For the last few years, I've been studying history and science, trying to figure out some of the greater mysteries of our past and future. Not all of these notes are in order, but I will share them all with you any way, in hopes that maybe someone out there reading this will come up with some clever ideas, notions, theories, or discoveries which I might have missed or overlooked. First, I would like to say that I am still a theologian and a ufologist, although I have become more of an evolutionist lately ever since I started anthropology. I am still an agnostic, and a historian, although I'm more sure than unsure of what I believe in at this point. My idea here is to share some of the work I've done, plus what others have done, given all our research on this subject. After all, the internet was designed in order to share information and technology. So, that's exactly what I'm going to use it for.

First off, I'd like to say that I've changed my mind, and my opinion about some of the regular chat users here, and also about some of my past theories. So if it seems like I'm confused, crazy, insane, or just down right hypocritical, it's because I'm in the constant process of changing everything at the moment. I wont go into the reason why I wrote my last song, or why I quote unquote "switched sides" with everyone here, but I will explain why I no longer believe in Zecharia Sitchin's theories and why I've taken a more skeptical and thorough approach to my research. I'd like to begin by going over the ancient Sumerian cuneiform language and why I mistranslated some of the texts. The answer is simple, I learned Sumerian from Zecharia Sitchin who I recently figured out does not even have a language scholarship. He knows a lot about aliens, and a lot about UFO's, but he doesn't know anything about the ancient Sumerians or what they believed in. No offense to Sitchin of course, as I'm still a big fan of his work, and I haven't completely thrown UFO's out of the picture just yet.

On a Youtube video I watched just recently, there was a language professor who pointed out some of the mistakes in Sitchin's articles, and tries to correct them. One of these corrections deals with the ancient Sumerian cylinder seals and how they were translated. Specifically, the video shows Cylinder Seal VA-243 which Sitchin claims is pictorial evidence that the Sumerians believed in 12 planets, and had a firm knowledge of our solar system. Well this simply is not true, and I will explain why. Zacharia Sitchin says it shows the Sun and planets, and that it's a story about Nibiru and the gods who taught them astronomy. In reality, it has nothing to do with astronomy, Nibiru, or the planets. The sun symbol is not the sun, it is a star symbol. Although the sun is a star, the two symbols are distinguished in Sumerian artwork. The sun represents Shamash, while Ishtar's symbol was the star. The smaller stars or balls might represent the Pleiades constellation. The actual Sumerian cuneiform text says "Dubsiga, Ili-illat, your servant". Dubsiga is the personal name of a powerful person, possibly a ruler or king. Ili-illat is the name of the seal's owner, possibly the name of the servant. This artwork shows a being on a throne and another being standing before the throne. It has nothing to do with Nibiru, or the gods.

The symbols of the important Mesopotamian gods are most prominent: the solar disc of the sun-god Shamash, the crescent of the moon-god Sin and the eight-pointed star of Ishtar, goddess of fertility and war. The square boxes beneath these signs represent altars supporting the symbols of gods, including horned headdresses, the triangular spade of Marduk, and the wedge-shaped stylus of Nabu, the god of writing. A prominent snake is shown on many kudurru and may, like many of the symbols, be related to the constellations. The text ends with curses on anyone who removes, ignores or destroys the kudurru.

A group of seven small stars or balls in Sumerian artwork represents the Pleiades constellation, which shows up a lot in Sumerian tablets. The eight-point star is Ishtar's symbol, but there were also six-point stars and five-point stars. Marduk's symbol was a star, Enki's symbol was a star. The Sumerians knew of the Sun and Moon, Saturn, Jupiter, Mars, Venus, Mercury and Earth as depicted in the Mul-Apin zodiac. They did not have a firm knowledge of our universe.

Sun = Utu / Shamash
Mercury = Ninurta
Venus = Dilibat???
Mars = Salboutumu???
Jupiter = Marduk / Sagmegar???
Saturn = Mul-Utu / Ziboniu???
Moon = Sin

Nibiru or neberu refers to place of the crossing, or crossing fee, or crossing point. It may refer to a god or possibly a heavenly body or star. In some texts, it is refered to as a deity and a star. It has been used as a name for Jupiter, Mercury, and for the god Marduk, but it is never identified as a planet beyond Pluto or as some 12th planet as Zacharia Sitchin claims. Scholars are still not sure what Nibiru is for certain. According to the Mul-Apin zodiac, Nibiru marked the beginning of the year and could be seen by Sumerians every year, not once every 1200 years like Zecharia proclaims.

Elohim is a Hebrew singular or plural word like the English word "sheep", depending on how it's used in a sentence. "The sheep is" or "the sheep are". Elohim represents either a single god, or several gods. Elohim is used in the Bible as both, but more often it refers to one god, and the proper name of the Hebrew god. Akkadian correspondance to "elohim" would be "ilanu" which refers to several gods. Sumerian correspondance is "Dingir-Mes", the suffix refering to a plural sense or many gods. Akkadian "ilanu" is used to denote the deity on Egypt's throne, or the pharaoh.

Nephilim in Hebrew does not mean "fallen ones", although it is defined as such by many Hebrew dictionaries which Zacharia Sitchin may have read. However, Nephilim in Hebrew can be spelled two ways. One way suggests that the word might stem from the root "naphal" meaning "to fall" or "to take in battle". Nephulim means "fallen ones", but the word in the Bible is Nephilim, which is an Aramaic word meaning "giant". The confusion may be that it's Aramaic, not Hebrew, but the nephilim are not gods. They are mighty men or semi-gods like Hercules, possibly being human hybrids, but they are not gods. The nephilim therefore cannot be associated with the Sumerian deities. Gilgamesh would be a nephilim kind of being. The Book of Enoch found as part of the Dead Sea Scrolls prescribes a Book of Giants, where Gilgamesh is listed as one of the giants. They were either the hybrid offspring of fallen angels and human women, or they were the offspring of descendants of Seth with those of Cain. A nephilim is a legendary or heroic figure, a mighty warrior, already renowned in legend by the time Moses wrote Genesis.

Shem does not mean "rocket ship" or even "ship", it is a Hebrew word meaning "name". Shamu is the Akkadian word refering to the heavens or a part of heaven, but never to an object in heaven. Mu is also a Sumerian word for the heavens, or rain. Shumu is the Assyrian word for "name". So it does not imply a rocket ship.

Anunnaki in Sumerian texts refers to "princely ones" or "those of royal seed". It is used to describe royalty, human kings, and also it is used to describe a certain group of gods in the Sumerian pantheon. However, nowhere in the texts are they placed on Nibiru, and Nibiru is never mentioned in connection with them. They are the "Sons of Anu", the sons of heaven or sons of god. At first they were considered heavenly beings, but later in the texts somehow they became gods of the netherworld. Now, unlike the nephilim, these gods did in fact create human beings.

Now I'm going to talk about the Epic of Gilgamesh and why it is so important. Afterwards, I will provide you with some details about the Sumerian gods and kings, the ancient Sumerian flood story, human evolution, and some of the oldest writings and artwork on the planet. Most of the following information comes from Wikipedia, simply because I do not have time to write an entire article on this subject right now. But any way, here it goes:

Gilgamesh, also known as Bilgame? in the earliest text, was the son of Lugalbanda and the fifth king of Uruk (Early Dynastic II, first dynasty of Uruk), ruling circa 2700 BC, according to the Sumerian king list. He became the central character in the Epic of Gilgamesh, one of the best known works of early literature, which says that his mother was Ninsun (whom some call Rimat Ninsun), a goddess. The epic hero Gilgamesh is described in the beginning of the poem as two parts god and one part man.

In the Epic of Gilgamesh, Gilgamesh is credited with the building of the legendary walls of Uruk. An alternative version has Gilgamesh, towards the end of the story, boasting to Urshanabi, the ferryman, that the city's walls were built by the Seven Sages. In historical times, Sargon of Akkad claimed to have destroyed these walls to prove his military power.

Fragments of an epic text found in Me-Turan (modern Tell Haddad) relate that Gilgamesh was buried under the waters of a river at the end of his life. The people of Uruk diverted the flow of the Euphrates River crossing Uruk for the purpose of burying the dead king within the riverbed. In April 2003, a German expedition discovered what is thought to be the entire city of Uruk—including the former bed of the Euphrates, the last resting place of its king, Gilgamesh.

The earliest Sumerian versions of the epic date from as early as the Third Dynasty of Ur (2150-2000 BCE). The earliest Akkadian versions are dated to the early second millennium. The "standard" Akkadian version, consisting of twelve tablets, was edited by Sin-liqe-unninni sometime between 1300 and 1000 BCE and was found in the library of Ashurbanipal in Nineveh.

[edit] Tablet one
The story starts with an introduction to Gilgamesh of Uruk, the greatest king on earth, two-thirds god and one-third human, as the strongest God-King who ever existed. The introduction describes his glory and praises the brick city walls of Uruk. The people in the time of Gilgamesh, however, are not happy. They complain that he is too harsh and abuses his power by sleeping with women before their husbands do, so the goddess of creation Aruru creates the mighty wild-man Enkidu. Enkidu starts bothering the shepherds and jostles the animals at the watering hole. A trapper complains to Gilgamesh, the king sends the woman Shamhat who was a temple prostitute—a naditu or hierodule in Greek. The body contact with Shamhat civilizes Enkidu, and after six days and seven nights, he is no longer a wild beast who lives with animals. Shamhat convinces Enkidu to come to Uruk and be a man of society. Meanwhile, Gilgamesh has some strange dreams; his mother Rimat Ninsun explains them by telling him that a mighty friend will come to him.

[edit] Tablet two
Enkidu and Shamhat leave the wilderness for Uruk to attend a wedding. When Gilgamesh comes to the party to sleep with the bride, he finds his way blocked by the mighty Enkidu who opposes Gilgamesh's ego, his treatment of women and the defamation of the sacred bonds of marriage Enkidu has come to honor (in at least one standard version Enkidu's only stated concern is proving he is stronger than Gilgamesh). Enkidu and Gilgamesh fight each other. After a mighty battle, Gilgamesh breaks off from the fight after defeating Enkidu, sparing his life yet also heeding what Enkidu has said. The event teaches Gilgamesh the virtues of mercy and humility, along with courage and nobility. Gilgamesh is transformed for the better through his friendship with Enkidu, and vice-versa, as they have many lessons to learn from each other. They even begin to see each other as brothers in time.

[edit] Tablet three
Years later, becoming bored of peaceful life in Uruk, and wanting to make an ever-lasting name for himself, Gilgamesh proposes to travel to the Cedar Forest to cut some great trees and kill the guardian, the demon Humbaba. Gilgamesh wants to do this for glory and renown, and to make great things from the wood of the Cedar Forest. Enkidu objects as the Cedar Forest is the sacred realm of the Anunnaki and not meant for mortals, but Enkidu cannot convince his friend. They seek the wisdom of the Elder Council, but Gilgamesh remains stubborn. Enkidu gives in and both prepare to journey to Cedar Forest. Gilgamesh tells his mother, who complains about it, but then asks the sun-god Shamash for support and gives Enkidu some advice. She also adopts Enkidu as her second son.

[edit] Tablet four
Gilgamesh and Enkidu journey to the Cedar Forest. On the way, Gilgamesh has five bad dreams, but due to the bad construction of the tablet, the dreams are difficult to reconstruct. Enkidu, each time, explains the dreams as a good omen. When they reach the forest, Gilgamesh becomes afraid again and Enkidu must encourage him.

[edit] Tablet five
When the heroes finally run into Humbaba, the demon-ogre guardian of the trees, the monster starts to offend them. This time, Gilgamesh is the one to become afraid. After some brave words of Enkidu, the battle commences. Their rage separates the Syria mountains from Lebanon. Gilgamesh distracts the monster into giving away his seven layers of armor, or "radiances", by offering his sisters as wives and concubines. Finally, Shamash sends his thirteen winds to help the two heroes, and Humbaba is defeated. The monster begs Gilgamesh for his life, and Gilgamesh pities the creature. Enkidu, however, gets mad at Gilgamesh and asks him to kill the beast. Humbaba then turns to Enkidu and begs him to persuade his friend to spare his life. When Enkidu repeats his request to Gilgamesh, Humbaba curses them both before Gilgamesh puts an end to it. When the two heroes cut a huge cedar tree, Enkidu makes a huge door of it for the gods and lets it float down the river.

[edit] Tablet six
Gilgamesh rejects the sexual advances of Anu (the sky-god)'s daughter, the goddess Ishtar (goddess of love and war), because of her mistreatment of her previous lovers like Dumuzi. Ishtar asks her father Anu to send the "Bull of Heaven" to avenge the rejected sexual advances. When Anu rejects her complaints, Ishtar threatens to raise the dead. Anu becomes frightened and gives in. The bull of heaven is a plague for the lands. Apparently the creature has something to do with drought because, according to the epic, the water disappeared and the vegetation died. Whatever the case, Gilgamesh and Enkidu, this time without divine help, slay the beast and offer its heart to Shamash. When they hear Ishtar cry out in agony, Enkidu tears off the bull's hindquarter and throws it in her face and threatens her. The city of Uruk celebrates, but Enkidu has a bad dream detailed in the next tablet.

[edit] Tablet seven
In Enkidu's dream, the gods decide that somebody must be punished for killing the Bull of Heaven and Humbaba, and in the end they decide to punish Enkidu. All of this is much against the will of Shamash. Enkidu tells Gilgamesh all about it, then curses the door he made for the gods. Gilgamesh is shocked and goes to temple to pray to Shamash for the health of his friend. Enkidu then starts to curse the trapper and Shamhat because now he regrets the day that he became human. Shamash speaks from heaven and points out how unfair Enkidu is; he also tells him that Gilgamesh will become a shadow of his former self because of his death. Enkidu regrets his curses and blesses Shamhat. He becomes more and more ill and describes his descent into the horrific Netherworld as he is dying, which he calls the "House of Dust" where the dead wear feathers like birds, they eat clay and do without light.

[edit] Tablet eight
Gilgamesh delivers a lamentation for Enkidu, offering gifts to the many gods, in order that he might walk beside Enkidu in the netherworld. He orders the people of Uruk to also mourn Enkidu, from the lowest farmer to the highest temple priests, and orders statues of Enkidu to be built. Gilgamesh is so full of grief and sorrow over his friend that he refuses to leave Enkidu's side, or allow his corpse to be buried, until six days and seven nights after his death when a maggot falls from Enkidu's nose.

[edit] Tablet nine
Gilgamesh sets out to avoid Enkidu's fate and makes a perilous journey to visit Utnapishtim (the Faraway, a Sumerian mythology counterpart of Noah) and his wife, the only humans to have survived the Great Flood and who were granted immortality by the gods, in the hope that he too can attain immortality. The ageless Utnapishtim and his wife now reside in a beautiful country in another world, Dilmun, and Gilgamesh travels far to the east, crossing great rivers and oceans, to the mountain passes at the ends of the earth where he grapples and slays monstrous mountain lions, bears and others. Eventually he comes to the twin peaks of Mount Mashu at the end of the earth, from where the sun rises from the other world, the gate of which is guarded by two terrible scorpion-beings. They allow him to proceed after Gilgamesh convinces them to let him pass, stating his divinity and desperation, and he travels through the dark tunnel where the sun travels every night. Just before the sun is about to catch up with him, and with the North Wind and ice lashing him, he reaches the end. The world at the end of the tunnel is a bright wonderland full of trees with leaves of jewels.

[edit] Tablet ten
Gilgamesh meets the alewife Siduri, who first believes Gilgamesh is a murderer from his dishevelled appearance, and tells her the purpose of his journey. Siduri attempts to dissuade him from his quest but sends him to Urshanabi the ferryman to help him cross the sea to Utnapishtim. Urshanabi is in the company of stone-giants. Gilgamesh considers them hostile and kills them. When he tells Urshanabi his story and asks for help, he is told that he just killed the only creatures able to cross the Waters of Death. The Waters of Death are not to be touched, or even passing your hand over them is death, so Urshanabi asks Gilgamesh to cut 120 trees and fashion them into punting poles so that they can cross the waters by picking a new pole each time, and also uses his garment as a sail. Finally, they reach Dilmun, the island of Utnapishtim. Utnapishtim sees that there is someone else in the boat, and asks Gilgamesh who he is. Gilgamesh tells him his story and asks for help, but Utnapishtim reprimands him because fighting the fate of humans is futile and ruins the joy in life.

[edit] Tablet eleven
Gilgamesh argues that Utnapishtim is not different from him and asks him his story, and why he has a different fate. Utnapishtim tells him about the great flood. His story is a summary of the story of Atrahasis (see also Gilgamesh flood myth) but skips the previous plagues sent by the gods. He reluctantly offers Gilgamesh a chance for immortality, but questions why the gods would give the same honor as himself, the flood hero, to Gilgamesh and challenges Gilgamesh to stay awake for six days and seven nights first. However, just when Utnapishtim finishes his words Gilgamesh falls asleep. Utnapishtim ridicules the sleeping Gilgamesh in the presence of his wife and tells her to bake a loaf of bread for every day he is asleep so that Gilgamesh cannot deny his failure. When Gilgamesh, after seven days, discovers his failure, Utnapishtim is furious with him and sends him back to Uruk with Urshanabi in exile. The moment that they leave, Utnapishtim's wife asks her husband to have mercy on Gilgamesh for his long journey. Utnapishtim tells Gilgamesh of a boxthorn-like plant at the very bottom of the ocean that will make him young again. Gilgamesh obtains the plant by binding stones to his feet so he can walk the bottom of the sea. He does not trust the plant and plans to test it on an old man's back when he returns to Uruk. Unfortunately he places the plant on the shore of a lake while he bathes, and it is stolen by a serpent who loses his old skin and thus is reborn. Gilgamesh weeps in the presence of Urshanabi. Having failed at both opportunities, he returns to Uruk, where the sight of its massive walls prompts him to praise this enduring work to Urshanabi, he is left to find his companion Enkidu.

[edit] Tablet twelve
Note that the content of this last tablet is not connected with previous ones, and appears to be written by a different author at a much later date than the previous tablets. Gilgamesh complains to Enkidu that his ball-game-toys fell in the underworld. Enkidu offers to bring them back. Delighted, Gilgamesh tells Enkidu what he must and must not do in the underworld in order to come back. Enkidu forgets the advice and does everything he was told not to do. The underworld keeps him. Gilgamesh prays to the gods to give him his friend back. Enlil and Suen don’t bother to reply but Ea and Shamash decide to help. Shamash cracks a hole in the earth and Enkidu jumps out of it. The tablet ends with Gilgamesh questioning Enkidu about what he has seen in the underworld. The story doesn’t make clear whether Enkidu reappears only as a ghost or really comes back to life.

Sumerian Creation Tablet:

The Sumerian creation myth, the earliest account of the Sumerian creation and Flood myth, is found on a single fragmentary tablet excavated in Nippur, sometimes called the Eridu Genesis. It is written in the Sumerian language and datable by its script to the 18th century BC (First Dynasty of Babylon, where the language of writing and administration was still Sumerian).

Where the tablet picks up, the gods An, Enlil, Enki and Ninhursanga create the Sumerians (the "black-headed people") and the animals. Then kingship descends from heaven and the first cities are founded: Eridu, Bad-tibira, Larsa, Sippar, and Shuruppak.

After a missing section in the tablet, we learn that the gods have decided to send a flood to destroy humankind. Zi-ud-sura, the king and gudug priest, learns of this. (In the later Akkadian version, Ea, or Enki in Sumerian, the god of the waters, warns the hero (Atra-hasis in this case) and gives him instructions for the ark. This is missing in the Sumerian fragment, but a mention of Enki taking counsel with himself suggests that this is Enki's role in the Sumerian version as well.)

When the tablet resumes it is describing the flood. A terrible storm rocks the huge boat for seven days and seven nights, then Utu (the Sun god) appears and Zi-ud-sura creates an opening in the boat, prostrates himself, and sacrifices oxen and sheep.

After another break the text resumes, the flood is apparently over, the animals disembark and Zi-ud-sura prostrates himself before An (sky-god) and Enlil (chief of the gods), who give him eternal life and take him to dwell in Dilmun for "preserving the animals and the seed of mankind". The remainder of the poem is lost.



Gobekli Tepe (pr. Gobekly-Tehpay):

Göbekli Tepe is regarded as an archaeological discovery of the greatest importance, since it profoundly changes our understanding of a crucial stage in the development of human societies. Apparently, the erection of monumental complexes was within the capacities of hunter-gatherers and not only of sedentary farming communities as had been previously assumed. In other words, as excavator Klaus Schmidt put it: "First came the temple, then the city." This revolutionary hypothesis will have to be supported or modified by future research.

Schmidt considers Göbekli Tepe a central location for a cult of the dead. He suggests that the carved animals are there to protect the dead. Though no tombs or graves have been found so far, Schmidt believes they remain to be discovered beneath the sacred circles' floors.

It is one of several neolithic sites in the vicinity of Mount Karaca Dag, an area where geneticists suspect the origins of at least some of our cultivated grains (see Einkorn). Such scholars suggest that the Neolithic revolution, i.e., the beginnings of grain cultivation, took place here. Schmidt and others believe that mobile groups in the area were forced to cooperate with each other to protect early concentrations of wild cereals from wild animals (herds of gazelles and wild donkeys). This would have led to an early social organization of various groups in the area of Göbekli Tepe.

Schmidt has engaged in some speculation regarding the belief systems of the groups that created Göbekli Tepe, based on comparisons with other shrines and settlements. He assumes shamanic practices and suggests that the T-shaped pillars may represent mythical creatures, perhaps ancestors, whereas he sees a fully articulated belief in gods only developing later in Mesopotamia, associated with extensive temples and palaces. This corresponds well with an ancient Sumerian belief that agriculture, animal husbandry and weaving had been brought to mankind from the sacred mountain Du-Ku, which was inhabited by Annuna-deities, very ancient gods without individual names.

It is also apparent that the animal and other images are peaceful in character and give no indication of organised violence, i.e., hunting. We cannot "read" the pictograms, and do not know for certain what meaning the animal reliefs had for visitors to the site; the variety of fauna depicted, from lions and boars to birds and insects, makes any single explanation problematic. It is not known why more and more walls were added to the interiors while the sanctuary was in use, with the result that some of the engraved pillars were obscured from view. The reason the complex was eventually buried also remains unexplained. Considering that only a fraction of the site has so far been excavated, these and other mysteries may eventually be cleared up.


There's more time between Gobekli Tepe and the Sumerian clay tablets [etched in 3300 B.C.] than from Sumer to today. It was constructed in 9,000 B.C. and is the oldest temple yet discovered [predates Stonehenge & Pyramids by 7,000 years]. Some of the Tepe's megalithic structures and carvings resemble those found in Boyne Valley in Ireland [c. 5,000 B.C.] which raises the question, did the same culture migrate to Ireland? One interesting fact is that around 8,000 B.C the whole complex was covered over with earth, on purpose and with great effort.

For the old Kurdish shepherd, it was just another burning hot day in the rolling plains of eastern Turkey. Following his flock over the arid hillsides, he passed the single mulberry, which the locals regarded as "sacred". The bells on his sheep tingled in the stillness. Then he spotted something. Crouching down, he brushed away the dust, and exposed a large oblong stone... Gobekli Tepe, 1994, a temple in Eden.

Schmidt believes many hunters got togather to build Gobekli Tepe, and afterwards they congregated there for worship. But they could not feed everyone by simply hunting and gathering, so they began cultivating the wild grasses on the hills. Religion motivated farming. These rolling Anatolian plains were the cradle of agriculture. The world's first farmyard pigs were domesticated at Cayonu just 50 miles away. Sheep, cattle and goats were also domesticated in eastern Turkey, along with the very first wheat. Einkorn wheat was domesticated right on the hills of Gobekli Tepe, along with rye and oats. The land was once rich with rivers, forests, orchards and wild animals, until human beings destroyed it and turned the area into the desert we see today.

The Book of Genesis says that Eden is located west of Assyria, between the Tigris and Euphrates rivers, which is where Gobekli Tepe is located. Assyrian texts mention a Beth-Eden [House of Eden], a minor kingdom that was 50 miles from Gobekli Tepe. There is another O.T. reference to the "Children of Eden which were in Thelasar", a town in northern Syria near Gobekli Tepe. The very word "eden" is Sumerian for "plain", and Gobekli Tepe lies on the plains of Harran. These edenites had cultivated art, architecture, and complex ritual, eventually progressing to agriculture. They also practiced human sacrifice and skull painting, which eventually spread to Palestine, Canaan and Israel.

It is possible that they purposely buried the site in penance for their human sacrifices and stone worship, or maybe there is something beneath the temple which they intended for us not to find [great story idea]. With no evidence of houses or graves near the stones, Schmidt believes the hill top was a site of pilgrimage for communities within a radius of roughly a hundred miles. He notes how the tallest stones all face southeast [Sumeria?], as if scanning plains that are scattered with archeological sites in many ways no less remarkable than Gobekli Tepe.

More the news last week from northern Syria, of the earliest known wall paintings dating back to 11,000 years - in reference to a comment I saw on a another site, which questioned whether these were really the oldest known wall paintings, these are different from earlier Palaeolithic parietal paintings, in that the walls which they adorned at Dja'de were constructed by humans, rather than on cave walls which were constructed organically by natural processes. They were painted on the walls of a house which had been purposely filled with mud.

The most recent discovery, an 11,000-year-old statue of a man is "particularly important and well preserved," Coqueugniot said. This item will allow comparisons with other similar sculptures found on sites in the Urfa region of southern Turkey, added the French scientist, who has overseen archaeological projects at Dja'de for 15 years. "The figures could have had religious significance. The female statuettes could also have been fertility symbols. But they could have had entirely different ritual meanings," Coqueugniot said "We can only offer hypotheses," he added. "It is still very difficult to say what was the significance of this 11,000-year-old statue of the woman." They also found a man-lion or sphinx sculpture carved thousands of years before Egypt.

The Bible tells of men of extraordinary size in the pre-flood world, calling them Nephilim. The Nephilim are said to be the hybrid offspring of angels materialized into human form that had sexual relations with women on Earth (Genesis 6:1,2,4). The global flood of Genesis was said to have destroyed all life on earth which would include the Nephilim (Genesis 6:17; 7:17-21), however, in Numbers, some of the spies of Israel report that the Anakites, descendants of the Nephilim, were still living in Canaan (Numbers 13:28-33).

The Anakites (Numbers 13:28-33), the Emites (Deuteronomy 2:10), and the Rephaites (Joshua 12:4) were giants living in the Promised Land. The Bible also tells of strife between David and the giant Goliath, ending with the defeat of the latter. According to the King James Bible, Goliath was "six cubits and a span" in height—over nine feet tall, (over 2.75 m) (1 Samuel 17:4 KJV). The much older, original Septuagint Hebrew Bible (Greek), followed by the historian Josephus and the Dead Sea Scrolls gives Goliath's height as "four cubits and a span," (approximately 2.00 m or about six feet seven inches).

Alulim was the first king of Eridu and the first king of Sumer according to the Sumerian king list, making him the first king in the world. Enki, the god of Eridu, or his mortal son Adapa, are said to have brought civilization to Sumer. "After the kingship descended from heaven, the kingship was in Eridug (Eridu). In Eridug, Alulim became king; he ruled for 28,800 years."

Eridu (URUNUN.KI ????; Sumerian:eridug; from the Sumerian for "mighty place") is an ancient city in what is now Tell Abu Shahrain, in Iraq. Eridu was the earliest city in southern Mesopotamia, founded c. 5400 BCE. Located 12 km southwest of Ur, Eridu was the southernmost of a conglomeration of Sumerian cities that grew about temples, almost in sight of one another. In Sumerian mythology, Eridu was founded by the Sumerian deity Enki, later known by the Akkadians as Ea.

Ubara-tutu (or Ubartutu) of Shuruppak was the last antediluvian king of Sumer. "Then the flood swept over." Excavations in Iraq have revealed evidence of localized flooding at Shuruppak (modern Tell Fara, Iraq) and various other Sumerian cities. A layer of riverine sediments, radiocarbon dated to ca. 2900 BCE, interrupts the continuity of settlement, extending as far north as the city of Kish. Polychrome pottery from the Jemdet Nasr period (3000-2900 BCE) was discovered immediately below the Shuruppak flood stratum. After the deluge, the kingship was reestablished in the northern city of Kish, according to the Sumerian king list.

Ziusudra (also Zi-ud-sura, Zin-Suddu, Hellenized Xisuthros: "found long life" or "life of long days") of Shuruppak is listed on some versions of the Sumerian king list as the last king of Sumer before the Flood. He then becomes the hero of the Sumerian flood myth. Akkadian Atrahasis ("extremely wise") and Utnapishtim ("he found life") as well as biblical Noah ("Rest") are similar heroes of Ancient Near Eastern flood stories.

Ziusudra, or Zin-Suddu, appears in the WB-62 version of the Sumerian king list as a king/chief of Shuruppak who reigned for 10 (shar) years.[1] Ziusudra was preceded in this king list by his father Su-Kur-Lam who was also king of Shuruppak and ruled 8 (shar) years.[2] On the next line after Ziusudra in the King List are the sentences "The flood swept thereover. After the flood swept thereover, ... the kingship was in Kish." The city of Kish flourished in the Early Dynastic period soon after an archaeologically attested river flood in Shuruppak that has been radio-carbon dated about 2900 BC.[3] Polychrome pottery from below the flood deposit have be dated to the Jemdet Nasr period that immediately preceded the Early Dynastic I period.[4]

The importance of Ziusudra's name on the king list is that it links the flood mentioned in the Epics of Ziusudra, Atrahasis, Utnapishtim, etc. to river flood sediments in Shuruppak, Uruk, and Kish that have been radio carbon dated as 2900 BC. So scholars conclude that the flood hero was king of Shuruppak at the end of the Jemdet Nasr period (3000-2900) which ended with the river flood of 2900 BC.

Adapa was a Babylonian mythical figure who accidentally rejected the gift of immortality. The story is first attested in the Kassite period (14th century BC). Adapa was a mortal from a godly lineage, a son of Ea (Enki in Sumerian), the god of wisdom and of the ancient city of Eridu, who brought the arts of civilization to that city (from Dilmun, according to some versions). He broke the wings of Ninlil the South Wind, who had overturned his fishing boat, and was called to account before Anu. Ea, his patron god, warned him to apologise humbly for his actions, but not to partake of food or drink while he was in heaven, as it would be the food of death. Anu, impressed by Adapa's sincerity, offered instead the food of immortality, but Adapa heeded Ea's advice, refused, and thus missed the chance for immortality that would have been his. Adapa is often identified as advisor to the mythical first (antediluvian) king of Eridu, Alulim. In addition to his advisory duties, he served as a priest and exorcist, and upon his death took his place among the Seven Sages or Apkallu. (Apkal, "sage", comes from Sumerian Abgallu (Ab=water, Gal=Great, Lu=man) a reference to Adapa, the first sage's association with water.)


Enki (Sumerian: dEN.KI(G)????) was a god in Sumerian mythology, later known as Ea in Akkadian and Babylonian mythology. He was originally patron god of the city of Eridu, but later the influence of his cult spread throughout Mesopotamia and to the Hittites and Hurrians. The exact meaning of his name is uncertain: the common translation is "Lord of the Earth": the Sumerian en is translated as a title equivalent to "lord"; it was originally a title given to the High Priest; ki means "earth"; but there are theories that ki in this name has another origin, possibly kig of unknown meaning, or kur meaning "mound". The name Ea is allegedly Hurrian in origin while others [3][4] claim that it is possibly of Semitic origin and may be a derivation from the West-Semitic root *hyy meaning "life" in this case used for "spring", "running water." In Sumerian E-A means "the house of water", and it has been suggested that this was originally the name for the shrine to the God at Eridu.

The main temple to Enki is called E-abzu, meaning "abzu temple" (also E-engura, meaning "house of the subterranean waters""), a ziggurat temple surrounded by Euphratean marshlands near the ancient Persian Gulf coastline at Eridu. He was the keeper of the divine powers called Me, the gifts of civilization. His image is a double-helix snake.

Considered the master shaper of the world, god of wisdom and of all magic, Enki was characterised as the lord of the Abzu (Apsu in Akkadian, perhaps equivalent of Greek abýssos, English "abyss"), the freshwater sea or groundwater located within the earth. In the later Babylonian epic Enûma Eliš, Abzu, the "begetter of the gods", is inert and sleepy but finds his peace disturbed by the younger gods so sets out to destroy them. His grandson Enki, chosen to represent the younger gods, puts a spell on Abzu "casting him into a deep sleep", thereby confining him deep underground. Enki subsequently sets up his home "in the depths of the Abzu." Enki thus takes on all of the functions of the Abzu, including his fertilising powers as lord of the waters and lord of semen [5].

Early royal inscriptions from the third millennium BCE mention "the reeds of Enki". Reeds were an important local building material, used for baskets and containers, and collected outside the city walls, where the dead or sick were often carried. This links Enki to the Kur or underworld of Sumerian mythology. In another even older tradition, Nammu, the goddess of the primeval creative matter and the mother-goddess portrayed as having "given birth to the great gods," was the mother of Enki, and as the watery creative force, was said to preexist Ea-Enki.


Benito states "With Enki it is an interesting change of gender symbolism, the fertilising agent is also water, Sumerian "a" which also means "semen". In one evocative passage in a Sumerian hymn, Enki stands at the empty riverbeds and fills them with his 'water'"[7]. This may be a reference to Enki's hieros gamos or sacred marriage with Ki/Ninhursag (the Earth) (see below). His symbols included a goat and a fish, which later combined into a single beast, the goat Capricorn, recognised as the Zodiacal constellation Capricornus.


Enki was not perfect, as god of water he had a penchant for beer and as god of semen he had a string of incestuous affairs. He is also the father of Ninki (Lady Rib), who is associated with the biblical Eve.

The first modern White racial type only emerged between approximately 40,000 BC and 15,000 BC in differing parts of Europe and the Near East. This time period is known as the Late Paleolithic period, also known generically as the Stone Age. This first racial type is known as Cro-Magnon man - after a site in the Dordogne region of France where the first skeletal remains were found. Cro-Magnon man is the first biped life form with whom modern Whites can clearly claim a direct genetic affinity. White racial history therefore begins around the year 35,000 BC - and so it is with the Late Paleolithic period that the story in this book really begins.


Mitochondrial Eve is believed to have lived between 150,000 to 250,000 years BP, probably in East Africa, in the region of Tanzania and areas to the immediate south and west.[1] She lived during a period of time when Homo sapiens were developing as a species separate from other hominid species. She lived in a population of between perhaps 4000 to 5000 females capable of producing offspring at any given time. Mitochondrial Eve would have been roughly contemporary with humans whose fossils have been found in Ethiopia near the Omo River and at Hertho. Mitochondrial Eve lived significantly earlier than the out of Africa migration which might have occurred some 60,000 to 95,000 years ago.



The Makapansgat pebble or the pebble of many faces, is a 260-gram jasperite cobble with natural chipping and wear patterns that make it look like a crude rendition of a human face and is considered the first manuport. The pebble is interesting in that it was found some distance from any possible natural source, in the context of Australopithecus africanus remains in South Africa. Though it is definitely not a manufactured object, it has been suggested that some australopithecine, or possibly another hominid, recognized it as a symbolic face and brought it back to camp. If so, it may be a candidate for the earliest example of symbolic thinking or aesthetic sense in the human heritage. Appearance of first manuport, Makapansgat pebble with distinctive "staring eyes" markings and facial features deposited by hominid in dolerite cave in Makapansgat South Africa, may date as early as 3,000,000 BC.

The Venus of Tan-Tan is an alleged artefact found in Morocco (North Africa), more specifically in the Moroccoan town of Tan-Tan on the northwest coast. It is 6 centimeters long quartzite rock, and has been interpreted as a depiction of the human form, gender indeterminate and faceless, dated between 300,000 and 500,000 years ago. It and its contemporary, the Venus of Berekhat Ram, have been claimed as the earliest representations of the human form. This argument is still disputed. The Venus of Berekhat Ram was a pebble found at the foot of Mount Hermon on the border of Israel and Syria.

Bilzingsleben is a site in Thuringia, Germany where palaeolithic homo erectus remains were found. One bone fragment, an elephant tibia, has two groups of 7 and 14 incised parallel lines and might represent an early example of art. The regular spacing of the incisions, their subequal lengths and V-like cross-sections suggest they were created at the same time, with a single stone tool. The tibia dates to between 350,000 and 400,000 years ago. The interpretation as an early calendar is unlikely, but still theorized. The notion of the Thuringian Calendar being the oldest form of art is also disputed, unlike the artifacts at Hohle Fels.

The oldest known "human art" is the series of Stone Age petroglyphs (cupules) discovered during the 1990s in two ancient quartzite caves in India: Auditorium Cave, Bhimbetka and a Daraki-Chattan rock shelter. Geological investigations of the prehistoric sites by renowned archeologists Bednarik, Kumar and others, have established that this rock art pre-dates the Acheulean culture of the Lower Paleolithic era, and must therefore date from at least 290,000 BCE. However, once more advanced dating methods become available, it is conceivable that these petroglyphs will turn out to be much older - perhaps originating as early as 700,000 BCE - although at present this is mere speculation. Even so, the Bhimbetka cupules are four times older than the Blombos Cave art, which is the next oldest site of Stone Age art. Cupule and meander petroglyph on a boulder at the Auditorium Cave, Bhimbetka, Madhya Pradesh, India (c.290,000-700,000 BCE), just an indent in the rocks. The oldest cave painting is only 12,000 years old.

Blombos Cave is a cave in a limestone cliff on the Southern Cape coast in South Africa. It is an archaeological site made famous by the discovery there of two pieces of ochre engraved with abstract designs, and 75,000-year-old beads made from Nassarius shells. The engraved pieces of ochre dated 70,000-75,000 BC are regarded as the oldest known artwork and jewelry. These engravings are very similar to the V-shaped criss crossing lines found on the Bilzingsleben bone calendar.

Mpumalanga, South Africa. Discovered by pilot/explorer Johan Heine in 2003, Adam's Calendar takes us closer to the origins of Homo sapiens on planet Earth than any other human structure ever examined. This ancient calendar site is aligned to the rise of Orion in the southern hemisphere and gives us an immediate link to the architects of te pyramids of Giza, Mexico and China. It is therefore quite conceivable that Adam's Calendar was the first creation by the same architects who many millenia later erected the most impressive structures known to humankind. Later, he discussed a South African site dubbed "Adam's Calendar" which his research indicates is around 75,000 years old. "We have found something truly remarkable, truly unique, and most likely the oldest manmade structure on earth," Tellinger marveled. According to surveyors who have examined it, the site was "a circular structure, like Stonehenge" that featured rocks which aligned with "the cardinal geographical points of Earth" along with the solstices and equinoxes. He explained that the dating of the site was derived from the fact that it did not match up with the contemporary position of the Sun, thus via archaeoastronomy they determined the age of the monument.


Ksar Akil is an archeological site in Lebanon. It is believed to be one of the earliest known sites containing Upper Paleolithic technologies. Artifacts recovered from the site indicate that the inhabitants were among the first in Western Eurasia to use personal ornaments. Results from radiocarbon dating indicate that the early humans may have lived at the site 45,000 years ago or earlier. Ksar Akil is a rock-shelter overlooking the Antelias valley in Lebanon. The site was occupied almost continuously for about 35,000 years, during which time deposits 23m in depth accumulated. The earliest levels are Middle Palaeolithic and include scrapers and Levallois flint tools, dating to about 45,000 years ago.

Hohle Fels (German: "Hollow Rock") is a cave in the Swabian Alb of Germany which yielded a number of spectacular finds. 35,000-40,000 years ago Aurignacians carved the Venus of Hohle Fels, which is the oldest known Venus figurine and the earliest undisputed example of figurative art. They also carved a vulture's wing-bone flute 35,000 years ago which is the earliest undisputed musical instrument ever found. Venus of Hohle Fels was meant to be worn as a pendant, and can be considered an early form of jewelry.

"The Lion Man," found in the Hohlenstein-Stadel cave of Germany's Swabian Alb and dated at 32,000 years old, is associated with the Aurignacian culture and is the oldest known anthropomorphic animal figurine in the world. A lion headed figure, first called the lion man (German: Löwenmensch, literally "lion person"), then the lion lady (German: Löwenfrau), is an ivory sculpture that is the oldest known zoomorphic (animal-shaped) sculpture in the world and one of the oldest known sculptures in general. The sculpture has also been interpreted as anthropomorphic, giving human characteristics to an animal, although it may have represented a deity. The figurine was determined to be about 32,000 years old by carbon dating material from the same layer in which the sculpture was found. It is associated with the archaeological Aurignacian culture. European cave lions, male and female, lacked the distinctive manes of the African male lion, and so its absence here cannot lead to an interpretation of 'lioness'.

The Chauvet Cave or Chauvet-Pont-d'Arc Cave is a cave in the Ardèche department of southern France that contains the earliest known cave paintings, as well as other evidence of Upper Paleolithic life. It is located near the commune of Vallon-Pont-d'Arc on a limestone cliff above the former bed of the Ardèche River. The cave contains the oldest known cave paintings, based on radiocarbon dating of "black from drawings, from torch marks and from the floors", according to Jean Clottes. Clottes concludes that the "dates fall into two groups, one centred around 27,000-26,000 BP and the other around 32,000-30,000 BP. Based on radiocarbon dating research carried out since 1996, Chauvet Cave – discovered in 1994 by Jean-Marie Chauvet – contains the oldest examples of cave art in the world. The hand prints, dots and animals – among them reindeer, horses, aurochs, rhinocerus and buffalo – marked on the walls there may be up to 32,000 years old (although this has been disputed by other experts). The fierce-looking lions are perhaps the most impressive of the site’s many images.

The Venus of Dolní Vestonice (Czech: Vestonická Venuše) is a Venus figurine, a ceramic statuette of a nude female figure dated to 29,000–25,000 BCE. This figurine, together with a few others from nearby locations, is the oldest known ceramic in the world, predating the use of fired clay to make pottery. The palaeolithic settlement of Dolní Vestonice in Moravia, a part of Czechoslovakia at the time organized excavation began, now located in the Czech Republic, has been under systematic archaeological research since 1924, initiated by Karel Absolon. In addition to the Venus figurine, figures of animals – bear, lion, mammoth, horse, fox, rhino and owl – and more than 2,000 balls of burnt clay have been found at Dolní Vestonice.

Cave paintings found at the Apollo 11 Caves in Namibia may be among the earliest cave art. The estimated age of the images date from approximately 23,000 - 25,000 B.C. The seven slabs of rock with traces of animal figures that were found in the Apollo 11 Cave in the Huns Mountains of southwestern Namibia have been dated with unusual precision for ancient rock art. Originally brought to the site from elsewhere, the stones were painted in charcoal, ocher, and white. Until recently, the Apollo 11 stones were the oldest known artwork of any kind from the African continent. More recent discoveries of incised ocher date back almost as far as 100,000 B.C., making Africa home to the oldest images in the world.

The Venus of Willendorf, also known as the Woman of Willendorf, is 11.5 cm high statuette of a female figure estimated to have been made between 24,000 BC – 22,000 BC. It was discovered in 1908 by archaeologist Josef Szombathy at a paleolithic site near Willendorf, a village in Lower Austria near the city of Krems. It is carved from an oolitic limestone that is not local to the area, and tinted with red ochre. Since this figure's discovery and naming, several similar statuettes and other forms of art have been discovered. They are collectively referred to as Venus figurines, although they pre-date the mythological figure of Venus by millennia.


Dordogne, France. 20,000 B.C. The original Venus of Lausell stone portrait or carving is 17 inches tall and was found in the entrance to a cave that was both a dwelling place and a ceremonial site. She was painted red, the color of life, blood and rebirth. Paleolithic sculptors chiselled her out of limestone with tools of flint, and gave her to hold in her right hand a bison's horn, crescent-shaped like the moon,which is notched with thirteen marks representing the thirteen days of the waxing moon and the thirteen months of the lunar year. With her left hand she points to her swelling womb. Her head is tilted towards the crescent moon, drawing a curve of relationship from her fingers on the womb up through the incline of her head to the crescent horn in her hand, so creating a connection between the waxing phase of the moon and the fecundity of the human womb.












In 1853 George Tate read a paper to the Berwick Naturalists' Club at which a Mr John Collingwood Bruce agreed that the carvings had '.. a common origin, and indicate a symbolic meaning, representing some popular thought.' In his cataloguing of Scottish rock art, Ronald Morris summarised 104 different theories on their interpretation.

Other, more controversial, explanations are mostly grounded in Jungian psychology and the views of Mircea Eliade. According to these theories it is possible that the similarity of petroglyphs (and other atavistic or archetypal symbols) from different cultures and continents is a result of the genetically inherited structure of the human brain.

Other theories suggest that petroglyphs were made by shamans in an altered state of consciousness, perhaps induced by the use of natural hallucinogens. Many of the geometric patterns (known as form constants) which recur in petroglyphs and cave paintings have been shown to be "hard-wired" into the human brain; they frequently occur in visual disturbances and hallucinations brought on by drugs, migraine and other stimuli.







At the Ancient Ruins in West Central Idaho along the Snake River, the story of beings that came from the Stars and a Galactic War was recorded according to Indian Legend well over 30,000 years ago. The petroglyphs depict the beings that came, their interaction with the inhabitants of the ancient city, and the war and destruction that ensued. We are shown their ships which are curiously triangular in shape. Similar to those that have been recently sighted over Colorado, Arizona and California. We are also shown the portal through which the interdimensional beings came.

The Navajo creation story centers on the area known as the Dinetah, the traditional homeland of the Navajo people. This creation myth forms the basis for the traditional Navajo way of life. The basic outline of the Navajo creation myth begins with the Holy Supreme Wind being created, the mists of lights which arose through the darkness to animate and bring purpose to the myriad Holy People, supernatural and sacred in the different three lower worlds. All these things were spiritually created in the time before the earth existed and the physical aspect of humans did not exist yet, but the spiritual did.

In the first world the insect people started fighting with one another and were instructed by the Holy People to depart. They journeyed to the second world and lived for a time in peace, but eventually they fought with each other and were instructed to depart. In the third world the same thing happened again and they were forced to journey to the fourth world. In the fourth world, they found the Hopi living there and succeeded in not fighting with one another or their neighbors, and their bodies were transformed from insect forms to human forms.






The rock faces at Ubirr have been continuously painted and repainted since 40,000 BCE. Most paintings there were created about 2000 years ago. Some have been repainted right up to modern times. There are three main gallleries of art accessible to visitors. National Park rangers, many of them Indigenous, give talks at all of these sites. Probably the oldest story ever told. The art depicts certain creation ancestors as well as animals from the area such as barramundi, catfish, mullet, goannas, long-necked turtles, pig-nosed turtles, rock ringtail possums, and wallabies. Paintings of sailboats, ocean liners, and biplanes adorn newfound rock shelters in the remote Aboriginal territory of Arnhem Land in northern Australia. The rock art, which ranges from 15,000 years old to 50 years old, chronicles Aborigine life, including scenes depicting relationships with other cultures.






Bambuti mythology is the mythology of the African Mbuti (also known as Bambuti) Pygmies of Congo. The most important god of the Bambuti pantheon is Khonvoum (also Khonuum, Kmvoum, Chorum), a god of the hunt who wields a bow made from two snakes that together appear to humans as a rainbow. After sunset every day, Khonvoum gathers fragments of the stars and throws them into the sun to revitalize it for the next day. Arebati is a lunar deity and Sky Father. In some sources, he was said to have created humanity from clay, instead of Khonvoum. Tore is a god of the forests who supplies animals to hunters. He is also a thunder god who appears as a storm and hides in rainbows. Most importantly, Tore appears as a leopard in the initiation rites. The first Pygmies stole fire from Tore; he chased them but could not catch them, and when he returned home, his mother had died. As punishment, he decreed that humans would also die, and he thus became the death god.




The Maasai people are an ethnic group living in Kenya and Tanzania. In the Maasai religion there are two great deities. The supreme being and creator is Enkai (also called Engai and Ngai) guardian over rain, fertility, the sun and love. Enkai is a single deity with a dual nature: Enkai Narok (Black God) is benevolent, and Enkai Nanyokie (Red God) is vengeful. In Maasai mythology Enkai was the one who gave the cattle to the Maasai people. Olapa is the Goddess of the Moon, married to Enkai.

These great deities fought one day, and Olapa, being a short tempered woman, inflicted Enkai with a wound. To cover up his wound he took to shining so bright, that no one could look straight at him and see his shame. In revenge Enkai hit Olapa back and struck out one of her eyes. This can be seen today, when the moon is full.

There are several different versions to the story of how Enkai came to be. They all have common details and ideas. The belief is that Enkai was once a human who owned all the cattle in the world. When the sky and earth split he sent all the cattle down from the sky along a long bark rope. The Maasai people received all these cattle. When a jealous group of hunters did not receive any cattle they cut the bark from the sky. This created a gap between the heavens and earth, which stopped the flow of the cattle to the Maasai. This leaves the Maasai with the belief that cattle are a direct link to Enkai and that he intended that all cattle were for the Maasai.

Because the Maasai believe that Enkai intended all the cattle in the world for them, they place themselves at the center of the universe as the chosen people of Enkai. They believe that Ngai created three groups of people to roam the earth. The first is the Torrobo, the hunters and gathers, to whom Enkai sent honey and wild animals. The second group is the Kikuyu, the cultivators; Enkai blessed them with seed and grain. And the final group is the Maasai, to whom he gave all the cattle in the world.


72,000 YA - Humans fashioned tailored clothes, made from sewing needles. Before this they wore animal skins. So basically, weaving was invented.

1.8 MYA - During a warm interlude before the Ice Age began, early humans (heidelburgensis) left Africa in a series of migrations, one after the other. There were only about 5,000 humans on the entire planet at that time, and they departed in groups of 150 people. Some settled in East Asia and became homoerectus. Some settled in West Europe and became homoneanderthalensis.

Neanderthals occupying the Middle East (Israel) were formidable adversaries who prevented human beings from leaving Africa for several centuries, until finally we over-powered them.



Australopithecus (4MYA) = split/evolved into Kenyanthropus (3.5MYA), Paranthropus (3MYA), Homohabilis (2.5MYA)
Kenyanthropus (3.5MYA) = evolved into Homorudolfensis (2.5MYA)
Homohabilis/Homorudolfensis (2.5MYA) = crossbreeding/evolved into Homoergaster (2MYA)
Homoergaster (2MYA) = split/evolved into Homoerectus (1.5MYA), Homoheidelburgensis (1MYA)
Homoheidelburgensis (1MYA) = split/evolved into Homoneanderthalensis (500KA), Homosapiens (100KA)

Direct Lineage (2MYA-100KA): 2,000,000 YA - 100,000 YA
1.) Homoergaster - stone tools/hides
2.) Homoheidelburgensis - knives/cooking
3.) Homosapiens - bone tools/sewing/sheltor/burials


By 10,000 BC human beings had developed:

1.) modern physical features
2.) music, language
3.) tools of wood, stone, flint, shell, bone technology
4.) knives, fire, cooking
5.) sheltor, clothing, colored pigments
6.) spears, fishing, shell fishing
7.) boats, flutes, hunting bow technology
8.) mining, sewing, tally sticks, calendar, math, ceramics
9.) atlatl spear thrower, twisted hemp rope
10.) boomerang, woven basket, wine
11.) adobes in the ancient near east
12.) clay sculpting, oven baking
13.) lionman figurines, birdman painting, venus statues
14.) huts, tents, villages, the city of Jericho
15.) ibex headed atlatl, ibex lamp design
16.) domestication of reindeer, whoolly sheep
17.) temple complex, megaliths, stone pillars
18.) wooden buildings, pottery, wrestling, 6-month lunar calendar, babboon bones
19.) existence in Australia, California, Yucatan, Denmark, Sumeria
20.) ostridge egg jugs, leaf cone cups, ivory and antler technology
21.) distinctive races, red ochre body paint
22.) aurochs, whoolly bison, whoolly rhino, whoolly mammoth
23.) antelope, giant moose, cave lion, cave bear, turkey, pheasant
24.) sabertooth felines, sabertooth canines, goose, duck
25.) plant medicine, blankets, knapsack walking sticks, lioncloths
26.) bead ornaments, belief in afterlife, wigwam type structures
27.) women's hoods or cloaks, cremation burial, flower burial
28.) Gobekli Tepe, Shuruppak, Eden, Dilmun, serpentine neck pendant
29.) wheat and grain stone grinder, hearth like ovens, throwing darts
30.) bass, trout, salmon, pike, oysters, scallops, clams, quarts
31.) swan bone, vulture bone, mammoth tusk, lion mythology
32.) ancient caves in Iran, Iraq, France, Spain, Germany, Africa
33.) timber roofing, statues of horses, foxes, owls, bone map, skull drum
34.) amber ornaments, bartering gifts between tribes, fruit peel bowls
35.) pre-farming, domestic dogs, hunted pigs and elk, sandals
36.) Atlantis sinks, Noah's ark lands on Ararat at this time
37.) no wheel, no plow, no domestic sheep or goats or horses, donkeys or birds
38.) cotton flax, flax seed oil, stick and twig utensils, no metalworking

This is all very interesting, though I personally have never really gotten into, prehistoric history, I like to focus on shorter periods of time.

I'm glad you replied Anderan, that allows me to continue on with this thread. Believe it or not, this article isn't finished yet. The above information talks about prehistoric times from the moment of Creation up until the Great Flood, as described by the Sumerian epic texts and Hebrew mythology. We explored the Sumerian, Assyrian, Babylonian, Aramaic, and Hebrew meanings as well, to get a better understanding of that mythology. Some of the words we analyzed in first half of this article were Anunnaki, Elohim, Nephilim, Anakite, Adapa, Alulim, Ninki, Enki, Enlil, Eridu, Uruk, Shuruppak, Nibiru, Gobekli Tepe, Eve, Eden, Dilmun, Ziusudra, Utnapishtim, Atrahasis, Noah, Shem, Gilgamesh, Enkidu, Marduk, Maasai, Enkai and Shamash.

Furthermore, we went back and explored different archeological sites found throughout the world which might be relevant to our research. We discussed the Makapansgat pebble, Ubirr's paintings, the Snake River, the Lowenmensch, and various caves inhabited by pre-Sumerian or even pre-historic cultures. The three main caves we looked at were Blombos, Chauvet, and the Apollo-11 cave in Africa, which offered many great discoveries. We examined Adam's Calendar and the Thuringian Calendar which both pre-date written language and Sumerian astronomy. We also looked at several examples of Venus figurines or statues like the Venus of Tan-Tan, the Venus of Hohle Fels, the Venus of Dolni Vestonice, the Venus of Willendorf, and the Venus of Lausell which all suggest some ancient form of earth worship.

But we didn't stop there, we kept going until we started studying other myths and religions. We discussed the Bambuti, Kenyan and Tanzanian mythologies. We explored the evolution and migration of our species through changes in homoergaster, heidelburgensis, and homosapiens. With all that said and done, I think we should be ready to move on to our next topic. This time we're going to put aside all facts, and forget about that which we know. Let's look at some more things that we don't know, or can't explain. Take the various cave paintings and glyphs in China, Africa, France, Peru, Italy, Utah and Australia for example.

In the Hunan province of China there are rock carvings of round UFO-type objects that are over 45,000 years old. One must raise the question, "If they are not UFO's, then what are they?" That is the first evidence that I have. The next unexplainable objects I will mention are hat-shaped UFO's from Tanzania, Africa which appear to be firing lasers or beams. This drawing is over 29,000 years old, and again it raises questions. What were they for, and what were they of? Ironically, these same hat-shaped UFO's were witnessed and reported not long ago in our modern era. First there was a report of hat-shaped UFO's in Washington, D.C. but this report does not come from ancient times. No, this report happened in 1952.

A similar report of hat-shaped objects appeared in Italy, one year later. If that's not strange enough, the last report I found on hat-shaped UFO-type phenomena came from Arizona just this year, in 2009. There is a certain cave in France which depicts hat-shaped UFO's, triangle-shaped UFO's, and a multiple-armed god or alien-like being dated over 16,000 years old. Among the many strange sightings in Peru, there are cave glyphs of some type of energy beings or astronaut-like entities dated over 13,000 years old. Surely, there must be some logical explaination for these glyphs, right? Well in a certain cave in Italy, there are 10,000 year old depictions of what many people believe to be ancient astronauts.

Utah has shown its own evidence of strange phenomona. For example, one cave has glyphs showing owl-men, squid-like creatures, snakes, and what might also be explained as a 5,500 year old depiction of ancient astronauts. If this doesn't freak you out yet, then know that the Australian aborigines tell stories and legends of the "wandjina" who visited them 10,000 years ago bringing air-wing and boomerang technology. The Aborigines also have cave paintings of these Wandjina, who ironically look like owl-men. Get this, the Australian paintings are over 5,000 years old and are almost contemporary with the owl-men found in Utah.

But let's keep an open mind, shall we? I mean, obviously there is no way that all of these cave drawings can be depictions of aliens, astronauts, and UFO's, that's ridiculous. Nobody has ever seen one, captured one, or provided any photos and footage that has any credibility whatsoever. The only reports, sightings and films that we get come from normal average people just like us who don't have any real evidence or technology to support their claims. They're all just loons and crazy people with no real jobs and too much time on their hands like me, right? Well, what if I told you that NASA astronauts themselves have reported, sighted, photographed, and filmed what can only be described as "real" UFO's?

Apollo-16 seemed like a simple enough mission. They were sent to the moon to take live videos and photographs of the lunar surface as they drifted into orbit. The original video was aired on live television for the whole entire nation to witness. It seems innocent enough, nobody ever really reported anything funny about it, except that some people refused to believe we actually visited the moon. I urge you to look again carefully at that video, which is shown on Youtube, and is public access to everyone on the internet. The video clearly shows a disc-shaped object hovering past the screen between the astronaut's video camera and the moon's surface. The only question we have today is, "What was it?" NASA still has never responded with an answer.

U.S. astronaut John Glenn himself has even reported "firefly" type UFO's in outer-space during his time with NASA's space shuttle program. Neil Armstrong, the first American astronaut to ever walk on the moon, has been video taped and filmed crash testing the Lunar Lander which at that time, and even today, still looks very much like the 4-legged "flying chariot" UFO depicted in a 29,000 year old cave painting in Tanzania.

If you think I'm running out of material, guess again. I'm just getting started. Former astronaut Dr. Edgar Mitchell of Apollo-14, who was the sixth man to walk on the moon, told MSNBC-7 news on national television that "Aliens are real" and that the U.S. government covered up the discovery of an unidentified spacecraft and four dead bodies in 1947. Doctor Mitchell was interviewed on Kerrang radio, and yes, his claims have even found their way on Youtube.

Former U.S. President Bill Clinton said at a statement in Hong Kong in 2005 that Roswell was not a UFO crash sight, and that Area-51 is not a UFO facility, but that these were just military experiments. So that should just put an end the whole search and bring a close to this article, right? Think again. Clinton also claimed in that very same statement that there was life on Mars at one time, and that scientists had just recently undergone new testing experiments, the likes of which would cause future generations to marvel in wonder. The former president has also said himself that he too was paranoid at one time, and decided to send a team to find out whether or not alien coverups existed, admitting that some things might be kept secret even from the president himself.

So you see, these are not just the imaginations of cavemen, or the ramblings of every day common civilians. There is a great deal of information out there, both past and present, which causes us to wonder. I have billions of notes and paperwork to go through and organize before I can present it here, but before you even try to get all skeptical and defensive on me, just know that all of this information I've provided you with so far has only scratched the surface of where I'm going. By no means whatsoever are these my only facts and clues as to strange phenomena, there are hundreds of case files, videos and pictures which I think you will find very interesting and difficult to disprove once I'm done with this article. As of right now, I simply cannot type any more so I'm going to take a breather, and allow my readers a break from reading.