Episode #185 – Brad Klausen & Chance Gardner – Esoteric Egypt, Pineal Gland Activation, Kundalini, and more

Ladies and gentlemen, welcome to the show. My name is Xavier Katana. We've got a phenomenal broadcast set up for you guys tonight. A lot of ancient wisdom that we're going to be unlocking. Talking about Esoteric Egypt, Kundalini.

I've got my buddy Astral here in the co-pilot seat.

I'm going to tell you more about him in just a second.

I'd like to thank everyone for being here tonight.

If you're listening to this live, cool.

If you're listening to this on the podcast version, that's cool too.

I'm just going to turn the music down and we'll get to business.

the human experience is 93 million miles from the nearest rough turbulence

as we shine like a light through your third eye in the midnight sky my name is xavier katana i'll

be your host for this evening my co-pilot is a good buddy of mine his name is astral astral how's

it going man hey what's up man coming in uh on the astral plane i love that so i'm just gonna

Astral is a futurist, musician, designer, researcher.

His work is in the parapsychology field.

He's been given multiple scientific research grants, scholarships, and he's done numerous conference presentations.

He was featured by Vice magazine.

Vice.

His focus subjects have been on precognition, remote viewing, out-of-body experiences, and primarily on the UFO, UAP phenomena.

Astral, I'm so glad to have you here, man.

Thank you so much for, you know, just helping me hold space here tonight.

Thank you, man.

I appreciate you having me.

I'm looking forward to the discussion and learning a lot more about these subjects.

Playing in the big time.

Okay, so our guests for tonight are Chance Gardner and Brad Klausen.

And Chance Garner is an award-winning visual artist, 3D animator, composer, and the writer and producer of the cult classic documentary series Magical Egypt.

After a 25-year career producing 3D animation, graphics, and promotional campaigns for network television,

Garner retired in the late 90s to focus on producing esoteric programming and documenting the evidence for alternative or, quote, forbidden historical models of mankind.

is currently in production on a Magical Egypt feature film,

as well as season four of the Magical Egypt series.

Chance, such a pleasure.

Thank you so much for being here.

Good on you, man.

Absolutely my pleasure.

Okay.

Brad Klausen is a professional graphic designer

specializing in poster art and illustration.

In 1998, he graduated from the University of Denver

with a BFA in graphic design.

From 2000 to 2008, he worked as an in-house graphic designer for the band Pearl Jam.

In the summer of 2008, he left his job with Pearl Jam, and he formed his own one-man design company called Artillery Design,

where for the past 14 years, he has and continues to make posters for bands like Pearl Jam, Queens of the Stone Age, Foo Fighters,

widespread panic nine inch nails metallica and many more brad such a pleasure welcome to hxp

thank you very much for having me happy to be here so you know the magical egypt series was

something that that hit me hard enough to uh bring you guys here onto the show and it's been a while

since we've done a show but i'd love to just lay the groundwork let's lay the foundation i mean uh

What inspired you guys to what was what was it about Egypt exactly that drew you into Egypt?

And either one of you can answer this, Brad or Chance.

Chance, you should go first, because my interest in Egypt is because of Chance.

So Chance, you should start.

um when i was younger uh i grew up in the 60s where it was just in the air this amazing music

that was focused on psychedelics and the mysteries and occultism and uh my parents my father was an

artist and so i grew up um around him sculpting all the time and just i had a lot of artistic

influence in my life and possibly genetically. So when I was very young, I used to go to the library

and would check out these books about ancient Egypt. And even as a little tot, I would look

into those faces of the sculptures and I could just, they were active. It was like the sculptures

were possessed and they were doing things to me when I looked at them. And so from a very young

age, I've had a fascination with ancient Egypt and also this fascination with psychedelia and

the occult and symbols from the mystery schools, symbols of the tarot and just things like that.

And at a certain point, when I got a little older, I got a chance to meet John Anthony West

and we just clicked. And I'd already been kind of obsessed, like an obsessed stalker of his. So

when I actually met him, he invited me to Egypt with him. And I literally got the next ticket I

could find out of town. I was so excited about going that I kind of floated a soft retirement

at my work and just left without telling most people. And I just, I went to Egypt with a crappy

little one ship camera and no particular plans, nothing written, but just follow John West around

Egypt. Like he was the grateful dead. And at the end we came up with this weird little quirky show

called magical Egypt. And then, um, 20 years later, uh, Joe Rogan kind of took a shine to the show and

And he had John West on the show a couple of times. And there was just such a positive response to the show that had been sort of languishing out there on the Internet. And so we decided to do a second season. So in 2000, I would say 18, we did a second season and Brad came on as this explosive new voice with some just unbelievable research that was the core of our research project.

Magical Egypt documents this artistic research project. And Brad had this bombshell discovery

that we built on. It was our third research member, Kerry Osborne, had some really interesting

early discoveries. And we just started comparing notes, and this thing became apparent, just this

explosive series of discoveries that have never been mentioned in Egyptology. They're fundamental

bombshell discoveries that really changed the way we look at our past and changed the way we look

at ourselves and uh it is an extremely contentious show and uh just about everybody in the world

except Egyptologists love the show and are giving us good feedback the Egyptologists hate it because

we've noticed some things in the Egyptian art that have been hiding in plain sight for as long as

people have been around and nobody's noticed it until this series of discoveries Brad made that

we kept building on uh that we'll see in magical Egypt about an ancient technology that is uh it's

a union of art and science that presents this series of, well, this body of knowledge that

ancient Egypt was in possession of that seems to be a science of consciousness. And because it was

the art that presented this stuff, it sort of makes sense that it would take a research project

made of artists. It was an unusual research project made of artists. And yeah, we ended up

making a discovery that the art was speaking in this language that artists understand.

And it is a completely different picture of ancient Egypt and of our past and of the intelligence and the degree of science of the people in our distant past.

Wow. Yeah. I mean, that's such an amazing, tremendous amount of work that you guys have done.

And just on a sort of offshoot trip, you know, following John around.

And there's an amazing quote, John Anthony West.

He says, Egypt is like sex.

You can read about it.

You can even look at pictures, but until you experience it, you understand nothing.

And I mean, it's been such a dream for me to go there.

There is a very mystical quality.

Like even today, there are many questions like how were the pyramids constructed?

How did these people do what they were doing?

Right?

So I mean, it is interesting.

What did you find about how these structures were constructed?

did was there anything that you that you started to gleam in in that realm

brad do you want to do this one um well i don't know if uh from from the work that we've done i

don't know if we've come to any sort of conclusions about you know how things were built or how they

moved stones or any of that stuff but what we have kind of the thing that we have sort of

figured out, I think, in some way, is that the Egyptians and other civilizations understood ways

to tap into higher states of consciousness that give them access to states of knowing,

that give them, you know, sort of states of revelation or epiphany. So however they were

able, the Egyptians were able to do things that we maybe don't understand how they did, in my opinion,

they had, they understood the brain and consciousness, and they understood how to

tap into these states of knowing and they had revelations they had you know they they contemplated

and they thought about this stuff and then they went into basically isolation chambers or big

dark stone rooms and isolated the entire external world and were left with just their consciousness

and probably

had imbibed some sort of psychedelic brew and gone through a whole bunch of physiological refinement of the body and tapped into these states of knowing.

And I think that's how they were able to do things that we don't understand because they had access to perennial truth.

They had access to how to solve these problems because they were thinking about them.

And then they were going into these, what I refer to as kind of gymnasiums for consciousness, these temples or these dark rooms, and tapping into states of knowing.

So, I mean, how did they build their temples?

How did they move these stones?

I'm not entirely sure, but I am relatively certain to think that they were tapping into universal truth and universal knowing.

And so they tapped into some sort of aspect, some sort of truths about physics or some sort of truths about, you know, mathematics or pulleys or systems or way to move stones or how to maybe even make stones.

I think that's one of the more interesting things to me about pyramids and other big stone monuments across the world.

Some of those stones, particularly like Peru, have little areas of the stone where they're broken off that looks like the same areas when you look at glass blowers.

when they have like i don't know what's called in glass building but you have like a handle

that's holding on to the glass thing and you kind of break it off and it leaves this little nubbin

there's walls in peru that have those little like nubs and stuff like that so that's an interesting

idea to me that perhaps they were somehow making some sort of cement or melting rock in some way

or just doing something so that you get those perfectly nice seams and those rounded edges

and stuff like that but that's just you know that's a theory that people have put out there

But I don't know – I don't think we could – we don't make any claims to say we know how they were – how the pyramids were built or how they moved these rocks.

But I think we can make a strong presentation that they were able – they did these things because they were able to tap into states of knowing and truth.

Egypt was the home of the oldest – what Brad said was absolutely correct.

And what makes this so interesting is nobody knows. That's why it's such a fertile ground for speculation and such a green pasture for charlatans and nutcases is you can really make up anything you want and say it about Egypt.

One of the things we've tried to do in magical Egypt is, you know, hold on to that tether of scientific credibility and examine some really practical things that are right there in front of you, like the cement.

the oldest recipe we have for cement in the world comes from ancient Egypt.

And to this day, it's still one of the leading contenders for the best cement that you can pour.

And there's all kinds of evidence to indicate that they didn't lift a lot of those stones,

but they actually poured them into place.

They had some way of liquefying stone or maybe something even stranger

where you could grow stone like crystals.

But a lot of those things in the pyramid were actually poured into place

because we know that what the Egyptologists have been telling us are wrong

and that you can't build a ramp.

If you build a ramp that works to drag stones up,

it's too steep and you can't drag the stones up.

There's practical reasons why all the things we've been told

about the building of the pyramids aren't correct.

But there are these really interesting anecdotal stories.

This is about all you can do is anecdotal stories

from other cultures at the time.

But there is a bunch of people in that area

that know how to use acoustics to lift stones.

If you just type acoustic levitation in YouTube,

you'll see all these traditions

And they were quite elaborate where they would stand and the bass players, the ones playing the bass horns would be farther back.

And they had all these precise and you have to form a kind of half circle so that the focus of the sound is on the stone.

But even back in the 20s, there were missionaries and people who were documenting how monks would lift really giant stones.

and it may have something to do with the crystal content in the stones that allows the audio, you know,

piezoelectric quartz crystal is what you use in electric guitars and other things.

And they're vibration detectors and they turn vibration into an electrical signal.

So that's why it works on a guitar.

But like Ed Leedskall, there's this cool guy, Ed Leedskall, who made a place called Coral Castle.

And he seemed to have been lifting.

Yeah, amazing story.

If people out there haven't heard the story, an amazing story.

just this spindly little guy who was all by himself and he built this whole castle out of

giant giant stones and he said the same thing he was using a trick that the ancient egyptians knew

and he wouldn't tell anyone what it was and he took it to his grave whatever that trick was

but it seemed to have to do with sound waves vibrating crystal structures inside the stone

so the sandstone that was natural in egypt was a perfect candidate for this and um lots and lots

of interesting possibilities, but just to button up what

Brad said, no one really knows, and it's why it's such an ongoing

and enduring riddle. And the farther our science advances, the

less we seem to understand about it.

We don't have a whole thing on how the stuff

is built in the Magic of Egypt series, but there's something I think about often with that,

which is the step pyramids. We all look at those, and they're in Mexico, and they have them other places,

and it doesn't seem like people get too as like blown away by how the step

pyramid was made like it's a car there's joseph's king joseph's pyramid and

that's like that step pyramid and in my brain i often

think i don't know why the ramp idea is there when if i whenever

i look at a step pyramid i think you have the platforms of the steps

couldn't you just lift blocks up onto each one of the steps and fill in the

steps to make the triangle shape of the outer thing like i

don't know if that's if that would be a possibility but there's a part of me i

basis for all the scaffolding to stand on and have shelves and have different steps.

And you could lift, you know, you could pull these rocks up to each step and bring them

up to the next step.

But then I don't know how you, you know, once you fill in the steps at one point, you're

going to be, you know, the last one you have to fill or the last row you have to fill.

I don't know how you do it exactly, but there's a part of me when I look at step pyramids,

I'm like, it seems like all the scaffolding is there to just fill in the steps and make

the surfaces of the triangles and stuff.

But, but anyways, like I said, that's, I mean, I'm somewhere between, between cymatics

using the third eye as like some sort of you know mental concentration and and ley lines seem to have

something to do with it because there were i mean there was so much math involved in where these

structures are built and you know so i wanted to ask you like there's there's there's so many

questions that have that have come to mind as you guys are talking but there's such a there was such

a difference in the society of ancient egypt and our society today and it it feels like today

We, you know, something has been hidden from us.

Like we, you know, there's this, this sacred understanding of, you know, the third eye,

for example, or, you know, even just the question, like what happens after you die?

I mean, these things don't seem to come up.

People are so busy with their nine to five jobs and, you know, they're just so immersed

in, you know, if you have a nine to five and two kids, you're not asking these types of

questions.

You don't have time to.

That's the way the system here is designed now.

Right.

like archons or whatever, but I want to ask, why was the third eye or the pine cone,

why was that such a major point for the Egyptians?

Do you want to start a chance?

Yeah, well, so if you read up on parallel cultures, cultures that were co-existent

and some cultures that existed before dynastic Egypt,

The Vedic culture is all about the third eye.

And by the way, I'd like to introduce this idea, this idea of the Holy Trinity, that in just about all the major religious structures, you have a Holy Trinity of some sort.

You have Brahma, Vishnu, Shiva, and you have the Jesus God and the Holy Spirit.

But there's hundreds and hundreds of them when you look into religions all over the world.

And what the conclusion we've come to is that this whole idea is an allegory.

Most of the religion and most of the spiritual stories are allegories for something that's much more practical.

But the – oh my god, tell me where we're going.

I just started writing notes and I forgot where I was talking.

The third eye.

Oh, yeah, right.

The third eye should actually be thought of as a threefold thing.

So the three holy deities actually represent the pineal gland, the pituitary, and the thalamus.

Sure.

eye is actually this three-fold structure in the diencephalon. And what's really interesting about

that is two of those parts, the pineal gland and the pituitary, both have these slight magnetic

fields around them. So this has been pretty much wiped out of Western culture. But back in the

1800s, before all this information got withdrawn, there are practices that you can do. And this is

the essence of occultism. It is really the essence of the higher stratus of yoga, that through these

certain exercises that were the point of the mystery schools, you can amplify the magnetic

fields of these two parts of your brain. And when you amplify them enough, they start to overlap.

Interestingly, creating the Vesica Pisces symbol, you know, the two circles that overlap,

this might be a kind of secret meaning for that symbol. But when you start developing through

these Eastern or Vedic techniques, you will start amplifying the magnetic field of these parts of

sort of new or higher consciousness starts to come online that um Xavier you and I have talked

about this quite a bit it's a wild card what's going to happen when your third eye opens and

different people it's like the x-men different people have different like superpowers cities

they're called s-i-d-d-h-i-s in the in the Vedantic but these superpowers you don't know what it is

sometimes you can read thoughts sometimes you can see the future different people have different

attributes but it seems like it's an evolutionary stage that we all should be moving into and it's

about it being like a

second puberty you can go through where your higher body or your mental body or your psycho-spiritual body goes through a puberty of its own. It's like a second puberty. And this higher body has organs of perception.

so if you can do this or as a result of a kundalini experience sometimes this apparatus

comes online but this threefold structure in your brain when you bring it to this point where it

actually comes online you will start noticing different properties of consciousness and you

will start being one of those strange mystic people that you know can sometimes hear thoughts

or you know your dreams will predict the future all of these things aren't weird supernatural

things they're normal parts of the evolutionary process but for some reason in our culture there

on this, kind of like we're chickens, we're all being harvested, and they don't want us to know

about this empowering thing. So we stay, it's, you know, it's, it's an easy road to go down,

a road to madness, trying to speculate on why this is happening. But one thing I think it's

hard to argue with is there does seem to be a war on consciousness and higher states of consciousness.

And we live in a culture that prefers to keep us disabled in this particular way. So

all the food that you eat, you know, has chemicals in it that'll calcify your pineal gland. And

And it's a very interesting way of spiritually neutering or castrating us, giving us these additives and stuff that calcify parts of the brain, kill the magnetic fields and whatnot.

So it's there and everyone has access to it.

But for some reason, the people in charge, whoever that might be, seem to be hesitant in the Western world to even talk about it.

So all of these incredible traditions and these birthright, this amazing kind of spiritual occult birthright that we all have is actively withheld from us.

why we decided to go public about the kundalini topic because it's happening to more and more

people and uh it's not addressed there's no context in the western world so people think

they're going insane and people are isolated the people who've had it and so one of the things that

we've been talking about i've been having a series of enjoyable chats with xavier about this that

this is a threshold event and there's something happening in society where more and more people

are waking up to this like a pan of popcorn that starts with just a couple of kernels that pop

And pretty soon the whole thing goes, but there's some early warning, early adopters, canaries in the coal mine that have experienced Kundalini.

And the more we talk about it, the more it gets normalized.

We've had a number of – well, we've had one prominent person and a couple other people mention it.

Somebody's had Kundalini experiences literally listening to Brad and I talk, which I don't take any credit for that.

It's probably Brad.

But there's more and more people are experiencing this thing, and it seems to be the most important thing in the world.

thing. We're all going through a collective puberty, but there might very well be some

forces that are interested in keeping that from happening.

Well, I think, too, to add to that comment about the third eye, I think the third eye

is one of those things that has all this enigma and mystery around it, too. So I think there's

this ability as artists, and Chance and I have talked about this a lot, this idea of the third

eye really just being your mind's eye. And Chance and I, as artists, have to flex that muscle

the time we live in our minds i like we have to come up with concepts for when i'm doing poster

artwork i have to visualize things in my see them in my mind i'm not seeing them with my two eyes

they're in they're in my you know inside my head that i'm seeing these things and i think that's

sort of the a an important thing to kind of there's obviously all kinds of things if you have a

psychedelic experience if you have a near-death experience if you have a kundalini experience

and you can say your third eye is opened all kinds of all sorts of insane crazy surreal things can be

and stuff like that. But I think at its core, you know, it's really is this idea of, again,

if you go into the King's chamber of the, of the, of the pyramid, it's total darkness and you're

just sitting there, but eventually you'll start seeing things in your, in your mind's eye. And

when you go to bed at night, you close your eyes and there's this other quote unquote eye that is

seeing, you're still seeing things in your dreams, you know? So, uh, to try and kind of demystify

that third eye concept a little bit and get more at this like actual truth of what it is

is i think it's this you know i if you anybody who read the x-men comic books uh you know or read

like the or watch the movies they had the x-men trained in this thing called the danger room which

was just an empty room but they could basically put them into any situation like a virtual reality

sort of thing and they could go train against you know the bad guys and stuff like that and my

that to me i think is a great analogy for what's kind of happening in your mind's eye is that when

consciousness, you have this other sort of virtual space to contemplate and to think about stuff and

to try things out and to contemplate and have, you know, have these ideas and have these

visualizations. And, um, I think, you know, when, um, chances talked about this too, that idea of

like visualize an apple in your mind's eye, like try and visualize an apple. And to what degree

do you see that apple? And when my family was here for Thanksgiving, my mother-in-law just

happened to have something on like social media that was this same sort of thing it had four

versions of an apple one was like just a silhouette of an apple another one was sort of a clip art

cartoon one and then another one was a fully a photograph of an apple and it was like which one

do you see in your mind's eye when you picture an apple and the people that were at my my house for

thanksgiving saw varying degrees they some people saw just the the you know the silhouette and some

people who are the more of us that were more artistic could see the full apple see it from

which change the lighting on it, change the texture of the skin, make it more rotten, make

it more fresh, you know. And so I think that's an interesting aspect of the, of just any human

skill, any human ability, that there's some people that have more of a natural ability to

utilize their third eye, to utilize their mind's eye and to see things in a way that maybe other

people can't. And there's even the thing called infantasia, which is where people can't visualize

in their mind's eye. That's why they don't like reading books because they can't, they can't

paint the pictures in their mind. So there's something about that, that idea of the third eye,

that it's not just some sort of mystical spiritual thing that ties you to these things that does

happen when you take psychedelics or have a Kundalini experience. I'm not trying to diminish

that at all. I'm more just trying to get at the core what I think that this idea of seeing or

sight, you know, in Rishi, that word Rishi means seer, you know, and when you understand something,

you say, I see what you mean, your sight is also synonymous with comprehension and understanding.

So that idea of seeing all, you know, or having an all seeing eye or a third eye is also this, this poetic symbol about knowledge, about being able to see everything, about being able to know everything.

So there's a, it all kind of comes back to this idea of gnosis and knowing and sight as comprehension.

So that, that symbol of the third eye is just such a heavily, you know, as far as a logo goes, as far as grab design and logos go, that, that, that Egyptian eye of Horus is just so loaded with symbolism and so much.

It's so rich with meaning.

You know, it's a testament to how brilliant the Egyptians were.

And that simple symbol of an eye, they can encode information about the brain.

They can encode information about states of knowing and all this other stuff.

So it's a really fascinating symbol and has to deal, I think, in my opinion, with this idea of sight as comprehension and as knowing.

Sure. Astral, you're awfully quiet back there.

What's on your third eye?

Well, I think, too, when a lot of the talk also is centered around astral projection, and it makes me think about remote viewing, sensory deprivation, ways to tap into and use creative.

And it makes a lot of sense that back in Egypt, if it were more accepted in society and they were to use these altered states of consciousness to gather this information, because a lot of what I hear is UAP related.

So when people talk about Egypt, it's alien physical help of them coming down and helping.

But, man, what I found really interesting was that they acquire the knowledge through these altered states of consciousness in their third eye.

And then they also explain it through this art.

And so I guess my question would be, too, like the connection of all of the art in terms of like trying to explain the location of the third eye.

Like, could you guys talk about that more of like in the brain of how the art was described too?

There was the fundamental thing that got us started was what Brad was just talking about, the eye of Horus.

There's this amazing, probably the most iconic image in ancient Egypt is the eye of Horus.

And it literally, if you look at the brain from the side, if you splash your brain down the middle, the diencephalon is the structure that we were just talking about.

It's the threefold third eye.

That whole diencephalon structure, when you see it from the side, looks exactly like the icon.

Because if you look at the Egyptian eye, it's not completely anatomically correct.

There's some weird spike sticking off of it and stuff.

So it turns out when you look at that eye and then you look at the third ventricle in the brain and the whole structure of the diencephalon, it is exactly this third eye.

And so what a beautiful way to take this idea that Brad was just talking about, the symbol of knowing and seeing and perception is the eye, only this is the eye single, the single eye in your head.

And sort of like one set of eyes, your double eyes look outward, and one set of eyes monitors the inner world.

And so because we live in a culture that is constantly keeping you out of your head, you know, when you go have lunch, there's music playing in the restaurants or everywhere you go, our whole society is structured to keep you externally oriented.

And so when you start participating in that strange inner universe in your head, that's the inner eye that takes over.

And there's an interesting thing about Egypt and the mystery schools.

If you were an initiate in Egypt, the first thing you had to do was, first

of all, take a vow of silence for five years, which is a great idea for a lot of people I know.

But also you would stay underground. You would stay underground for five years. You'd stay in the dark.

And anybody who's read our friend Rick Strassman has an amazing book, the DMT book.

He's been on the show.

DMT tends to, when Thomas Edison invented the light bulb, our pineal glands have been shrinking ever since the invention of the light bulb and artificial light.

And so when these initiates would go underground for five years, you'd have this incredible buildup of DMT because you never did see light for a period of time.

So you're kind of supercharging your third eye in these early initiatory things.

And I'm sure it wasn't pleasant, but they seemed to not only understand the parts of the brain that were responsible for consciousness, which is what season two is all about.

We show that in the artwork and in the statuary and even in the architecture, they'd schematized the important parts of the brain that played a role in consciousness.

And it seemed to be a science that you learned, which was very akin to yoga.

That's basically what yoga is now.

You learn the actual structure of your brain.

You learn how to intentionally focus your energy in your body to do these things like amplifying the magnetic field like we're talking about.

And the reason why you need these really exact schematics of your brain is when you're doing these advanced yoga and tantric kundalini techniques, you're focusing energy on very specific parts of the brain.

So if you don't know the layout of your brain, you're never going to be able to do that.

So in the artwork, we found these unbelievably complicated and accurate, by the way, of course, accurate schematics of the brainstem and certain structures in the brainstem and, of course, the diencephalon, showing that they were not only obsessed with consciousness, but they could actually specifically pinpoint the parts of the brain that were involved in consciousness.

And more importantly, the parts of the brain that would initiate this higher consciousness that we kind of get a sneak peek of when we do hallucinogens or in the kundalini experience.

You just have this different operating frequency of your brain, different suites of tools and different things that it can do.

But that's why.

That's the reason why, as far as we can tell, this whole culture was radiating this science of consciousness.

And they were giving you visual aids to know where to focus your energy when you're doing these kundalini and yoga exercises.

Well, I think to your question to Astral, I mean, how are they showing where this was in the brain and the third eye and stuff like that?

I mean, one of the revelations of the first Magic of Egypt series was John Anthony West showing everybody Shuala de Lubitsch's work at the Temple of Luxor and how the Temple of Luxor was laid out in the blueprint of the human body.

and more specifically how the Holy of Holies in the temple, the place where the priest goes to,

you know, quote unquote, communicate with God, sits right in the place of the middle of the brain

or sits right where the third ventricle is. And that in that temple of Luxor,

they would have, they would have this from Karnak to, from a temple in Karnak to the temple in

Luxor, they would move this golden statue of the Egyptian god Amun who has a rat, a ram's head.

And they would have this ceremony moving in from Karnak, moving him to Luxor. And

take this statue of Amun, this ram-headed god, into the holy of holies. And as we talk about in

season two, there's parts of the brain that have the shape of the hippocampus, and there's this

ram's horn shape to the brain, and there's even parts of the hippocampus referred to as Amun's

horn. And interestingly enough, the word, the name Amun means the hidden god. So the Egyptian god,

Amun is the hidden God, and they have a temple where the Holy of Holies, where the priest goes to communicate with Amun, with the hidden God, and that place is representative of the third ventricle of the brain, of the middle of the brain.

That's from Schwaller's work, and that's from John Anthony West showing all of us that, showing us Schwaller's work.

So, and then you've tied that into the eye of Horus.

And as Chance was saying, like the eye of Horus, when looked at the, you know, from the side, from the sagittal view, it really does show you kind of the, not only the diencephalon, but the ventricles of the brain.

And the ventricles of the brain are where there is these sort of cisterns of cerebral spinal fluid.

And that goes into sort of the physiology of this, of the brain and how that fluid bathes the brain inside and out.

so when looking at you know the temple structure and through schwaller's work you realize that

and that was one of the most profound things from that first magical age of series for myself as

just a person who was just watching that series was that notion that temples were being laid out

in the form of the human body and the the whole process was to go through the beginning of the

temple and to get into the holy of holies as you're walking through this sort of larger symbolic

version of the body. And then you go to the central point of the, to the Holy of Holies

into the center of the brain. And it's a dark room, dark stone room. And you're sort of,

in a way, walking through your own body and walking through you having a sort of a walking

visual visualization of yourself centering yourself in the center of the brain. And you're

supposed to go talk to the hidden God in that, in that Holy of Holies, you know, and so there's this,

there's this symbolism of the ram horns and and the eye of horus that that that shows that that

in our in our opinion i think other people out there too that that this was representing brain

anatomy i'm sure there would be people out there that would disagree with that but i think that

it can we can make a pretty strong case that that's that's what they were showing and in other

cathedrals and in other temples it is a tradition that the holy of holies is representative of

the brain and hindu temples the temples are laid out in the form of a human body and the holy of

the middle of the brain is. So again, it just, in my opinion, it just shines a light on this idea

that these temples were consciousness gymnasiums or places to go exercise higher states of

consciousness in the body. And they did it sort of brilliantly by making you kind of walk through

this giant representation of yourself. So you kind of had an as above, so below type of moment

constantly while you're going into this temple. And, you know, in your brain, you're thinking

thinking about the middle of your brain, then you're walking to this temple where you're supposed

to go to where this place is represented in the temple and have this experience, you know, and it's

the same thing when you look at Michelangelo's painting of, you know, the creation of Adam on the

Sistine Chapel ceiling, that God is communicating to Adam through the middle of the brain. And so

there's this, and regardless of what your thoughts are about God or divinity or those terms,

it's just, there's this artwork showing that there is gnosis or divinity associated with the middle

And it's seen in temples, it's seen in cathedrals and different structures throughout human civilization.

So once you start seeing that symbolism, you start seeing it in other places.

Yeah, I mean, it's amazing to link to the chakra system, especially in the Temple of Luxor, and how connected all of that is.

And there's also something to be said about that period of going underground and being in the absence of all light and activating this sort of DMT molecule in the brain.

Because if you have dreams, when you're dreaming, that's what's happening in your pineal gland.

I mean, scientists think we haven't isolated exactly where in the brain it comes from.

But hypothetically, it does come from the pineal gland.

So as you're dreaming, this is what's being released in your brain is DMT.

And so my next question, I guess, would be psychedelics.

What if these magical brews like ayahuasca, DMT, such as that, how does that affect this

inner working of this sort of mystical connection to this higher consciousness or this inner

understanding that we have. Brad, you want to try it? Sure. Yeah, I think, I mean, psychedelics are

one of the most fascinating things on the planet, I think, literally. I mean, the fact that there is

a fungus that grows out of the earth, and you eat it, and it makes you see these complex geometric

patterns, and it makes you have these sort of feelings of much bigger holistic viewpoints of

yourself in the world and it makes you feel connected to the wholeness of everything is

unbelievably fascinating.

You know, it's one thing to, you know, take some fermented grapes and it gets you loopy

and it gets you drunk, you know, but it's another thing if you eat this fungus and it's

not really getting you drunk, it's taking you to other states of consciousness.

I mean, that's the idea of that just being a drug or just another sort of standard, like

high or a good time at a party is sort of a misconception about the power of these things

somehow triggers the brain into these higher states of functionality. And they've done studies

with LSD where they show brain imaging, where there's more interconnectivity between places

of the brain where they don't normally communicate. And the corpus callosum, that part of the brain

that connects the two hemispheres, Ema Gilchrist talks about how that part of that bridge between

the two hemispheres is actually more inhibitory than it allows communication. So I think psychedelics

inhibited pathways between different parts of the brain. And that's why you start making

connections and start having analogies and thoughts about things in ways that you didn't,

because all of a sudden the network of your brain is communicating with other parts that maybe it

doesn't normally speak to. And psychedelics are a catalyst for that. You know, it's one of the

best things I think I've ever heard about psychedelics was, you know, they're really

just an amplifier

for consciousness. And Chance and I are both guitar players, and you think about that, if you have an acoustic guitar, and then all of a sudden people came along and electrified it, think how much amplification did for the instrument of the guitar and how much it basically changed, created rock and roll.

and all you know so that notion that psychedelics are really just an amplifier for consciousness i

thought was one of the best analogies for that because it really is just taking your consciousness

and plugging it into an amp and now all of a sudden you have this massive more sound you have all these

other plateaus and all these other options to you that you can that you have available so i think

you know i think pretty early on and across shamanic traditions human beings figured out

which of these plants, you know, cause these effects. And I think, you know, couple that with

you take those psychedelics and then you go sit in a, like I said, in the King's chamber of the

pyramid and it's totally black and totally dark. And you've been training yourself to lay still

and lay in that, that, that place without falling asleep. And your consciousness is now amplified

even more than it would have been. If you weren't, if you don't take psychedelics and you go sit in

a dark room, your consciousness is going to, you're going to start visualizing and seeing things. So,

had this crazy amplification to that experience.

And you all of a sudden have this sort of higher functionality,

brain functionality,

and you have parts of the brain that are,

that are communicating in ways that they weren't.

And you have your,

you have your brain showing you things that you didn't see before.

You know,

it's,

it's,

it's truly fascinating.

And I'm glad that psychedelics are getting more support in the world today

for like dealing with,

you know,

post-traumatic stress disorder and depression and people that have,

you know,

you know,

and stuff like that, but really, I think hopefully we can get past not only just the benefits

for health issues, but for people that don't have health issues and are just exploring consciousness.

I mean, that's really where the rocket ship of psychedelics, in my opinion, is.

It's great if it can help people with their illnesses or their sicknesses or their anxiety

or their depression, but once you're beyond those things, it just becomes this launching

pad for for contemplation and for thought and it's it's i think human beings have figured that

out since like you know when you go into caves that where there's all the cave artwork uh throughout

human history a lot of that art is deep down into the parts of the cave it's not like we're

necessarily right in the front it's deep into the dark parts of the cave so imagine you've taken a

bunch of psychedelics and you're in pitch black darkness and you just have that x-men's danger

room, this whole virtual world opens up in front of you and, you know, you start seeing things.

And if you're able, you can retain some of the information you see in those states and bring it

back with you and go, hey, I think I figured out how to like sustain the fire that, you know, we

made. Or I think I figured out if we carved this, knocked this rock into a circular shape, it becomes

a usable tool. You know, I think epiphanies are, psychedelics are sort of this launch pad for

epiphany and contemplation hey i've got a bit to add um first of all shout out to les paul

shout out to les paul for electrocuting the guitar that was amazing brad i'm wiping the

tears from my eyes for what brad said uh so um the pineal gland and dmt in particular is a really

interesting thing in this discussion because um for people who've read rick strassman's book the

DMT, the spirit molecule, he talks about a really interesting thing about the pineal gland and about

DMT that your pineal gland, for the most part, produces DMT your whole life. Under extreme

moments, almost like adrenochrome, under moments of extreme torture and anguish, your pineal gland

will release some DMT. That's why, like American Indians used to do that thing where they suspend

themselves from hooks under their breast muscles. And the interesting, because the pain, extreme

pain produces a DMT drip and it creates a visionary, you really have to be dedicated to go down that

road. But, and I've never done it. I can't say that I've done it, but apparently that works.

But anyway, there's a really interesting thing that you see in Egypt. There's this old Sufi

lineage, which is actually a really interesting mystery school in itself, the Sufis. But the

Sufis have these people called whirling dervishes, and it's a thing that's, I believe, unique to the Arab culture's lands.

You spin. These guys spin. Everyone's seen a whirling dervish.

The reason that they spin is that, oddly enough, a geometric coincidence, it might not be a coincidence, the pineal gland is in the exact axial center of your body.

So when you spin, you're actually doing centripetal or centrifugal, but whichever one is from the inside out, the yang part.

When you spin, you're actually using centripetal force to pull DMT out of your pineal gland and give yourself a trip that way.

So it's interesting that it's exactly in our center and maybe we should all be spinning more often.

But in the moment, so your pineal gland is making DMT your whole life.

I'm in the middle of the Asian jungle right now, and it is raining like I've never seen before.

So if it's making you have to pee, that's normal.

Don't feel bad about it.

Anyway, so your pineal gland saves up DMT your whole life.

And then when you die, the very last thing that happens to you is your pineal gland releases this flood of DMT,

and you undergo this hallucinatory experience.

Anybody who's ever done DMT is a weird, strong hallucinogen.

But it's there for a specific purpose, and it seems to be.

door that allows you to exit your incarnate meat wagon, your physical body. And so it plays a really

crucial role in moving whatever that intangible thing that is you out of your body. And when

you're born, there's a massive DMT drip from both mother and child that kind of creates this lifelong

bond. You're not a male or female in utero until day 49 when your pineal gland differentiates.

The first thing it does is does this big release of DMT.

And it seems like that might be where the soul moves into the body on day 49 in utero because on that day, you're either a male or female.

And you were neither one up until that moment.

And so the other thing is this, that your brain, the old kind of reductionist materialist model is that your brain produces consciousness in everything you are and everything you know and everything you remember is all in your brain somewhere.

But the other model that is kind of the thinking behind ancient Egypt and the thinking we adopt in the show is that consciousness exists completely outside of the body and your brain acts more like a radio.

And you tune into this frequency and you participate in consciousness, this universal consciousness.

And it comes through you and it's individuated in you, but it's more like a subscription service, like a radio.

And your pineal gland kind of acts like the channel changer.

structures of the pineal gland that works sort of like the electric guitar that we talked about

but that the idea that hallucinogens will change the radio frequency that you're subscribed to so

suddenly you're getting alien voices you're communing you're communing with strange creatures

that have nothing to do with you in fact in rick strassman's book he was visited at some point by

very high up uh buddhist monks who told him you have to stop doing that because you're screwing

around with the machinery of incarnation. Some of these people are having visions of 300 lifetimes

in the future when everyone is an intelligent bee or a, you know, a sentient lizard or something.

And, um, and it's just not natural in the scheme of things to mess around with this DMT, this fine,

strange structure in your head that allows you to move out of your body when it's time to die.

So hallucinogens, my point is this, that hallucinogens seem to change the channel that

your brain is checking into. And that's why sometimes you get these visions or voices or

you're communing with things that are clearly not human. In some cases, vastly intelligent,

vastly strange, alien, HP Lovecraftian entities. And I don't know what to say about them, except

they're out there. And when you start playing with the radio in your head, you can start tuning in

some far, far away things. And anyway, so that's the seed of the soul. And the third eye, by the

way, Rene Descartes and philosophers all through the ages have been saying the pineal gland or the

diencephalon is the seed of the soul. And one of the things that Brad talks about in the show that

was so interesting is it really is significant because it's a nexus of systems. The third eye

and diencephalon are the nexus where your circulatory body, you know, in the tarot, you have

earth, water, air, and fire. And you have one of those bodies that correspond, you have your meat,

muscle body. You have your liquid body that is your emotions and your lymph glands and your blood

that, you know, when you cry, water comes out, liquid comes out, liquid emotion. And then air

is your lower mental state and your lungs and stuff like that. And then fire is the electrical

synaptic body, which is your nervous system. All four of those bodies. And then consciousness,

of course, would be the fifth element that binds it all together. But these things all hinge,

like the linchpin of all your bodies is your pineal gland.

So Rene Descartes and a bunch of other people have always suggested that the I am, your

sense of self or your sense of who you are, is in the third I.

Interesting that the I, the word I, E-Y-E, and the word I, like myself, the letter I,

it might be the third I actually means the third me, which seems to be the case.

So you have three distinct voices in your head.

One of them comes from each hemisphere and the other one, this third voice, no one's

exactly sure where it comes from, but that might be the third I.

So anyway, the seed of the soul, where does the soul reside?

It seems to be not just the diencephalon, but the interaction of the diencephalon and the blood and the lymph.

Brad goes into quite a bit of detail about the neuroendocrinal system and the whole science of neuroendocrinology,

which is just

specifically studying how these bodies interact and how it's not just one thing that causes consciousness, but it's the interaction of the blood, the ventricles, and the electrical system and the body.

So, once again, these fantastically descriptive schematics in the artwork show you all these things.

And that idea of the crossover, where all the bodies meet, the nexus point, is echoed all over Egypt.

When you see statues, they frequently have their arms crossed, their crook and flail crossed.

And the idea of the crossing signifies this part of the brain where this is where biology becomes thought or where body becomes mind.

The crossover from the material to the intellectual or, you know, from the material to the non-material.

This crossover is extremely significant for them.

And it seems to take place at this place at the pineal or the diencephalon.

I think to add to that, one of the other important people involved with Magical Egypt for the second series was Gary Osborne.

And Gary Osborne's work goes into a lot of that aspect of this kind of holy trinity of the pituitary, the thalamus, and the pineal,

and just that sort of bigger complex of endocrine glands and neurophysiology of those glands.

Um, and so I, he, you know, his work was a huge help for myself.

And, and, and so his there's, there's, I can't remember which episodes that are in the, in

season two and stuff like that, that goes more into Gary's work, but Gary touches on

this stuff a lot too.

Yeah.

Yeah.

I mean, it's, it's such a, anyone who knows me knows that ayahuasca is a huge, huge part

of my life.

And if there, I think if there's anything that's going to save humanity, it's going

to be plant medicine and, and plants are infinitely smarter than we are.

I'm not so sure about humans.

You know, I'm not sure where we're headed right now.

But, you know, it leads me to think about so much.

And a huge part of Magical Egypt is Kundalini.

And I mean, another thing, there are two things in my life that have changed the trajectory

of my life forever.

The first is Kundalini and the second is Ayahuasca.

Those two things.

But I happened to suffer a Kundalini activation a couple of decades ago.

just a kid in college really and and i i had no idea i had no idea what was happening to me

i thought i was completely insane i still think i'm a little bit crazy but i mean that's you know

that's up for up for up for debate i i just you know there there's something about kundalini

itself as this this movement through the chakra system as this this sort of represented as this

sort of serpent that moves up the energy body. And, you know, I loved, loved, loved that in,

I guess you'd say the third season of Magical Egypt, that you guys put so much effort and time

into covering this aspect of the human experience. And, you know, so I'd really like to start,

you know, talking about openly more about Kundalini. I wish, you know, I bet there are

people out there that have had either, you know, minor Kundalini eruptions or, you know, even full

blown activations that, you know, nowadays will probably land you in a mental facility somewhere

if you talk openly about. So, so I thought it was, you know, such a gift that you guys,

you know, were offering to, to people that, that could be going through this. I mean, nowadays

you, you can get on Google and there's, you know, there's Kundalini yoga and stuff like that, but,

ago for me you know none of that stuff was available it took a long time for me to figure

out there was even a word for what i was going through so um so chance so i i i know that i mean

what's your take on kundalini and and your perspective on that

it is the strangest thing that will ever happen to a person i we've talked about it as being kind

of a second puberty where for a lot of people, especially Westerners, absolutely out of the

blue with no indication that it was coming, no indication of what it is.

There's other cultures that are kind of ho-hum about this, like classical Vedic Hindu cultures

and the Buddhist cultures.

It's absolutely part of the joy of life.

But in the West, for whatever reason, and there's a whole conversation there that tends

to go kind of dark, we're not allowed to talk about it.

We don't know what it is.

about this quite a lot. I think it is the most important experience a person can have. It really

is literally like a second puberty where you're not really a complete person until this happens.

And it is the goal of spiritual aspirants in the East to achieve this thing that is sort of like

a metaphysical orgasm. It's like something that's not in your physical body has this just sudden and

rapid transformation into something else like awakening. If you've ever seen puppies, when

puppies are born they're born with their eyes closed and at a certain point over time if

everything goes right their eyes will eventually open and they'll be much more functional and they

don't need to you know suckle on their mother and stay in the in the whatever and so these higher

bodies that we have these electromagnetic psycho-spiritual bodies that alex gray you know

the artist alex gray has done a fantastic job of painting what each one of these bodies look like

your electrical body your light body your mental ideological bodies and these higher bodies that

cultures know about, but Western cultures absolutely don't know about. And so it's like

this higher body that was born like a puppy with its eyes closed and its different sensory organs

closed. Some people that stays that way and it stays inert and dead in them their whole lives

because they've never had a catalystic moment. They've never gone after it. Xavier, you said

something that I think was incredibly important. Like Xavier, my own Kundalini experience happened

after a period of 120 days of abstaining from sex.

Anything over 90 days, if you can get yourself over 90 days,

you're in the running for having a Kundalini experience

if you have the slightest knowledge of yoga and meditation and breath work.

And it's all out there.

There's nothing hidden about this except the idea that it's natural and it's inevitable

and that it's something that may turn out, you know,

the position of the Earth in the Milky Way galaxy

and the position of the Milky Way galaxy in the universe.

more and less electrical magnetic density.

And it might well have an effect on our nervous systems

where in these long cycles of time,

we have these rises and falls of intelligence and spirituality over time.

And we're relatively in kind of a dark age.

Anybody that knows about the yugas,

it's been charted for a long time,

the rise and fall of intelligence and spiritual capability

having something to do with the stars that I don't entirely understand.

where it's more electrically conducive,

it's sort of like when we go out of winter and into spring,

suddenly these blossoms start blossoming.

In the human race, these strange blossoms

or popcorn kernels that start popping

are human beings on the nervous systems.

And in the West, for some reason,

it seems like we might be undergoing

a collective awakening, like a puberty.

You know, puberty for a lot of people

hits you totally out of the blue

and you don't know what's happening

until after it's happened.

And suddenly your interests and all these things

because you've just gone through puberty, and now suddenly you have this biological imperative

that wasn't there before. So it reminds me of, there's this interesting story in the Bible,

Nebuchadnezzar was told by one of his advisors that his throne was going to be usurped by a

firstborn that was about to be born. And so Nebuchadnezzar was so scared of holding on to

his power that he ordered all the firstborns of the country to be killed. And I'm wondering if

this inevitable onset of kundalini in our culture is actively being suppressed. And

right at this time where we're all coming online, suddenly this big global thing happens where

everybody has to go and get a bunch of shots for this thing. That does tend to, it seems to,

suppress that activity, just like drinking a bunch of, you know, soda. I won't mention a brand,

But any kind of soda that has all kinds of processed corporate foods have these chemicals that specifically neuter, castrate your spiritual apparatus that calcify the pineal gland, kill the magnetic fields.

Alcohol does that too, by the way.

So anyway, there are this – it's sort of like – it's almost as if there is an industrial war or an active effort to keep us all from going through this transition.

And a few people have gone through it already, and that's how we know it's coming. But it does seem to be some force or interest that has removed this information from our books, from our culture. And why aren't we allowed to know about this thing that is literally the most important thing that can happen to someone?

I feel like Astral's coming.

Astral's coming is rising right now.

Wow.

I have a question.

So a lot is mentioned in the series about lighting the lamp, activating the third eye.

So for this process on a very basic level, stuff that we could do in terms of everyday visualization, stuff like that, how can people get going in that direction?

What Xavier said, there's a really interesting bit of protocols.

Mantak Chia, who wrote a book called Cultivating Male Sexuality. And it's all about how if you think

of yourself as a battery, Brad should talk about this in a minute. Brad came up with an ingenious

metaphor that like the car, you need gasoline, you need oil, and you need a spark to create

ignition. So the big part of starting a car is your battery has to be charged. And so the first

step in approaching a Kundalini thing, charge your battery

by withholding your sexual energy. And if you can do it for a month, especially if you can do it for three months, you suddenly have this full battery that's waiting for a spark. And if you can get this thing to ignite, then that is the Kundalini process.

and it's the ultimate aspiration of yoga

so if you really want to do it the traditional way

you can go to a yoga class

and you've got to find a real yoga teacher

that's advanced enough

which might be a bit of a challenge

and you may end up having to go to India

a lot of kundalini people end up moving to India

because it's a lot more respected tradition there

Brad, what's the thing?

Brad had an amazing metaphor of gas, oil and spark

that were all necessary components

for the ignition of kundalini

one of the main things that I learned in this in my own little research project here was that

again this whole the necessity of the the the quality of the physiology of the body the sort

of the this ocean of fluids that's in our body the sea you know these these rivers these this

fluidity if you can purify and refine that fluid you are going to have a richer fuel that bathes

also waters the garden there's that story in the bible about a river that goes out of the garden

and becomes four heads if you look at the i think it's the gray matter going down the spinal cord

it has these four doors it has four heads there's two dorsal heads and there's two other and they

look kind of like a like a four-leaf clover but it my opinion that's one what that passage in the

bible is talking about this river that goes out and waters the body that's the brain stem that

goes out of your uh you know out of your the bottom of your brain and goes through this nervous

system and your whole body and it waters this whole thing. So there's this idea that if you can

refine the physiology of the body, you will get this better fuel. And what these Taoists in China

were doing, which Joseph Needham, who was a famous British scientist who wrote this whole book on

one of his books on this subject about what these Taoists in China were doing,

is that they were constantly kind of refining the fluid of the body over and over and cycling it

through the body. And some of that has to deal with sexual fluids and that sort of thing. But

on a much sort of more basic scale, there is this whole story of virtue versus vice and the stories

of the seven deadly sins, you know, that when you give in to want and desire, hormones are released

from your endocrine glands and they go into the bloodstream. And that kind of taints the bloodstream.

It taints the fuel of your body. So there's all those works of art of Hercules at the crossroads

virtue and vice and these different artists who have depicted it. But these stories are also found

in different mythological and religious tales. And people oftentimes associate them with morality,

that you should be a good person, you shouldn't give in to the seven deadly sins, you shouldn't

give in to lust and greed and sloth and envy and pride, because you want to be a good moral person,

and that's going to get you to heaven, right? But if you take away, if you don't focus that on

morality and you understand that when you give in to desire, when you give in to your wants,

when you give in to greed, and when you give in to sexual lust, when you give in to all these things,

it alters the physiology of your body. And so part of the practice was not so much the retention of

sexual fluids, but it was controlling, being in control of the kingdom of yourself, being in

control. That's sort of why the Egyptians had this unique, every pharaoh had to unify upper and lower

Egypt. They had to be the king of the kingdom. And that's not so much about a literal kingdom

or a little geography. It's about the individual, that if you are in control of the kingdom of your

body and you don't allow your emotions to control you, you don't allow yourself to go into anger,

you don't allow yourself to go into extreme states of the opposite end of extreme ecstatic

and happiness, and you are balanced, that that is going to change the physiological makeup of your

body. And it's not just about morals and being a good person and going to heaven and not being

little devil and being a devious little person who gives into all your wants and desires.

Obviously, you will be a better person if you follow those for the morality aspect. But there

is this whole notion that you have to kind of be in control of those emotions in those states,

because they release hormones from the endocrine glands, it released when you get like said,

think about like a crime of passion, and you kill somebody in the heat of passion, or, you know,

when you're lusting for somebody, you know, you get your part, your heart's pumping with blood,

happening when you're in states of fear, you know, you know, adrenaline is being released and all

these things are being released into the bloodstream. So what people in depth figured out

was that there was a way to control the physiology of the body. And it's sort of kind of what Wim

Hoff is, is, is, is sort of doing, you know? Um, so for the average person, and you talk about in

a day-to-day existence, who's going to work and sitting in traffic and going to a job and they

have kids and they have, they live in this world that we all live in, that's, we're surrounded by

and all these things, I think it's really hard for modern people to try and get to these states

that our ancestors got to. And even I listened to the podcast a little bit that you did, Xavier,

with Wim, and he was saying, you know, because of what he's figured out, you can access these states

without having to go through all the hard work that all these ancient sages and adepts did.

And I would challenge him a little bit on that, because we don't know what the states were that

they got to, and that if he's achieving the same level as they did. So I don't think there's

necessarily a quick fix to this. I think you do all of the sort of mystery school traditions and

these esoteric traditions. It's about discipline and it's about hard work. It's one of the reasons

why I'm not trying to do this myself. I have no discipline. I like being a hedonist. I like giving

in to all my wants and my desires. So for the people who really truly would want to pursue this,

you know, that's why there's monks that they remove themselves from society and they go to

a monastery in the mountains and they don't surround, they make sure that they're not

surrounded by any of these temptations and they spend like 12 hours meditating and you know and

they do this they do the work you know so for the average person you could probably sit quietly in

your home and and have progress and do some sort of yoga some sort of meditation and visualizations

and it will of course benefit you you know everybody who would go to uh if you went to the

gym every day and just exercised to some degree it's going to benefit you you know but you're not

training the way that say olympic athletes are training you know so it's not to say that people

you do is going to benefit you. It's going to help you. But again, I think that the priestcraft

of these ancient civilizations and stuff like that were like the Olympic athletes of consciousness,

and they devoted their entire existence to this. And they, and they, they, they were

wholly disciplined on it and they didn't have all the distractions of the modern world.

They had distractions from their own time, the same way that human beings, you know,

because we're still all human beings. But I think, I think it's one of the things about this,

that it's something that's available to people.

But just like any skill set out there

is that there's going to be a level of people

that are not only naturally inclined

and have natural abilities,

but have the ambition and the discipline

to really seek this stuff out.

But for the average person,

you can do all kinds of things

that will benefit you

and get you further along the way.

But like I said,

it's one of those things

where I think a lot of people

want to achieve spiritual enlightenment immediately.

They want to get there quickly and they want to have it happen and they want to say, me too, I reached the mountaintop, I saw the light and I saw these things.

And they're super quick to want to find the way to get there.

But I think the true adepts and the true sages got there through the long, narrow path that's real difficult to stay on and you're going to fall off it.

So it's a disciplined school for the people who really want to truly seek the peak of the mountaintop.

It might also have to do with the work you did in a previous life, that it might be you have to work on this for four or five successive incarnations before something happens that you kind of prime the pump.

By the way, in the 1800s, like right now, it's really hard to find actual explicit books about the diencephalon and how to open the third eye.

But in the 1800s, it was an absolute renaissance of this information.

And one of the things that happened when the collapse in the 30s and all the old school books were withdrawn and they were replaced by these new kind of quote unquote sanctioned school books, a lot of esotericism and occultism absolutely weeded out of society in this moment when all the school books changed over.

People don't know this story.

In the Depression, schools were all failing.

And so one of the money people, Rockefeller, Rothschild, I think it was Rockefeller, went to all the schools and said, if you teach out of our books, then we'll bail you out and we'll help you through the Depression.

And if you want to stick with your, you know, your occult-y, homemade, folksy stuff, good luck to you.

We're not going to give you any money.

But anyway, in a very short period of time, school books all changed out to these new school books that had a modified history and absolute expungement, expulsion, erasing of all of these occult traditions.

But if you're interested, look at some of those.

Because on the Internet now you can get digital copies of these books from the 1800s.

I have a couple of things that just seem forbidden.

It feels like it's wrong to even own these books because they're so explicit.

it. And for some reason, Brad and I often joke about the fact that every time this knowledge

gets out into the public arena, civilization has to be destroyed and started over again,

like running a program over and over again. We have to start again without this knowledge.

And it does seem like it was actively withdrawn from our society. But now you can get some of

those old books from the 1800s. Brad has given me a great reading list of things he's discovered

where they're quite explicit about these things.

And just it's an interesting story that they've all been withdrawn

and they just weren't very good at completely withdrawing it.

I feel like you can only talk about these things when there's no gatekeepers around

because of all

the other really active misinformation and social reshaping that's happening right now, all the gatekeepers that used to protect this stuff and would shoot people like me and Brad down and our mentors, John West and Swalor de Lubix, there was this vigilant, active resistance to this knowledge being disseminated in public.

But all of a sudden there's this new big lie that everyone's involved in.

And there's so many different kinds of propaganda being spread right now that the gatekeepers seem to be distracted.

And we were able to sneak the football through the goals during this moment where all the gatekeepers were distracted.

And so we're trying to bring these traditions back.

But for people who really want to feast on this stuff, go back and look at occult and esoteric books and teachings from the 1800s.

Manly P. Hall in the PRS, the Philosophical Research Institute, is a fantastic source for some of these old forbidden books.

And they're quite explicit.

So if you're really interested, take a trip through the Manly P. Hall library and you'll find quite a lot of very explicit instruction.

you know that that point when you're watching like a horror movie and and and and there's this

there's this moment like there where this guy comes in and he kind of warns the people that

are going moving forward they're like he gives them this big fat warning you know that moment

this is that moment so if you're if you've listened so far and you think kundalini is some

sort of the magic pill it is not and i would highly highly recommend that you do not pursue

this path unless you're you're ready to do that like you're ready to accept the the weight of

what kundalini brings and it's it's hard to say exactly what that will be for you in your path

and it's different for everyone but um it's it's not it's it's not a game it's not a toy

and and it's a one-way turnstile it's a one-way turnstile and once you walk through it you can't

walk back that's it and i mean it's just a huge cautionary note i really think i feel like i feel

like it would be better off at least in my experience like if if i was like a 50 year old

man i had everything settled in my life before everything was just open the the psychic doors of

of perception were open for me and blasted open. I was like, you know, like a rocket ship. And,

and I, I, I wasn't, I was not ready. I was not ready for it. And, you know, I've, I've learned

to live with it now and I can, I can feel my Kundalini right now, you know, and there, there

is a very, there, there is a very romantic sort of notion about connecting with that part of

yourself. And, but there is, there is no easy path to enlightenment as, as the Buddhists say,

like before enlightenment chop wood carry water after enlightenment chop wood carry water so

yeah you know i i'm i'm grateful for both you and brad and your work and especially on kundalini and

um you know there's so much to be said and there's there was something that i noticed

you covered that you guys covered in the third the third season which was that this is not just

There seems to be this regard to this sacred knowledge throughout many cultures all over the planet.

They're covering this in their own little way.

They're kind of flexing their sort of spiritual connection to reality.

So, I mean, what's your perspective on this, Brad?

Chance, what do you think?

Well, Chance and I have talked about this before.

And I think, you know, some of the people who are Magically Egypt fans were maybe not necessarily turned off, but a little confused when some of the episodes left Egypt and, you know, started going to Thailand and Angkor Wat and places like that.

And, you know, I think the more that you look at, I know for myself, Egypt was sort of a jumping off point.

And, you know, you look at that and then you start seeing these things everywhere.

And then it starts becoming not just so much about Egypt.

becoming about human beings and it just starts becoming about this recurring theme that you see

in all human civilizations throughout time and so it it is it's egypt is certainly fascinating and

and and has this this hold and and this this mystery and all this stuff to it and it's a great

place to start but once you're there you start seeing the things that you saw in egypt you start

seeing them elsewhere and you're like right this isn't just about egypt anymore this is about

human beings. You know, it's, it's about, you know, that the missing link is, is us, you know,

it's, it's, it's that this is a unifying aspect of, of, of humanity. And that's been my interest

in this the whole time is trying to show what human beings have known as a species about

consciousness and higher states of consciousness throughout time, regardless of what civilization,

what time, what, whatever, whatever was happening, just trying to take a larger scope,

holistic look at what do what have human beings shown what have they known about consciousness

and what have they how have they shown it in their artwork and in their in their architecture

and their mythology and their religious scriptures and stuff like that so it becomes this it becomes

so much bigger than just egypt there was a um part of the show yeah interesting yeah what brad

said was absolutely true people were wondering why um is magical egypt now looking at cultures

than Egypt. And one of the things that is a big part of any research into ancient Egypt,

I'm surprised more people haven't caught on to this, that Egypt happened so long ago and there's

so much about it that we literally have no idea. I mean, we barely read the writing. And if anybody

who's ever read the Wallace Budge translation of Egyptian hieroglyphs, it's nonsense, 90%

absolute gibberish and nonsense. And it's not that the Egyptians were idiots and they talked in

gibberish. It's just, we don't understand how to read what they were saying. And so a lot of that

a mystery because it's like reading a book with lots of pages torn out. But then you find out

that if you go to the Vedic cultures, the ancient Hindu culture stretches back as far as Egypt,

and Hinduism at some point kind of transitioned into Buddhism. So at the Temple of Angkor Wat,

it's been there for so long that it started out as a Buddhist temple, and you can gradually see

the changeover to the Buddhist deities rather than them. But what's interesting about both of them

is that they aren't really a religion like we think about. It's a science. You know,

that word, the Tao, it's a system of rules that will help you get through life or sort of

working in conjunction with the order of the universe. And what's really interesting is that

there's so much we can't know about Egypt, but once you understand that they're all talking about

the same thing, another interesting point about why don't we get to know about this, it seems like

all the old cultures worship this exact thing, and they all use the same cluster of symbols.

They all use a risen snake, the symbol of the third eye, and usually triangles, you know,

And so you can go to India, you can go to Buddhism, you can go to all these different cultures and you see the exact same Kundalini stories being told.

And the art direction is a little different, but because they all use these visual symbols, it's translingual.

So you don't need to speak ancient Indian or you don't need to speak early Asian languages.

The thing itself, the hieroglyphs and the symbols were created to speak to you translingually from the right brain to the right brain of the recipient.

your right brain works in images and associations and doesn't even do language so if you really

wanted to speak to the right brain of someone or speak across time in a way that was bigger than

language you would use these symbols and so what we realized is that there's all these missing

things in egypt that you can just go to ancient hindu vedic lore or there's this amazing temple

angkor wat which is this just literally a visual expression of the principles of hinduism and it

particular the Nagas. The Nagas are these magical snakes, just like the risen cobra.

The Nagas represent the flow of vitality through your veins, but also the flow of vitality through

the earth as telluric energy. They're associated with fertility. They're associated with water.

And everything that you say about the Nagas is what they say about the Aida and Pingala,

these two snakes that are the channels that your kundalini rises from. And of course,

the Sushumna in the middle. So when you go to Angkor Wat, it's a giant sculpture that's like

the kundalini process also interesting at in grow up is this story of devas and asuras and it's

basically this war between angels and demons and it is an amazing and it's an allegory that'll make

your hair stand up because what the story was is that dev the asuras the demons used magic to make

the devas to make the angels forget who they were they gave them amnesia and they lost their identity

and they forgot that they were divine beings

and they thought they were powerless to resist

the horrible whims of the demons.

And eventually the story writes itself

because Vishnu comes down and removes the spell

so they remember who they were

and they can resume their timeless battle against evil.

I've never heard a more touching,

it almost makes me want to cry talking about it,

we are the angels, we are the devas

and we've been tricked magically, a spell cast on us.

remember our divinity. And that's why I think maybe we live in a culture that's keeping us

from remembering we are not chumps, we're not slaves, we're angels, but we're under the guy,

under the control of these devils, these demons. And they are preventing us from remembering who

we are so that we don't remember to tap into this power that we have that could destroy the enemy.

interesting legends about kundalini being a weapon in some cultures, that it was this fearsome,

fearsome psychic weapon. And that might be another reason why it's suppressed today,

because people who took the kundalini practice

far enough could actually do those Harry Potter energy weapon things.

But it was fearsome like an atom bomb, and it could get out of control and wipe out your army and their army if you weren't really tight with your practice.

And so fascinating, fascinating lore, and it bears out that thing.

We need to remember who we are, and we need to reconnect with our power.

So anyway, if you look at the Buddhist culture, if you look at the structure of stupas in the Eastern architecture, they use these same principles.

And the Mayans, by the way, and the Chinese ancient cultures.

They all have the same obsession with building temples, with astrological alignments.

The temples themselves are the books.

And the story that these books communicate is the story of Kundalini.

even the aztecs and mayans have all these stories of are these um statues that show a person with

their head tied together like union yoga by the way means union the union of your left and right

hemispheres to activate your third eye that and the kundalini symbolism is present with slight

changes in art direction in literally every ancient culture so once again it makes you wonder

who the demons are that are keeping us from remembering this thing about ourselves

I think too

to go to this idea that

the story that James was talking about

at Angkor Wat, the churning of the ocean of milk story

is the Sirius and the Divas are in a

tug-of-war on either side

and you see this symbolism

all the time and again this is virtue versus

vice on the very basic level it's

the angel on one of your shoulders, the devil

on your other shoulder and you see this symbolism

time and time again and you see it in

Egypt in the statue that

chance is shown often in magical Egypt

It's a perfect example of this where Horus is on one side of the pharaoh and Set is on the other.

They both have their hand on one side of his head.