In this episode of Matt Beall Limitless, I sit down withrenowned author and researcher Andrew Collins to explore the lost history of humanity. We dive deep into the mysteries of Göbekli Tepe, Karahan Tepe, and Taş Tepeler, uncovering their connections to ancient advanced civilizations and much more. Follow Matt Beall Limitless:https://x.com/MattbLimitlesshttps://www.tiktok.com/@mblimitlesshttps://www.instagram.com/mattbealllimitless/https://www.facebook.com/people/Matt-Beall-Limitless/61556879741320/Listen on:YouTube: https://www.youtube.com/@mattbealllimitless Rumble:https://rumble.com/c/c-6727221Patreon:https://www.patreon.com/c/MattBeallLimitlessCheck out Andrew Collinshttps://www.andrewcollins.com/https://x.com/andrewbcollins?lang=enhttps://www.facebook.com/AndrewCollinsAuthorhttps://www.instagram.com/andrew_collins_author/ Episode Links:https://www.scirp.org/journal/paperinformation?paperid=131506 Episode Timeline:00:00 Introductions02:45 Taş Tepeler1:24:56 Garden of Eden1:35:54 UAPs & Ancient Civilizations2:09:55 Plasma & UAPs2:37:43 Crop Circles2:53:00 What else is out there?2:56:32 The Moon & Mars3:03:35 ClosingThe views and opinions expressed on this podcast are not necessarily the views of the host or of any business related to the host.
Chapter 1: What is Taş Tepeler and its significance?
There is an intelligence, a genuine intelligence behind the crop circle creation, but it needs us to do its work on its behalf.
Why don't you just quickly introduce yourself and tell us a little bit about yourself.
Okay. Yes, my name is Andrew Collins. I am a science and history writer and the author of a large number of books that challenge the way we see the past. Everything from ancient Egypt to Atlantis to the origins of civilization. I've also done books on UFOs, plasma intelligences, crop circles.
And as I say, Egypt is where I've done three books specifically all about Egypt, you know, that have been well received. So quite a wide net.
Yeah, for sure. You're into all the cool stuff, man. That's cool. Yeah, crop circles. I'm fascinated by crop circles. I haven't really talked to anybody about those yet. Yeah. But we'll get into that maybe a little bit later. But, yeah, why don't we start with the area that you – How many books have you written, I guess, first off?
Well, I always say that I've written about 15, but I've been saying that for the last 10 years. So it must be a lot more than that by now. I mean, I started writing serious books in the 1980s. And from that point onwards, I've never stopped until now and don't intend to really.
Yeah. Yeah. Yeah. Much of a social media presence. What's your. Yeah.
Yeah.
Yeah. I mean, you know, my website is AndrewCollins.com and all of the links through to social media and obviously YouTube are on there. So, yeah, that's where to look.
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Chapter 2: How do UAPs relate to ancient civilizations?
Chapter 3: What are the connections between the Garden of Eden and ancient sites?
or whatever it's about this dual relationship both in a material sense but also in a cosmic sense as well so um what else are we talking about um yeah okay so we've obviously got the images here right now on the left this is the interior section but beneath the the hems um oh sorry each side of the hems of
Pillar 18 at Gobekli Tepe in enclosure D. Now you've got this, obviously this crescent, which I think probably does represent the moon, you know, or certainly the horns, horns, which are, you know, symbols of the moon, but you've also got an object above that. Now, some people have interpreted that as an eye. There is a point right in the center of it.
So this could represent an eye, but it could equally represent the full moon itself. So in other words, you've got the crescent, which represents the crescent moon. And obviously above that, you've got the full moon, but almost in the form of an eye. But above this, you have these two pillar-like figures, and you can clearly see that they've got beaks. They're facing each other.
There's little holes that are also suggestive of eyes and you have them linked in hands. Now, you can't properly see it, but there is also another similar link about where the beaks are. And this seems to be like they're holding, they've got both of their hands out and they're linked with the other person, both hands.
I mean, I've tried to, you know, mimic this actually inside Chadley Earth Archaeological Museum, but standing between, the full-size reconstruction of enclosure D, you know, to try and get photographs to show what we mean to do with this. But why two?
As I said, it's to do with the twin pillars themselves and it's about the division from a single to a double, to black and white, positive and negative, good and bad. You know, these people seem to believe that originally there was... some kind of primal singularity that then splits into two.
And one of the reasons why they're creating these incredible enclosures is to get back to the beginning, get back to the source, to be able to leave this material existence. Now, why would they want to do that? Well, because they were living in a world where there were animals that could... eat them and attack them and, you know, cause huge problems.
This would have been a world which was just coming out of a 1,200-year ice age known as the Younger Dryas, which we know now the evidence seems to point towards the fact that it was triggered by a cosmic event, almost certainly the fragmentation of a comet that caused these air blasts that...
quite literally lit up the whole of the northern hemisphere and created a period of darkness triggering uh an ice age this mini ice age and that ends at 9 600 bc and that's the precise time that gobekli tepe is created so you have to get yourself into the minds of these people what would it have been like at this time what would be going on in their heads
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Chapter 4: What role does plasma play in understanding UAPs?
So you get all these different people speaking all these different languages from all these different places going to meet at Test Teplar. And it's like, what the hell are they doing? If they're not fighting, if they're not warring, and it's like, oh, maybe they're doing drugs together. Maybe this is like when we talk ceremony, it almost reminds me.
Or it could be a little bit like Eleusis where, you know, the ancient Greek city where Brian Maresco has done a lot of great work on that and kind of bringing to light that these people were traveling there for psychedelic journeys. Yes. I think they were.
Yeah. But I mean... I mean, clearly these sites like Gobekli Tepe and Karahan Tepe are multifunctional, one of which is easy access into the sky world. And I think that this is something that these prime movers, this shamanic elite, as I call them, who end up becoming like these bird shamans, literally wearing the cloaks of vultures,
uh they're also snake shamans as well snakes would seem to be one of their chosen totems possibly the goat um you know clearly the fox as well um these are clan totems i think the so you'd have had different human groups that would have been doing different things but they would have been coming together
at these sites um there's a big difference by the way between carahan tepe and gobekli which we'll come on to but to me gobekli is i i see it almost like a sort of catholic cathedral um where you have like the main church you have the high altar the choir um but you also have
whole series of chapels you know that are dedicated to different saints you know so michael the virgin mary and it's the same at gobekli tepe you have these dozens and dozens of um smaller enclosures that would eventually be built and i think the people are coming in
from probably you know as i said maybe from western anatolia probably down from the levant they're probably coming down off the mountains and they're spending time in these they're probably allotted a particular room where they do their own ceremonies now these ceremonies as you say could easily have involved hallucinogens almost certainly they did but they would also have been for healing
They would also have been for dream incubation, you know, to try and find your destiny, your fate, and, you know, and to communicate with the ancestors. I mean, this was one of the most important things, is to connect and to retain that connection with your great ancestors. So Gobekli is, as I said, it's almost like a big Catholic cathedral to me. Except the drugs. Whereas, yeah.
Whereas, you know, somewhere like Karahan Tepe, that's a much deeper thing going on there. It's almost, I see Gobekli Tepe as like the main big site. And then, you know, unless we find another one that matches it, then that is your mother load, if you like. Karahan Tepe... is something where something much deeper is taking place. You're creating these incredible rock-cut enclosures.
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Chapter 5: What insights do crop circles provide?
And even the pit shrine, I think is another head of a snake, slightly different shape. And we know that because on the side of the pitch shrine is a very long incised snake. The head of that incised snake, which is on a bench in structure AA, the pitch shrine, is the same shape. There you go. So on the right here, you've got the head of the snake. You can see it's slightly raised up there.
And obviously someone here has linked it with the Milky Way, which is obviously what I've been saying for many years since 2021, since all this first was released. And that snake there, well, this is the clue. Firstly, the pitch shrine is orientated towards the midsummer season. sunset in 9,000 BC when it was constructed.
And if you wait for another two hours, you will see where the sun has set the Milky Way rising vertically up in the sky with the dark rift, which we've already talked about in between. And it goes up to the stars of Cygnus and obviously Deneb, the bright star in it, but right on the horizon. you have the stars that surround what's known as the galactic bulge.
The galactic bulge is the center of our own Milky Way galaxy. It was incredibly bright in the past, almost like a light bulb in the sky, and has universally been seen as the head of a creature, generally a snake. And the fact that the dark rift cuts through it accentuates that whole idea that it's the mouth of a creature. That creature is generally interpreted as a snake. So in other words,
The snake itself is a cosmic snake and it's the Milky Way itself. And obviously this person here has tried to show this. This here, I'm not sure, I presume that that is the central area of the galaxy and somewhere here is galactic center. the very center of our galaxy. And this was the area that these people were focusing on.
And they were focusing on the galactic center for the simple reason that to them, if they want to speak to the spirit of this snake, they need to speak to the head because they saw the head, as we've already talked about, as the point of focus of the human soul, but also by virtue of that, the soul of a snake genius like this.
um so they're focusing on this now would they have been aware of galactic center being at this exact spot maybe i think that they may have been aware that there was some kind of intelligence associated with this area of the sky and that they would have interpreted this as the place of beginning the source the origin of everything and um
My book, Karahan Tepe, is dedicated to a late friend of mine who was John Major Jenkins, who wrote extensively about the Mayan culture, 2012. He also did a book called Galactic Alignment. And it was a book that put together evidence from all the way around the world that ancient cultures were aware of galactic center. It's an incredible book if people haven't already, you know, got onto it.
And I think that he is right, that people were focusing on that area of the sky as almost like the source of everything. Now, why exactly they got onto it, I don't know. Let's call it intuition, if you like. But this also corresponded to the head of this cosmic serpent, which was the Milky Way itself. And this was seen to wrap itself around the Earth, the other world, if you like. And...
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Chapter 6: How do ancient beliefs shape modern interpretations of the cosmos?
But is there no video of a crop circle being made that's real?
Oh, no, no. Okay. This is a whole book in its own right, obviously. Firstly, historical crop circles are real, no problem at all. They were known in the past as devil circles. They were known in the past as fairy circles, even though that can be confused with another type of fairy circle that's made from a ring of... a fungi or whatever.
Going back how far?
Yeah, well, it's certainly at least the 16th century. No, sorry, 17th century. And there is the famous story of the mowing devil. And this is an account from, there you go, that was quick, is that this account was given and written up as a booklet in the 17th century in the county of Hertfordshire,
of this farmer looking out of his window and seeing this light in the fields yeah um and basically he interpreted it as the the the presence of the devil But when he went out there the next day, there was a whole mowed area in a circle. When he said mowed, obviously that generally means cut down. So that's slightly different to modern crop circles, but very similar.
But what's so interesting about this is that the farmer then became quite ill afterwards. and suffered with a sickness after actually having gone in to this mode circle. And that's so interesting because on so many occasions, people going into crop circles would have an adverse reaction. Sometimes it was good.
Maybe they had like a healing effect or in others, they would come out feeling incredibly nauseous. Now, obviously, the sceptics just put that down to, oh, well, it's the crop spraying or something, chemicals in the land. But no, that seemed to be something that was occurring again and again, particularly in the early days of crop circles when I was investigating them in the early 1990s.
But then, of course, you have to start looking at the much bigger crop formations that are beautiful, incredible plants. they are signs of transformation ultimately. And the problem here is that we know that so many of these were done by teams of people going out in the middle of the night and creating them, these incredible artists.
I mean, I lived at a place called Avebury, which is right in the center of this huge great stone circle, the largest one. And I lived there for five years. I got to know all of the crop circle makers. And I was able to have detailed conversations. They respected me because they know I'd written books that, you know, were sympathetic to the fact that a lot had been done by human hands. And...
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