source: The Hieronimus & Co.

Newsletter #15-16



Filmmaker Boris Said and Researcher Richard Hoagland Agree and Disagree


Both Richard Hoagland and Boris Said are vocal about their suspicions that others in their field of interest -- Egypt -- are hiding what they know or have discovered, and for a variety of reasons. Boris does not conclude the cover-up is a conspiracy, but believes instead the Egyptians are most interested in the new discoveries being made by Egyptians and any delay would be caused by pride.


Richard, on the other hand, is convinced that certain officials in charge of granting permits for excavation and study and releasing information on discoveries are deliberately hiding or blocking some of the most extraordinary possibilities. They joined Dr. Bob Hieronimus together on March 8, 1998 to discuss both the areas upon which they agreed and where they disagreed.

Richard Hoagland is a former science consultant to Walter Cronkite, CBS News, CNN and NASA, and an advocate of the artificial creation theory for the anomalous Face and "pyramids" Mars. In August of 1993 he received the Angstrom Foundation Medal for Excellence in Science. His Mars anomalies research led him to the study of the ancient mysteries in Egypt when he noticed the striking similarities between the Face on Mars and The Sphinx. He says there is "a real set of connections that we now can prove connects this extraordinary complex on Mars at Cydonia with an equally extraordinary complex on Earth at Giza."

Boris Said has a very unusual biography beginning with an education at Princeton University and a fluent knowledge of several languages including Russian, French, Italian, Spanish and English. From 1953-1980 Boris was a sportsman and attained several automobile racing speed records. He was a member of the U.S. Olympic Bobsled Team in 1968 and 1972, and in 1980 Said began the transition to film work as he both drove the four-man bobsled at the Lake Placid Olympics and worked on TV interviews for ABC.


Since 1983 his credits have included writing, producing and directing documentaries on bobsledding, dolphins, a Zulu witch doctor, and other varied topics. The 1994 NBC TV feature documentary that he produced with John Anthony West, "The Mysteries of the Sphinx" hosted by Charlton Heston, was awarded an Emmy.

Boris first learned about the mysteries surrounding the monuments in Egypt and the questions about their origins from John Anthony West, when in 1990 West asked him to help make this documentary. West was working with Boston University geologist Dr. Robert Schoch whose ground breaking work indicates that the age of the Sphinx is thousands of years older than the Egyptian civilization itself.

"I came to it with no opinions whatsoever," says Boris, regarding the controversial debates on the new findings.


"I mean, I didn't know. I had just about figured that Egypt was spelled with a "y" and Sphinx was spelled with an "i", and I had those backwards for a while.... I listened to Robert Schoch the first trip explain why the Sphinx was older than 4-5000 years, and it just made perfect sense to me, I mean, nothing could have been more obvious. The marks were there, it was in the stone, and so I got interested right from the start in... an alternative viewpoint to the age, and perhaps the meaning, of those monuments."

In his bio, Boris states his life goal is to prove the existence of ancient, highly advanced civilizations on our planet, perhaps our true ancestors. It's a new life goal for him, he says.

"My life's goal used to be to go faster than anybody else, but now I'm doing something a little headier, and it came from my initial exposure to Egypt, and I've got to thank John Anthony West for that."



To this eternal question, Boris says,

"they were Egyptians, they lived in Egypt. I mean... we've called them variously "Atlantians" and, I suppose, "Little Green Man from Mars", but that was Egypt, and so therefore, to me, they're Egyptians."

He says there is no way the pyramids were intended to be tombs for Pharaohs.

"They've never found bodies in them. There's no single mark that identifies the pyramids as the tomb of any particular Pharaoh and, to the extent that in some of the pyramids bodies were later found, I think these structures were probably used as tombs by people who came later. I think that whoever created these structures used something that we don't know [about]."

Robert Bauval revealed how, at the dawning of the Age of Leo, the air shafts in the Great Pyramid point directly to the stars of Orion. Boris continued to point out how the Sphinx looks like a lion, "its got to give you some indication that the people back then knew something we don't know."

Richard adds that we are the descendants of these architects of the Egyptian monuments, whoever they were. He notes that when he first began his research into the Face on Mars in 1983, he remembers the almost unanimous reaction of archeologists when they were shown unidentified pictures of the Martian anomalies.

"The answers ranged from Hanuman, the Indian monkey god, to an aerial view of some pyramid complex in Egypt.. Initially looking at these things, I was thinking in terms of aliens, in terms of other, in terms of visitors to the solar system who had erected a stunning artificial complex on Mars.... Over the ensuing 15 years... my thinking has come perhaps 180º and in good measure because of... John West, Graham Hancock and Robert Bauval."

Richard began wondering about the possibilities that the anomalies an Mars perhaps could indeed be related to the monuments in Egypt.

"Which really got me to thinking," he said. "If this stuff on Mars was not alien, if it wasn't somebody else, somebody from way out there, then the comparisons between the architecture we find at Cydonia on Mars and the ancient enigmatic architecture, bits and pieces of which we have found now all around this planet, maybe make the case for a previous high civilization epic on planet Earth, in which case we could be looking at our stuff, the human race. So I think Boris is very perceptive when he says, ultimately, it's Egyptians that did what we see in Egypt. The only question is, how ancient, ancient, ancient were those Egyptians?"



Richard says to answer that, one has to examine what the pyramid complex in Egypt was used for,

"By tracking the numbers, the geometry, the specific angles, the relationship of these things to each other, and their relationship to the sitting of the things here on Earth, particularly the Giza Plateau, we have gotten on the trail of what I call, an old/new physics, which we term hyperdimensional physics. It turns out its the same physics that physicists like Maxwell and others in England were attempting to launch about 100 years ago.


The numbers at Cydonia, the numbers on Mars, the numbers at Giza, the numbers of many ancient sacred sites all over this planet, are the same numbers that Maxwell and Kelvin and those colleagues back in England 100 years ago were deriving as the basis of the physics of the 19th and 20th century.... The usage of the pyramid complex at Giza appears to have been in service to this physics. These were not tombs, not temples, but potentially, machines, huge machines built of limestone as the working substance, the working material, at a specific site on a rotating planet, such as Cydonia is on a rotating Mars."

The positioning of the structures was of the utmost importance, having to consider the physics and the interaction of the "pyramid machines" with the planet itself when they were turned on. According to Hoagland, this is all part of

 "a technology which we are just beginning to glimpse again, incredibly ancient, incredibly sophisticated, incredibly arcane. We can only now see the empty shells of what might have been a functioning complex whose purpose we are also just beginning to dimly grasp. But it was light years beyond providing tombs for some egocentric Pharaoh."

Boris Said agrees, saying,

"It's very difficult to find fault with Richard's logic," noting that Bauval's concept suggests the pyramids were placed in a position representing the stars of the Orion constellation. Boris is now working with Tom Danley, sonics expert and consultant to NASA, to explore the air shafts leading down into the King's and Queen's chambers, "which have been described by Bauval as lining up with the stars of Orion. Quite recently a fellow named Gantenbrink sent a robotic camera up the end of one of those shafts and he found a door with hinges and apparently some space underneath it. What we've been doing is, we've been approaching this problem from a completely different scientific viewpoint.


We've been testing the sonics of the Great Pyramid. We've known for a long time that if you lie in what they call the sarcophagus, which is that stone box in the King's Chamber cut from a solid piece of granite, and you hum, you hum a scale, for example, there will be certain notes that sound louder and more resonant to you than other notes. And recently we had an opportunity to put sensors all over that pyramid, including the five chambers above the King's Chamber, which I guess we're going to discuss in more detail later, and we found that when we activated the pyramid with hugs speakers and amplifiers in the King's Chamber that all of these sensors resonated, leading us to believe that the entire pyramid was some sort of huge sonic machine."

Richard equates the pyramid to a pipe organ. The openings of some of the recently discovered air shafts from the King and Queen's Chambers are open now and wind is blowing across them like a pipe organ. When you blow air across an organ pipe you get a certain resonant frequency. Richard Hoagland says the builders of the pyramids created hyperdimensional machines, placed at certain latitudes on the spinning planet to excite certain acoustic resonances when the air passed through the open passages.

Boris adds that even if the passages were closed, if you had an internal excitation mechanism, the pyramid as a whole will resonate with certain fundamental tones. The more power, the more energy, the louder the tones.

"What we proved," says Boris, "was when we got back to the laboratory and analyzed our recordings, we found that there were sounds present in the King's Chamber even when we weren't making any sounds. They were below the audible range, below 20 Hertz, below 20 vibrations per second.... Down as far as half a vibration per second, or half a Hertz.


We found that these lower scales had the same five peaks, and when you plotted the peaks on a graph and raised them three or four octaves to where you could hear them, low and behold, it was the same notes. It was the same chord... an F sharp chord, which the early Egyptian texts suggest was a harmonic of Mother Earth. And I might tell you, coincidentally, and we bring this out in our tape, a lot of Native American makers of sacred flutes, tune their flutes to F sharp. Why? Because it's compatible with the harmony of Mother Earth. Now that's just too big a coincidence."



Boris continues,

"We're right now working on a program to replicate the Giza pyramid in a virtual reality state with virtual sound, which we believe will restore, in theory, restore the pyramid to the way it was when the sides were smooth. You know if you think about the wind blowing over the aides of the pyramid, it's like blowing across the mouth of a pop bottle. It makes a hooting sound, it makes a toot, right? You blow across a Coke bottle? Well, we think that's what used to happen with the Great Pyramid.


And we believe that if we can replicate the pyramid, make it smooth, and get rid of the incursions, all of the tunnels.... We believe that maybe the entrance to the pyramid was from the bottom, from down underneath somehow, a long series of tunnels. Because clearly, there was no intrusion into the grand gallery, and we believe that was all part of the giant echo chamber that enhanced the vibrations.... We're gonna try and compare this condition to other pyramids around the world and see whether perhaps that wasn't what they had in mind."

Richard explains that in resonance theory,

"it's really the mass and the length of the cavities or chambers that determine the ultimate tones that a structure will produce."

He says Boris and his NASA colleagues are on the trail of a theoretical model that Stan Tenen and I have been working on for about ten years relating to the model that the pyramids really were machines designed by an extraordinary physics, much older than the classical Egyptian model, designed to do something interacting with the planet.


Now, if you excite these things acoustically, meaning with sound, not from the outside but from the inside, with technology which is now missing because it was all taken away, you got the same effect that Boris is talking about.

"The very structure of the pyramids is calcium carbonate, limestone, which has a certain molecular configuration of the crystal. It's a little tetrahedron made of calcium and carbon atoms, over and over and over again in six million tons of this stuff stacked up in a perfect geometry of the crystal itself called the Great Pyramid. Now if you excite this, if you basically create a tone inside with some kind of huge loud speakers or huge system powered by some energy source... the result is the entire pyramid, all six million tons, will vibrate. It will resonate. It will sound a set of tones, the tones that Danley and Boris are now tracking, in a very faint way."

Richard envisions the builders of the Pyramid designing it so the amplified tones would literally twist the calcium carbonate crystal back and forth in a rhythmic pattern in such a way that you could also twist space and time itself and potentially create extraordinary changes of consciousness. He goes on to say that,

"because the pyramid, through the plateau, is anchored to trillions and trillions of tons of this limestone stretching a quarter of a way around the planet to Indonesia, you literally could change the resonant characteristics of Planet Earth itself if you pumped enough energy into the pyramids [serving] as machines at their precise latitude".




Boris says be doesn't know about hyperdimensional physics and space time travel, but he,

"loves the work that Richard's doing and I think it should all come together.... What I'm saying is that if you lie in the pyramid and you hum or you chant it's conceivable that you could put yourself into an altered state... There is a very easy way to establish the logic of this argument, and that is to try it out, and that's what we're trying to do. There are sounds .... that tape, you know, that were made inside this King's Chamber, and if nothing else, they're spooky."

He says they are something different, something we haven't heard, or been exposed to in a long time, although researchers like Don Campbell, a former guest on 21st Century Radio® are showing how vibrations and classical music can be used to assist healing in surgery and in analysis.

"I think that we're getting to a point," says Boris, "where all of a sudden we're going to find out that vibes is not just a colloquial expression for the New Age.... It's where healing is, it's where altered states are, where awareness is."



Richard explained the significance of the famous Rudolph Gantenbrink discovery that has caused so much controversy in the past decade.

"Back in the early '90s one Rudolph Gantenbrink was invited to the plateau, to Egypt, with a little robot called Upuaut, which means "opener of the way", to basically go up the shafts between the interior of the pyramid and the outside -- the air shafts in the King's Chamber that angle up at about 45 degrees through the masonry, through that six and a half million tons of limestone, and then similar shafts that angle up at a similar angle from the Queen's Chamber which is below the King's Chamber, down deep in the bowels of the pyramid, almost in the center, and also now exit on the outside -- or at least the ones on the north exit, the ones on the south do not, and Gantenbrink built this at the cost of something like two or three hundred thousand dollars -- a little robot with a cable, with closed-circuit television, with lasers to direct it, and he sent it up the shaft inside the pyramid and he videotaped what he saw.


And through circuitous routes, this video made its way out of Egypt when there was a political kind of "falling out" between the Egyptians and the Germans. And it wound up on the BBC through the good offices of, among others, Robert Bauval, who kind of "midwifed" this to the world. And what we saw was the discovery of a here-to-for unknown little door, about eight inches square at the end of about a 180 foot shaft angled up from the Queen's Chamber that this little robot had imaged when it crawled up on its little tractor treads to the end of this tunnel. And the big controversy was, number one: What was behind the door, because it was a long way from the outside of the pyramid. There could be a very big room behind that little door. And number two: Why did the Egyptians, particularly Dr. Zahi Hawass, who's in charge of the plateau, suddenly get very uninterested in going past the door and finding out what was on the other side? Boris?"

"Well, OK, I view the story slightly differently, and this is one of the places Richard and I disagree" said Boris. "That's because Zahi Hawass has never precluded me from shooting anything I wanted to shoot in Egypt, in fact, has given me three opportunities to go up above the King's Chamber with a full television crew.... My understanding of the Gantenbrink story was that when Gantenbrink got permission to use his robotic camera there, he was supposed to have had an agreement with the Egyptian government where the announcements of what was back there were going to be made by the Egyptian government, giving him full credit.


And the Egyptians claim that what Gantenbrink did was violate the terms of their secrecy agreement, went out and broadcast the whole story to the world as his find. And the story that I heard was that not only the Egyptians but also some of the official German organizations were a might "put one with Mr. Gantenbrink for leaking the story". Now, I don't know which is true, but I can tell you that I've never had a problem. I think that a lot of these problems, these secrecy problems, arise because people forget that we're dealing with Egypt, with a sovereign country, and that the artifacts and the secrets of the past in Egypt are, after all, Egyptian.... There are more Egyptian artifacts in the British museum than them are in all of Egypt, for God's sake, so the Egyptians have some precedence for being a little bit "put out" with what they see as foreign exploitation."

Richard stated,

"the fact is, the door is discovered in '93, it's now '98 and, as far as we know, no effort has been made to put an optical probe, a fiber optics cable, a little TV camera, anything under the door -- there's a crack, the bottom right hand corner. Nor has there been any effort to go through the door or to raise the door as a portcullis, which it appears to be. And Zahi Hawass is officially on record as saying at one point that there was nothing behind the door, that it was simply a false trail, and there was no interest scientifically."

Boris says the door may be like an air regulator for using the Great Pyramid as an instrument.

"If someone would ask me today what the door was about, and I'm sure a lot of people disagree with me, I think it's like looking at a clarinet I think that door has something to do with regulating the flow of air down that shaft and I also think, because I want to just sneak this in here edgewise, that the reason these shafts are not straight, the reason you can't see through them to the stars of Orion is for the same reason that the neck of a saxophone isn't straight. I think it all has something to do with the velocity and the effect of the air blowing across those shafts.


They are eight inch shafts -- what in the world could a door be doing there? I mean, presumably, eight inch people were trying to get in and then locked the door, or presumably it was to keep rain out? The shaft is 240 feet long. What I'd like to know is, if you've got a shaft eight inches in diameter, extending for 224 feet or whatever it is, on an angle up through solid rock, why would you put a door 20 yards from the end, logically?"

Richard points out that it's quite possible tha,

"the pyramids are not classic Egyptian, that they're much, much older, maybe circa 13 thousand years old or maybe 50 thousand years old, or maybe even older than that, because there's no way to date the stone. It is conceivable that we're dealing with a high tech civilization that placed these pyramids there for purposes that have nothing to do with the classic Egyptian mythologies and ceremonies."

He continued by saying,

"the Egyptians that came much, much later, the current generation of Egyptians, and by current, I mean the last 6,000 years, merely took advantage of preexisting monuments built by their great, great, great, great, great, great ancestors and created ceremonies to explain the ineffable, the enigmatic, the mysterious. It's conceivable that if these pyramids were left there by a very sophisticated, high tech race, long vanished into time the same lineage of whatever built the structures on Man, of that caliber of technology, then in essence they could be time capsules. And time capsules only function if you can keep the barbarians from getting at the pod stuff in the time capsule until the time is ready.


The eight inch shafts are perfect deterrents to tomb robbers and grave diggers and all the stuff that's going on in Egypt in terms of everything valuable being looted in the previous several thousand years. The only way you can get up that eight inch shaft is by a 20th century technology and science that can build a Gantenbrink robot, send it up the shaft, knock on the little door, and see what's waiting for all of us behind it."

Boris wants to know,

"How come if they were going to leave a time capsule they would leave it at a place where it would be reasonably easy to excavate from the outside? Why didn't they put it down into the pyramid, or why didn't they hide it some way? My question is, how come, fee up there at the end of an eight inch shaft? Well, you could shinny up the outside of that thing, and whack away at it with pick axes, and probably get to it."



Boris was part of the Dr. Joseph Martin Schor expedition in 1996, which was funded by the A.R.E. He recalls,

"When we were doing our radar and our seismic tests under the Sphinx, we located what appeared to be a 30 by 40 foot cavity about 30 feet below the paw. I went to Dr. Schor in 1995 [and he] agreed to fund an expedition to try and record the opening of that tunnel. We spent two years. Dr. Schor had a permit to explore the Giza Plateau, and we had a permit to film. Dr. Schor took over all the science and the government negotiations, and I wound up the filmmaker."

During the ensuing drawn-out negotiations with the FOX Television Network, the Schor expedition returned several times to Egypt to record the exploits. In the Fall of 1996 Boris reports that they uncovered a polished, black granite sarcophagus lid at the bottom of a well, 120 feet below the surface of the plateau. They put their ground penetrating radar to work and determined that there was no sarcophagus under the lid. Instead, about two and a half meters down, it appeared there was an "anomalous cavity" two and a half meters wide with a domed ceiling that descended at an incline of 25 degrees in the direction of the Sphinx, about 275 yards away. According to their seismographer, there was no geological formation that could have been responsible for that sort of configuration on the radar.


After their return to New York, FOX essentially demanded absolute control over the script and content of the show they were working on, even though they already had 42 minutes of a 48 minute hour in the can. Boris says at the same time he was becoming suspicious about FOX's motivations, and decided their proposal was more of a "sell-out".

"In the end," he says, "I thought, if we're that close to opening the tunnel, let's just go open the tunnel and see what's down there, you know, and then well run an option later with the network. What I did not know.. [was] that Dr. Schor's permit to explore the plateau had been revoked by the Antiquities Committee, I know not why. But when we got over there in February of 1997 and went down in the bottom of the wells to film, we found out that although we had a permit to film, there was no permit to actually use the radar. And that's when it hit the fan, because at that point I said, "what is this, how come we weren't told?"


And Zahi said, "I thought you knew" and, of course, I didn't know because Dr. Schor hadn't bothered to tell me. To make a long story short, they would not let us lift the lid, they would not let us dig down into the tunnel, and that's where the matter stands. My own feeling is that the tunnel is probably under water, because I believe it's below the water table, the tunnel is below the water table that exists on the Giza Plateau at the moment. There are all sorts of rumors that they've been trying to pump the water out of there, which is kind of like trying to lower the level of the ocean. And I also understand that they lifted, that they raised that Sarcophagus lid and were unable to dig beneath it because of the water, but that's hearsay."

"Now Dr. Schor is suing me for control of the film," Boris continued, "and I'm basically trying, through alternate means in Egypt, to persuade the Egyptians to open their own tunnel, because, as you know, as I've said before, I believe that the Egyptians are sovereign and I believe that they should be in charge of opening this tunnel. I've even offered to create a television production in conjunction with, and in association with, Egyptian television, so that the Egyptians would have absolute and complete control over this project. I trust them to tell the truth. I think that the problem is that there have been so many agendas, you know -- FOX, Dr. Schor, God knows, all these people seem to have an agenda."

After obtaining permission from the Egyptian authorities, Boris would like to take a group of impartial observers to Egypt and have them standing around the monitor when the excavation is attempted.

"What we're trying to do is get permission to drill a hole into the room and send a camera down through the hole... send a sealed drill down, so that no air can get in, in case there is something perishable down there, and send a camera down, and see what's down there."

Richard disagrees with the significance of the Schor expedition discovery of the "secret" tunnels under the Sphinx, suggesting the commotion created by the Egyptians about them is merely a diversionary tactic employed to distract the public from the truly important location for excavation: behind the Gantenbrink door. He says some extraordinary footage fell into his hands from unnamed sources connected with the Schor expedition.

"That footage not only corroborates the idea that there's really interesting activity going on inside the pyramid but that activity includes the actual digging of what I've called a secret tunnel. [They are] sequestering limestone from that tunnel in little burlap bags, actually they're big burlap bags, upstairs in chambers above the King's Chamber for a while, and that the ostensible, possible reason for this secret tunneling is to get into the room behind Gantenbrink's Door without anybody knowing."

Boris points out that using the term "secret tunnels" is incorrect.

"The tunnel is a fact.... The tunnel was as obvious as a tunnel would be. Get up to the top of a level there, and there it is, you know. Where it goes, I have no idea. It certainly seems to go in the direction that Richard says this room would be. It seems certainly to be heading in the direction at the end of that air shaft. I just don't believe they're hiding it. If they were hiding it, my question to everybody is, why would they let me up there with a crew?"

Boris says that with all the pros and cons about Dr. Zahi Hawass,

"I can only tell you that he has never said to me, 'Don't shoot here'. He's never said to me, 'You can't go there'. They have made it certainly difficult to get permits to dig, to excavate, that sort of thing. That's been unbelievable -- and I think a lot of that's to do with the ego of who's going to get to make the announcement, who's going to get to be the discoverer, and so forth. So that's just my own personal view. But as far as that tunnel is concerned, yes it's there. Where does it go, I don't know. It was 10 feet long the first time I saw it, 40 feet long or 50 feet long the second time I saw it, and it was clearly being dug, sort of, along one of the walls of the first chamber above the Kings Chamber."



Larry Hunter and others claim that under the direction of Zahi Hawass, items are being secretly removed from these newly discovered chambers and sold on the black market. There are other even wilder rumors circulating on the Internet attached to the recent legitimate discoveries in and around the Great Pyramid and Sphinx.

Richard says he has "no current knowledge, rumors not withstanding, of things taken out of the pyramid that are of a high tech nature." In terms of Larry Hunter's stories, Richard states, "I do not have access to his sources and I can't vouch for their accuracy or inaccuracy." He does point out, however, that completely independent of Larry, years before he ever even knew that Larry existed, at a 1987 book signing he was approached by a young man with appropriate credentials who claimed to be related to,

"one of the most prominent nuclear physicist the world has ever known," someone "critically involved in the development of the Manhattan Project." This young man claimed to have direct knowledge of an American C-130 dispatched from Wright Patterson Air Force Base, Dayton Ohio to Cairo after which it was secreted away by the U.S. Air Force at Wright Patterson where it was undergoing analysis.

He also notices coincidences that indicate other discoveries could include "very important technological artifacts... in another secret chamber... down towards the Queen's Chamber from the grand gallery access." He says there were "three rooms discovered [with] radioactive sand in them, down that corridor, by the Japanese and the French."

"Whether this has taken place several times over the history of the modern exploration of the pyramids, I do not know," says Richard, "but there is a pattern here.... The pattern is that under Dr. Hawass and the Egyptian Antiquities Council, a variety of foreign experts, using very sophisticated, high technology tools, over the last 10, 20, 30 years, have been brought to the plateau, have found major discoveries, and then they're kicked out. And we never find out what happens to the leads and the "doorways" they literally open. That is very disturbing to me."

Boris says he doesn't know anything about "C-130s and radioactive sand," but be is in touch with a fellow now "who claims that the Ark of the Covenant was buried up there somewhere and was radioactive." He also says that,

"periodically there are stories of blue lights coming out from under the Sphinx and people disappearing and so on.... But again, all I can tell you is, I've never seen anything disappear illicitly from the pyramid, and I maintain that whatever the Egyptians want to take out of their pyramid is not illicitly taken out. It's taking the stuff out I don't know what they've taken out. I've never out. never me always been very open with me. Perhaps they have an agenda. Perhaps they want me doing my thing there and distracting people from the truth. I don't know. I only know what I see through the lens and that is, everything that I've asked to photograph.


Now, I haven't gone to Zahi and said, 'Hey, we'd like to take pictures of the C-130 next time it comes, you know. I mean, we're looking for what's going on under the Sphinx. We're looking at the Pyramid as a possible clue to a previous civilization, and if, along the way, we turn up some evidence that Richard could use, I'm thrilled." He's certain no theft is taking place. "I've been working an that plateau for nine years and I have a lot of friends there, and they know that if they come up with information, they have my collect number to call.... And I can tell you, I don't believe that that's happened, over the last nine years, in any event, since I've been involved. Now, I could be wrong. I'm not, you know, I'm not there, I'm not the CIA, but not to my knowledge has any of this stuff been going on.... I believe that Zahi is protecting the Sphinx. I think that he was born to that. I think that his life's goal is to protect his plateau, and I think he's trying to prevent what he sees as foreign exploitation of the sacraments of the sacred objects of Egypt... I think that he or the Egyptian archeologists or the Antiquities Department would like the credit, because so far they haven't been credited with anything. It's all been Howard Carter and a variety of French and Japanese and German archeologists."

Richard says he has no direct knowledge of a cover-up or secret discoveries, but emphasizes that "if you believe that the establishment would not allow into the mainstream stunning evidence that the pyramids are older than 6,000 years, that they were built by a civilization so much more ancient that our heads would spin if we were to have physical, verifiable proof then you can believe that that level of suppression of that extraordinary kind of evidence would, in fact, take place. In the real world, in the mainstream world, the circumstantial evidence in favor of the suppression theory is here. Since 1993 we've had an extraordinary puzzle, the Gantenbrink Door, and nobody has been allowed to go behind it, Why not? ... It makes no sense. It's illogical to find a mystery and then say we're not going to try to find out the answer."



For more Information on Richard Hoagland's work visit , or send an SASE to Planetary Horizons, P.O. Box 1130, Placitas, NM 87043. For an autographed copy of his book, The Monuments of Mars, call 1-888-338-8581.

You can learn more about Boris Said's work on the web at , or send an SASE to 1906 Smugglers Hill Rd, Friday Haror, WA 98250. To order his video, "Behind The Scenes At The Giza Plateau", call 1-800-243-1438.

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