 One of the oldest, most widely recognized gods through ancient Mesoamerica is a being known as Talaloc. Worshiped as a giver of life and sustenance, he was also feared for his ability to send hail, thunder, and lightning, and for being the lord of the element water. Appearing in many forms throughout Aztec history as usually water-dwelling creatures such as amphibians. But his roots actually date back to the so-called Great Deluge, which has been noted in so many ancient religions throughout the world. Undoubtedly the most impressive depiction of Talaloc, which can be found anywhere, is his megalithic statue, found in the small town of Coatlachan. Clearly once a pilgrimage site, what's impressive regarding the statue is its size, weighing in at an estimated 168 tons, the largest existing monolith in the Americas. Made from basalt, the workable stone for this monumental artwork was, at some point, transported to this spot in preparation for carving. The question is, how did our ancient ancestors move such enormous lumps of basalt, similar in size to those of the Muay statues, synonymous with Easter Island? Why did this ancient people revere water gods so much? Were these gods inspired by traumatic memories and legends, left to them by their ancestors? Possibly a surviving fragment of the once flourishing civilization, responsible for so many now unexplainable sites all over the world. Intriguingly, according to Aztec belief, Talaloc was a god primarily connected with meteorological phenomena that was related to water. In 1963, the National Museum of Anthropology in Mexico City decided that the monolith should be placed at the entrance of the museum. The people of Coatlachan eventually agreed to this request, on the condition that a government road, a school, and a medical center be built in their city. On the 16th of April 1964, the monolith began its journey to Mexico City. The monolith of Talaloc was transported on the back of a giant, purpose-built trailer over a distance of about 30 miles. When the monolith arrived in the capital, it was greeted by a crowd of 25,000 people. Upon its arrival, the location mysteriously experienced an unusual storm. Clearly, an incredible ancient artifact, which we find highly compelling. There are many ancient anomalies which can be found upon the Giza Plateau and indeed across much of ancient Egypt as a whole. Many areas which are clear evidence of a highly capable, highly intelligent past civilization who once called this landmass home. Not only are the ancient pyramids a clear feed of incredible ancient engineering, possibly the most astonishing found the world over, but many of the still existing ancient temples are testament to a now lost, yet once incredibly advanced ancient civilization. And although many academics are funded to push the theory that the pyramids, having once been the burial places of Egyptian kings, the truth that we still do not actually know the original purpose for these ancient structures remains. Not only do these structures, along with many other areas, such as the basalt floor found at their feet, still show clear evidence of lost technology, unquestionably left by high-speed, high-rotation stone-cutting technologies, and many of the tombs and other artifacts found throughout the ancient ruins, unarguably once machine-worked upon enormous, as yet unexplained, lathes. But there also exist some astonishing features within the record books, documented anomalies within our own antiquity, regarding some of the biggest, yet still existing anomalies within ancient Egypt, anomalies that although are now all but lost to history, have been recorded and documented since our own records began, specifically Roman records. The Colossae, or Colossus of Memnon, are listed as containing some of the largest megalithic blocks that have currently been recorded and investigated across the world. And although these statues have virtually crumbled over the aeons, records of these statues stretch back many centuries, features now largely, and we believe deliberately ignored by mainstream academics. These statues once possessed an astonishing characteristic. Even many claimed as a divine experience, one which would draw countless individuals on a pilgrimage across the desert to witness at first light every morning. The Colossae of Memnon were built from a single piece of stone each. They are oriented towards the sunrise at Winter Solstice, and throughout modern study have had a number of fearless individuals expose their true past grandeur to the world. Statues for the two statues, original weight, are most commonly noted to have been around the 1,000 tons mark, with the most famous report within R.T. Gould's A Book of Marvels, 1937, which contained an estimate of 1,200 tons. The statues are made from blocks of quartzite sandstone, which was quarried at El Gaba El Amar, near modern-day Cairo, then transported 420 miles to Thebes, and although modern academia would like to attribute these feats to our more modern ancestors, namely the ancient Egyptians, any logical explanation of how this feat was achieved, or indeed how they were so precisely carved, remains absent from all explanations of these monumental statues, not only their transport and creation, but how these ancient monuments used to sing. Only Greek and Roman tourists who came to hear the sound gave the statue the name of Memnon. Memnon was a hero of the Trojan War, a king of Ethiopia, who led his armies to Troy's defense, but was ultimately slain by Achilles. Memnon was said to be the son of Eos, the goddess of Dawn, and after his death, his mother is said to have shed tears every morning. The singing of the statues was attributed to this mother mourning for her son. The earliest written reference to the singing statues comes from the Greek historian and geographer Strabo, who claimed to have heard their song during a visit in 20 BC. The second-century Greek traveler and geographer Pausanias compared it to the string of a lyre breaking. Others described it as the striking of brass, or a strange, ghostly, almost divine whistling. For more than two centuries, the singing statues brought tourists from all over the empire, including several Roman emperors. Many left inscriptions on the base of the statue, reporting whether they had heard the sound or not. Nearly 90 inscriptions are still legible upon their base today. Who created these statues? How were they able to sing? They are clearly an astonishing ancient accomplishment, once achieved by a now lost, advanced civilization. Monuments which we find highly compelling. Homes, towns, religious structures, an entire living infrastructure of a once highly successful, highly capable people. Managing to expertly fuse their existence harmoniously with the surrounding environment, providing structures which left little, if any, impact on the surrounding landscape, structures still usable even to this day. Located within Abanque, a province in the region of Apurimac, Sayhuite has been conveniently dated to the period of the Incan Empire, between the 15th and 16th centuries AD. However, like many sites dotted around Peru, and indeed the world, an explanation as to how these cultures achieve such wonders with such primitive access to construction or tools is not forthcoming. Compared to other Incan sites, Sayhuite is also a complete ruin, leading the more observant, and indeed the free-thinking, self-funded geologist among us, to suspect that it may actually be even older than the pre-Inca's responsible for Machu Picchu, yet the most noteworthy object at Sayhuite and the reason for our video is its monolith. A mysterious boulder drenched in intricate, purposely placed carvings. Interestingly, the word Sayhuite originated from the Quechua word Sayweta, which translates as Place of Orientation. The site is located on the top of a terraced hill. Dedicated research has also revealed that the site was once home to an enclosed sanctuary. Yet all that remains of this sanctuary today is a few leveled platforms and the monolith. It contains more than 200 geometric and zoomorphic figures, including reptiles, frogs, felines, topographical hydraulic models, complete with terraces, ponds, rivers, tunnels, and irrigation channels. The functions or purposes of the stone are not academically known. Yet others suspect it was a map of the once existing complex created by a culture able of moving tremendous weights and carving stone with relative ease. Researcher Dr. Arlen Andrews Sr. believes the monolith was used as a scale model to design, develop, test, and document the water flow for public water projects, and to teach ancient engineers and technicians the concepts and practices required. Quote, the rock was edited several times with new material, either altering the paths of the water or adding routes altogether, end quote. Clearly a remarkable artifact left by a remarkable civilization. Thanks for watching guys, and until next time, take care.