The Stargate Conspiracy Read Free Page A

monuments are the product of a mysterious civilisation of great antiquity, which may have been in contact with, or even created by, extraterrestrials. Through certain lasting ‘records’ — especially the Great Pyramid and the Sphinx — that civilisation left us messages about our future, specifically about some imminent event of global proportions. This is somehow tied in with the Millennium and the Age of Aquarius.
    * The idea that extraterrestrial beings remembered as the ‘gods’ were responsible for the civilising of mankind, as in Robert Temple’s The Sirius Mystery.
    * The discovery of what appear to be anomalous features on Mars, which, if proven to be artificial, can only be the product of a civilisation that existed on that planet in the distant past. This, too, has a message for us today.
    * The ongoing communications from the Council of Nine, which have been unfolding since 1952. They claim to be the Great Ennead — the Nine gods of Heliopolis. We have seen that the Council of Nine have increasing influence, not only over the New Age, but also politicians and multimillionaires.
    Each of these major strands is based on a genuine mystery: the mysterious knowledge of the Dogon concerning Sirius; the evidence that the Sphinx is of far greater antiquity than is officially believed; the Viking images of Cydonia that appear to show genuinely unexplained features; and the apparently ‘miraculous’ phenomena surrounding the Council of Nine. These strands appear to be naturally coalescing: apparent connections have been found between the Cydonian monuments and those of Giza. The major raison d’être of Richard Hoagland, this element is now creeping into the works of others, notably Robert Bauval and Graham Hancock.
    Into this developing picture come the Nine. They, too, place much emphasis on the Great Pyramid and Sphinx, even claiming to have built them. And, through the work of James Hurtak, the Martian monuments have been introduced into this increasingly complex web of connections. There is no doubt that Hoagland and Hurtak’s work is directly driven by the Nine, but what of Hancock and Bauval’s? Certainly, because it largely endorses Hoagland’s work, The Mars Mystery is indirectly promoting the Nine - and to a much wider audience.
    The over-riding message is that the gods are back. The Message of Cydonia as promoted by Hoagland is that those monuments were designed to encode information for us today. When this is added to the ideas promoted by Hancock and Bauval that the Egyptian monuments also encode messages for our times, we can see that the two reinforce each other. And communications from the Nine are actually happening now.
    The conclusion seems inescapable: the Nine gods who built not only the Pyramids and the Sphinx but also the structures on Mars are back. These are not just the creators of the ancient Egyptian civilisation, but of the entire human race.
    However, this conclusion relies on the assumption that these strands began totally independently, that each of the discoveries were made in isolation, with connections between them only becoming apparent as time went on. But this is not the case. The entire picture seems to have been contrived according to a complex, long-term plan. For example, Robert Temple’s The Sirius Mystery was inspired by Arthur M. Young, who was present at the initial contact with the Nine in 1953. Young’s own inspiration came from Harry Smith, a high-ranking member of one of Aleister Crowley’s magickal orders in which extraterrestrial intelligences, Sirius, Mars and ancient Egypt were the great pillars of their beliefs. The Nine’s communications, particularly in the initial stages, seem to continue those of Alice A. Bailey, of which James Hurtak’s The Keys of Enoch is essentially an update. Hurtak has been the prime mover in the Face on Mars debate and in the New Egyptology, and The Keys of Enoch comes from the Council of Nine.

An alien agenda
    Is the