there on the ridge,
and then right in front of his eyes they rise up.
They start flying around the sky in these complex geometric patterns.
Speaker 2: Could you just imagine this poor bishop standing there in
his ruspund robes. Yeah, in the tenth century is watching
what sounds for all the world like a fleet of
spacecraft conducting a tactical drill.
Speaker 1: It forces you to just completely shift your perspective. If
you look at it through the religious lens of the time,
sure it's a miracle, it's angels.
Speaker 2: But if you look at it through a modern technological lens,
you strip away the bias of the era. It's a sighting.
It is a classic UFO encounter.
Speaker 1: Welcome to thrilling Threads. I'm your host, and I have
to say I am ready to have my perception of
history completely dismantled today.
Speaker 2: And I'm here to try and help make sense of
the pieces, or at least help pick them up off
the floor. It's good to be here.
Speaker 1: So today we are pulling on a massive thread, a
thread that suggests the world's most sacred mountains. We're talking
from the jagged peaks of Italy to the Himalayas and Tibet,
all the way to the legendary Mount Olympus in Greece.
Aren't just geological formations.
Speaker 2: No, we're not talking about nice views and hiking trails
or even spiritual metaphors.
Speaker 1: Not at all. We are looking at sources today that
suggest these locations are actually ancient high tech infrastructure.
Speaker 2: Command posts, storage facilities, power plants.
Speaker 1: Left behind by extraterrestrial.
Speaker 2: Visitors, or as the ancients call them, the gods.
Speaker 1: I just love this concept, the idea that all this
magic we read about is just technology we haven't figured
out yet, or maybe technology we've forgotten.
Speaker 2: That's the term for it, the technological signature, and that's
what we're hunting for today. We've got a whole stack
of sources. We're pulling from historians, archaeological accounts, from the
History Channel archives and the very specific research of ancient
astronaut theorists.
Speaker 1: People like William Henry, David Childress, Philip Coppins exactly.
Speaker 2: And for anyone who doesn't know these guys like Childress
and Henry, they're not your typical armchair historians.
Speaker 1: No, they're out there, they're in the field.
Speaker 2: They're the ones climbing into the caves looking at the
weird anomalies that you know, mainstream archaeology sometimes just swoops
under the rug.
Speaker 1: And their whole premise is that if you really look
at the architecture, at the linguistics of the myths, the
weird physical evidence at these sites, you stop seeing temples.
Speaker 2: And you start seeing functional machinery.
Speaker 1: Okay, so let's go back to our bishop. He's on
Mount Prichuriano. It's nine hundred and sixty six a d.
He sees the globes of fire, he sees the planks.
What happens next, because usually in these stories people either
run away screaming or they fall in their face and
start speaking in tongues.
Speaker 2: But he didn't run. That's what's so fascinating. The sighting
seems to have had a consequence. It came with a directive.
Speaker 1: Almost you're a directive. What do you mean?
Speaker 2: The bishop claimed that this, this aerial display, it prompted him,
or maybe compelled him, to say, this will be the
site on which we will build the new.
Speaker 1: Abbey, and that became the socriti San mckelly, Saint Michael's Abbey,
the very sense. But it's still there today. It's that massive, imposing,
fortress like building sitting right on the peak of the mountain.
You can't miss it.
Speaker 2: You really can't. And David Childress in his work makes
a really interesting point here. He suggests this wasn't just
a random light show. It wasn't aliens just you know,
buzzing the tower for fun.
Speaker 1: It had a purpose.
Speaker 2: It was a beacon. It was whoever was piloting those
globes giving a display specifically to attract attention, to make a.
Speaker 1: Point, like firing off a flare in the dark, or
planting a flag on.
Speaker 2: A hill, exactly that, inspiring human beings to build a
very specific structure at a very specific set of coordinates.
Speaker 1: Aliens give you a light show, you build them a house.
That's the rule, I guess curently so. But hold on
a second, let's play Devil's advocate. It's nine hundred and
sixty six AD. This is a guy who probably spent
his entire life reading scripture by candlelight. Couldn't globes of
fire just be I don't know, ball, lightning, a meteor shower.
Speaker 2: It's a fair question, and it's the first one you
should ask.
Speaker 1: Right, So why do our sources jump straight to technological craft.
Speaker 2: Well, if it were just lights zipping by in the distance,
you absolutely could write it off as a meteor or
some kind of atmospheric phenomenon. But it's the behavior of
the lights that rules out nature.
Speaker 1: Okay.
Speaker 2: Meteors fall down, they streak across the sky and they're gone.
Lightning strikes and vanishes in an instant. And these things
they were stationary at first. The bishop describes them as
appearing on the mountain docked, essentially parked, parked. Yeah, and
then they rise up in a controlled descent. Nature doesn't
do control descents. Nature doesn't fly in formation.
Speaker 1: Okay, So something was sitting on the peak and then
it took off. That's a different story.
Speaker 2: And the word plan is so interesting.
Speaker 1: Yeah, I was thinking that.
Speaker 2: He didn't say chariot or bird, which are the usual
metaphors that pre industrial people use to describe things they
don't understand.
Speaker 1: The sky no plank sounds structural, flat, metallic, like a
fuselage or a classic flying saucer seen from the side. Huh.
Speaker 2: And then there's the reaction. In most medieval miracle stories,
the witness falls to their knees and praise glory to God.
You know that sort of.
Speaker 1: Thing, right, It's all about piety.
Speaker 2: But here the reaction was so pragmatic. The sighting conveyed
a specific construction build Here it wasn't but a spiritual revelation.
It was. It was a zoning permit from the sky.
Speaker 1: That puts a very very different spin on it. But
it brings up the next question, why there Why that
specific piece of rock in the Susa Valley? What's so
special about that particular real estate.
Speaker 2: This is where we have to zoom out and look
at the geography. The abbey is on Mount Pucheriano, but
directly across the valley, about twenty five miles west of Turin,
there's another important mountain, Mount Muzine.
Speaker 1: The twin peaks in a way.
Speaker 2: Yeah, the sources, especially the historian Nomo Orzo, point this out.
You've got the Sacra on one peak and Musina on
the other, and they sit on what is known as
the Saint Michael Line.
Speaker 1: I've heard of this. That's a lay line, isn't it correct.
Speaker 2: It's a supposed energy line, a straight line that runs
right through Italy, connecting various sacred sites, all dedicated to
Saint Michael, the archangel.
Speaker 1: And the theory is what that ancient people knew about
these lines and built on them.
Speaker 2: That's the idea, and specifically that this entire valley between
these two peaks was home to a highly advanced civilization
thousands of years before the Romans, a civilization that knew
how to tap into this this telluric energy.
Speaker 1: Okay, let's unpack this advanced civilization idea, because we're not
talking about Romans yet. We're going way, way further back there.
And our sources bring up a name that sounded really
familiar to me, but in a totally different context. Faith
on the Greek myth, right, faithOn the kid who borrowed
the sun cheryate from his dad, Helios couldn't handle the
horsepower and just crashed it. Total catastrophe.
Speaker 2: But here's the twist. The sources we're looking at connect
him directly to Egypt.
Speaker 1: This is where it gets into like mythological detective work.
Speaker 2: It really is. The theory suggests that faith On, this
figure who came down from the sky in a fiery chariot,
is actually the same entity known in Egypt.
Speaker 1: As ta Ha Pa.
Speaker 2: Yes, and William Henry's research is what really highlights this connection.
Speaker 1: All right, walk me through the logic here, because that
feels like a massive leap We're connecting a Greek myth
about a cosmic joy ride gone wrong to a major
Egyptian creator God. How do the sources justify bridging that gap.
Speaker 2: It starts with linguistics. It's what philologists might call a
cognate situation. You have the Greek name faithOn faith and
the Egyptian name ta Now say them fast faithOn Fathon.
The root sounds are in incredibly.
Speaker 1: Similar faith on Ta I can sort of hear it.
Speaker 2: William Henry argues that the Greek story of faith On
is essentially a retelling a different cultural memory of the
arrival of taw.
Speaker 1: Okay names can be coincidental. I'm going to need a
little more than sound alikes to be convinced.
Speaker 2: Then let's look at the geography. The myth of faith
On specifically ends with him crashing in the river Po.
Speaker 1: Which is right there in that valley near Turin exactly.
Speaker 2: Now, what's the symbol of the city.
Speaker 1: Of Turin bull? The bull?
Speaker 2: Correct? Turin or Turino literally means the city of the bull. Okay, Now,
let's go back to Egypt. Taw was the central deity
of the city of Memphis, and the living avatar of Taw.
The physical manifestation of the god on earth that people
could see and worship was the APIs.
Speaker 1: Bull whoa Okay, hang on, So you have a bull
city in Italy supposedly founded by this sun Chariot guy,
and in Egypt, the most sacred animal the imparnation of
their god is a bull, and the god's name sounds
like sun Chariot Guy.
Speaker 2: The symbolism lines up perfectly. It's too neat to be
a coincidence, and it begs the next question. If Taw
and faith On are the same entity, what was his job?
Speaker 1: Right?
Speaker 2: Taw wasn't just a generic sky father like Zeus throwing
lightning around. He had a specialty.
Speaker 1: He was the blue collar god right in a way.
Speaker 2: Yeah, I was the master craftsman, the lord of architects,
the god of technology used the chief engineer of the gods.
Speaker 1: So if we follow this threat all the way, we
have a god of technology landing in a fiery chariot,
which sounds an awful lot like a space ship. In
the Susa Valley. He founds a city, the City of
the Bowl, and now thousands of years later, in that
exact same spot, people are seeing planks of fire and
globes flying around the mountains.
Speaker 2: It suggests continuity. It suggests there's something about that location.
If Ta was a flesh and blooed extraterrestrial, as the
theory proposes, and he established a base of operations here,
what was that base for?
Speaker 1: Well, if you're the god of smithcraft, what are you
building to alchemy?
Speaker 2: So William Henry poses the question. Was Mountain Musine the
other peak a storage facility? Was it a vault for
cosmic knowledge? Was this where they kept the secrets of metallurgy?
Speaker 1: It makes you wonder. We always think of alchemy as
this mystical wizards and a tower trying to turn.
Speaker 2: Lead into gold, right, hocus pocus.
Speaker 1: But if you look at it through the lens of taw,
the engineer. Is alchemy just advanced chemistry we don't understand?
Is it material science?
Speaker 2: That is precisely the implication the phrase used is cosmic
knowledge of metallurgy. That doesn't just mean making better swords.
That implies creating alloys or materials that humans at the
time couldn't possibly manufacture.
Speaker 1: Stuff that might be superconductive or incredibly durable or something else.
Speaker 2: Entirely and interestingly, the sources claimed the energy, that special
quality of a valley is said to still be there.
Speaker 1: But the civilization is gone. The city faithOn slash Taw built,
it's gone. Who took it?
Speaker 2: The Romans?
Speaker 1: Of course, it's always the Romans.
Speaker 2: In the first century, Rome conquered the area. They established
their own city, Augusta tour Noorum, which eventually became modern Turin.
But the mystery is that the original inhabitants and their
city they just vanished.
Speaker 1: Vanish like packed up and moved or vanish like wiped
off the map.
Speaker 2: It's unclear, but the sources leaned toward a total displacement,
a complete takeover. And this is where the speculation from
William Henry gets really interesting. He asks, did Rome conquer
this specific valley just to expand the empire, or were
they hunting for something?
Speaker 1: They were hunting for the tech exactly.
Speaker 2: We know what you have buried in that mountain. We're
going to take your knowledge, We're going to take your secrets.
Speaker 1: We're going to weaponize the tools of the gods.
Speaker 2: It's a compelling motive, isn't it. If you were a
Roman general and you had credible intelligence that there was
a repository of alien metallurgy or advanced weaponry, you know,
a valley in the Alps, wouldn't you march your legions
there first?
Speaker 1: Absolutely, it's the ancient world's version of the Space Race
or the Manhattan Project. Seize the ultimate.
Speaker 2: Weapon, for sure.
Speaker 1: But here's the thing that always gets me with these stories.
If the Romans took the tech, or if the tech
is still buried there, Yeah, that's a lot of potential
energy just sitting around, right, and that kind of energy,
if you don't know how to handle it, it isn't
always safe. No, it can bite back hard.
Speaker 2: It absolutely can. And that brings us to the darker
side of this whole discussion, because while the SUSA Valley
might have been a storage facility or a laboratory, other
sites on this ancient grid look less like warehouses and
more like well, more like crash sites or crime scenes.
Speaker 1: Which takes us from the mountains of Italy halfway across
the world, to the Indus Valley in modern day.
Speaker 2: Pakistan to the ruins of Mahinjo Darl.
Speaker 1: This place, I have to say, this place will always
creep me out a little bit. It was discovered in
nineteen twenty two.
Speaker 2: Right correct, by the Indian Archaeological Survey, and what they
found was staggering a mass of metropolis dating back about
four th six hundred.
Speaker 1: Years, and it was incredibly advanced for its time. We're
talking sophisticated plumbing, grid based streets, multi story brick buildings.
This was a thriving urban center.
Speaker 2: It was one of the jewels of the ancient world.
Speaker 1: But it's not the plumbing that gets people whispering.
Speaker 2: It's the bodies, the skeletons, that's the anomaly. They were
found scattered in the streets in their homes. They weren't
buried in graves or tombs. They were just lying there
as if they'd been struck down where they stood.
Speaker 1: That's the image that's so haunting. The sources talk about
a group found holding hands, a family, maybe just walking
down the street holding hands, and then instant death. Whatever happened,
it happened in a blink.
Speaker 2: It wasn't a slow decline from famine or plague. It
was instantaneous. And the condition of the remains, the condition
of the site itself tells a really puzzling story. The
sources repeatedly mentioned reports of radioactive ash being found in
the area.
Speaker 1: Radioactive ash in a city that's over four thousand years old.
That shouldn't be possible.
Speaker 2: It shouldn't, And they talk about radioactive people. The skeletons
themselves purportedly showed levels of radiation that you would only
expect to find in a person from say Hiroshima or Nagasaki.
Speaker 1: So the conventional historical explanation is maybe a plague or
a sudden invasion, right, But plagues don't leave radiation, and
an army with swords and spears doesn't leave radioactive ash
covering the city.
Speaker 2: Precisely, and it's not just the bodies the stones of
the city itself. There are reports of widespread vitrification.
Speaker 1: The terrification reminding what that is.
Speaker 2: It's when sand or rock is heated to such an
extreme temperature that literally melts and turns into glass. We
saw this at the Trinity Test site in New Mexico
after the first atomic bomb test.
Speaker 1: They called it trinotite.
Speaker 2: That green glass, that's the stuff. And to get that
you need temperatures in the thousands of degrees. A normal
city fire can't do it. A volcano could, but there's
no volcano anywhere near Mahinjo Daro.
Speaker 1: So to achieve that kind of heat and that level
of radiation, you need high energy physics, you need a
nuclear reaction.
Speaker 2: That's the theory that the ancient astronaut off is put
forward that Malhendro Daro wasn't just a city, it was
what ground zero for something careful.
Speaker 1: The sources suggest it might have been the residue of
an ancient power plant, an extraterrestrial power facility that suffered
a catastrophic.
Speaker 2: Meltdown Utu'renobyle in twenty five hundred BC or and.
Speaker 1: This is another possibility they raised. Maybe it was a
target if there was a war, and we'll definitely get
to that later with the Greek myths, perhaps the city
and its power source were deliberately bombed the strategic strike,
but that Meltdow theory is so interesting because it links
directly back to this idea of infrastructure. If these extraterrestrial
gods were here, they needed power, right.
Speaker 2: You don't fly globes of fire on triple A batteries.
You need a massive, stable energy output. If you're running
a global operation with mining, building, interstellar travel, you need
a power grid.
Speaker 1: And if you have a nuclear style power plant, well
things can go wrong, spectacularly wrong.
Speaker 2: It's terrifying to think about. We have the image of
ancient people living in fear of you know, saber tooth
tigers or starvation. We don't imagine them living in fear
of radiation poisoning from the local power station.
Speaker 1: It completely changes the story of humanity. It makes you
realize that maybe maybe we weren't the first ones on
this planet to split the atom.
Speaker 2: We're just the first ones to do it again.
Speaker 1: Yeah, but okay, this brings up the logical issue for me.
If the reactor, the substation, whatever it was, blew up
in Pakistan, where was the main generator? Good question, Where
was the heart of the grid. If you're running a
global operation, you don't just have one power plant, you
have a central hub. You need the main source.
Speaker 2: And for that our sources tell us we have to
look to the place they called the center of the universe,
Kaylash in western Tibet.
Speaker 1: This mountain I've seen pictures and it just doesn't look real.
It's incredibly high, twenty two thousand peeces, but it's the
shape that gets you. It stands out completely from the
surrounding Himalayan Range. It's so perfect.
Speaker 2: Philip coppins Is research really highlights this. He points out
that from one angle it's a perfect cone shape, and
from another it's a perfect four sided pyramid.
Speaker 1: A pyramid in the middle of the Himalayas, a shape.
Speaker 2: That we see associated with power and the gods everywhere
else in the ancient world Egypt, Sumeria, Mesoamerica. The pyramid
isn't just a tomb. The theory is that it's a machine,
a structure designed a channel and focus energy.
Speaker 1: And Kylosh isn't just a mountain to climbers. I mean
it's sacred to four different religions, Hinduism, Buddhism, Jainism, Taoism.
They all agree on this one thing. This spot is
the center. This is the axis Mundi, the pillar of
the world.
Speaker 2: The spiritual center of the entire universe. Cogrims travel from
all over the world just to walk the thirty two
mile circuit around its base. It's this incredible ritual of
connecting with the divine and it's strictly forbidden to even
try to climb.
Speaker 1: It, which our sources are asking, Why why this mountain,
out of all the thousands of peaks in the Himalayas,
Why is everyone from all these different traditions completely obsessed
with this one.
Speaker 2: Is it possible that gods physically took up residence there,
not in his spiritual sense, but physically.
Speaker 1: Well. There's a clue, and it comes from a cave,
believe it or not, about six hundred miles away from Kylash.
Speaker 2: The Magau Caves, also known as the Cave of the
One Thousand.
Speaker 1: Buddhists, yeah discovered in nineteen oh seven by an explorer
named oral Stein. It had been sealed shut for centuries.
He opens it up and it's a library, a lost library,
fifty thousand ancient manuscripts.
Speaker 2: Including the Diamond Sutra, which is the oldest printed manuscript
in the history of the world. This is a time
capsule of knowledge sealed the way to protect it from
war and destruction.
Speaker 1: But tucked away in this incredible library was a diagram,
a Buddhist diagram from the second century AD, depicting something
called Mount.
Speaker 2: Meru, which is the mythological name for this cosmic mountain,
the one that connects heaven and Earth. It's the archetype
of Mount Kailash.
Speaker 1: So before we get to the Northrop, Grumm and scientist,
which is the wild part part of this story, paint
a picture for me. If I'm unrolling this ancient Buddhist scroll,
what am I actually looking at?
Speaker 2: Okay, So you're seeing a top down view schimanic. In
the center, there's a central axis which is the mountain itself,
and surrounding it you have these perfect concentric rings and squares.
In Buddhist philosophy, these rings represent different oceans and continents,
different planes of existence. It's all very geometric, very symmetrical,
almost like a mandala.
Speaker 1: So it looks like a sacred geometry chart, you know,
standard spiritual artwork from that period exactly.
Speaker 2: To an art historian or a theologian, it's a map
of the cosmos. It's a spiritual blueprint. But then you
hand that same ancient drawing to a guy whose job
it is to design particle being weapons for a living.
Speaker 1: Is the scientist from Northrop Grumman that the History Channel
archives mentioned.
Speaker 2: That's the one. He's a specialist in high energy physics.
And he looks at this second century diagram and he
doesn't see oceans and continents.
Speaker 1: What does he see?
Speaker 2: He looks at those concentric rings, the central funnel ccific
geometric layout, and he recognizes a very specific piece of
mechanical architecture. He overlays it with the blueprints of a cyclotron.
Speaker 1: A cyclotron. Okay, for those of us who didn't major
in high energy physics, break that down. What does a
cyclotron actually do?
Speaker 2: Think of it as a particle racetrack. You use a
powerful magnetic field to spin charged particles protons, usually in
a spiral. They go round and round inside a vacuum chamber,
getting faster and faster with each rotation, getting massive amounts
of energy, until bam, you smash them into a target
to split atoms.
Speaker 1: The machine that was crucial to the Manhattan Project, an
atom smasher.
Speaker 2: The very same and the physical shape required to make
one work. It needs a very specific structure. You need
these two D shaped allo electrodes called d's and a
central gap for the particles to accelerate across.
Speaker 1: And when you look at the Mount Meru diagram.
Speaker 2: The placement of the continents in the oceans in the
Buddhist drawing aligns perfectly with the vacuum chambers, the magnets,
and the D shaped electrodes of a nineteen forty style
atom smasher.
Speaker 1: Is that is uncomfortably specific. That can't be a coincidence.
Speaker 2: It's hard to see how it could be. And the
scientist argument is simple. How does a Buddhist monk in
the second century AD accurately draw the internal schematics of
a machine that human science wouldn't invent for another seventeen
hundred years.
Speaker 1: Unless he wasn't drawing a metaphor for the cosmos.
Speaker 2: He was drawing what he saw, or more likely, he
was copying a much older schematic that he himself didn't
understand but knew was.
Speaker 1: Sacred, which implies that the myth of Mount Meru and
by extension, the real Mount Kailash, wasn't about spiritual energy
at all.
Speaker 2: It was about raw technological energy.
Speaker 1: I'm remembering a line from the sources the Mongolian myths.
They say that celestial beings dwelled around Maru to feed
on its emitted energy.
Speaker 2: Right, and we've always interpreted that phrase feed on energy
as you know, basking in the divine glory of the mountain.
Speaker 1: Yeah, feeling the good vibes, meditating, absorbing the holy new.
Speaker 2: But if Kaylash is a cyclotron, if it's to a
particle accelerator, they weren't getting good bye. They were literally
recharging their batteries. It's a gas station, it's a power plant,
the main generator, a transmitter of cosmic power, built to
sustain these extraterrestrial beings, maybe even keep them alive.
Speaker 1: Wow, So Mount Kylash is the generator. Mohenja Dardo was
maybe a substation down the line that blew up, and
the Susa Valley in Italy was the parts department, the
tech lab. You're starting to see the grid a global infrastructure.
But that raises another question. If you have a grid
and you have that much power, and you have all
this valuable technology, you need defense. You absolutely do you
need a command center, You need a headquarters, because if
you have that kind of power, you can be sure
someone else is going to want to take it from you.
Speaker 2: And for the headquarters of the gods, we go to
the most famous mountain in all of mythology, Mount Olympus
in Greece, home of the Olympians.
Speaker 1: Zeus, Apollo, Hermes, Athena, the whole crew, rising almost ten
thousand feet above the agency. You know, we grew up
think of Olympus as this like mythical cloud City. It's
a fantasy realm from Disney movies and cartoons, a metaphor,
a metaphor exactly. But the city at the base of
the mountain, Dion, that was a real place. It's an
archaeological site now.
Speaker 2: Very real and a very important one. Alexander the Great
himself visited Dion to make sacrifices before he launched his
conquest of.
Speaker 1: Asia, so he saw it as a power spot. He
wanted to get close to the source to get the
god's blessing.
Speaker 2: He wanted that juice, as you said, and historically, we
have to remember something important here. For a very long time,
modern scholars thought the city of Troy was.
Speaker 1: A myth, right, just a setting for the story in
the Iliad, a fable.
Speaker 2: Then this guy, Heinrich Schlimann, goes out in eighteen seventy
with a copy of Homer in one hand and a
shovel in the other, and he digs, he finds it.
Speaker 1: He proved it was a real physical place.
Speaker 2: An archaeologist later found the actual seat of the oracle
at Delphi. These weren't fairy tales. They were real locations
that played a huge role in the ancient world.
Speaker 1: So the expert argument from our sources is, if the
locations are real, if the cities at the base of
the mountains are real, why do we automatically assume the
inhabitants at the top were fake.
Speaker 2: If the house is real, maybe the homeowner was real too.
The ancient Greeks absolutely believe the Olympians were real. They
described them as huge sky beings who descended to Earth.
They didn't think they were metaphors for thunderstorms or agriculture.
They thought they were powerful physical entities living up.
Speaker 1: On that mountain, and they had a headquarters. Olympus wasn't
just their home. It was a base of operations.
Speaker 2: And a fortress, a heavily defended one because they weren't alone,
and they weren't always.
Speaker 1: At peace the Titans.
Speaker 2: The War of the Titans, the Titanomiki. You had the
Titans based on one mountain, Mount Authrus, fighting the Olympians
on their mountain.
Speaker 1: Mount Authorus versus.
Speaker 2: Mount Olympus, a ten year war.
Speaker 1: This is my favorite part of Greek mytho. But when
you actually read the descriptions of the battles and the
old texts, it doesn't sound like God's throwing magic spells
at each other.
Speaker 2: No, it doesn't.
Speaker 1: It sounds like artillery.
Speaker 2: Well, think about it. What is a lightning bolt to
a primitive observer. If I'm standing on a mountain peak,
and I fire a directed energy weapon, a laser, a
particle beam, and it streaks across the sky and vaporizes
a rock on the mountain across the valley, and what
do you call that?
Speaker 1: You call it a bolt of lightning from the hand
of the god Zeus exactly.
Speaker 2: The texts say that gods hurled mountains at each other.
They describe the earth shaking, the sky is screaming. It
sounds like high tech warfare. The sources specifically say the
main battles took place on the plains between the two mountains,
while the command was issued from the peaks.
Speaker 1: So you've got General Zeus on Mount Olympus and General
Cronus on Mount Authree's, and they're launching these devastating attacks
across the valley at each other's armies.
Speaker 2: And look at the description of Olympus itself. This is
a point that Giorgio Suclos really highlights in the source material.
The ancient texts describe it as a magnificent palace.
Speaker 1: With walls gleaming of gold and silver.
Speaker 2: And this is the detail. It had blinking lights, jewels
that flashed and pulsed with their own light.
Speaker 1: Blinking lights in ancient Greece. That's the detail that just
stops me in my tracks, right.
Speaker 2: I mean, if you're a shepherd in five hundred BC
and you somehow get a glimpse inside this forbidden fortress
on the mountain and you see a command console with
LED indicators and fiber optic cables, what worse do you
even have for that?
Speaker 1: You don't have the vocabulary. You'd call them blinking jewels,
living gems.
Speaker 2: You don't have the word for interface or monitor or
circuit board. No, you describe it the best you can,
gleaming metal walls, blinking lights. It sounds exactly like a
modern military command post. A high tech bunker.
Speaker 1: It completely reframes that whole rebellion. The Titanomichy wasn't some
mythic family squabble over who gets to sit at the
head of the day table. This is a technological civil
war between two advanced factions of extraterrestrials.
Speaker 2: A war for control of the planet maybe, or for
control of the very energy infrastructure. We've been talking about,
control of the grid.
Speaker 1: I'm just stuck on that quote from the sources. Zeus
wasn't throwing lightning bolts. He was firing a particle beam
from the mountain.
Speaker 2: It changes everything. It turns Greek mythology into a sci
fi war documentary.
Speaker 1: It really does. And if Olympus was the main command center,
the Pentagon of its day, it makes perfect sense why
it was so defended, why it was so high up,
so inaccessible, why it.
Speaker 2: Was always said to be shrouded in.
Speaker 1: Clouds, artificial cloud.
Speaker 2: Cover, camouflage. It's possible.
Speaker 1: Okay, let's zoom out for a second. Let's look at
the map we've drawn today. Based on these threads. We
have Italy, the Siusa Valley, a manufacturing and storage hub
for smithcraft for alien alloys, founded by the engineer Godta
and later guarded by these globes of fire.
Speaker 2: Then we have Pakistan Mohenjo Daro, a site of what
looks like nuclear devastation, possibly a reactor meltdown, which proves
this technology had immense power and immense danger.
Speaker 1: Then we go to Tibet Mount Kailash, a massive pyramid
shaped particle accelerator disguised as a mountain, generating the raw
power to run this entire global system.
Speaker 2: And finally we have Greece, Mount Olympus, the military command center,
the headquarters, monitoring the grid and fighting off rival factions
for control of it.
Speaker 1: It's a global network. These aren't just isolated myths from
different cultures that happen to sound a little similar. They're connected.
Speaker 2: That's the thrilling thread, isn't it. When you pull on it,
you realize these cultures, separated by thousands of miles and
thousands of years, might all be describing different components of
the exact same planetary scale machine.
Speaker 1: It makes you look at every mountain on Earth differently.
You don't just see rock and snow anymore. You start
to wonder what's inside, and.
Speaker 2: That leads to the most provocative thought of all, remember
how the sources mentioned that in the SUSA Valley the
special energy is said to still be.
Speaker 1: Right, said it remains.
Speaker 2: So if these mountains were power plants and military bases,
and the physical mountains are obviously still there, is the
machinery just dormant?
Speaker 1: Is it just in standby mode?
Speaker 2: What happens if we accidentally find the on switch?
Speaker 1: What happens if someone figures out how to fire up
Mount Kaylash again?
Speaker 2: It wouldn't be a spiritual awakening. It might be a
global restart of a technological system we don't even begin
to understand.
Speaker 1: And with the way our own technology is advancing, with AI,
with quantum computing, maybe we're getting closer to understanding those
ancient blueprints better than.
Speaker 2: We think, which is both an exciting and a genuinely
terrifying thought.
Speaker 1: That's the sweet spot. That's why we do this. Indeed,
so I have to ask you, the listener. We've laid
out four incredible locations today, four potential pieces of this
ancient alien puzzle. If you were in Indiana, Jones type
or maybe a sci fi engineer, and you could get
a grant to visit just one of these sites to
hunt for the tech. Where would you go?
Speaker 2: Ooh, that is a tough choice, right.
Speaker 1: Would you go to Mount Muzinet in Italy to look
for Pete Ta's alchemy vault? Would you go to Mohenjo
Daro with a Geiger counter? Would you make the trek
to Kilash to find the blueprints for the particle accelerator?
Or would you try and climb Olympus to find Zeus's
captain's chair.
Speaker 2: You know my first instinct. I think I'd go for Kilash,
the source of the power. If you can understand the
power plant, you can understand the whole grid.
Speaker 1: See. I think I'm Team Olympus. I want to see
the blinking lights. I want to find the console. I
want to see the view from the command center.
Speaker 2: Fair enough a different approach, but we want.
Speaker 1: To hear from you. Leave a comment below, let us
know which mountain you would explore and why, and tell
us what you think. Do you believe mythology is just
creative writing or is it misinterpreted history.
Speaker 2: It's a question worth asking yourself next time you look
at a mountain range.
Speaker 1: Thanks for joining us on thrilling threads. Keep looking up
and keep pulling the streams.