Dr. Joseph Farrell explores the Knights Templar's alleged role in transmitting fragmented esoteric science to Europe, linking them to a military-industrial-intelligence complex that evolved into modern financial institutions. He details CIA MKUltra mind control programs used to create "Manchurian patsies" for assassinations, citing Sirhan Sirhan and Rudolf Hess as potential victims of hypnosis and psychic driving. Farrell argues that ancient unified knowledge was scattered into alchemy and astrology before being reassembled during the Renaissance, while speculating that current geopolitical events and 5G networks serve as tools for mass manipulation and cosmic ownership claims by hidden elites. [Automatically generated summary]
Transcriber: CohereLabs/cohere-transcribe-03-2026, WAV2VEC2_ASR_BASE_960H, sat-12l-sm, script v26.04.01, and large-v3-turbo
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Tonal Systems and the Harmonic Series00:14:57
And we are live.
This is Dark Journalist.
It's great to have everyone here.
Fantastic Saturday evening show that we're doing a special one, and we have a special guest with us, which is Dr. Joseph Farrell.
Joseph, it's great to have you here.
Oh, I think, Joseph, can you hear me?
Yeah, I can hear you.
Okay.
I was getting feedback.
I had the YouTube thing on too, but yeah.
Now we're connected.
Yep.
And we're also joined by the lovely Olivia.
Hi, everybody.
Fantastic.
Joseph is joining us right out of the gate because in this special episode, number 35 in the X series, and of course in the X series, we track X steganography through history and how it has influenced everything from the mystery schools and been left as a legacy into our kind of more modern 21st century secrecy programs.
And in this special episode, we're going to get into Dr. Farrell's new book, which is phenomenal, and I highly recommend everyone get their hands on it.
This is called Microcosm and Medium.
And it's a book on mind control and the various forms it takes through the ages and various technologies and methods and groups using it.
It's an amazing work.
And, you know, as usual, I mean, we expect amazing books when it comes to your work, Joseph.
But this one was particularly interesting to me because I feel that mind control is not very well understood aside from kind of clickbait headlines about it mind control this and screeching that.
But this is, you kind of outline a very sophisticated program in here, and we're going to get deep into that.
And also in the second part, we're going to get into some of your work of Thrice Great Hermetica, which is this book.
And this is one of my all time favorites.
You and I did a show on that book a while ago, and it's one of the most successful episodes we've ever done.
We had over 200,000 views with it.
And it's so interesting because it goes into that Templar Mystery School connection, Lucifer's Crown.
And the great campaigns of that period and the targeting of the Templars by the papacy.
Just fascinating.
But of course, we get right into the hook decks when we get into the Templars.
That's going to take us a long way down the road, too.
But first off, Joseph, how are you?
I'm fine.
Thanks for having me back.
I know that you, before we get into it, I want to mention that you've been working on this organ project for producing.
And it was quite a challenging thing to do because you.
Actually, played organ in that certain special organ that you only get in certain types of cathedrals, and you actually reconstructed it on an electronic basis so you could do it directly where you were in your own studio.
How's that going?
Just fine, except for being 30 years out of practice doesn't help.
But yeah, it's going just fine.
It's a virtual pipe organ, which means that they take digital sound samples of famous organs and you can actually play those instruments.
In your home.
So I have four different organs on it, a nice big German harpsichord on it as well.
So it'll double as a pedal harpsichord.
And I did a little demonstration of stops in the harmonic series and how that works in my members area on my website.
So if people want to hear the organ, they can go and look up that demo.
It's about 20, 25 minutes long.
It's not too long, just demonstrating stops and how it works.
How the harmonic series is all a part of it, but it's fun.
I can tell you that.
I'm enjoying it.
It sounds fun.
One of the things that grabs me about the pipe organs also is from what I understand about it, the incredible interaction physically with an organ like that is a lot different than just playing piano or something.
I mean, it's almost like having a drum kit or something.
You have to use your whole body.
You have to use your whole body.
And the thing that's very different about a pipe organ from any other musical instrument is the building itself is the wave mixer.
So you're sitting, in a certain sense, you're sitting inside the instrument rather than outside of it.
So it's a very different experience playing them.
And of course, on those big instruments, you can feel.
I mean, those instruments can shake the building.
So you can feel the effect it has on you physiologically.
And it's an awesome experience playing them.
Absolutely.
Absolutely.
And so interesting to me, too.
You actually have to wear certain types of clothing to do it, too.
Well, you have to wear shoes.
It's recommended you wear a special kind of shoe with a very thin sole.
And a kind of a built up heel to play those things because you do a lot of pedal work on them.
The other kind of clothing, you don't really have to.
I dress up, you know, you see me in my practice garb here.
I just got done practicing.
You do?
Yeah.
They're a serious instrument, so I dress seriously.
I appreciate it.
One thing I want to mention there, too, is well, I want to ask you how long before people will get to hear kind of the fruits of your.
It's going to be a while.
I did play a little bit of a few pieces in that demo, not very much.
It'll be a while, but I'm thinking about doing a video if I can get certain pieces back under my fingers and feet again, which is iffy at the present time.
But I'm planning to do a video eventually of some pieces and demonstrate what I talk about in the Microcosm Medium book, demonstrate the affect.
The effect in Lerta, the cosmology that those Baroque composers were composing out of, so that people can actually see what's going on.
Because the thing about that era of music is that it's not painting pictures, they're using rhetorical devices.
So they're speaking rather than painting.
So once you get acclimatized to listen for certain things, you know the figurations and so on, what they're doing.
It's a very.
It's a very intensive cosmology once you understand it.
And these composers weren't artists so much as they were craftsmen.
And they were practicing in a tradition.
They were trying to hand down a very, very long tradition of composition.
And they did so very successfully.
But once you understand it and see how it couples to the organ, and then understand, you know, just to kind of sweeten the pot a little bit, a church.
Standard church is built in a cruciform pattern, which, if you look at it from the standpoint of hyper dimensional physics, the cruciform pattern is a three dimensional analog of a tesseract, which is a hypercube.
In other words, a cube in four dimensions.
So you're using the instrument itself quite literally to vibrate intentionality and information into the field of the earth itself.
And that's cosmological manipulation, quite frankly, when it gets right down to it.
Those ancient cultures understood the power of music.
Oh, yes.
Sound and they vouchsafed a lot of interesting truths inside of those systems.
And you start in there actually with Pythagoras and so much that comes out of that tradition.
And you mentioned that the cosmology, the foundation is reason or ratio.
Can you explain?
Ratio.
Yeah, for the Baroque era, you've got two major influences going on in the cosmology.
You've got the Christian influence, incarnation, logos becomes flesh, and so on.
And then you have the humanist tradition from the Renaissance, which dates back to Plato, ultimately back to Pythagoras.
And if you look at that cosmology, it's really the case, and I've said this in other books, Grid of the Gods.
When you look at the modern Western system of tempering, this is something that's very important for people to understand.
In the natural harmonic series, you cannot change keys in the course of a piece.
And that's because there's a natural overtone in the harmonic series.
If you take C as a fundamental, it's the fifth overtone.
That fifth overtone lies between the notes A natural and B flat.
It's in the crack.
It's that blues note.
You know, if you're listening to blues, it's that note that's kind of in the crack.
And the first unification in physics occurs when they figure out if they tweak the mathematical adjustment of the harmonic series just a little bit, you get 12 equidistant keys, you know, C, C sharp, D. D sharp and so on, you get those 12 chromatic notes, and you can modulate during the course of a piece from one key to another smoothly and effortlessly.
I think that discovery was known to Plato.
I go into it in the book as to why it was known to Plato.
I think it was probably known to the Pythagoreans.
It was their big secret.
And for them, the cosmology, the music of the spheres, the planets, you know, they had this idea that the planets, the sun, give off their own unique frequency, which in fact they do.
You know, this was a discovery that was confirmed in modern physics in the 19th century with the Schumann resonance.
So, they had this idea that music is itself an expression of cosmology.
And therefore, if you learned how to manipulate the harmonies, the music itself, you were in fact impressing information into the cosmological field of information.
So, for these people, it's a very, very serious thing.
It's the big secret.
And, you know, I've talked about this in Babylon's Banksters.
David Bohm, the famous physicist, tried to even take that idea a step further by coming out with the unifying mathematical interval for the whole harmonic series, not just the audible harmonic series.
And, you know, being an organist, you know, you grow up with the harmonic series just learning how to use stops.
Right.
Because the stops are based on the harmonic series.
You literally grow up with it, and you're playing an instrument that spans the entire range of human hearing, you know, from the very bottom to the very top.
So you grow up with this idea that there's a cosmology at work in music.
And certainly the Baroque composers understood that and intentionally composed on that basis.
But getting back to your idea of ratio, when you translate the Greek word logos into Latin, the word is ratio.
And ratio in Latin can mean both reason.
But it also means ratio in the arithmetic sense, proportion.
And of course, that's the basis of the harmonic series.
So you get the Lutheran, you know, by the time you get to the Lutheran Reformation, you've got Luther literally coming and creating a theology of music based on this idea of ratio, reason, incarnation, and so on and so forth.
So it's definitely a part of their thinking.
Fascinating.
The Pythagoreans were harkening back to an older tradition themselves.
Yes.
It was embedded in the Egyptian.
Yes.
Some of the things you've pointed out about in your work on the Giza Death Star with the Great Pyramid, which I find so interesting, is that the pyramid itself is, in some sense, a chamber of resonance.
Yes.
Yeah.
And you demonstrated that by showing that it's not a straight line on every side, there's a bowing when you look at it overhead.
Can you describe that a little bit?
Well, the pyramid, if you look at the faces of the pyramid, Top down, you'll discover that along the apothem, which is the line that runs through the center of the sides of the pyramid, along the apothem, it's actually bent in.
So you're dealing with, in effect, you're dealing with parabolic reflectors on all four sides.
So it's created to gather information, it's created to gather electromagnetic input, but it's also resonant to the Schumann cavity resonance of the planet.
So, in other words, they're thinking along the same lines as these people building these big organs in the churches.
They're using the building as a resonating chamber to be resonant to the earth, and I think both to gather harmonics from the earth as well as project information, harmonics into the earth.
So, it's a two way thing, and that parabolic reflector aspect of the Great Pyramid is not something well known, but that's kind of the dead giveaway right there.
Wow, that's fascinating.
It reminds me of the Casey work when they asked him how the pyramids were built, and he made a few comments about it, but one of them was in reference to sound.
Now we get a little bit of that, and we start to understand how vibration is.
Miss Olivia, you have some.
Okay, I already have a great series of questions here.
Nimsa wants to know so the liturgy focuses the group intention, and the organ vibrates it into the medium?
Yes.
That's exactly what I personally think is going on.
Yes, absolutely.
Nicholas Krupus wants to know if the pipe organ is an analog of Gregorian chant, similar effect?
No.
Gregorian chant is something that is still being based on the natural harmonic series if you listen to it performed properly.
So they don't have that mathematical adjustment that we call tempering that allows you to modulate from one key to another during the course of the piece.
Music as Mind Manipulation00:08:37
That comes, I think, as a product of the Renaissance when that whole secret tradition, again, going back to Plato and Pythagoras, comes out into the open.
In other words, what I'm saying is the Western tonal system was known to Plato, it was known to Pythagoras, but it was not put out publicly so that the music you heard was unlike the music we hear now.
It's that blossoming in the Renaissance when it comes out into the public.
That you see this tonal system begin to take hold.
And, you know, everybody from Bach to the Beatles has been using it ever since.
Right.
Because it allows that change of key during the course of the piece of music.
Right.
Yeah.
Well, this is really fascinating.
What you are kind of describing here is that the music is used to uplift the culture and the people to a higher vibration, a higher way of thinking.
Right.
Let's talk a little bit about what happens when that system is degraded and what would be the benefits for the people who are organizing that kind of degradation.
As you spell out in the book, With art, with culture, with music, there was a steady degeneration of factors to kind of on a mass, the mass effect that it has is to degrade the cultural thinking and the reference points for different types of traditions.
So, when did that start to occur?
When do you see this becoming the dominant pattern?
Well, for me, music and art are a soft form of mind manipulation.
So, in other words, you can take any art, any music, and it's already.
By dint of the fact of being art or being music, it's a form of mind manipulation.
But there is a dramatic change in the cosmology, the philosophical thinking behind, particularly music, from the Baroque to the classical and romantic.
And it's important for people to understand this is not a historical progression.
It's a stylistic and cosmological shift.
The style of music overlaps in time with the classical style and continues on for a while, all the way up to the turn of the century, with certain composers.
What happens is that in the Baroque cosmology, in the doctrine that those composers use, J.S. Bach, CPE Bach, Buxtehude, you know, people like this, they viewed the production of art, the production of music, as Being something to create an affect.
And by affect, they meant the conjuring of passions that are common to human nature.
So, in other words, they were not interested in personal expression or originality.
There were certain formulas that were used to conjure an emotional response in the listener.
And if you doubt that that's possible, just think of film music.
You get film composers.
Mancini, Jerry Goldsmith, and people like this, John Williams, that will use certain musical procedures when they want to conjure a particular emotional effect in the listener.
So it's a very objective thing that they're talking about.
They're not interested in personal emotional expression or communicating their subjective emotions to the listener.
Beginning with the classical era and particularly with the romantic composers, they jettisoned that cosmology.
So, in other words, look what's happening.
To put it in theological terms, the Baroque composer is trying to ground his personhood in the natural, in the common human nature.
That all gets flipped with the Romantic era because now it's personal expression that predominates over and sometimes in opposition to the human nature and therefore to those musical procedures that were designed to conjure certain emotional responses.
And the ultimate end of this is you get people like Arnold Schoenberg, you know, with the 12 tone system, writing this god awful ugliness in the name of the democratization.
And I'm using an expression that Leonard Bernstein uses to describe Schoenberg's music, to describe the democratization of all 12 notes, so that you're jettisoning this whole idea of a universal harmonic law and set of rules that you follow when you compose.
Now, the interesting thing here is that after World War II, the CIA steps in and starts promoting this modernism in all of the arts, in music, in painting.
You know, they're pushing Jackson Pollock.
And the reason they're doing this is they're trying to say, okay, look at those poor Soviet composers and artists that are having to compose under all of these rules, you know, and socialist realism.
Whereas over here in free America, you can splatter paint on a canvas and call it art, and we've got all of this freedom.
Well, it's the CIA pushing this.
Interesting.
Yeah.
And that means, you know, that they have understood something that was kind of lost in the 19th century, that there's a Cosmology, there's a social and cultural effect that the arts have, and it's a soft form of mind manipulation.
And by the way, you know, they don't just do this in classical music, they do it in popular music too.
So they're trying to infiltrate and use the arts as a soft form of mind manipulation.
But in the process, what they're doing is they're pushing the modernist aesthetic, which is an aesthetic of absolute originality.
To be artistic, you have to be original.
Jettison the rules and compose ugliness, and it gets more and more ugly the more you listen to that stuff.
I think it's so interesting when you think about what the Central Intelligence Agency was created for.
It's very interesting the avenues that they get into to manipulate and socially engineer the culture, way outside of their mandate.
Exactly.
And you know, we can look at it on the ground and say, well, you know, it's the CIA has their own air force, I mean, that's also unusual.
Right.
When we talk about the manipulating culture, that's not something that anyone would really think, oh, you know, they have a regular hand in that.
Well, they absolutely do.
Yeah, they do.
You know, I point out in the book that they are sponsoring the modern music conferences in Rome during the 1950s.
And they're, you know, they're highlighting composers like Stravinsky and Schoenberg and Alban Berg and so on.
And, you know, I challenge anybody to go out and try and listen to those people for more than five minutes before you shut it off.
Because it's just god awful ugly.
I'm the enfant terrible and I'm willing to say it's ugly.
Well, they're pushing this for precisely the reason to show, well, the West, you have all of this freedom.
You can do whatever you want to and produce ugliness.
And that's why I think the culture is becoming so ugly.
Because part of the feedback loop in this is if you are promoting disharmony in music, you're going to get disharmony in the culture.
I mean, this is that insight of.
Cosmology, all the way from Pythagoras to Bach, you know, that everybody accepted as kind of the basis of their artistic output.
So they recognized the arts as a soft form of mind manipulation.
And the CIA, of course, when the CIA is promoting this, what else are they doing?
Well, they've got the MKUltra program going full steam.
They're not interested in just the soft forms of mind manipulation, they're interested in the actual.
Heavy duty, hard stuff as well.
So it's across the board.
It's a full spectrum dominance sort of thing that you're looking at.
The Sirhan Sirhan Case Study00:15:15
There's an incredible thing that you do in this book, and you were just alluding to it there, which I think is so interesting.
Taking their manipulations on this cultural musical aspect on one side, and then drilling it down to their deeper purposes using MKUltra for one on one mind control and mind controlling a particular individual to do something.
In the book, you come up with a term which is Manchurian patsy, which I think is interesting because, of course, We know the Manchurian candidate, and I have a shot of that actually.
It's this fantastic novel that you cite in the book by Edward Condon.
Right.
And in there, they take this Korean war hero and have him see this Queen of Diamonds over and over again.
And when he sees that, that's his cue to go into this trance and they can give him instructions to do anything.
Right.
And the way they describe it is it's part light induced, part drug induced.
Yes.
They literally are planning to use him to assassinate the president.
Now, there's a lot of very interesting things that you allude to here, but we see so much of a reflection of this movie in the 60s when this movie came out just before the JFK assassination.
Yep.
And then all of a sudden, this ripples through the entire culture of them using these very strange patsies who they roll out.
What is a Manchurian patsy?
Okay.
In the course of their research, they discovered that it was much easier to create.
It manipulates someone to become a patsy, like Sirhan Sirhan, I think the classic case of clear mind manipulation.
And they discovered that through the process of hypnosis, you could program certain triggers in people to carry out certain actions and then program them to forget that they had done it.
Right.
And, you know, think of the case of Sirhan Sirhan.
Both the prosecution.
And the defense psychiatrist that examined Sirhan Sirhan were all agreed that this guy had been subjected to hypnosis at some point and that he was very easily induced into a hypnotic trance.
And as you look more and more at the Sirhan Sirhan case, let's look at the fact that he's seen with a girl in a polka dot dress, right?
And I think the polka dot dress is a visual cue, it's a visual trigger.
And then the girl tells him, I want some coffee.
That's a second.
Trigger.
So, in other words, when you're programming these triggers, you have to do it in such a way that an accident cannot happen.
So, you're programming what I call algorithmic triggers in somebody a set of triggers that if all of these things occur, you will do such and such.
And sure enough, you know, Serhan pops, tries to pop Senator Kennedy.
And again, we know there's more bullets than there are in his revolver, you know, a little problem there.
Absolutely.
And, you know, plus the guy can't remember having done it.
You know, he's in a trance state when this happens, when he's shooting.
And then afterwards, they try and wrestle him to the table.
You know, Rosie Greer is one of the people trying to wrestle him to the table.
He was our big bodyguard.
Yeah.
Yeah.
He was one of the.
Yeah.
And, you know, there's this superhuman strength in the guy until bang, the trance wears off.
And then all of a sudden, that strength disappears and off he goes to jail.
So there's a clear case here of a Manchurian Patsy, someone I think that was set up.
To take the fall for Senator Kennedy's assassination.
So, yeah, they're drilling down.
If you look at what they're doing, they're covering the arts in order to achieve a social engineering effect, a mass effect in society at large.
But then they've developed the technologies to manipulate specific behaviors in specific individuals to carry out specific things.
And this happens over and over and over.
And you can see the pattern with Serhan.
You can even see it with Jack Ruby in the Kennedy assassination.
You can see it with Jim Jones, where you've got a mass experiment of the same sort taking place, and on and on this goes.
So, yeah, I think it's huge that people have to understand if you are submitting yourself or exposing yourself to any art whatsoever, music, painting, whatever it is, you're subjecting yourself to a soft form of mind manipulation.
The question is, how do you want to be manipulated?
And that's the real crunch.
It's so interesting.
I think of the Batman shooter in this regard also, which seemed completely like what you just described.
So it's interesting when we think of the Manchurian candidate, he's somebody who's set up to do a particular thing and then take out the individual.
The Manchurian Patsy is set up to do it all, but then forget it as soon as it's over.
Right.
And take the fall for it.
Yes, that's so crucial and important.
There is Sirhan.
Sirhan, you were talking about that superhuman strength.
Of course, he's about five foot two.
Yeah.
Didn't look like he weighed much.
Certainly wasn't very physically intimidating.
But in that state, Watch out, he becomes basically super strong.
Um, there's a couple of quick things I want to mention about Sirhan Sirhan, and I'm glad that you brought him up because I think it's a great missing chapter to history.
Um, one of the crucial things is that Robert F. Kennedy Jr. now has gone on the record saying that he doesn't believe that Sirhan shot his father, which is absolutely interesting and fascinating and shakes that whole story, right?
Um, second, you know, there are people who've come forward.
And talked about the security guard who was involved in accompanying Kennedy there.
And the guy's name is Caesar, and how he was close by with a gun and had proximity.
And Thomas Noguchi, who performed the autopsy, said, Well, Kennedy wasn't shot from the front by this guy, Sir Han, at that distance.
It was right in the back.
Yeah, and it was point blank.
So that story from the very beginning, you know, and the way it was organized was to remove him so they could install Nixon in that period.
Yep.
But that is a classic CIA style operation.
And in this case, Sirhan was one of these Manchurian patsies that you were talking about.
A couple of interesting things about his case that you mentioned in there, too.
Of course, they tie him in with the Rosicrucians.
Yes.
Which I thought was an interesting way to try to tar the Rosicrucians by saying, well, you know, he was deep into this kind of esoteric Rosicrucian stuff.
That was one interesting oddity.
And you also mentioned that.
In his diary, and thinks he's writing, supposedly, he's writing RFK must die and all this kind of thing.
But then he mentions DeSalvo.
Yes.
Can you go into that?
That is extraordinary.
Okay.
That's the clue that Sirhan Sirhan was mind manipulated because DeSalvo was the Boston Strangler.
Yes.
And he was convicted and found guilty.
And the professional hypnotist that they brought in was a fellow by the name of Dr. Brian.
And Dr. Brian.
Had a practice in Hollywood of hypnotizing.
He was a hypnotherapist.
He had a practice of hypnotizing people.
And the only way that Sirhan would have known that name and written it in his diary is if he had heard it at some point during an induction session.
And the only person that would have been likely to have done that would have been Dr. Brian himself.
And Dr. Brian ends up dead in Las Vegas of a heart attack, you know, in the company of two prostitutes.
And.
And these prostitutes go on record and say, yeah, he bragged about, you know, having programming, yeah, having programmed Sirhan Sirhan for this hit.
So, you know, I'm the way I look at it, Daniel, is yeah, this Dr. Brian was taken out because he was the loose end, you know, that they needed to cover up.
So, yeah, that it's right there in his diaries.
And it occurs in a context that's just bizarre.
There's no warning for it.
And once he mentions this, he kind of flips back and, and, The hypnotism books that I consulted to write this book all state that if you hear something like that in a state of trance, it lodges in your mind, even accidentally, when it's not intended to.
That's what happened with him.
Somebody might have come in with an update about DeSalvo during the session, and boom, it's in there.
Bingo.
Bingo.
That was pretty fascinating.
When I read that, I was like, wow, I had not seen that before.
Incredible.
Now, Let's go further back with this idea of mind control and international major events.
Professor Stott calls them deep events.
You cite one that is quite interesting.
And somebody you recently did an incredible book about, which is Rudolf Hess.
Now, here's Hess, who we think is Hess.
Or who we think is Hess, yes.
At the Nuremberg trials.
Uh huh.
And with his lawyer trying to explain exactly what he did.
Can you give us a quick overview on Hess and this strange mission that he had, and then the strange two Hesses, and then his strange comments at the Nuremberg trial?
Nuremberg trial.
All right, Hess, golly, where do we start?
What really got me onto Hess, and the reason I had to do the Hess book before this mind control book, I was originally writing this mind control book before I did the Hess book.
And when I was doing researching the Hess book, I ran across something that floored me.
And that was Alan Dulles shows up at Nuremberg and he calls in an American physician and tells him that I have a suspicion that this guy is not really Hess.
And I think maybe Hess may have been.
Secretly executed by Churchill, you know, and explains this to the doctor and he says, I want you to examine this guy and tell me what you think.
Well, the doctor that he has examined Hess is none other than Dr. Ewan Cameron.
Cameron.
And if you guys are familiar with the whole MKUltra thing, MKUltra had employed Dr. Cameron later in these psychic driving experiments.
Where Cameron would subject people to sleep deprivation and then long periods of sleep and play these recorded messages over and over and over again.
And he would try to erase one personality and substitute another personality into these people through this process, which is really nothing more than mental psychological torture.
But it's Cameron that Dulles turns to to examine this Hess character.
Well, the British guards bring in Hess, and Cameron is not, they don't allow him to examine Hess in any detail.
So the mystery kind of hangs in the air, but.
When Hess is at Nuremberg, and again, I'm putting Hess in quotation marks because I don't think it is Hess.
When Hess is at Nuremberg, the British bring in two people that Hess knew very closely.
One was Hermann Goering, and the other was Dr. Karl Haushofer.
Both major Nazis.
Both, yeah.
Kind of hard to avoid Hermann Goering being a major Nazi.
But the Hess at Nuremberg.
He says he doesn't recognize them.
Wow.
And then in the trial itself, this is what really gets me.
In the trial itself, and I even put a picture of this of Herman Goering sitting in the dock, and he's got some papers over his mouth like that.
And you can tell Goering is just laughing hysterically because he's trying to cover up, you know, that he's like, and he's looking directly at Hess, who's sitting right next to him.
Behind Hess, you see Admiral Donitz in sunglasses just glaring.
You can just see the laser beam shooting out of him.
At Hess.
And then on the other side of Hess, you've got the foreign minister, Joachim von Ribbentrop, and he's kind of leaning forward like this, and he's looking at Hess like, Are you for real?
And at one point in the trial, during a recess, Goering blurts out so that everybody can hear it the judges, the prosecutors, the defenders, the military police, the press.
He blurts out, Come on, Hess.
Why don't you tell us your secret, Hess?
Come on, let us in on your secret.
And everybody hears this.
Incredible.
And I'm thinking, given the fact that then at the end of the trial, Hess stands up and he starts talking about mind manipulation and that the whole Nazi hierarchy was mind manipulated.
And then the British judge cuts him off about 10 minutes into his speech when he had 20 minutes to talk.
You know, okay, that's enough.
Sit down, be quiet.
So, in reality, Hess is the Hess Nuremberg trial, the first case where mind manipulation is just blurted out for the whole international audience to hear.
It's on the record.
It's on the record.
Yeah, it's on the record.
When you mentioned Dulles.
Yeah, when you mentioned Dulles and you and Cameron, that kind of elevates.
Now we know what we're talking about here.
Yeah, now we know what we're talking about here.
So, you know, and the strange thing about Hess is if you get into his case, it begins to look like they had substituted a double for him in Great Britain, and that the British had programmed this guy to act and be Hess.
Hess, Doubles, and Occult Deals00:13:35
The problem is that Hess was observed at one point to do this, which is smoke.
And the real Rudolf Hess was not a smoker.
Yeah.
Not a smoker.
And in addition to that, the real Rudolf Hess was number one, an upper middle class German.
And he very rarely ate meat.
And this Hess in Britain is gobbling up, you know, terrible table manners, gobbling up shrimp and salmon and, you know, steak and kidney.
And so, in other words, the whole problem with Hess is it ain't Hess.
Yes.
Talking about identity change.
Well, you know, interesting.
Let's look at this.
This is the deputy Fuhrer for the Nazis for 12 years.
Yep.
And he goes all the way back.
And many people cite him as the original author of Mein Kampf.
Well, he is the original author of Mein Kampf.
That's the other thing.
You know, Hess was multilingual.
He spoke English, he spoke French, he spoke Arabic, and he spoke German.
Okay, so, you know, he's kind of the cosmopolitan Nazi.
Right, right, right.
But Hess was also very literate.
And if you look at the story around Mein Kampf, the story is that, well, Hitler was dictating.
And Hess was the dutiful secretary pecking it out at the typewriter.
Okay.
But when you start digging into the actual story, it's Hess that's writing what few lucid chapters there are in Mein Kampf.
And Hitler wanted originally to call the book Four Years of Trial, Torture, Tribulation, you know, a catchy title that really rolls easily off the tongue, you know.
And Hess says, no, no, no.
We're going to call it Mein Kampf, you know.
So it's Hess really that's kind of the brains behind the operation to a certain extent.
So, yeah, it's just character.
I think that, and I want to recommend your book about Hess and Antarctica, Hess and the Penguins, by the way.
If anyone wants to go really deep on Hess, that's where it is.
And let me tell you, it is eye opening.
But I want to do one other thing here with Hess because I think it is pivotal because he came forward as the first person to really talk about this mind control on an international basis.
How did the Allies get Hess?
How did they get him?
Well, tie that into, I mean, I know how it is, but I think I want everyone to hear this.
Tie that into his unusual occult background and then the strange thing that he did that landed him in the hands of the Allies.
Okay.
Hess was born in Alexandria, Egypt, to an upper crust, middle class German family that had an import export business in Alexandria.
So that's where he learned Arabic and that's where he learned his love and his devotion to occult matters.
After World War I, he had been in the infantry in World War I.
He fought at the Battle of Verdun, where he was wounded.
He was then transferred to the Eastern Front, to Romania, where he received a very serious wound that entered through his upper left armpit, came out below his left shoulder blade.
And he had to convalesce for quite a while.
And then he was released to the infantry and he became a pilot and a very good pilot.
And the war ended.
Hess then went to Munich and matriculated at the University of Munich in 1921, I think, under General Karl Haushofer.
Now, Karl Haushofer, if you look at him, he's another one of these German geopoliticians who headed up the German Geographical Institute in Munich, their geopolitical study think tank.
But Haushofer himself was also heavily into the occult.
So Hess now has a double whammy.
And then Hess joins the Freikorps von Epp, which is one of these paramilitary right wing German versions of the KKK that's running around Munich and shooting at communists and so on and so forth.
Ultra nationalist.
Ultra nationalist.
Extremely ultra nationalist.
And then Hess joins the Tula Gesellschaft, which is an occult secret society in Munich.
And of course, it's the Tula Gesellschaft that has the swastika as their logo, greets other members with Heil und Sieg.
So, you know, Hess is pulling all of this occult influence from the Tula Gesellschaft, and it's Hess that injects it into the Nazi party.
Okay, so that's Hess.
The Nazis take power.
Hitler names him Stellvertreter, which is usually translated deputy Fuhrer.
It's not a strong enough translation, it's a very, very powerful translation.
Word in German.
It means placeholder.
So Hess becomes the Stellvertreter for the Nazi Party.
In other words, Hitler's personal representative to the entire Nazi Party.
So Hess heads up the party bureaucracy.
And this is very important.
Hess heads up the whole party bureaucracy.
In other words, he's kind of general secretary like Stalin was to the Communist Party in the Soviet Union.
That's the position that Hess is in in Nazi Germany.
So he's controlling all of the bureaucratic appointments.
He controls the party intelligence apparatus, the so called Auslands organization.
And as Reichsminister, he also holds a post in Hitler's federal cabinet.
So he's an extremely powerful man.
The only other rival he really has in the Nazi hierarchy would be Hermann Goering.
So May 10th, 1941, rolls around, and Hess gets into an airplane, a twin engine Messerschmitt 110, and flies from Augsburg.
To Scotland.
Okay.
Now, folks, you just got to understand what's going on here.
Because, first of all, the German air defenses in Western Europe at the time are some of the most sophisticated in the world.
Radar, the whole nine yards.
Oh, yeah.
So, Hess supposedly is flying this airplane through German air defenses on an unauthorized flight.
He then flies out over the North Sea, turns, and makes his way to Scotland.
And as he's flying over the North Sea, General Adolf Gallant, who is the head of all German air defenses in Western Europe at the time, gets this frantic phone call from Reichsmarschall Goering.
And he says, You've got to scramble your fighters right away.
And Gallant says, Well, Herr Reichsmarschall, there's nothing coming in on the radar.
And Goering just flips the gasket.
He says, I'm not talking about anything coming in.
The Reich, the, the, the, uh, Deputy Fuhrer has gone nuts and he's taken the plane and he's flying to England.
You've got to shoot him down.
Now, the interesting thing is when Goering makes the phone call, Hess is already too far for any German fighters to catch up with him.
So that's a show.
That's for show.
That's for show.
That's a Hermann Goering.
This is for show.
Hess gets into Scotland and he misses his radar connection and he gets lost.
And so eventually he's flying around northern Scotland in this Messerschmitt 110 at low altitude.
And you can just imagine the effect that it's going to have on your sheep up there.
But anyway, he finally decides, well, I'm lost.
So he puts the plane on the tail, climbs to high enough altitude, and bails out.
Wow.
And he lands in a farmer's field.
And the farmer, you know, pitchfork in hand, rounds him up, calls the local police, and then Hess starts talking.
He says, I'm here to see the Duke of Hamilton.
Can you take me to the Duke of Hamilton?
And so, you know, eventually the Duke of Hamilton does show up, but this is after Hess is interviewed for two hours by a Polish officer speaking German to Hess, and nobody else is capable of speaking German.
Well, long and short of it is, Hess, I think, was trying, as the standard narrative goes, to negotiate a peace deal.
With Great Britain, get Britain out of the war because, of course, Hitler's going to invade the Soviet Union in a little more than a month.
Right.
And the key here is that Hess, in his thinking, was coming under a flag of truce from the king.
Yes.
From the king.
Yes.
And of course, Churchill gets wind of Hess landing, has him rounded up, brought down to London.
There's this mad scramble in the British oligarchy.
You know, what do we do now?
But they've got the number two man of their enemy.
Yeah, they've got the number two guy who's all of a sudden parachuting.
It's incredible.
By the way, when he parachutes, he has weird astrological symbols on him.
Oh, yeah, he's got everything.
He's got a briefcase full of the treaty just ready to sign, which incidentally goes conveniently missing.
Oh, yeah.
Yeah.
And, and, and, At the time that Hess does this, for some curious reason, the Luftwaffe just kind of stops bombing England, and for some curious reason, the RAF starts backing off on bombing Germany.
Yeah, so all of these things.
And it's interesting, too, when you think about the timing, knowing Hess and knowing his esoteric background, yes, all the things he's plugged into, this date was very astrologically significant, and he was pulling this off, thinking, Aha, I'm going to pull off this truce.
So, this is a very unusual situation for Hess, and then they have him.
And then later, he shows up and they have him at Nuremberg after the Nazis are defeated, or the Germans are anyway.
And he comes in, and it's this strange fellow, which there are so many questions about.
And here we have that person who you're referring to earlier and saying, so many people say, this is not Hess.
This is not Hess.
Well,.
The reason that that whole thing got started was there was a British doctor that was assigned to the British military hospital in Berlin, and he knew that that hospital was responsible for taking care of Rudolf Hess and his health.
And in fact, the British had built an entire floor of their military hospital just for Hess.
I mean, it was a skiff, a segmented, compartmentalized facility just for Hess.
And he knew that he would probably, at some point, Run across prisoner number seven, Rudolf Hess.
And so he familiarized himself with Hess's medical files.
And this is where it starts to get interesting.
He saw Hess stripped once and noticed that the scar that supposedly Hess had received from his war wound was missing.
Oh.
And so he, you know, he thought, I can't be seeing this.
So he examined Hess a second time and saw that I'm getting a little feedback and then saw that the wound was missing.
And he asks Hess, you know, what happened to your wound?
And Hess's mood just completely changed instantly.
And so he published a book called The Murder of Rudolf Hess.
And he pointed out that this is a double that was substituted at some point.
And where's the real Hess?
Well, I think the real Hess probably died in a plane crash with the Duke of Kent in 1942.
And the British substituted a double for whatever reason and then carried on with the charade after the war.
The real question is why?
I think that it's because the deal that Hess had negotiated was to get rid of Hitler when he comes back from England, get rid of Hitler, and the British in turn would get rid of Churchill.
The crown would force Churchill out and place another prime minister, probably the Duke of.
And that's how you would have gotten peace there.
That's how you would have gotten peace, yeah.
Yes, yeah.
Nazi High Command Control00:07:22
Oh, it's fascinating.
And it's so interesting when we get into it because.
This Hess double is the one who acts so strangely, as we started off with, and that the other Nazis kind of make fun of at Nuremberg and say, Oh, you have a secret.
But then this Hess stands up and says, The Nazi high command were under this mind manipulation.
Right, right.
The whole everybody was under this mind manipulation.
And again, that, you know, the thing that struck me was this is the first time, this is long before Edward Condon's novel.
This is the first time that you see mind manipulation being talked about.
In a mass sense.
And what's intriguing here is, you know, I would have never have paid any attention to that other than the fact that Alan Dulles shows up with you and Cameron, you know, who's going to go on to be part of MKUltra, talking about my manipulation.
And he thinks that this is a double.
Yeah.
I mean, it's remarkable.
It is.
And I think what's fascinating about this also is these characters that are showing up Dulles, who will head the CIA for so many years, right from the beginning.
And he will be dismissed by JFK in 1961 and removed from this position where he's all powerful for 14 years.
So, those types of programs also had carte blanche to do whatever they wanted in terms of developing MKUltra programs because the excuse always was, hey, we're in a Cold War and anything goes.
So, they weren't limited by any kind of humanitarian considerations.
And this is where we get this whole thing about MKUltra, which you hear thrown around as a term.
And I don't think that people really grasp that this is a program that we know very, very little about.
Right.
But it is on record.
It's a fact.
It's not somebody's conspiracy.
We know that it took place.
And we know that Richard Helms, the CIA director, oversaw the program and destroyed most of those records in the 70s during this whole fleshing out and looking at the CIA.
So this is a role that the CIA gave themselves, basically, to conduct these experiments and get to this level.
Now, there's a chance there in Korea, which shows up where during Korea, the airmen who are held as prisoners become mind controlled by the Korean side, by the communist side.
Right, right.
That's the occasion that is actually behind Edward Condon's novel.
Yeah.
Because these airmen are coming back and they're behaving very strangely and they're saying, you know, un American things.
And the suspicion was that the communists had perfected their mind manipulation techniques.
Which brings us back to Hess, because Hess points out that the show trials during the purges inside of the Soviet Union were the defendant is, you know, clapping and cheerful at his death sentence.
And, you know, you had this bizarre behavior that was being exhibited by these people in those show trials.
And that's the first thing that Hess starts to mention as he's giving his speech about the Nazis were all mind controlled.
Well, he references these show trials.
So, in other words, you've got another mind manipulation program going on inside the Soviet Union, inside of probably communist China, where these techniques are perfected and being used on American prisoners of war during the Korean War.
And that's where Condon kind of picks up and gets all of the juice for his novel.
Wow, fascinating.
And it's also interesting, I think, when we look at this period, because there are so many things unusual that are happening in relation to the Nazi control over the population, also.
Uh, you uh refer to Hitler many many times as a master hypnotist, yes.
Uh, in that and that he he holds an entire nation spellbound, yes.
Um, these are mass hypnosis techniques, yes, which is different than that one on one, right?
But carry some of the core principles.
And um, so we're kind of in society now, in culture now, we see a lot of mass hypnosis and largely coming from through the media, for example, yes.
Um, so there is this precedent, I think, that we find if we look back there.
What I want to know is.
When Hess is saying these people are being mind controlled by the Nazi high command, who is it that we would suspect is mind controlling the Nazi high command?
Well, that's the thing.
He never really gets to say what he thinks is going on because the British judge that's presiding at the Nuremberg tribunals cuts him off, cuts him short.
Right.
So he's never able to say who or how this is being done, except, of course, he's blaming the International Jewish Bolshevik conspiracy.
Oh, yeah, yeah.
You've got to have that in there.
But he never gets to the point where he's able to name names.
And if that's the case, you've got to wonder is this something going on through the SS?
Because they were certainly involved in a lot of that kind of research themselves.
Is it the case, as some people have argued, that there was actually a double for Hitler that was substituted at a certain point?
During the war, and that accounts for the strange behavior.
Who knows?
But he did say it and he did put it on the table.
And that's the first time that all of this occurs.
And of course, again, I point out he was dismissed as being mad and a lunatic and insane when he said these things.
And it's only later when all of this stuff about MKUltra and Alan Dulles being involved with him at Nuremberg comes out that you have to think, well, maybe there's something to this.
Absolutely.
Yeah.
And, you know, people might think it's fantastic to think, well, Hess had a double or Hitler had a double.
We know every major political figure has an actual double.
I mean, LBJ headquarters, the presidents do that.
And so it's a fundamental thing anyway.
It's not that.
I do want to hone in on something here, though.
When we look at the sweep of this, because you're looking at Dulles' program, who's the head of the CIA for 14 years, uses all these techniques and methods.
His brother is John Foster Dulles, who's the Secretary of State under Eisenhower.
So you've got a lock there.
That's a power lock.
And when these guys are finally.
Removed, you know, Foster Dulles dies, and then Alan Dulles is after the Bay of Pigs and trying to manipulate Kennedy into World War III.
Kennedy says, You're out.
I love Kennedy's speech, which is, you know, if this was the UK, I'd have to go, but because this is the USA, you have to go.
But they certainly didn't like that.
And I think anyone who looks at CIA history, guys like Jefferson Morley or David Talbot, would say that he actually remained as the head of the CIA just.
Not on paper, basically.
Oswald, Ruby, and Dulles00:05:39
Yes, I would agree with that.
And I think you have to look at this mind control aspect of Dulles and JFK in yet another light because you see very similar behavior from Jack Ruby on the day that he shoots and kills Oswald.
Yes.
Because if you're familiar with the story, Ruby, after he's taken up into the jail cell, which Oswald had just vacated.
He is very, very nervous and he's pacing, he's sweating, and so on.
He's asking for cigarettes, and that's another odd thing because Ruby himself doesn't smoke.
So here's Ruby chugging on all these cigarettes, just nervous as heck.
And then the detective comes in and says, Well, Jack, it looks like it's the electric chair for you.
Oswald has died.
And at that point, Ruby becomes completely calm.
He's relaxed.
He's relaxed.
Yeah.
When they offer him, you know, the smoke, he's like, Oh, no, I don't smoke.
Right.
Exactly.
Yeah.
It's a complete change of behavior.
And to me, again, that's a clue that probably Ruby was either pressured into shooting Oswald or perhaps mind manipulated, you know, mission because his behavior flips.
It's mission accomplished.
I did my job.
I can relax.
Everything's going to be okay.
But I think it's, I think there's a strong possibility that somehow Ruby was manipulated because.
When you view the shooting of Oswald, you've got that car horn going off right in the background, right before Ruby charges out and pops him in the stomach.
And I think that car horn is the signal, it's the trigger.
When you hear the car horn, you will step forward and you will shoot Oswald.
So that car horn, I think, is a huge, huge clue there that people tend to overlook.
It's fascinating because this idea of the Manchurian Patsy, I think you really got something here.
Because as we track them through history, we see all these different examples.
Yes.
And we now have a track record that sweeps 50, 60 years where we can track this.
This is Ruby after he's done it.
And the expression alone just looks like a guy who's in a zombie like trance, which was a different thing for him, who was kind of a rowdy guy.
He ran a strip club, he had these deep mafia connections, he had these deep intel connections.
Not the kind of guy to be in this weird, like, I'm walking in a trance.
Well, look at his hands.
His hands are all tense.
Yes.
Oh, absolutely.
And the idea that he could get in a legitimate situation anywhere near the assumed assassin of the president is just somebody's.
Yeah, it's never happened.
No.
That's one thing that Castro said in relation to this case.
He said, I understand something about security.
They're not going to allow anyone like that anywhere near him.
And there was weird behavior, too, where Ruby showed up at the press conference when they were talking about Oswald before he shot him.
And he said, You know, somebody was saying, Oh, yeah, Oswald is associated with this Free Cuba Committee.
I think it's, you know, and he mixed up the words.
And Ruby corrects him in the audience, pretending that he's a reporter.
So he's already in this weird mental state.
Yeah, exactly.
I want to point something out here because you mentioned him in there, which is David Ferry.
And the picture emerged for so many years that they said, in relation to Oswald, who we also, he's looking like the ultimate Patsy in this sense.
But the guy with him is David Ferry here.
And here's a picture of them together.
Now, this is Oswald's, when he enters the Civil Air Patrol, is 15 years old.
That's young.
You can work with that subject for a long time.
And what we know about Ferry is that he is, in fact, Great at hypnosis, has those CIA pilots, and that Barry Seale came out of this civil era environment, which is all CIA related.
So I think we get a much better picture and a snapshot of these kind of patsy who roll onto the scene of history, and it's like, oh, the entire presidency, and it was all because of this little lunatic over here.
Yeah, exactly.
Exactly.
And you cannot come away, especially with David Ferry and his background with hypnosis, and the fact that Oswald is in. New Orleans and in regular contact with Ferry, Guy Bannister, these people.
You cannot come away from that without thinking that at some point, maybe even Oswald himself may have been subjected to some of these things.
Absolutely.
So, you know, the whole point here is, folks, you've set up an intelligence agency which has created for itself this mind manipulation program.
And they have been able, as a result, to create a cadre.
Not only of just assassins, but they've been able to create a cadre of Manchurian patsies that they're going to pin the whole story on and create this ridiculous narrative that we're still struggling to get overturned to this day.
Absolutely.
So, to me, I think this is a crucially important thing to understand.
We're seeing right now in this country this insane behavior from people.
Creating Manchurian Patsies00:04:35
And I think a lot of it.
Has to do with this kind of mind manipulation, this kind of social engineering, and so on and so forth.
Because there's no way that rational politicians would be saying some of the things that some of these idiots are saying.
Right.
And, you know, we're back to Hess.
We're back to Hess.
Exactly.
One of the things that Catherine Fitz mentioned in relation to entrainment technology, and I think she does a great job of spotlighting it.
And I've done a number of shows about it, and I'm always looking for new information about it, though.
But fundamentally, you know, we understand subliminal programming and we understand its role in everything from advertisements to discouraging people from shoplifting in supermarkets and everything.
Right.
But entrainment is a little more pernicious because it's so effective.
So she describes this event after she had all these troubles with the government of going to this event.
I think it was in New Orleans, actually.
And it was George Tenet, the former CIA director at this point, speaking.
And she goes there with a friend, and she wants to see basically what their next pitch is, what he's up to.
And he's a consultant for some company at this point.
So she goes in there, and the crowd is really getting into it.
They're getting whipped up, and she's noticing this as she goes.
But at a certain point during this, she stands up and she finds herself applauding.
And then she looks at her friend and says, George Janet is such a wonderful man.
Mm hmm.
And then she realized, uh oh, there's something wrong here.
She knows better.
And she realized the entrainment was so heavy duty that even based on her and her own experience, this wild wave was coming over her of kind of euphoria for this speaker up there.
This is how entrainment works it goes past your conscious thinking.
And it's actually, when you get it, you know, it's kind of like EMK Ultra at that point.
It's gone beyond the personal one on one method.
They're using a kind of a technology, you know.
And there's so many things when people talk about voice to skull technology, voice of God technology, and these things, they're getting very, very proficient with this particular style.
So, when you say the culture is suffering and we're seeing the culture deteriorate, it seems like there's a lot of this in play right now in America.
Oh, yes, absolutely.
One of the things I talk about in the book is a series of experiments that the CIA sponsored.
And I believe it was at Stanford, it was someplace in California, where They started doing electroencephalograms of volunteers, and they would either say or show them a word.
And what they did was they mapped the brainwaves of specific words so that by the time they got done, they had what I call an electroencephalographic dictionary of the brainwaves of about 2,000 words.
Now, that was in the 70s.
So, if you extrapolate from that, by now they probably have electroencephalographic dictionaries of hundreds of thousands of words.
Now, you can take that technology and in turn train those brain waves through microwave interferometry on someone's brain and literally project the words themselves with the brain waves of those words into people's skulls.
So, it's not even voice of God, it's just the concept itself is being.
Is being drilled into quite literally.
So I can easily see, yeah, you get that kind of technology playing to an audience, and you get the automatic clap and response.
You don't even have to hold up the sign that says applause and say George Kennan is a great guy.
Just beam it into them, folks.
Well, I think about sporting events, and they do over time now, the glorification of the sports figures becomes so incredibly over the top.
And you wonder how that occurred when you look at it, you know, going back periods when there wasn't this technology in the public domain.
If you look back at football games and baseball games and all that kind of thing, the reactions are different.
Yes.
And they're not so fanatical.
And it's a more measured kind of a situation.
Yeah.
So I find that very interesting.
And I do think the technology is at work there.
Mass Perception Engineering00:03:14
The question is where are they going with it?
When we look at some of the things that you've already observed that they're degrading the culture.
You know, the CIA had this program for degrading the culture through art, through culture and art, music, popular television, things like that.
Where are they headed with it?
I think, Daniel, and I'm going to crawl right to the end of the twig and fall off here.
Because I think what they're doing, that the ultimate goal and purpose here is cosmological in nature.
And it's based on that phenomenon from quantum mechanics where the observer can influence the outcome of an experiment before the experiment is performed.
And the uncertainty principle teaches us that you cannot measure the position and the momentum of an electron at the same time.
So, in other words, you predetermine the result of your experiment depending on what you're looking for before you perform the experiment.
Now, the problem is can that effect be duplicated at a macrocosmological level?
Can it be duplicated or have an effect at The level of real life.
Well, how would you manipulate that?
How would you experiment to do that?
Well, you would do it by changing people's perceptions en masse.
So, in other words, you would manipulate a part of the population.
Here's the Mandela effect for all you Mandela effect fans coming up here.
You would manipulate part of the population into thinking that Nelson Mandela died in 1995.
Or, in my case, I'm an experiencer of the Mandela effect.
You would manipulate Part of the population to think that the famous White House reporter Helen Thomas died and that Bill Clinton eulogized her in the Rose Garden of the White House in the 1990s.
Well, come to find out, of course, Helen Thomas didn't die.
Nelson Mandela didn't die.
Well, why then are so many people having that memory?
And I suspect what's happening is that they have used this technology in normal broadcast news services and used this technology to.
To subliminally broadcast an entirely different data set, an entirely different set of facts, and then are tracking the populations to see what their behavior and decision making pattern is.
So, in other words, they're doing data correlation experiments to see if there's any sort of macrocosmological effect.
So, in other words, I think their goal is to be able to literally create a kind of virtual reality by inducing these kinds of data.
Different data sets in mass populations.
And that's a cosmological power, like it or not.
That is a cosmological power if they're able to perfect it.
Templars and Cosmological Power00:02:00
So we're back, you know, we're going back.
That's why I began the book with Baroque music.
You're going back to a cosmology that says these things have cosmological implications.
Right.
And this technology certainly does.
You know, it's interesting because what you're describing is a physics experiment without manipulating the medium.
Yes, exactly.
That's exactly what I'm describing.
Exactly what I'm describing.
And that's what I think they're up to.
Oh, Berenstein Bears fans out there.
We know the Mandela effect is real, at least there.
Everyone, you're watching Dark Journalist.
It's great to have everyone here.
It's a huge crowd tonight for Dr. Joseph Farrell.
His new book, which we have here, Microcosm and Medium, is bringing together these worlds of the manipulation and mind control techniques and the history of that.
So we really get it clear beyond a kind of clickbait title.
It's the real depth.
That we need to understand these things on.
And I think bringing it around to culture and music and the history there is so, so important.
And we've done a great job of that so far tonight.
Um, Miss Olivia, of course, she's going to be taking your questions.
We can stop right now.
I have no questions for three more shows.
I have a whole Templar section, so we're going to do that.
We've got to get to the Templar.
Um, I will say this though, um, ask your questions all in caps, and um, we will in the second part of this, and we'll get your questions in for sure.
Uh, with Dr. Farrell, I want to remind everyone to go to darkjournalist.com.
And sign up for the newsletter because that's the best way that you and I stay in touch.
And people like Dr. Farrell and myself, you know, we know with social media, it's here today, gone tomorrow.
So that one on one relationship is very important.
So make sure that you do that.
Joseph, I want to get into this because we're so deep in the X research.
The Albigensian Crusade Connection00:15:01
And I see, when I'm getting into it, I see so many crisscrosses with the work that you've done.
And you're a great inspiration on me for doing it.
But one of the key things is we did an episode on your book, Thrice Great Hermetica, which is one of my favorites, as you know, where you cover things from Christopher Columbus and his actual voyages to America before he's recorded coming here and the groups that he's associated with in that regard.
And the Templars came up in there.
And I've been doing a lot with the Templars in relation to the Mystery School.
Thread and I want to solve something or get a handle on something relating to their hooked X that comes up so often with this.
One of the things that has been pointed out, which is we know that the Templars came here to America early, this actually from Westford, Massachusetts, which I think we determined is about an hour and 15 minutes from here, is one of these sculptures.
Yeah, and this Westford Knight, he is in sort of Engraved there on the rock, and he has here the hook decks.
We're going to get a closer look at it, but this is the full construction of the knight.
Here, there is his hook decks there.
The Templars, their mystical mystery school connections, their early visits to America, and their visits to the Holy Land in search of whatever.
This is.
This is where that book and your research shines.
So, you can give me just a little bit of what was happening there with the Templars in this period.
Well, the Templars, I don't know exactly where you're wanting to go, but let's go to the Albigensian Crusade to start with.
The Albigensian Crusade, of course, occurred in southern France, primarily during the pontificate of Lotario de Conte, or Innocent III, as he's known to history.
He called a crusade against the Cathars, and the Cathars or the Albigensians were these people in the Languedoc in southern France that had a very, very different doctrine than Catholic Orthodoxy.
And de Conti, Innocent III, proclaimed a crusade against the Cathars.
Now, it's interesting here because the leader of the crusade, Arnaud de Citeaux, was a Cistercian monk, which is very interesting because the Cistercians have this.
Tight relationship with the Templars through this founder of the Cistercians, Bernard of Clairvaux.
And the Templars, interestingly enough, when this crusade is called, don't have anything to do with it.
In fact, none of the military crusading orders participate in the crusade.
And if you look at what's going on at the time, the Templars have built a lot of the castles and fortifications in the Languedoc.
In other words, they're in bed with the Cathars.
And the question is why?
Well, If you look at Spain, the Templars are absolutely instrumental in driving the Moors out of Spain and creating the Reconquista and the subsequent unification of the Spanish kingdoms into one monarchy.
And the Templars are absolutely crucial here.
So forget about the idea that the Crusades are not successful.
They're wildly successful in Spain.
And it's the Templars that do this.
So the Templars are basically, if you look at what they're doing, they're building this supply line.
In the Long Dock, down into Aragon and over the Pyrenees into Spain for their military operations.
That's what's going on.
And the Pope, by declaring this crusade, is really trying to cut that off.
Now, the question is why?
Well, if you look at what's going on with the Albigensian Crusade, the base of power for the Templars, for their military power in Europe at the time, is the Long Dock.
It's the region of France inhabited by the Cathars.
So, the way I'm looking at it is very different from the way that most historians look at it, in that I think what's going on here is that this is a long term strategic operation that the papacy is mounting against the Templars.
The first thing they're doing is they're taking out the base of support, they're taking out the commands, control, and supply for the Templars in Western Europe based in the Languedoc.
Once that's achieved, then what happens?
Philippe Lebel comes along in France.
Places his own stooge into the papal throne, tells him, You're going to remain in France, and then he goes after the Templars and shuts them down in this overnight operation.
So it's a two pronged operation.
When La Belle succeeds in shutting the Templars down, something interesting happens.
The Republic of Venice, with whom they've been allied all along, creates the Council of Ten in Venice, which is their star chamber intelligence agency, hidden.
It's like an early intelligence agency.
It's an early intelligence agency, and a lot of the Templar knights go into it.
Right.
That's key.
This is something that's totally missed.
And the other thing that we also tend to miss is that the Templars, as a military crusading order spanning all of Europe into the Middle East, into the Iberian Peninsula, what are they?
Well, they're a military industrial intelligence complex.
That's what they are.
Profit foundation exempt by charter from all civil and ecclesia, ordinary ecclesiastical jurisdiction, subject directly to the Pope.
So, what they're doing is they're creating the first phenomenon in history of intergenerational capital.
They've amassed massive wealth, such to the extent that you can make a deposit in a Templar preceptory in England and pull the money out in Palestine.
Now, Stop and think what that means for another aspect of history.
That means forget about the Venetians inventing double entry accounting.
It means the Templars probably invented double entry accounting and their allies, the Republic of Venice, picked it up from them because you can't run an operation like that without having that kind of accounting capability.
All right, that's number one.
So you've got an international foundation that's a military industrial complex and it's getting out of control.
So the papacy strikes at it and shuts it down.
But what happens when it does so is the Templars disperse and part of them go into Venice.
Before they shut completely down, as they go into Spain, as they go into Portugal, what do you see happening?
Well, you see the steganography of the Templar logo showing up after they've supposedly been shut down.
Right.
You know, boldly emblazoned on the sails on the Nina, the Pinta, and the Santa Maria that Columbus is taking over to this country.
And you see it boldly emblazoned in Venice and so on and so forth.
You even see it in Switzerland, folks.
There's a little hint for you.
But anyway, you know, this early BIS, right?
Yeah, the early Bank of International Settlements.
That's what the Templars are.
And they show up in all these weird places after they've supposedly been shut down.
So if that's what you're talking about, yeah.
So what are the Templars doing?
I think personally that.
Yes, they did have contact with the New World.
We've got the Westford Knight.
And why is that important?
And why is this relationship to Venice important?
Hang on here a minute.
My dog wants attention.
No, no.
Lay down.
Lay down.
Sorry, folks.
No, no.
What is the dog's name again?
Shiloh.
Shiloh.
Lay down.
Lay down.
So you've got the Templars going over to the New World.
Well, why is that important?
For one thing, it's a source of bullion.
Right.
It's a source of gold.
It's a source of silver because you've got the Mi'kmaq Indians in Canada and all these Indian tribes that have their own gold sources.
And who's that benefiting?
Well, it's benefiting Venice because what does Venice have control of at the time?
Well, Venice is the international bullion market for most of Western Europe and they've got a secret supply of it.
Isn't that handy?
Yes, absolutely.
And this explains a lot, actually.
Yeah, it explains a whole lot, you know, because.
If you read what Venice gets up to at this time, manipulating bullion prices and driving Florence absolutely nutty with their ability to do this, it helps if you have a handy hidden system, a hidden supply of bullion to do this.
Think Japanese gold after World War II, folks.
And it also suggests that it gives us a good reason for why they're hiding the fact that they've already discovered the New World.
Right, exactly.
It's actually old hat to them.
It's old hat to them, yes.
We've known about this for a long time.
But anyway, that's one thing that the Templars are doing.
But in the Albigensian Crusade, the other interesting thing that I think ties into this is that Otto Rahm, this German guy that goes into the Languedoc in the 1930s, is going there to investigate all of these sites because, in Rahm's thinking, Eschenbach's Parsifal is an allegory of.
The Albigensian Crusade.
Interesting.
And he meets a shepherd in France, a local shepherd in the Languedoc, that tells him, oh, by the way, you know, that crusade was all about trying to recover the stones from Lucifer's crown that fell to the earth after Lucifer's rebellion because they wanted to get these stones and, you know, put it on the papal tiara.
So weird.
For Otto Rahn, you know, he's a very interesting researcher in this period.
And the Nazis watch him.
Oh, yeah.
And they say, Whoa, we want in on this guy's research.
What is he up to?
And he's there where the Templars were, and he's investigating what actually was going down there and why the papacy struck at them with such a vengeance and all the secrecy around their own investigations.
So he runs across this shepherd who gives them this unusual story, like you were just alluding to Lucifer's crown.
Some of this and some of the things about the Templars might explain.
Beyond just the fact that it's a power struggle, why the papacy wants to annihilate them and, in fact, will burn a number of their leaders at the stake.
Yes.
If you look at the beginning of the Templars, you have nine French knights that go off to the Middle East.
Hugh de Payan, Godfrey de Bouillon, all of these old French families.
You have these nine knights, count them nine.
That's a nice hermetic number going off to Palestine.
They get to Palestine and they constitute themselves as an order to protect pilgrims in the Holy Land.
Nine guys.
Nine, yeah, nine knights against hordes of well trained Muslims.
Okay.
You know, the last thing you want to be doing is fighting well trained Arabs on cavalry with scimitars that have drilled themselves to death.
And you've got nine knights to print.
No, this is the cover story.
Yeah, that's the cover story.
They end up getting access to the stables on the Temple Mount in Jerusalem where they begin excavation.
Okay.
And nobody knows to this day what they were excavating for or what they may have found.
But when these knights return to France, they're fabulously wealthy.
Wow.
They get Bernard of Clairvaux to draw up the rule for their order.
They get.
They constitute themselves as an order outside of any secular or ecclesiastical jurisdiction and directly under the Pope.
Okay.
That's some Jews.
Yeah, that's some Jews.
And then you have the Albigensian Crusade where, okay, we're going to go there.
And this French shepherd tells you, oh, yeah, they were looking for this.
So I think, yeah, the Templars are looking for something over there.
And the clue is their role in the Fourth Crusade, which is.
Where most people don't really pick up the Templars and associate them with the Fourth Crusade because that was supposedly just Venice, uh, you know, sidetracking the crusade and sacking Constantinople.
Well, turns out that if you look at the history, which I get into in the book, if you look at the history of the Templar involvement here, when the Fourth Crusade is initially set up, you've got six French knights showing up in Venice At the Doge's palace, and they say, Well, we want to raise money for a crusade.
And Dondolo, the famous blind doja.
I don't think he was really blind, but he says, okay, here's what we'll do.
For X number of florins and ducats, we are going to transport 6,000 knights and 9,000 squires and 20,000 foot soldiers.
This is an enormous army.
Wow.
And we'll build the ships and take you over there to Palestine, and there you go.
Well, at the same time that this is going on, Venice is telling the Egyptians, no, we're not going to invade you.
And it's telling the Pope, yes, we are going to invade them.
So you're getting the typical Venetian two step here.
Maps, Venice, and the New World00:05:39
Right.
And on the way, of course, we know the history.
The Venetians show up in Constantinople.
They sack Constantinople.
They put their own puppet Latin emperor into power there.
And they put a Venetian fellow as governor.
By the name of Maranzino, who is described in the records as chevalier, a knight, a knight.
And then once they've sacked Constantinople, they send news to Pope Innocent III.
Remember him?
Yeah, or not so innocent Pope.
Yeah, the not so innocent Innocent III.
They send notice to Innocent III that, hey, yeah, we've just conquered Constantinople.
And the guy that's carrying the notice.
To the Pope, is guess what?
He's a Templar knight.
Wow.
Yeah.
So the Templars are involved.
So now we have to ask the question well, then, what was all of this about?
I think it was about not just sacking Constantinople.
I think it was about getting a hold of the imperial archives in Constantinople, which of course date all the way back to who?
Constantine.
All right.
So they're centuries old.
And it's there, I think, you get that cartographic tradition.
Of the New World because Piri Reis map, you know, the famous map with Antarctica, that's coming from where?
It's coming from the imperial archives in Constantinople.
All of this stuff is coming from Constantinople and it makes its way through Venice into the hands of the Templars who've got the juice and the finances to pull off having expeditions to the New World.
So, yeah, that's what I think is going on.
It's fascinating.
They have access to the maps.
Yeah.
You're saying they got them through Constantinople.
It's interesting because everyone knows the Piri Reis.
Map and he's a Turkish admiral who had this map that shows Antarctica before there was ice on it.
Right.
One, and it also shows the entire globe, by the way.
Right.
How he did that?
That's kind of neat.
Well, he even says on the map in the marginal notes, he even says that I constructed this map from sources available to me.
Well, what sources are available to a Turkish admiral?
You know, these are based on ancient maps.
Right.
It's fascinating.
And here's where I can bring the X in temporarily because it really sets off here.
Here's two things.
One, the Templars have this whole tradition around the hooked X. Yep.
We even see the hooked X at Oak Island.
Yep.
You know.
You pointed this out to me, and I went and found it, which is when Columbus signs the during the funeral of the Pope, when he signs the Pope's tomb, he used this very unusual, Yes.
And there it is.
He leads off with the book decks.
Yep.
So, the steganography here with Columbus is going to sail to the New World, and the Knights Templar have already been there.
And now you're going into it and saying, well, they had access to the maps.
And then you mentioned that Pyrrhus himself had some interesting things to say about Columbus.
Yeah, Pyrrhus says that Columbus had access to a map when he first sailed in 1483.
That's about nine years earlier.
Yeah, nine years earlier.
You know, okay, Perry says that, big deal.
But when you look at what Queen Isabella says to Columbus when he first presents his scheme to them, she says, Sir, it sounds almost as if you had been there before.
Great moments there.
Yeah.
Thank you, Isabella.
That's sure noticing the obvious.
She favored him, there's no question about it.
Yeah.
And he obviously signing this with the X and then going over with the Templar sales.
Right.
He's indicating that lineage there to the Templar.
Yeah, exactly.
Plus, we've got to remember something else that's playing in the background here.
This is 1492.
And like it or not, the New World is going to go public.
Okay, so what do we do about it if we're big, powerful, rich Italian city states like Genoa and Venice?
Okay, Genoa's the classical rival of Venice at this time.
Where's Columbus from?
Well, he's from Genoa.
All right.
Who are the major financial backers besides the Medicis to Ferdinand and Isabella?
Well, it's the Genoese bankers.
Venice, in the meantime, is looking at all of this development and saying, hey, wait a minute here.
We've got to get in on the action.
So, what is Venice doing at the same time?
Venice is liquidating, absolutely liquidating all of its state debt.
So, it's coming up with all of this liquidity, and then it starts to move it north through the Fuggers banking family in Germany to guess where?
Amsterdam.
Akhenaten and Monotheism Origins00:15:36
Unbelievable.
Another swamp on a lagoon.
And I've demonstrated many times that Amsterdam has right in their royal seal.
Yes.
Texas.
And even when they come over here and it's New Amsterdam, you know, you have the same thing.
So it's there.
It's quite fascinating.
It really is.
The threads of this, I think, are very compelling.
And that's, you know, we talk so much about the banking system now.
These are the foundations for going to understand how that power center, you know, because they're passing down the powers.
And here's where it all happened.
One thing I want to point out, and it's great research on this, I still want to say, though, in relation to the Templars, And, like you said, nine of the Templars went to the Holy Land under this guise of providing protection for pilgrims going there.
But really, they were looking for blank.
The idea that they were looking for Solomon's treasure.
And then strange research of somebody who was researching this and going over the numbers and said there's something wrong with the way that we're looking at this.
It's not Solomon's, it's Akhenaten's.
Yes, right.
That, I think, deserves a mention.
Well, okay.
There is a scroll in the Dead Sea Scrolls called the Treasure Scroll.
Right.
And this was first decoded and written about by the famous Dead Sea Scroll scholar John Allegro, he of the magic mushroom fame.
And the problem with the treasure scroll is that all scholars, up till very recently, were trying to interpret the amounts of treasure on the basis of Hebrew measuring units.
And they were coming up with this astronomical amount of treasure that was far beyond.
The amount of gold that scholars think actually existed at those times.
And a scholar by the name of Richard Feather, British author, went in and said, Wait a minute, what if we apply Egyptian measures to these scrolls?
And he came up with totally different measures and concluded, on the basis of the way that the scroll itself had been put together, that it had been put together by people familiar with Egyptian techniques of preserving scrolls.
So he came to the very, I think, absolutely mind boggling conclusion that the Essenes in Palestine were descendants of people that had been associated with the Pharaoh Akhenaten, the rebel Pharaoh that had tried to impose strict monotheism on Egypt and eventually, you know, that got kicked out.
He came to the conclusion that because you find these Egyptian measures and these Egyptian ways of binding the actual scroll itself, That the Essene community was in fact descendants of that heretic Pharaoh that had preserved this treasure and scattered it all over Palestine and Egypt and so on,
and perhaps some of it under the Temple Mount, including perhaps familial records that would tie certain Hebrew families back to that Pharaonic family.
Wow.
Wow.
Yeah.
Yeah.
Now, that is the kind of thing that the papacy would try to suppress.
Oh, absolutely, it would.
Absolutely, it would.
You know why?
Why?
I didn't put this in the book.
Okay.
And I'm going to drop something here that people have never heard before.
Excellent.
And this is for careful dot connectors.
I caution you if you're going out and saying, oh, well, this disproves Christianity and all that, be on your guard.
Okay?
It ain't going to do that, but it's going to reinterpret a heck of a lot of it.
Okay.
Okay.
There is a reference in Flavius Josephus in the Antiquities of the Jews to Christ.
Okay.
Whenever you see Josephus referring to Christ, he refers to him as, guess what?
The Egyptian.
Oh, unbelievable.
Yeah.
And if you tie that in with some scholars thinking that Christ had some sort of tie to the Essene community, and on and on.
I'll leave it there.
I could go on.
I would love to go on, but I'll leave it there.
There's another little dot for everybody, okay?
For your ex-techniography.
Thank you so much.
You're welcome.
This is amazing.
Everyone, you're watching Dark Journalist, and we're here with Dr. Joseph Farrell.
His new book is Microcosm and Medium.
And the book we're referring to here, though, is Thrice Great Hermetica and the Janus Age.
And it contains this incredible bridge from the Templars and Columbus all the way back to Akhenaten.
That's what we're getting a glimpse of here and what's happening there.
Now, you mentioned this with Akhenaten.
I want to follow up on this real briefly because Akhenaten is a very unusual figure.
Oh, yeah.
That he is.
And his queen, Nefertiti, she's right up there with weirdness.
And of course, the tomb that gets found is Tut's tomb.
And we have this incredible knowledge of this Egyptian family that's almost unlike.
Any other, I mean, uh, very, very unusual, and so we have Tut, we have Akhenaten, we have Nefertiti.
Akhenaten is proclaiming a one god in the middle of Egypt, there about 1500 BC, very unusual with their pantheon of different gods, and um, he obviously has access to an extreme mystery tradition there in Egypt.
Um, a quick thing about the Essenes is before the Dead Sea Scrolls were discovered in 47, which is the same year as we know of the UFO file flap and all these other things.
47 is quite a year.
It's quite a year.
The Casey readings, deep on this.
Now, we've come in from history.
Now, let's go from this mystical angle for a moment.
Casey had said that Jesus was an Essene and that the Essenes were the mystery school and that John the Baptist came out of that mystery tradition.
And when asked what the Essenes studied, he said, astrology.
Mm hmm.
Numerology and went right down the line.
This is what they were familiar with.
So, the idea that that came, those Essenes came as a result, no one ever asked him if they were descended from Akhenaten.
But this is very interesting to me because Akhenaten, being this mystical figure and being so put out, and his name actually eliminated from Egyptian monuments and stamped out, and he moved the capital.
I mean, it's quite an incredible rip up of a situation.
What was it about Akhenaten that they needed to?
Literally, purge him from Egyptian history?
I think it's very simple.
Akhenaten, from what I gather, was attempting to stamp out the polytheism as we would tend to think of polytheism.
But if you look at Egyptian religion prior to Akhenaten, it's not really polytheistic.
It's still very monotheistic, but it's not a monotheism that excludes descendants of the gods.
So, you can have demigods and so on and so forth.
By the time Akhenaten takes the reins of power, the emphasis within Egyptian religion had become almost entirely on all of these different gods rather than what underlay them, what was unifying them.
So, I think what Akhenaten was attempting to do was simply swing the pendulum back.
But, like all reformers, he cuts too far and he cuts too deeply.
And so, you have the backlash in Egypt happening because of that.
And, of course, he and His followers eventually end up in Palestine.
And I do think that there is a connection even to the Exodus, because again, you look at Moses.
Moses is not a Hebrew name, it's an Egyptian name.
Tutmosa, you know, is Egyptian, a Pharaoh's name.
So you've got Moses right there in the name.
So I think what you had here is something that's not very well understood, but I do think there's a connection between the Exodus itself and Akhenaten.
Getting rid of these people that have corrupted Egypt and so on and so forth.
I think that the two stories are intertwined, and we've become accustomed to looking at the biblical story as unconnected to the Egyptian part of the story.
And I think they're intertwined.
Fascinating.
And it's incredible.
When you get around Akhenaten, everything is so unusual, even now, because they try to just illuminate him from history.
So it's so hard to get what those footprints are of what he's doing.
But obviously, the Aten religion involves the sun, and it's certainly monotheistic in nature, for sure.
Yeah.
And people tend to think that Akhenaten is trying to restore sun worship.
No, if you read Akhenaten carefully, the sun is a figure for him of this monotheism that he's trying to promote.
But what's also interesting, since we're talking about mystery schools in Egypt and the Hebrews and the Essenes and so on, there's an interesting observation that Paracelsus made.
And I talk about this in one of my books, I forget which one.
Paracelsus made the observation.
That esoteric science had been at one point in the mists of antiquity a unified body of science that became fractured so that the Egyptians ended up with alchemy, the Chaldeans, the Mesopotamians ended up with astrology, and the Hebrews ended up with Gematria and Kabbalah.
Wow.
Okay.
And if you look at At what he's implying in the context, what he's trying to get you to notice is that if you look at the wanderings of the Hebrew people, what do you see them doing?
Well, you see them moving back and forth between Egypt and Mesopotamia.
This begins with the story of Abraham coming out of Ur into Palestine.
Joseph goes into Egypt, and then the Hebrews come out of Egypt.
They go back to Palestine.
They're exiled again to Babylonia.
Right.
So, in other words, it The way he's suggesting is somebody is trying to recollect that body of information and put it all back together.
And now let's go back to the Templars.
I think the Templars are instrumental in part of the transmission of this stream into Europe because what do you have in Moorish Spain that the Templars are trying to reconquer for the church?
In Moorish Spain, you have Muslim scholars, you have Jewish scholars, you have Christian scholars.
And they're all talking about things like Gematria, Kabbalah, alchemy, memory palaces.
You know, think of Raymond Lull, you know, down there in Spain writing all of his stuff.
I think the Templars are intimately involved in this because that effort to put all of this back together is continuing in Moorish Spain.
And they recognize this fact.
After the Templars are suppressed, what do you see happening in the Renaissance, the early Renaissance?
Well, you've got Cosimo de' Medici.
And what is he doing?
Well, he's buying all these manuscripts on the QT, he's like, I'm gonna be the one to put it.
Yeah, I'm gonna be the one to put all this stuff back together.
And he even tells Ficino, you know, quit translating Plato, I've got the text of the Hermetica now, translate that.
And bang, you know, all of a sudden we get the earliest tempered music and the Renaissance coming out, and so on and so forth.
So, yeah, this is a huge cultural movement that you're seeing of people trying to stick all this stuff back together.
I think that's exactly what's going on.
And by the time we get to Francis Bacon and the Rosicrucian reemergence and the Shakespeare, and this idea of New Atlantis being America, this is what they were working for.
Yeah.
Now, here's the question Why would you want to recreate Atlantis?
Why would you want to recreate such a warlike empire?
Guess what we are, folks?
A warlike empire?
What's the real goal here?
Right.
Right.
It's like, hey, bring Atlantis back.
They blew themselves up.
Let's do it.
Yeah, let's do it.
Excellent point.
Fun, fun.
Everyone, this is absolutely fascinating information we're getting from Dr. Joseph Farrell.
His new book, Microcosm and Medium, highly recommended.
The book we're talking about, Thrice Great Hermetica, the deep information that I've been able to parallel a lot of the mystery school traditions through the work that he's doing on the Templars and Columbus and so many different things.
Fascinating figures in that book.
It's a real gem.
I'm going to turn the floor over to Miss Olivia.
I'm ready for my tequila already.
Okay, I've collected literally like over 100 questions.
So, you know.
Well, we'll work through the best of the best and on topic.
And then, you know, I'm sure we'll have Joseph back and we'll save some of those questions.
Okay, Scruples 4444.
Perhaps the church slash Templars are working for the owners of earth as collectors of wealth even to this day?
That's an interesting one, Joseph.
That could be.
There's this very strange statement, and I think Daniel, you'll recall I mentioned this in the Secret Space Program conference in Bastrop in my second talk.
There's a very curious statement from Charles Fort, and I think it's from the book The Damned, where he says something to the effect I think we are property.
And all of this is about who holds ownership of the Earth.
And I strongly suspect that if you look at what's going on now, scruples, with all of this stuff about asteroid mining, we're going to go out and mine the moon, we're going to go out and mine the asteroid, and so on and so forth, and the tremendous collateralization that I think took place of space assets.
Biblical Stories as Social Engineering00:15:33
When you look at this end of the story and then go all the way back to Mesopotamia and to the Sumerian Kings List or Manitho and the Egyptian kings list, what do they tell you?
Well, they tell you at a certain point, and this myth is everywhere, you know, it's in the Vedas, it's in South America, it's in Japan.
At a certain point, the gods came down, they mingled with men, and then all of a sudden they left for whatever reason.
I think that this is part of this big, long story, and that we could be looking at an attempt to either recover knowledge for the original owners or recover it before they show back up.
Oh, that's a good way to say it.
Absolutely.
I think what's interesting there, and you were talking about the biblical stories earlier and how they were going back and forth, and we know that the Genesis story is a Sumerian story.
It's essentially, yeah, it's a story that's repeated in many different ways and contexts.
The Egyptians have their own version of it, the Bible has its own version of it, the Sumerians have their own version of it.
And again, it only begins to make sense when you try and look at it whole.
And that's the problem.
Looking at a whole requires a tremendous amount of scholarship that's really beyond the ability of any one individual to do.
That's the other part of the problem.
Absolutely.
One thing, I'm going to jump in with my own question.
The Rosicrucians, you've done a lot of deep study on a number of groups, and these guys come up over and over again.
They play such a major role in the relaunch of the mystery school idea with anthroposophy.
We see them showing up around the Georgia Guidestones.
There's a number of things that they are active in.
Your impression of the Rosicrucians and what their role is, and what, as a mystery school, what tradition are they coming out of, and what's their role?
This may surprise you.
I think that the initial Rosicrucian manifestos, the original documents that begin to be talked about and then finally to be published and read in the 17th century, are the deliberate, it's a psyop, it's a social engineering scheme to get people thinking about these things until finally somebody decides, well, let's just create a Rosicrucian.
You know, thing.
Because at a certain point in history, you have people like Flood, Isaac Newton, Leibniz.
You know, you have all of these famous individuals looking for it.
But then they catch on to the idea that, well, the Rosicrucians are talking about these texts, they are talking about a group of elite, scientific elite, that constitute a college and they're Kind of quietly guiding things behind the scenes.
Let's just go ahead and do that.
So, what do you have?
You have Leibniz creating all of these scientific societies in Vienna.
He tries to get one started in Prussia without much success.
And you see the Royal Society emerging in Great Britain and so on.
So, in other words, they took those manifestos and used them as a template for what they actually did.
So, somebody's actually planting seeds out there.
Go do this.
Who that may have initially been, I don't know.
But given the fact that this is coming out of the Rhineland Palatinate in Germany, which has its own unusual little part to play in this story, given the fact that it's coming out of that part of Germany at that time, I strongly suspect that behind whoever's putting this thing out, you may have some leftover Templars.
You may have some connection to the Teutonic Knights.
You may have some connection to the Hospitallers.
Somebody's behind this thing.
And it's a very carefully engineered thing.
And what happens?
Bang.
Well, if we can't find them, let's just go ahead and do it ourselves.
Right.
And it's so interesting.
One thing that I found in your work, actually, that connects the Templars with the Rosicrucians is that there is this cross with the flower.
Yes.
Yes.
Part of their original.
That's part of it.
Yeah.
Yeah.
So that's a direct tie to the Templars.
Yeah.
The thing that's very important for people to remember is that.
Pedigree for these types of associations is not so much by interlocking personnel.
It's by the symbol that's adopted.
That's their heraldic device.
These people are heavy into heraldry, they're heavy into symbols.
And that's telling you when they're using a symbol, they are laying claim to being the conceptual, please hear my words, the conceptual descendants of those that they're identifying with.
That's what they're doing.
So, it's important to look for heraldry and devices and symbols as you're tracing these continuities because it's those symbols that are telling you, well, this family's involved with that symbol.
Okay, so we can put that symbol in or we can put that family in.
Yeah, yeah, right.
That's a fantastic way to do it.
That's connecting, that's a good way to connect.
And the steganography gets into that also.
Yes, precisely.
Yeah.
Yeah, it's nothing but steganography, is what they're doing.
You know, think of heraldry as steganography.
Absolutely.
Absolutely.
Miss Olivia.
Okay.
David Donaway, is the hook decks, the crook and flail, and the crossed arms of the pharaoh and the papal pharaoh?
I'm not quite understanding the question.
Say it again.
Is the hook decks basically this?
Oh, the pharaonic device?
It could be, yes.
Given the fascination for symbols, I would have to say yes.
Because what do you have?
You have the sheaths.
Hanging off one of those devices that the pharaohs are holding.
There's your hook on the X.
Yeah, excellent point.
Excellent point.
And you said this thing about them referencing Jesus the Egyptian.
There's something deep on that because, of course, at its core, the Templars hearkening to that esoteric Christian tradition.
Yep.
Absolutely fascinating.
Miss Olivia.
Okay.
Carl Joseph DeMarco, did Pharaoh pursue the Hebrews because they stole his tech?
Yes, that's a really good question.
I'm trying to figure out where to dive into that one.
Okay, let's do it this way let's do it through the ark.
If you look at the ark as it's described in the books of Moses, in Numbers, in Deuteronomy, if you look at the dimensions of the ark, you will discover that if you go to Egypt, they had similar chests in.
The very same dimensions.
And here's a curveball.
If you look at the dimensions of the ark, it will fit inside the sarcophagus in the king's chamber in the Great Pyramid.
Unbelievable.
Yeah.
And you can find other Egyptian chests like that, arcs, chests like that.
Now, if you look at the ark, the way it's set up is.
It's a capacitor, it's a battery, folks.
And of course, you know the stories if you touch the ark, bang, you know, you're dead.
That's it, you know, because it discharges.
Yes, if you if you touch it and you're grounded, all right.
So that's why they carry it on poles.
But, um, do they steal the tech?
Yeah, I think so.
Because look what else happens Moses goes off with the Hebrews.
In the 40 years wandering in the wilderness.
But what does he do?
Well, when he sees them making the idol, the golden calf, from the gold of the Egyptians, what does he do?
He melts it down, read the text, he melts it down and grinds it into a powder and has them eat it.
Now, folks, like it or not, that's an alchemical reference because you're describing the complete carbonization of gold.
That requires a heck of a lot of.
Heat to reduce it to a powder form.
And by the way, that powder form is also an orbitally rearranged monatomic element, which is alchemy, folks.
And that's Egyptian.
So, did they steal the tech?
Yeah, you betcha.
There's no question about it.
It's something very unusual about the entire Exodus story and the story of the Ark of the Covenant.
And of course, when other groups get their hands in the Ark of the Covenant and think they're going to use it, you know, guys are dying left and right.
So, I think that to understand the Ark of the Covenant, we might have to go.
I'm going to go to a Casey reading again.
This is unusual, but he's talking about the story of Ezekiel.
And they're actually, they asked him questions about Atlantis and ancient Atlantis and the tech that they had available to them, which I think is important here.
We're talking about Egyptian technology.
And they said, Can you describe it?
And he said, Well, it was very much like Ezekiel described at a much later date.
And we know that when Ezekiel describes this wheel within a wheel and this great machine, That approaches him and it had the likeness of a man and an eagle and a lion and all this on a face within a face.
He's Casey saying that's the Atlantean technology.
So if you want a snapshot of it, go to that description.
It's a very odd and unusual thing to say because Ezekiel's far after the Atlantean.
So who is it who has the Atlantean technology that is doing this and showing up before Ezekiel, who's a very unusual character himself?
Well, let's have another curveball.
Please do.
Dig long and hard enough, and you will find Atlantean connections to Egypt.
And you need to think no farther than Plato, who says in the Critaeus and the Timaeus that he learns this from his uncle, who was an initiate and learned it from Egyptians.
Yeah, so the whole Atlantic, yeah, it's on record.
The whole Atlantis story, as Plato recounts it, is Egyptian in origin.
Then Go to Antarctica, and there's somebody out there, I forget what his name is, that has pointed out that certain features on the sides of mountains in Antarctica are spelling out Sumerian characters.
Unbelievable.
Yeah.
So, whether that's true or not, but I'm just tossing it out there as another little curveball for the discussion.
I like it.
Miss Olivia, keep rolling.
Perfect.
Brent Burnside, Joseph, if America is the new Atlantis, what do you think the world powers have plans for Antarctica?
Will this be the new Atlantis?
Antarctica, I've always maintained, is the only place on planet Earth that has the overall description of Atlantis.
It's a continent under water, under ice.
And the more strangeness that happens there, the more I'm convinced that they're looking for something down there.
I mean, We've got the Patriarch of Moscow, an Apollo astronaut, a U.S. Secretary of State, Reichsmarshal Goering, all the strange list of people that have some connection to Antarctica.
So there's no doubt in my mind that behind all the public stories that we've been given, they're looking for something down there because they have concluded that, yeah, that's the continent of Atlantis.
Now, having said that, please don't forget what I've said in my books.
These mythologies are deliberately designed to operate at a multitude of levels simultaneously.
It's like counterpoint.
That's why music is so important here.
It's like counterpoint.
Atlantis can be literally true on Earth, but it can also be a metaphor if you think of a continent now as a planet and of the oceans as space itself, which is how the ancients would describe outer space as a vast abyss, an ocean.
All right.
You can also think of this as a metaphor for a planet that got submerged under the abyss in space.
So, in other words, it's operating on a multitude of levels and they're all true simultaneously.
That's the catch.
That's the catch.
So, in their thinking, what I'm suggesting is they have learned to read texts that way.
And by going down there to Antarctica and digging it up and looking for this stuff, they're also trying to find out what's going on out in space because they think that there's a connection.
I think that there is a connection.
Oh, this makes a lot of sense.
I think about the work of Baval and Robert and Graham Hancock and Robert Baval.
John Anthony West.
And so much that they discovered on the ground at Giza was reflected in the heavens with Orion's belt and the Milky Way being the Nile and all the rest of it.
So they understood that mirroring concept that you're talking about here.
I think it's interesting to think about the myths operating, especially if they're factual history, on a multitude of levels so that when you read it, you're getting intellectually a history, but simultaneously it's actually impacting your being.
It's impacting you directly with.
Whatever they had put and placed and right saved into the story, it's that effect and leratic cosmology all over again, as above, so below.
Right, the art reflects the cosmos, Egyptian art architecture reflects the cosmos, Sumerian art architecture reflects the cosmos, and incidentally, if you look at these buildings, they're also very musical, they're done in certain ratios and proportions of the harmonic series.
So, in other words, it's all tied together.
If you get that as above, so below mentality in your head, then you start reading texts that way as well.
So you're absolutely right.
Singularity and Space-Time Manipulation00:15:33
That's fascinating.
And the alchemists with the lead into gold as metaphor, but they can actually turn lead into gold.
Sure.
Yeah.
Sure.
It's both.
Just remember Walter Gerlach that I talked about in SS Brotherhood of the Bell, that short little article that he wrote in the Frankfurter Allgemeine Zeitung in 1926 or 27.
He's glibly mentioning, oh, by the way, we've been doing these experiments with mercury plasmas, and we're coming up with trace amounts of gold when we zap it with lots of electricity.
This is a phenomenon that is not only alchemical, and he uses the word right there in the newspaper article.
This is a serious physicist, but this is something that merits further investigation.
Was that the last we heard of him there?
No, he went on to be tied with the bell.
Yes.
I know that we have to have you come back and talk just about the bell because that is a powerful story.
I do think it's interesting when you're getting into the histories here because we're starting to see that there is a legacy.
And one of the things that you've mentioned about Egypt, since we're talking about Akhenaten, is that Egypt is a legacy culture and considered itself a legacy culture.
Yes, absolutely.
It did.
And John Anthony West brings that out so very well in his book.
It is a legacy culture.
They view themselves that way.
In other words, they recognize that we didn't just spring all of this stuff out of our heads.
It's coming from somewhere else.
And the Sumerians are saying essentially the same thing, you know.
And it puts the lie to this quackademic narrative that we've been fed that, you know, we were hunting and gathering for thousands of years and then all of a sudden decided to settle down and domesticate animals and invent mathematics.
I mean, come on, folks.
I don't care if it's coming from Harvard or Stanford.
This is nuts.
It's like they have the specials and they're like, Here we have these slaves building the pyramid.
Yeah, they're pulling all these big rocks up these big ramps.
Well, for crying out loud, folks, the ramp is going to be as big as the pyramid by the time you get done with it.
And then you're going to have to get rid of the ramp somehow.
There's not a trace of that ramp around anymore.
But hey, that's one of those little problems that I guess you can get away with if you're a Darwinist.
But it's just, I don't know.
It just makes no sense.
Or National Geographic, as it were.
Or National Geographic, yes.
Yes, we're going to prove that they built these things with copper saws and diorite slurry.
Yes, once and for all.
And you know, it was just because they wanted to put a pharaoh in there.
Yes, just because they wanted to bury a pharaoh who's never turned up in it.
Anyway, that's a little problem.
Olivia, you're up.
Okay, I'm going to pivot to mind control.
So, Cloud Dragon wants to know Have deep state elites chosen AI bots, voice of God, to replace the ritual black magic they have used for centuries?
Is it more effective with blowback?
Oh, wow.
Let me put it this way.
If you're the technocrats, Who thinks that humanity can be replaced or upgraded to cyborg status?
Yeah, you would do that.
You would try it.
But the real question is would it work?
And would it work in exactly the same way that good old fashioned magic and ritual would work?
And my suspicion is probably not.
And in doing so, you raised the question of blowback.
Would it perhaps blow back in ways that they're not?
Used to expecting or in degrees that they don't expect, and my suspicion would be yes, it probably would.
Whenever you take the human component out of it, you're violating the fundamental central principle of all of this ancient cosmology, and that is that mankind is a microcosm.
In other words, the human being by nature straddles two worlds and is.
The connecting surface between those two worlds.
We're back to my topological metaphor of the medium here, folks.
And you're trying to get rid of the connecting thing and connect it by other means.
And that ain't going to work.
And that's the problem.
And you find this microcosm doctrine that the book is titled for is even found in contemporary physics with the idea of the anthropic cosmological principle.
They're just doing it with differential equations.
That's the only difference.
I think I'm following this too because, look, when we get into the transhumanist aspect and the guys like Kurtzweil and they're merging with machines and they're saying, you know, this singularity is upon us, we know, and it's something that you've pointed out, which is in that esoteric tradition, if you go in there, you're going to find this tree of life concept and you're going to move from the animal into the mineral.
Yes.
Which is the jump that they're trying to make.
Yes.
Taking a human being and moving their consciousness into a cyborg.
Right, right.
And it is avoiding the necessity of climbing up the tree of life through spiritual evolution.
Bingo.
This is climbing up some other way.
Yes, bingo.
Because in esoteric alchemy, the transmutation of lead into gold is the transmutation of the soul by practice of virtue from a leaden state into a fully human state of compassion and wisdom and so on and so forth.
That's the transmutation.
Right.
And, you know, they.
Again, what they're doing is they're taking the black magic path that says you don't need that kind of spiritual initiation or illumination.
You can sort circuit it through technology, drug use, you know, what have you.
Absolutely.
To that, I give the good old Christian anatomic seat.
That isn't the way to go, folks.
It's interesting to point out your deep.
History and your deep studies and your Oxford work all around this religious background that you have.
You understand that very well.
Well, yeah, patristics, you know, traditional Christian theology.
I had someone write me recently and tell me that they were reading, and this is someone with a very mathematical physics background, were reading my four volume theological tome, the last works of academic theology I did.
And she said, This is like, This is like mathematics without the math.
This is very difficult stuff.
And I said, Yes, I know it is.
And it trains the mind to look at things, make connections and read texts in a certain way, and to understand the importance of accurate language in describing things.
And not to use language in a Gnostic way of creating reality through language, but rather tailoring the language to the reality, which is a very different process.
That use of precise language is very interesting to me because if you want to talk about alchemy, you're going to need to be incredibly precise.
Yes, yes.
And that, you know, people complain that alchemical texts are not precise.
They're amazingly precise, they're as precise as they can be with the language that they had available to them.
So, you know, I like to point out if the church fathers are alive today and having to formulate the doctrines that they were formulating, Would they use that kind of language?
Well, probably not.
They'd probably use topological mathematics to describe what they were attempting to describe.
And I think if you take that approach to all of those ancient texts, Egyptian texts, Sumerian texts, and so on, and read them with modern scientific and mathematical eyes, you can see this very clearly that this is something that they're getting at.
Oh, fascinating.
And of course, in the ancient monuments and the standing stuff and all the rest of it, it's embedded inside.
It's embedded, yes.
Absolutely.
They embed it in everything, again, as above, so below.
They're embedding this cosmology in everything they're attempting to do.
And that continues from Pythagoras all the way up to J.S. Bach.
It's phenomenal when you really see the detail and the thinking that went into some of this stuff.
It's truly astonishing.
By the time you get to the 19th century, all of that just gets flung out the window.
It's like it's not there anymore.
This is fascinating because I point out often on this show that Steiner identified that period as the invasion of scientific materialism.
Yes.
And why some of those deep mystery schools came out with traditions and put forward people like Blavatsky to counteract it and somehow to counteract it.
Yes, yes.
And it's very, very true.
And you see the reaction against that materialism in the romantic impulse.
Well, we've got all this materialism, so what's left?
Well, it's personal expression.
Right.
It's absolute originality.
And the idea that there is a universal called human nature that's not reducible to the material went out the window.
Wow.
Incredible.
Miss Olivia.
Okay.
Fulcanelli F. Could it be possible they were creating the singularity in the Great Pyramid?
Interesting name there, Fulcanelli.
Fulcanelli.
Yeah, well, there's certainly all sorts of Fulcanelli spirals going on in Giza.
That's for sure.
Creating the singularity.
Well, it depends on how you take the term singularity.
If you're taking it in terms of Big Bang cosmology, are you taking it in terms of cork gluon plasmas from quantum mechanics?
Are you taking it in the term of In the sense of the transhumanists, where the singularity is when man and machine are perfectly merged and we get the next stage of human evolution.
My guess is that if you're going to use singularity in connection with the Great Pyramid, then what they're trying to do is manipulate the very fabric of space time for whatever purpose they want to manipulate it for.
And that could be considered a kind of a singularity, but not in the technical senses that I've outlined before.
So that could be a singularity in the broad sense.
Pulcanelli followed up on that or harnessing it, quote, plasma.
A plasma?
All right.
A plasma?
Yes.
I definitely think that if you look at the work of Chris Dunn in the Giza power plant, he makes it very clear that plasmas are essential to.
His understanding of the operation of the device, and for that matter, in my thinking too, the difficulty is what kind of plasma are they trying to manipulate?
And my guess is that they're not concerned so much with the plasmas inside the pyramid as with the plasma cavity of the ionosphere around the planet, and perhaps even the sun, and so on.
This is really interesting because, you know, in the Steiner work, they talk about the capstone of the pyramid and how important it was.
Mm hmm.
And that brings all that in when you start to talk about that.
I think very much about those pyramids being covered in white limestone with that capstone.
And that's a whole, I mean, that's a protection field around it.
Absolutely fascinating.
And of course, when we were doing the Georgia Guidestones last night, it's all granite.
Again, here we go with granite.
And you've pointed out some very interesting things about granite.
Well, granite, like limestone, is a piezoelectric stone.
Also, it's a phonon producing thing.
Phonons are produced by crystals under stress, little packets of sound.
So, in addition, you've got both things going on here a piezoelectric effect and an acoustic electric effect.
And it's being combined because what's the pyramid?
It's a great big huge crystal.
It's a pile of limestone and granite.
And that means quadrillions of tiny little quartz crystals are constantly under stress in that building.
And in addition to this, it's sitting on sockets.
The Great Pyramid is absolutely.
Unique in this respect.
It's sitting on sockets that allow the whole building to move.
So it's constantly quivering.
It's putting all of that limestone and granite under constant stress.
So that in itself tells you, yes, this is a machine.
It's deliberately designed this way.
And that capstone, you know, if you believe Herodotus, which is always iffy, but, you know, that capstone was made out of pure quartz.
Wow.
Yeah.
So again, and how would they get a four sided quartz?
Excellent point.
Yeah.
The idea that it's moving, I think, very interesting.
Oh, yeah, constantly moving.
Very constantly.
Olivia.
Heywood Floyd, could the Templar treasure have been a tuning fork for scalar resonance?
Templar treasure, what they were looking for.
Yes, and here's why.
It's the why that's the important part of this.
If you look at the cathedrals, The Gothic cathedrals that begin to be built in Europe after the founding of the Templar Order.
Those cathedrals are, you know, I'm an organist.
They're resonating cavities, is what they are.
They're designed to be resonating cavities.
And they are therefore, the building is going to respond to certain frequencies and vibrate much more freely than other frequencies.
That was one of the first things I did when I got this virtual pipe organ in my home, as I was testing.
Different notes on the keyboard and on the pedal board to see what particular notes are going to make this particular house shake.
Cosmic Tuning in Cathedral Architecture00:10:57
And I found out I'm resonant to E flat.
That's interesting, though.
Yeah, yeah.
But all of these buildings are resonant to a specific frequency.
They function like tuning forks in that respect.
And the Great Pyramid, since we're talking about pyramids in this connection, is literally resonant to the Schumann cavity resonance of the entire planet.
So it was specifically built.
With a resonance feature in mind as part of its very structure.
So, yeah, could it be?
Yeah, certainly.
Joseph, you make the point that it's analog.
Yes.
It's not digital.
It's not digital.
That's key.
That's key.
These technologies are analog.
And it's particularly the case in music when you start studying the different tempering systems.
Our current system that we are used to on a day to day basis is only one system.
Of tuning a musical instrument that will allow you to modulate from one key to another.
So that in other systems of tuning, you get entire keys that will be more consonant or more dissonant with the fundamental key of the piece itself.
So that's one of the things when you study this music, if you're studying that era, the Baroque era or the Renaissance, if you're studying those tuning systems, you'll soon discover that differing systems of tuning.
Will make differing keys sound slightly different when you play them.
If you don't believe me, go online, go on YouTube, and pull up the Moonlight Sonata by Beethoven.
And there's two comparisons.
You can listen to the kind of tuning that Beethoven himself would have used, which is called pure temperament, and then equal temperament, which is what most musicians use now.
And you can hear clearly there's a difference.
It's very, very subtle, but it's very clear if you listen carefully enough.
The pure tuning.
The kind of tuning that Beethoven would have used and performed that piece on is both richer, and certain notes are going to sound much harsher and much more out of tune than the equal temperament that we have today.
So it's a whole field of science and resonance, and it can only be done analog.
Wow.
It can only be done analog.
These are analog technologies for a reason.
Incredible.
This is fascinating, of course.
This gives us that idea again that there's something in the modern technology that is set up, you know, just in the way of the progression, the way that it's developed, that we're missing something major.
Yes.
There's the famous case of the conductor, Dochnani, that was performing, you know, rehearsing Beethoven's Fifth Symphony, and he just couldn't get a particular modulation that occurs in the first movement of that symphony to sound right.
And somebody suggested to him, well, why don't you play the thing in pure temperament rather than equal temperament?
And he did.
And he said, oh, voila, now I get what Beethoven was doing and why he did it, you know, this way.
Yeah, yeah, absolutely.
Well, see, now I'm excited to see what you're going to come up with with the virtual pipe organ project.
This is very interesting now that we're talking about the music.
Well, unfortunately, the virtual pipe organ is tuned to equal temperament.
Yeah.
I can change the temperament on a couple of those instruments, but I'm a technological klutz.
I don't want to do it.
And Have it break down.
So I'm stuck, you know.
It's going to be fascinating in any case.
And just having you doing the music there, I think this is a very powerful project that you're working on.
Everyone, you're watching Dark Journalist here.
It's great to have everyone here.
What an incredible crowd.
Of course, we have Gigi Young out there, and Gigi's coming back on the show on November 30th.
And she's doing some great work for us with the X Series.
And I highly recommend her work as well.
I want to mention that Joseph's work can be found at GizaDeathStar.com.
Which is an incredible book series that he's put together detailing a number of his findings over time.
His latest book is Microcosm and Medium, and I highly recommend it.
It's going deep and it's getting into what's going on with the culture and how it tracks back.
And if you look far enough back, you're running into the mystery schools with Pythagoras.
And if we understand this combination of modern culture and the mystery schools, I think we start to get a more balanced picture.
So it's one of those.
Olivia, we'll take a couple more questions.
Okay, I have a couple linked questions.
Okay, the first one.
Is it true that the Nazis invented 440 hertz tuning instead of 432?
And the Cosmic Garden wanted to ask is the tuning of 440 hertz related to the harmonic forces attempting control via the eighth sphere?
This is good, Joseph.
I get this question a lot, and I hate to pop the bubble, but 440 hertz has nothing to do with Nazis or some evil plot of the Rockefellers to.
Get us used to different tuning, and here's why.
If you tune A, the note A natural above middle C to 440 hertz, that's simply the A that is produced by a modern oboe.
When you hear orchestras tuning up, the oboe is always sounding that note.
They're tuning their instruments to that note.
In Baroque parlance, the organ, one of the organs that I play on this virtual pipe organ, was tuned to A432.
And if you do the math, what that does is it steps the tone down about a half step.
So that when you're playing A432 in A440, you're playing the note G sharp.
So, in other words, A440 has nothing whatsoever.
You're just sliding it up or down a half step.
That's all you're doing.
So, if you tune an organ, I have another organ that's tuned to A492, that steps it up a whole tone.
So, that if I go bopping along playing the Dorian Toccata in D minor on A432, I'm playing it in D flat minor in A440.
And if I change to another instrument that's tuned to A492, I'm playing the Dorian Toccata in D minor and it's coming out in E minor.
Okay.
That's all it is.
That's all it is.
Yeah.
It's not a big plot, folks.
I'm sorry.
Well, Cosmic Garden, I'll tell you, you always ask great questions.
And that is an interesting question.
For sure, I would say that on the harmonic side, The culture and the musical things that are in Joseph's book relating to that for me scream the eighth sphere for sure.
So, you got that right on.
One other thing I want to point out is Joseph in the musical scale, and this comes up in Gurdjieff's work around the Salmone Brotherhood, which is this mystery school that he spent all this time in.
He said there was great significance to the fact that when they adopted the musical scale, there were no sharps or flats between E and F and B and C, and that.
It was planned that way to show on a cosmic scale that these shocks were necessary for creation.
How do you see those no sharps or flats between those two?
I don't see them as significant in and of themselves, but it raises a much more significant question.
Why do we have 12 chromatic notes that are different from each other within an octave, from let's say C to an octave C above it?
There's 12 different chromatic notes.
Why not 10?
Why not eight?
Why not nine?
Well, it's very simple.
It's only those 12 notes that will give you the ability to have recognizable keys, number one, like A major, D flat minor, and so on, and that will sound to the ear to be harmonious.
If we were to divide that octave into tens, you would hear a cacophonous ugliness.
You would not have recognizable keys that we're used to, and that would sound horribly unnatural.
Okay.
So that 12 note division is something that we are kind of, so to speak, tuned to.
It's cosmic.
And let's remember that 12 division, that 12 note system, it's Sumerian because what is 12 is a divisor of 60, which is a sexagesimal system.
Okay.
So this is coming out of Sumeria, folks.
And if you study the Pythagoreans carefully enough, look at the works of the American musicologist.
Ernest MacLean, and I reference his books in my own books.
He points out that the Pythagoreans are getting this 12 note system, and therefore, Plato, when he's encoding it in his dialogues, and I talk about that encoding in the book as well, it's fascinating because it's right there in the dialogues.
That 12 note system, the Pythagoreans are getting from Samaria, that whole 12 note mathematical system.
So try it sometime.
Tune, if you've got a tunable keyboard, try and tune your octave to a 10th division of the octave and Try and play anything musical on it and it won't work.
And this is why Plato, when he talks about Atlantis in the Republic, Atlantis is based on what?
It's based on a metrics musical system, if we want to call it that.
And Atlantis is what he calls unstable, it's disharmonious.
And he turns to Athens.
What is Athens?
Well, Athens is that perfect blend of all of these individuals and yet a natural harmony.
And it's based on what?
It's based on.
12s.
So, in other words, the Republic, if you look at it a certain way, is one big treatise of music theory and how to tune in the guise of political science, which it also is, by the way, because again, what are these people thinking?
As above, so below.
Cosmology, political, and social order, same thing.
It's so interesting because Plato's work, then, you know, the actual definition of steganography is a text within a text.
5G Interference Patterns Explained00:03:03
Yes.
And so it is fundamental steganography.
It's steganography.
Absolutely.
Absolutely.
It's, again, it's text written at a multitude of levels.
So, you know, forget all that happy horse pucky that you learn about Plato in philosophy class because there's a heck of a lot more going on in the guy than just that.
No, don't you know?
He just made up Atlantis because he was upset about Socrates.
Come on.
Yeah, he was upset.
And yeah, and it came up with, yes.
He was having a bad day.
Miss Olivia, final two questions.
Okay, well, I'm going to make them choose wisely.
Okay.
So, yes.
Okay, Doug Powerton, how will the art of mind control expand as we enter 5G and how can we protect against it?
Oh, really good question.
Really, really good question.
5G, I think, is.
This is my personal opinion, and I have not a shred of evidence to back this up, but it's my suspicion.
Let's put it that way.
5G is an attempt to build out the electromagnetic requirements for precisely a mass manipulation of emotions and states of being.
There's no doubt in my mind that this is part of the plan.
Just on the basis of the fact that you have so many towers, and that's going to create an interference pattern.
And it's that interference pattern in the mixing of waves that is the carrier wave for modulated information.
That's crucial to understand.
What can we do to protect against it?
Well, interestingly enough, you can actually protect yourself from it.
And I mentioned this in the book by simple flea and mosquito netting.
On windows, because if the netting is correct, it will block out a lot of those microwave frequencies.
It's just like the grating on your microwave oven.
Not interesting.
Absolutely.
It's just like the grating on your microwave oven.
It keeps those little holes resonant to the microwave so that the waves can't get through those little holes, so they stay inside the microwave.
And that's what this netting is doing in some cases with these microwaves that we live inside of all the time.
So, you can protect yourself against it by very simple means.
Those 5G towers, I mean, it's like we are the Goon Squad and we're coming to town.
I mean, they have communities already protesting against them and nobody is stopping.
They're just not even paying attention to the public outcry because they have an agenda here.
Inquisition Records and Earth Ownership00:05:27
And that's going to be a real interesting thing to watch for sure.
Joseph, one thing I want to make sure that I brought up here because I had a note about it from a conversation we had a while ago.
Which was that at some point the Vatican was going to release the background conversations of the trials of the Templars.
And is that something that's ongoing?
Do we have those records yet, or what's happening with it?
And I know that you were actually looking at getting them.
They are available, but they're extremely expensive.
That's naturally.
We'll make them available, but not really.
Pay us through the nose, and we'll make them available.
They have released, I think, four volumes.
The real question I have that I have not seen an answer to is what are these records of?
Are these records of the Roman Inquisition, which is a very different thing than the French Inquisition?
Are these records of all the different Inquisitions?
We're not told.
My guess is that they're probably records of the Roman Inquisition, which.
Turned up results very different from the French Inquisition because the Roman Inquisition, of course, could not use torture.
So you get a very different thing.
And the other problem, of course, this is the Vatican after all that we're dealing with.
Are we getting all the records?
Are we getting the sanitized version of the records?
Well, it's interesting because those records, what will be really interesting if somebody gets their hands on them is part of the.
The idea of when they were making the Templars look terrible and making up these stories about them is they came up with some very, very unusual things about them, like, you know, having orgies with skeletons.
I mean, it really got that bad.
And then there's this, you know, proclamation at a certain point that, oh, we didn't have anything against the Templars.
This is very strange to me.
It's like moving this history around.
In a very unusual fashion, as if they know that when they discover, when people look into it, they're going to see that the Templar prosecution was a farce.
Well, I take the opposite view, as you know from the book.
I tend to think that the charges against them were so outlandish that there may have been a grain of truth to them somewhere.
And here's why I think that.
I don't think you could say that the entire Templar order was engaged in this stuff, but I do think it's entirely possible that within the order, You had factions that had gone into this very dark esoteric practice.
And the reason I think that is quite simply look what we have going on right now inside of the churches with the clergy scandals, with the allegations of black magic, sex, and sex magic, and all of this stuff that Malachi Martin even brought out on some of his publications toward the end of his life that, yeah, this was really going on.
So you can't look at this or that order, the Jesuits or the Templars or whatever, and say, well, they're all corrupt.
But I do think that there is a network that has hidden itself.
Inside of some of these orders, and it may go back to the Middle Ages.
That would be the perfect place for you to do such things because you've got the church prowling around, sniffing out, you know, so hide it in the church.
And I have to dismiss a lot of those charges.
I think there's something to them for the simple reason that you find similar charges popping up in England, in the English Inquisition, and they're not coordinating, you know, with Philippe Labelle.
These charges come out and they keep coming out.
So I tend to think that probably where there's smoke, there may have been some fire.
Fascinating.
The order got corrupt on levels.
Yeah, absolutely.
Okay.
Last question?
Yes.
JJK.
Okay.
Okay.
Who do you think owns the earth, Dr. Farrell?
Who owns the earth?
Well, God does, but there are several pretend claimants.
Yeah, right, right.
I've seen a lot of those lately.
I've seen a lot of those lately, yes.
As for who the pretend claimants are, my bottom line guess is it's the genetic cousins.
And I think if you're the national security apparatus and you're looking at all these old texts and thinking, oh, we've got a problem here, what if they come back?
And for that matter, there's Catherine Austin Fitz's idea that, you know, Where's all this money disappearing to?
Yeah.
Well, it could be tribute.
It could be a tithe that's going off world or something.
Well, this is that she does.
And she says, Is Earth a closed system?
It's not a closed system.
Not a closed system.
No.
Wow.
No, that's what these texts have been saying all along.
It's not a closed system, folks.
So, you know, it could be.
Wow.
Is Earth a Closed System00:03:47
Absolutely amazing.
Joseph, incredible.
So great to have you back here and the New York off the charts.
We're going to hopefully get you back so we can go deep now on a couple of issues that we've been meaning to get you on for.
And everyone can find your stuff at gizadeathstar.com.
I highly recommend it.
And yes, go ahead.
No, I did.
I just mentioned that.
Yeah, but it is actually a good point.
It's available at Lulu, Microcosm, and Medium.
And this is really the new thing that you're doing, which is you're publishing the books through Lulu.
Right.
Yeah.
I've had enough of letting my publishers make all the money.
I think it's all the work.
Yeah.
This is a self published print on demand book at Lulu.
And it's on my website, the homepage, right at the top on the right side.
You can click on the link and it'll take you to Lulu for it.
Incredible work.
And we're looking forward.
I know that you're already on the heels of a new book.
We're already trying to figure out what that is.
Wash your fingers.
I can pull in the research.
Yeah.
I know that you keep these things tight as a drum, even with your friends.
So, uh, We'll be looking forward to it and we'll have you back.
In the meantime, everyone, pick up the book and you've been watching the X series.
Go to darkjournalist.com, sign up for the newsletter, keep us in touch with each other.
And that's the best way to do it because what's going to happen is about once a week, you'll get in your inbox the email letting you know who the guests are and which show that we're working on.
And we'll be coming back.
We're going to do a show on the Space Force in relation to the anniversary of the JFK assassination and pulling those both together.
And as I mentioned, on November 30th, the X show returns.
With the show with Gigi Young, which is going to be very exciting.
And thank you very much for watching.
We did three shows in a row here.
It was very interesting because we had that scandal around the secret space program.
We had a digest on Thursday and we did our time capsule last night.
And just as it worked out, we got Dr. Farrell tonight.
So we were fortunate.
Thanks everyone for being here.
And Miss Olivia, you get the last words.
Well, everyone was just so ravenous.
You know, it's been too long since Joseph came and they had all their little pet questions.
And I'm so sorry we couldn't get to more of them.
Well, we will.
We will because for sure we're going to get Dr. Farrell.
For all back on.
So, Joseph, we got a date.
All right.
Yep.
And I need to talk to you after we sign off.
Absolutely.
I'm looking forward to it.
Thank you, everyone.
And we'll see you next week.
And have a great rest of the weekend.
And we will see you soon.
I want to do a couple of shout outs there.
I see a cult fan out there, always doing a great job.
JJK, of course, Christine Taggart, and Gigi Young, of course, a great ally and friend to everything that we do here.
At Dark Journalist.
Carly is rocking it with Dimensions and Beyond.
Really helpful tonight.
I needed those extra wrenches.
Carly, we're looking for a new podcast episode from you.
That's what we're looking for.
And Groovy Bean, great to see you as well.
We will see you next week.
And final question, Olivia, is what's for dinner?
Oh my God.
I don't care.
I just need to eat immediately.
I don't care.
I like that.
Okay.
Everyone, we will see you.
I don't need dinner.
I definitely think that it could be a pizza kind of an evening.
Oh, here, here.
I'll go for it.
Joseph, it's great to see you.
Thanks for having me back, Daniel.
We'll see you, everyone, next week, and have a great Sunday.