This is the Place XI: The Hidden History of Music

 Previously: The Tabernacle Organ and the Freemasonic "Architects"

Welcome readers to part 11 of this series. This post will be a slight detour from buildings and construction and a deep plunge into the hidden history of music.

Since I was sixteen (remember that number) I have been a wannabe musician. Although I took piano lessons as a kid, I really dreamed of playing guitar in a rock band since my teenage years. That dream came true when I turned 25, when I joined my first band as lead guitarist. I've been playing in rock bands ever since.

About 15 years ago I developed severe tendonitis in my fretting hand, and eventually I sought out a surgeon who actually made the problem worse, adding scar tissue to the already dysfunctional tendons. Consequently, the last seven years or so I've played very little, and now carry a handicap in my left hand as I'm unable to close it enough to make a fist.

But life goes on. Things like running a business and raising a family create a nice distraction from the lost dreams of youth, and honestly, I'm grateful it happened, otherwise I would've never been able to take a step back and look at where my life was going as a broke musician playing repetitious set lists for inebriated listeners.

Sometimes God works in mysterious ways, and the losing of one passion can often lead to the development of another. Writing eventually filled the void that my guitar injury left behind, and now here I am, 45 years old and 53 posts deep into this rabbit hole of a blog. 

A few years ago I began to discover that there is something seriously wrong with our modern music, and my journey from ex-guitarist to blogger took on a whole new meaning. I learned that musicians like the Beatles, Led Zeppelin, Black Sabbath, Pink Floyd, Bob Dylan, the Red Hot Chili Peppers, Katy Perry, Lady Gaga, and scores of others are practitioners of the occult. In fact, most musicians that have gone mainstream have sold themselves in exchange for fame, and many are involved in secret societies and have ties to elite Luciferians. 

But most of us who have searched even a little into the study of secret combinations know this about our modern musicians. A quick internet search of singers flashing satanic hand signs and covering an eye is all it takes to see that the music industry has been infiltrated by secret societies. But is there something deeper, further down the rabbit hole - something more sinister that's been done to our music that has been hiding just outside of our collective periphery?

We are all familiar with the phrases “ignorance is bliss" or "what you don't know doesn't hurt you." Well, what if our music is not complete? What if there are tones, harmonies, and even notes that we have never heard? What if some powerful people, acting hundreds of years ago, changed music into something it was never meant to be?

What if music has been altered and weaponized as a device to control human consciousness and behavior?

One of the most comprehensive books on the Tartarian theory of history was written by James W. Lee, who "died suddenly" a few months ago. The book, The One World Tartarians, can be downloaded for free at this website, along with free pdfs of all of his other books.

In chapter 7 Lee explains how he believes the Tartarians used cymatics for healing. Cymatics is the study of how vibrational frequencies can be affected by sound and sacred geometry. Many researchers looking into the Old World believe that the Tartarians (or whoever this previous civilization actually was) designed their buildings according to sacred geometry and cymatics, and that before basilicas and cathedrals were taken over and repurposed into churches by the Jesuits, these buildings were used as mass healing centers. The type of stone, the exterior carvings, and the dimensions and layout of the rooms, were all based on sacred geometry. The original edifices were designed to raise the vibrational frequency of any human being who merely entered the doors.

(As a side note I don’t agree with everything in Lee’s book. Although I believe the Tartarians are descendants of the lost tribes of Israel, I believe they fell into idolatry and were destroyed like the Nephites and Jaredites before them.)

Once the magnificent building was constructed and the acoustics were measured and tested, the healing pipe organ would be built to specs. The organ had to be designed to be in tune with the healing resonance of the building. For this reason, the construction of the organ could not possibly precede the construction of the building, as we are told happened in the building of the Salt Lake City Tabernacle. 

After assembly the organ would be tuned to a vibrational frequency of 528 Mhz. It was tuned with metal tuning forks used to harmonize the instrument with the telluric energy of the earth. Other factors that influenced this energy field were the tall spires (for collecting atmospheric energy), cisterns of water under the cathedral, and the forming and compacting of the soil surrounding it. 

In the following excerpt from his book, James W. Lee expounds more upon the purpose of the healing pipe organ:

Once upon a time when the temples of free energy architecture were used to rise man, the organs were used as a harmony bomb. The songs were tuned and played at sacred healing tone of 528 Mhz. It was not allowed to change the frequency of the earth using for example 440 Mhz, which divided by 12 equals 36.666, this frequency disharmonizes humanity leaving beings agitated, angry and sick and that was not allowed. So, at the correct frequency there were regenerating concert halls, where people recharged themselves with pleasant music while buildings collected the energy of the ether. (p. 103, emphasis original)

Virtually all genres of popular music we are exposed to today are tuned to 440 Hz, including pop, rock and roll, and even hymns played in churches. This is by design, and is a tactic to manipulate and control us, as well as a means to keep us sick, agitated, depressed, and anxious. Disharmonized and fear-driven people are much easier to control. This mistuning of modern music is so subtle that it cannot be detected by the ear, but only by the brain itself, which interprets frequency, rather than sound. 

Although I believe that music has been used since the beginning to either bless and heal, or manipulate and control mankind, our modern version of musical tuning can be traced back to Vincenzo Galilei (father of Galileo), who lived during the 16th century. Galilei was the father of equal temperament, the tuning of the musical octave into 12 equal chromatic notes. As the story goes, he was trying to solve the problem of the Pythagorean comma, the stacking of fifths that left a small discrepancy in the frequency between the last two notes of the chromatic scale. Pythagoras was a student of Plato, who believed that music, and people, should be regulated for their own good. (Sound familiar?)

If you're not a musician some of this may sound foreign to you, but a fifth is the perfect musical interval between the tonic (root note) and the octave (the doubled tonic). If you love rock and roll, the fifth is expressed in the pleasing power chord, ubiquitous in all modern music. The relationship between the tonic and the fifth sounds pleasing to the ear because it resolves the tension that exists between the other notes. It's a musical phrase, or sequence, that is full of energy.

The problem Pythagoras ran into by attempting to build a scale by stacking fifths is that it left unjust octaves, as in the diagram below showing the Pythagorean comma:

Galilei attempted to solve this problem by tempering the tuning of each note on the scale enough to create a just octave, which altered the frequency ratios between each interval. On the C major scale (the scale that organ keyboards are built around), this left A tuned at 440 Hz.

Hertz (named after Heinrich Hertz) are defined as units of measure for "how many waves pass a given point in a specific period of time". Or, in other words, the frequency of a wave of energy as it vibrates through space and time. One Hz is equal to one wave cycle per second. All matter (including how it is shaped), and even intention and thought, has a frequency that can be measured in Hz. 

When a frequency created by an instrument matches that of a geometric shape in the resonating chamber of a building, the two vibrate as one, and this is known as resonance. When you put a person into the mix, the human brain starts to resonate with the same frequency and healing can occur. This is known as entrainment, and notice that this word is close to entertainment.

Entrainment can occur with both positive and negative frequencies, which is why music can be used for both good and evil.

And the reason why modern music can make us feel agitated and unsatisfied is twofold: one, the frequencies that exist within the natural harmonic scale have been altered (tempered), and as a consequence no longer resonate with nature, and two, modern music is missing certain notes on the scale. Notes that have disappeared down the black hole of history and have been deliberately withheld from us.

Galilei was a member of a secret society, which was most likely an offshoot of the Rosicrucian Order established by Sir Francis Bacon, who absolutely knew and understood that a conspiracy existed to hide the true musical scale from the masses. Bacon, now known to historical researchers as the real Shakespeare, encoded this conspiracy into his literary works, two of which include his novel, The New Atlantis (which I wrote about here), and a play attributed to Shakespeare, King Lear. These have been deciphered by a woman named Stephanie McPeak Petersen, who wrote a book entitled, The Next Octave: A Sustainable Economy Encoded In Music, published in 2021.

In addition to decoding Bacon's cipher, Stephanie lays out the connection between a tempered musical scale and a tempered economy. Both music and money share a common term that we know as the note, i.e., whole note, half note, quarter note, and bank note.

The thesis of her book is that a "sustainable economy" (a phrase constantly thrown around by elites these days) can only be achieved when market forces are left up to individual choices. She argues that price controls, tariffs, fractional-reserve banking, and artificial credit are tempering devices the government uses to manipulate the economy, and are nothing more than mechanisms to control and enslave us.

This tempering of economics by the elite is done to enrich themselves at the expense of the masses, through the hidden tax of inflation.

(I wrote about how secret societies control economies here.) 

Similarly, the tempering of music is also a tool used by the elites to keep us from experiencing the healing frequencies and transcendent tones that real music offers to the soul. In her book, Stephanie likens the unmolested musical scale to the gold standard, both of which resonate at a higher frequency, which is why mankind has voluntarily chosen gold to represent money for millennia. When we are given the choice, we will always choose that which resonates at higher frequencies. 

The problem is that we are not being given the choice when it comes to music or gold, because secret societies have taken those choices away through fiat notes and currency. The word fiat means a decree or arbitrary (whimsical) declaration made by a ruling body, and by fiat both our music and money has become artificially inflated.

Stephanie reveals in the book that this conspiracy involving music has been hidden in plain sight and is apparent in the very symbolism of Freemasonry, and she proves, through basic mathematics, that the scale used in music today is incomplete, and that the A note in the C major scale should be tuned to 432 Hz (more on this later), a frequency that resonates with nature.

The Phantom Notes Of the Opera

I really dislike musicals. I've never been able to sit through the Phantom of the Opera, and most likely never will. Even when I'm watching some cartoon with my kids, when the characters break into song, I become immediately annoyed. What can I say, I'm an uncultured redneck from Idaho, who'd much rather ride a dirt bike than sit through some boring play with annoying vibrato singing.

But when I read in Stephanie's book that clues to conspiracies are woven into the very script of plays like the Phantom of the Opera, I became intrigued, not enough to watch the movie or sit through a live opera, but maybe enough to read the novel the play is based upon.

Phantom of the Opera: Encoded in the story is the plan to alter the musical scale. 

As Stephanie points out in her book, the very conspiracy to alter and temper the musical scale is encoded into the story of the play, hidden in parable form for those with eyes to see.

If you're interested in how she came to these conclusions, watch the video below:

These four phantom, or missing notes, are apparent in the harmonic series in the key of C major. The harmonic series is based on laws that exist in nature and cannot be altered. Harmonics simply exist, we cannot manipulate them, we can only discover them. They belong to God, the ultimate Composer, who writes His symphonies to perfectly resonate with established mathematical frequencies in nature. 

These frequencies correspond with energy fields, geometric shapes, and even abstract concepts like compassion, charity, and love. 

A definition of harmonics is found on page 230 of Stephanie's book, The Next Octave, as follows:

Harmonic frequencies occur naturally as overtones when any fundamental tone vibrates.

The harmonic series is made up of notes, means, and tritones. The last note of the series ends at the 32nd harmonic, beyond that there are no notes but only means. A true note resonates at a pure mathematical frequency (whole numbers that when divided do not result in fractions), a mean is a pitch between two notes, and a tritone is a sequence of six semitones (half-steps; black keys on a piano) or three adjacent whole tones. 

The tritone is sometimes known as the "howl", or "the devil in the music", because of its dissonant tone. In metal music you hear it as the diminished fifth.

According to Stephanie, there are two basic laws that govern the harmonic series:

1) all new notes emerge into the series as odd numbers, and... 2) all even-numbered harmonics are octave repeats of previously generated notes. This means that any odd-numbered harmonic is a brand new tone, and any even-numbered harmonic is an old tone, now repeated in the form of an octave.(The Next Octave, p. 231)

Also according to Stephanie, the first 16 (remember this number from the end of my last post?) harmonics are structural beams that build the scale. The second 16 harmonics make up the scale itself (12 notes plus the missing four equals 16), and the rest of the harmonics, from 33 onward, are microtones that diminish further and further until they are imperceptible to the human ear. 

(Notice in the second column that Stephanie labels the missing notes of the chromatic scale as W, X, Y, and Z.)

All harmonics are generated off the tonic, commonly called the root note. In the case of C major, the tonic is the first harmonic, and up to the 32nd harmonic all odd numbered harmonics are considered notes, while even numbered harmonics are considered means. But after the 33rd harmonic, or the third tritone (in the key of C major, F# is the tritone, entering the series as the 11th and 22nd harmonic, this will be important later), all ascending tones are considered means. Thus, there can only be 32 notes in the harmonic series of any tonic or key. 

(And where have you seen the numbers 32 and 33 before? In Freemasonry of course. Keep that in mind as we proceed.) 

Equal temperament tuning, like debt monetization and fractional reserve banking, is inflationary in frequency. 

In the un-tempered harmonic scale, note frequencies do not artificially increase or decrease, but are self-regulated within natural parameters. Notice on the chart below that each frequency interval within the harmonic series is constant while interval frequencies in 12-TET (equal temperament) are increasing (inflationary) with each interval:

(Also notice the red line drawn between the F# in 12-TET tuning and the phantom note W in harmonic tuning. This will be important later.)

Musicians with instruments tuned in the natural harmonic scale could not change keys without retuning their instruments. In equal temperament tuning however, key changes can be made with ease, but at the expense of natural note frequencies. In Pythagorean tuning, stacking perfect fifths left unjust octaves, and it is only in the harmonic series that just octaves and perfect fifths are synthesized. Here is how Stephanie describes the inflationary nature of equal temperament:

...12-TET [12 note equal temperament] uses a static ratio to produce marginally increasing intervallic [of or relating to an interval] values or spans. The harmonic series does the opposite, producing marginally decreasing ratios that generate static intervallic values. And it's the marginal nature of equally tempered Hz values that tends to leave listeners of modern music feeling mentally taxed. The marginal Hz values of 12-TET create what composer Kyle Gann called "caffeinated sound." Within a harmonic octave, Hz values are consistently spaced and don't produce this type of challenge to the brain and its frequency following response. Remember, its not ratios the brain attempts to mimic; it's frequencies. (Ibid, p. 295, emphasis original)

In the harmonic series, only odd numbered notes are newly generated, and all even numbered notes are octave repeats of the tonic. This is a natural regulatory mechanism that keeps the scale from becoming inflationary. To generate the second harmonic off the tonic, you simply multiply by two and you arrive at the tonic's octave. Although it is the same note, the frequency at which it vibrates is doubled, which the human ear perceives as a higher pitch. The second harmonic is not a new tone, therefore it is a mean, because it has already been generated in harmonic 1. Octaves therefore, represent the power of 2. 

The 3rd harmonic is generated by tripling the tonic which when multiplied mathematically arrives at the perfect fifth. In the case of C major, the perfect fifth lands on G, a completely new tone. Fifths are based on the power of 3.

The number 2 represents the physical world and the power of doubling. A simple example is the human embryo. It begins as a single cell and then doubles into 2, 4, 8, 16, 32, 64, and so on. The number 3 represents the higher spiritual realm and power of tripling, i.e., 3, 6, 9, etc. In mathematics 2's and 3's are said to be incompatible because of the irreconcilability of even and odd numbers. However, the perfect fifth is the musical interval that synthesizes these two powers:

For Pythagoras and his students, a perfect fifth also represented a reconciliation of opposites. For them, the number 3 represented the male and the number 2, the female, with the ratio of 3:2 representing a union between them. (Ibid, p. 43)

Assigning gender to the numbers 2 and 3 is most interesting when we consider the esoteric number associated with the secret society known as the Skull and Bones: number 322. 

Not only are they portraying the ratio of 3:2 in the first two numbers, but they are adding a second 2 at the end, offsetting the natural balance between male and female. Hence, the numbers represent a male and two females, and may be a hidden symbol for polygamy. But as we also know, the logo of the Skull and Bones is a cross between a male and female set of skulls and femurs, which may also be a hidden symbol for transgenderism, which is the physical inversion of a male into female and female into male. 

Later in this post I'll offer another possible interpretation of 322 that ties into the musical conspiracy.

Stephanie shows in her book how the powers of 2 and 3 can be reconciled on a mathematical illustration known as the Mobius Circuit, created by a man named Marko Rodin.

 Stephanie offers an explanation of the Mobius Circuit as follows:

The circuit's creator, Marko Rodin, uses discrete mathematics (the process of reducing any number down to a single digit by adding its discrete integers) to generate its form, which illustrates the "underpinning geometry of the universe." According to Rodin, the numbers generated by doubling (1-2-4-8-7-5) represent matter, while the numbers generated by tripling (3-6-9) represent spirit. (Ibid, p. 43)

On the Mobius Circuit, if you start at one on the right and start doubling, you trace a line to 2, and then to 4. From 4 you trace a line to 8, and then to mirror the image on the right side of the circle, you trace a line from 7 (8+8=16, 1+6=7) to 5 (7+7=14, 1+4=5), and then back to 1 (5+5=10, 1+0=1). 

The numbers 3, 6, and 9, when traced, form a triangle, with 9 at the top. 9 is considered the mese of 6 and 3. The term mese means center, or the middle of two points. It is calculated by doubling the numbers 6 and 3 and then averaging them (6+6=12 and 3+3=6, and the average of 6 and 12 is 9, calculated by adding 6 and 12 which is 18, and then dividing by 2 to arrive at 9). When applying this to the harmonic scale, 3 is the tonic, 6 is the octave, and 9 is the perfect fifth. Thus, the perfect fifth is the mese of the scale. 

You'll also notice on the Mobius Circuit that when you add each number horizontally, you'll always arrive at 9 (8+1, 7+2, 6+3, and 5+4). When all the lines are drawn and allowed to overlap on the Mobius Circuit, you'll begin to notice a familiar design: the compass and square used in Freemasonry.

This, dear readers, is not a coincidence. Galilei's attempt to equally temper the scale was said to be improved upon by his son Galileo's friend, Marin Mersenne, who used a "straightedge and compass" to perfect equal temperament. You can read this straight out of Wikipedia. This is an admission by the powers that be that Freemasonry was responsible for altering music. Furthermore, Mersenne was a "reverend" and was educated at the Jesuit College of La Fieche. Supposedly, he never joined the Society of Jesus, but was educated by them nonetheless. In the brief history of this man Mersenne (who may or may not have actually existed), we have both a Freemasonic and Jesuit connection to this musical conspiracy. 

What are the powers that be, the "controllers" trying to tell us?

Now we're going to take this a level deeper. Mese (meaning "middle") is a Greek word, and is where the word meson is derived from. Meson is the origin of the term masonry, which has to do with laying brick and stone. Stone masons use the meson of the brick, or the middle point, to overlap bricks in a pattern that makes the structure of the wall stronger. Notice the familiar pattern below:

The term Masonic is a melding of two words: Meson and sonic, and we all know that the word sonic has to do with sound. In past posts I've pointed out different interpretations of the letter G displayed in the Masonic logo. According to different sources, the G can mean generation, geometry, gnosis, or God. 

But there is one more interpretation of the Masonic G in regard to music, and that is that G is the perfect fifth, or the mese, of the C major scale, the scale that all piano and organ keys are built around. But despite the fact that Freemasonry displays this symbol, the conspiracy to alter music has resulted in what Stephanie calls the "usurpation of the mese" (see chapter 14 of her book) which entails changing the natural frequency that the original G resonates at. 

This has been done subtly by altering the tritone that occurs before the G, the F#, giving it an even more dissonant tone that sounds like a howling wolf. And this howl may be a clue as to who is the true mastermind behind this musical conspiracy. 

The Devil in the Music

There is a legend that has been circulating for centuries that the devil is a musician, often using the fiddle or a flute to lure in and steal the souls of men. In our modern music we hear it in songs like The Devil Went Down To Georgia by the Charlie Daniels Band, and in classical literature we read about it in fairytales like The Pied Piper.

This legend is ancient, and goes all the way back to the beginning. Scripture even seems to concur that Lucifer was a musician. Ezekiel makes a strange statement against the "king of Tyre," named Hiram, the same guy the Freemasons believe was Hiram Abiff, the master "architect" who built Solomon's temple. As you might recall from my last post, the Freemason's honor a god they name as "the Supreme Architect of the universe," as pointed out by Manly P. Hall in his book The Secret Teachings Of All Ages.

In my opinion, this "master architect" is an allusion to Lucifer himself, and as you will see in a moment, Ezekiel's condemnation of the "king of Tyre" is also an allusion to Lucifer. The prophet writes that this king of Tyre was in the Garden of Eden, which seems strange when the real king Hiram of Tyre reigned in Phoenicia from 980 to 947 BC and was a contemporary of David and Solomon. Ezekiel also describes this king as one who played the pipes:

You have been in Eden, the garden of God. Every precious stone was your covering: the sardius, topaz, and the diamond, the beryl, the onyx, and the jasper, the sapphire, the emerald, and the carbuncle, and gold. The workmanship of your tambourines and of your pipes was prepared in you in the day that you were created. (Ezekiel 14:11, RE, emphasis added)

A tambourine is a percussion instrument, or a drum, and pipes are associated with Pan, the Greek god (portrayed as half-man, half-goat) who used music to lure children in to molest and kill them. Sadly, this is where the legend of Peter Pan came from. I wrote about that here (reader discretion is advised). Notice that the flute that Peter Pan plays looks similar to the cloud buster built by Wilhelm Reich in the 1940s:

  

   

This suggests to me that the "pipes" Ezekiel is referring to may be more than just a musical instrument, they may actually be a specific technology.

As to the tambourines referenced by Ezekiel, we come to another common term used in music nowadays that does not mean what we think it does. I'm talking about the word beats. A beat is not a rhythmic percussion played to keep time in music, but rather is an "interference pattern between two sounds of slightly different frequencies, perceived as a periodic variation in volume whose rate is the difference of the two frequencies" (Wikipedia).

In other words, a beat is a wave interference. It is the disruption of a natural frequency, and our modern music is full of them. Because today's music is tuned to a frequency that mismatches natural frequencies found in nature, our brain interprets it as a constant dissonant beating. And remember, the other definition of beating is "a punishment or assault in which the victim is hit repeatedly." Is this a coincidence? I don't think so. 

Listening to modern music is basically a constant beating by the powers that be. After years and years of hearing these beats, we begin to crave the negative energy they create in our bodies. We begin to crave the punishment we receive from them in an unhealthy pattern similar to Stockholm Syndrome. 

A few decades ago the band Tool came out with a song called Pet, found on the album A Perfect Circle. A line towards the middle of the song reads "Swaying to the rhythm of the New World Order and..." 

Is there a rhythm to what Lucifer has been up to in this fallen world?

Indeed, I believe there is. As Nephi said, this rhythm lulls you into carnal security, comforting you, gently whispering in your ear to close your eyes to what's going on around you, and blissfully slip into a slumbering stupor.

Like everything else Lucifer does, he put his insignia on this musical conspiracy, and the key to understanding what he has done can be found in the number 22. The phrase "catch 22" may mean more than what we think it does. To "catch" something is to capture it, by laying a deceptive trap or snare to lure it in. And as you'll recall from earlier, the number two is associated with this fallen world, an unascending number, stuck in a pattern of doubling onto infinity, yet never being able to escape its material prison. Thus, the catch 22 is a trap to keep us asleep in a never-ending cycle of dualism (one example is the American two-party system).

If you count the stars surrounding the mountain on the logo of Paramount Pictures, you’ll again come to the number 22:

What mountain is being depicted here? Could it be Mt. Armon (or Hermon in the bible), the mount described in the Book of Enoch where the 200 fallen angels descended to? In chapter 7, verse 9, Enoch names 18 of their leaders. So why are there 22 stars? The other four may be the angels that guard the four corners of the earth: Michael, Gabriel, Raphael, and Uriel. 

Could it be that Lucifer has taken these four righteous angels, who hold the keys over this creation, and lumped them in the with the fallen ones? 

The ultimate "catch 22" is the illusion of a narrative where good and evil have been flipped on their heads. In Freemasonry, this is symbolized by the black and white checkerboard floor (I wrote about that here).

Now for the musical connection to the number 22. In the harmonic series there are 3 tritones, and the 3rd lands on the 33rd harmonic. In the case of C major, the tritone is F#, occurring at the 11th, 22nd, and 33rd harmonics. Remember that there are no notes after the 32nd harmonic, so the 33rd harmonic, or the 3rd tritone, isn't a note at all, but a means in the form of the first microtone. A tritone consists of 3 whole steps, or 6 half steps, and when we get to the 33rd harmonic, we have covered a total of 18 half steps, or 6 repeated three times (666). 

Now, the 22nd harmonic is the middle octave, or the mese of the F# tritone in the key of C major. And this is where the conspiracy comes into play. In 12-TET or equal temperament tuning, the F# is slid into the sharper position of the 23rd harmonic, and has a frequency of 23.12. In the harmonic series, the 23rd harmonic is the phantom note that Stephanie Petersen labels as "W." This stretched position of F# gives it a more dissonant tone than its original position at 22, which is why it sounds like a "howl," or "the devil in the music." 

Furthermore, equal temperament allows the F# to span seven semitones instead of six, symbolic of man (represented by six, the number of a man) attempting to usurp the position of God (represented by seven). In equal temperament, the tritone of F# is literally usurping the true mathematical note of W, one of the phantom notes of the opera that we don't hear in modern music. Even more significant, is that this altered tuning slightly moves G (the perfect fifth) out of its place as the mese of the scale, and replaces it with F#, a black key on a piano or organ:

Equal temperament has allowed the tritone to usurp the positions of both the legitimate tritone (22 Hz) and the perfect 5th's central position as mese of the scale. Herein lies the greatest musical conspiracy ever perpetuated, the usurpation by the "devil in the music," an act dramatized by Edmund in King Lear. (The Next Octave, pp. 301-302, emphasis original)

Stephanie believes that Francis Bacon was the true Shakespeare (and I agree), and the true author of the play King Lear. To find out how the conspiracy to alter music was written into that script, read chapter 14 of her book, The Next Octave. 

(I disagree with Stephanie's opinion that Bacon was a good guy trying to fight against equal temperament tuning and economic mercantilism; I believe he helped engineer these things and then wrote them into plays and literature as part of his obligation to disclose [revelation of the method] what the elites are up to.)

Remember, Bacon altered the King James Bible significantly, which means that Nephi saw him as part of the Great and Abominable Church of the Devil.

In the video below, Stephanie takes you deep into this rabbit hole, and shows you how this conspiracy is alluded to in a popular rock song by Alanis Morissette, as well as the movie Eyes Wide Shut. In the secret society scene, in the mese, or the middle of the film, a piano is oscillating between F and F#, and F# and G. Stanley Kubrick, producer of the movie, is putting this conspiracy right in our faces.

Francis Bacon was also part of a group known as the "Twice Eleven Brethren," and here is where the conspiracy becomes even more ubiquitous. Twice eleven is 22, which brings us back to the esoteric number associated with Skull and Bones: 322. Not only is 22 the true harmonic position of F#, the original tritone, but in the Skull and Bones number it is succeeded by 3, representing the power of 3 or the spiritual realm gently regulating the material realm. To the conspirators, the number 3 places them (led by Lucifer) into the position of God, usurping His role as the true spiritual source that governs the universe:

...for he [the Devil] rebelled against me, saying, Give me your honor - which is my power... (T&C 9:11)

The ratio of 3:2 is the ratio of the perfect fifth, but the placing of the 2nd 2 in the number 322 is an admission by the conspirators that they have changed the position of the perfect fifth in music and replaced it with a tritone, F# (the Devil in the Music), represented by the number 22.

This means that high-ranking members of Skull and Bones know exactly what is going on with music, and are part of the plan to use it as a means to control and manipulate the masses. 

And just how many of these "Bonesman" are leaders in wealthy and powerful churches using tabernacle organs, hymns, and choirs (tuned in 12-TET) to alter human consciousness?

Perhaps a few.

Sweet Sixteen: The Geometry of Music

This brings us back to where we left off at the end of my last post, to the quote by Brigham Young when he said, speaking of building towers on the temple, that "it is easier for us to build sixteen, than it was for him [Joseph Smith] to build one."

What did he mean by 16 and 1? We'll come back to that in a moment. 

When Galilei implemented equal temperament into the musical scale, he was only working with 12 chromatic notes. In order to create just octaves, Galilei had to sacrifice just intervals. If you were to divide up the 12-note chromatic scale into a pie, the pieces would not all be the same size:

If you compare this pie to the harmonic series, you can see that up to the 21st harmonic, all the notes are evenly spaced, but when you get to A (the major 6th of the C major scale) at the 27th harmonic, there are gaps:

To fill in the gaps, we simply add the four phantom notes that have been removed from 12-TET tuning as follows:

After adding the missing notes, our pie looks like this:

And now that the note intervals are equidistant in frequency, all kinds of geometry can manifest in the scale:

This only works if there are sixteen notes in the chromatic scale. If we temper the scale by compressing it into 12 notes, these perfectly symmetrical shapes cannot be generated.

For a more complete explanation of these images (created by Stephanie Petersen), please watch the 5-minute video below:

The French physicist Joseph Sauveur argued in 1713 that middle C should tuned at 256 Hz, coming to this conclusion because of his study of acoustics and "absolute frequency." 256 is a product of doubling, and represents the power of 2. Sixteen is also a number that is generated by the power of 2 (2, 4, 8, 16, 32, 64, 128, 256, 512, etc.).

When middle C is tuned at 256 Hz, the frequencies of the scale intervals are as follows:

• C 256 Hz
• C# 272 Hz
• D 288 Hz
• Eb 304 Hz
• E 320 Hz
• F 336 Hz
• F# 352 Hz
• W 368 Hz (phantom note)
• G 384 Hz
• X 400 Hz (phantom note)
• Ab 416 Hz
• A 432 Hz
• Bb 448 Hz
• Y 464 Hz (phantom note)
• B 480 Hz
• Z 496 Hz (phantom note)
• C 512 Hz

Notice that every note of this chromatic scale can divide its frequency by 16 and find its place in the series from harmonics 16 to 32. 

• C  (256/16)=16
• C# (272/16)=17
• D  (288/16)=18
• Eb (304/16)=19
• E (320/16)=20
• F (336/16)=21
• F# (352/16)=22
• W (368/16)=23
• G (384/16)=24
• X (400/16)=25
• Ab (416/16)=26
• A (432/16)=27
• Bb (448/16)=28
• Y (464/16)=29
• B (480/16)=30
• Z (496/16)=31
• C (512/16)=32

In equal temperament tuning, however, A is tuned to 440 Hz, which when divided by 16 renders a decimal at 27.5 and not a whole number. Furthermore, 440 is an un-ascended frequency stuck in the doubling power of 2, representing the materialistic world. When A is tuned at 432 Hz however, it reduces down to 27, which is divisible by 9, rendering it an ascended frequency representing the power of 3. It is only in the harmonic series that the powers of 2 and 3 are synthesized, and that perfect fifths, just octaves, and equidistant intervals are rendered.

(We can even see these powers of 2 and 3 being represented in the Book of Mormon. For instance, Nephi's example of one who is on a path of ascension represents the power of 3 (breaking the cycle of the Jews and connecting with God in order to learn the higher commandments and mysteries), while Laman and Lemuel, his two brothers, are stuck in a continuous cycle of rebellion and partial repentance (when angels literally stop them in their tracks), never rising above their pride and penchant for unrighteous dominion, and never going to God (the supreme spiritual source) to find out for themselves how they can ascend, yet still believing they are righteous.)  

The 16-note scale is the scale I believe the Tartarians tuned their healing organs to before they fell into idolatry and were destroyed. Not only is music based on these frequencies, but light, geometric shapes, and even color use the same mathematical values. For instance, the maximum number of color bits that can be displayed at one time is 256 per pixel. Ram memory stored in computers measured in bytes also comes in doubling multiples at 128, 256, and 512 megabytes. The frequency of middle C tuned at 256 Hz is literally all around us. 

Francis Bacon hinted at the 16 note scale in his novel The New Atlantis. The novel begins with a group of 51 men setting sail from Peru, and being on the water for a year, nearly starved to death, until they finally spotted land (the New Atlantis) in the distance. Upon coming close to shore, the inhabitants forbade them to land the boat, delivering to them a scroll with the following words:

Land ye not, none of you; and provide to be gone, from this coast, within sixteen days, except ye have further time given you...

These sixteen days were required as a cleansing period for the sick on board, but why would Bacon use that particular number? It may become clearer when you read the following passage at the end of the short book. Here the leader of the New Atlantis is introducing to the leader of the 51 visitors all the advanced technologies the civilization enjoys. One of them is music is that is "unknown" to the visitors:

We have also sound-houses, where we practise and demonstrate all sounds, and their generation. We have harmonies which you have not, of quarter-sounds, and lesser slides of sounds. Divers instruments of music likewise to you unknown, some sweeter than any you have; together with bells and rings that are dainty and sweet. We represent sounds small sounds great and deep; likewise great sounds extenuate and sharp; we make divers tremblings and warblings of sounds, which in their original are entire... We have also means to convey sounds in trunks and pipes, in strange lines and distances. (Emphasis added)

Sounds that in their "original are entire"? Could he be referencing the sixteen note scale in the harmonic series? And his reference to "pipes" is also very interesting considering the scripture we quoted in Ezekiel about the king of Tyre using pipes. Bacon describes them as if they are some type of technology, rather than a musical instrument.

So why would Brigham Young also reference the number sixteen? He was talking about building towers on temples, saying that they (the Utah saints) could build sixteen to Joseph Smith's one. A ratio of 16 to 1, or 16 notes to one scale. Was Brigham Young musical? Not that we know, but we do know that he was a student of Albert Pike, and could have also been a student of Bacon's literary works. Brigham was steeped in esoteric knowledge, and could have used occult coded parables and symbols in his sermons and speeches.

How do we know that Brigham was a student of Pike's? In the video below there is an admission by a high-ranking Freemason that this was clearly the case:

Starting at the 1:05 mark in the video, the lecturer (Scott Wolter) is reading from a letter written by Albert Pike to Grand Master named W.B.J MacLeod Moore. Here is a snippet of that letter (which is unpublished by the way):

... it is the evening of the 21st and I find the sun still high in the skies, suggesting that somewhere an ancient lodge is conducting its ritual upon the square, three times seven. Tomorrow I will be meeting with the remaining chiefs of the Western First Nations. They remind me a great deal of the Lost Tribes of Israel, seeking a New Jerusalem. So noble, yet so desperate, wandering aimlessly across the desert, or were they? 

Brigham Young understood this and ventured forth to the prime meridian, seeking the same as you and I. For all of our virtues it is most fortunate that he did not fully understand the signs, symbols and tokens left behind by our fellow Knight's Templar who covenanted the goddess...

According to Wikipedia, the Prime Meridian is the Greenwich Meridian, which runs through Africa and England, nowhere close to Utah. What did Pike and Brigham Young know about the true layout of the earth? 

I don't know, but I find this letter very interesting, especially the reference to the Knight's Templar, the assumed origin of the signs and tokens the Freemasons use today. (And I believe it was the original Knight's Templar who taught the Tartarians how to build according to the sacred geometry, and for a reference on how the Chartres Cathedral was built according to the ratios of the musical scale, see chapter 16 [there is that number again] of the book, The Mysteries of the Chartres Cathedral, by Louis Charpentier).

Brigham's reference to sixteen towers is also interesting when we consider the etymology of the word tower. The root of the word is "tow," which means, to pull, to haul, or to draw something by force. In the case of an architectural tower, what is being drawn is energy from the ether. This should give us a clue as to the true nature of the Salt Lake Temple, and many other structures with decorative towers. Remember, one of Tesla's many U.S. patents was technology to draw energy and send it wirelessly through the air (the Wardenclyffe Tower).

Join me next time for an analysis of two very old buildings on temple square: the Hotel Utah (now the Joseph Smith Memorial building) and the original Church Administration Building, built with Corinthian columns and looking like it came straight out of Rome.

(Special thanks to Stephanie McPeak Petersen for discovering this musical conspiracy and exposing it (especially pointing out that the word Masonic is a combination of Mese and Sonic). I highly recommend her book, The Next Octave, get it here on Amazon.)

This is the Place X: The Tabernacle Organ and the Freemasonic "Architects"

 Previously: A Tabernacle and an Assembly Hall

Welcome readers to part ten of my series on Old World Utah. Have you ever wondered how Utah pioneers built that massive and elaborate Tabernacle pipe organ? According to official Church history, the first phase of the organ was constructed by one Joseph H. Ridges, in only one year. 

With nothing but gumption, grit, and his bare hands, we are told that this man built one of the largest pipe organs in the world out of virtually nothing, because there were literally no supplies in the isolated Utah territory. Until 1869, nothing came into Utah unless it was hauled by horses and teams of oxen. The nearest railroad was over 800 miles away in Council Bluffs, Iowa. However, what the Latter-Day Saints lacked in raw materials and supplies, they supposedly made up for in pure determination. And somehow, in some miraculous way, they finished the entire Tabernacle and its organ just in time for October 1867 general conference.

Of course I believe this is all nonsense, and not physically or logistically possible in the slightest. And as you're about to find out, this man Ridges was not an organ builder at all, he never worked a day in his life in an organ factory, yet the “official” storytellers want us to believe that somehow he pulled off this incredible feat in record time.

If only we could borrow some of that 19th century fortitude and ingenuity; just imagine the things we could accomplish today!

As the story goes, our hero Ridges was a man of unprecedented talent, growing up in England and developing a fascination with organs at a very young age. According to an article published in the Deseret News in March of 1914, around the age of two years old, Ridges became mesmerized by "the operations of workmen in an organ loft and factory across the street from his boyhood home."

After befriending a boy employee who worked in the factory, the two children would often visit the organ loft and play around on the organ together. As he grew older, we are told that he delved further and further into the intricate workings of organs: the pipes, the tones, bellows, stops, etc. At the age of 23 he sailed for Australia to work in the gold mines, but instead of working for a miner he found a job as a cabinet maker. Soon thereafter, we are told, he began to build his first organ in his spare time. 

As the story goes, there were no "experienced workmen to assist him", so Ridges slowly worked on the organ each night after earning his modest wages as a carpenter. We are not told how long it took to complete, but when he was finished, it was "the first church organ in Australia." It apparently became quite an attraction in Sydney where Ridges lived, and after being seen by some unknown "Mormon" elder, Joseph was asked to donate it to the LDS Church. Apparently, he had been baptized shortly before being asked to to do this. 

So let's recap: a 23-year-old kid, having zero experience in organ manufacturing (except for watching factory workers as a 2-yr-old), decides to build an organ in his spare time and at his own expense. We are not told where the materials came from or how he machined the pipes and various parts with meticulous precision. And supposedly, this organ becomes the first church organ ever built in Australia. Then after going through all that toil and tedious labor he simply just gives it to the LDS Church. 

But wait, the story gets even more ridiculous. 

We are told that after soldering "the various sections of the instrument up in large tin cases" (before electrical welding was invented), Ridges traveled 6,502 nautical miles by boat from Sydney, Australia to San Pedro, California with the fragile organ on board. From there he accompanied his creation via horse-drawn wagon to Salt Lake City, arriving sometime in 1857. We are told that the organ was installed in the Old Tabernacle. It was used for only a short time until it was disassembled and sent south during the Mormon War. Once Johnson's army had left, the organ was brought back in horse drawn wagons and reassembled in the Old Tabernacle. When that building was razed, parts of the organ were used in building the larger organ installed in the Assembly Hall.

Where did the metal alloys come from that were used to construct the larger organ pipes used in the Assembly Hall? We are simply not told, yet expected to believe that among all the things that blossom in the desert, a pipe organ can transform from base raw materials into whatever a people need it to become. Indeed, the 19th century was a golden age when it seemed like anything was possible.

When Brigham Young asked Joseph Ridges if it was feasible to build a second organ for the New Tabernacle, he responded, "Yes we can; we can do anything we put our minds to." We are told that work began shortly thereafter in January of 1866 (notice that almost all Old World building projects in Utah were started in winter, yet another pattern in this enigma called history).

We are told that Brigham Young's first order of business was to find wood that was free of knots to construct the organ out of. He requested that samples be sent from all over Utah to find the best source of lumber, and the lot fell on Pine Valley, near St. George, a 350 mile trip to Salt Lake. This "smooth pine" lumber was hauled on wagons by teams of oxen, over rough dirt roads and rocky, rugged terrain. Here is how it was described by Levi Edgar Young:

Over the long, lonely roads trudged the oxen day by day, hauling the heavy logs to Salt Lake City. At times there were as many as twenty large wagons, each with three yoke of oxen drawing its load. The roads were rough and dusty, and many streams had to be bridged that the wagons could pass over them without difficulty. In crossing one stream in southern Utah, the logs were let down over the bank with ropes and the oxen driven some miles to find a ford, where they crossed and followed on down the bank to pick up the wagons and loads again. The timber was finally landed in Salt Lake City. (A Tabernacle in the Desert, Stewart L. Grow, p. 72)

After securing the lumber, we are told that Ridges set about collecting the other supplies he would need to construct the organ. He made a trip to Boston where he "procured spring wire, thin sheet brass, soft fluff leather for the valves, ivory for the keys, and other items which could not be manufactured in Utah" (Ibid, p. 72). Supposedly, glue, leather bellows from tanned hides, and nails were made locally in Utah.

The distance between Boston and Salt Lake City is around 2,100 miles, and in 1866, Ridges would've had to rely on horse and wagon to get to Council Bluffs, Iowa, a distance of over 800 miles. From there he could've made his way to Boston by train. A typical horse-drawn wagon covered between 20-30 miles a day, so about 80 days of 1866 would have been burned up just traveling across the plains to procure materials.  Traveling by train from Council Bluffs to Boston could have taken a week or two, and securing materials to build the organ, making shipping arrangements, and getting the material back to Council Bluffs could have easily taken over a month. 

Finally, getting the material (including the heavy brass to make the pipes) back to Salt Lake across the plains probably would have required several fully-loaded wagons. This trip back would have been slow and dangerous, requiring more teamsters and other employed men to help transport and keep Mr. Ridges' valuable load safe and secure (from raiding Indians or groups of bandits).

In all, this detour to Boston to secure materials would have taken a minimum of 120 days, or a third of the entire year of 1866.    

We are told that after Ridges returned, he was able to complete enough of the pipe organ (apparently by himself) to have it ready for use in the first conference held in the Tabernacle in October of 1867. This means that the narrators want us to believe that Mr. Ridges completed the first phase of the massive organ in just over a year. This would have been completely impossible, because in our modern day, construction of much smaller organs (than the one in the Tabernacle) can typically take a full crew working for an organ company anywhere from 1-2 years, using modern power tools, large machine shops, computers for drafting plans, CNC machinery for cutting out parts, and semi-trucks for transporting.

Once an organ is designed and built it has to be disassembled, moved to the site, installed and, laboriously tuned. Installation of a large organ today can take a modern company working with state-of-the-art technology anywhere from six months to two years. Organs are extremely complicated instruments, consisting of thousands of precise working parts, and hundreds of tons of material. Yet, we are told that in August of 1866, a few months before the organ was used for general conference, Brigham Young directed it to be "put in the west end of the new Tabernacle...", while the roof was being finished and the interior scaffolding was still being taken down. This was done, we are told, to cover the organ and keep it out of the weather. 

Where was it being built and housed before? We are not told. And are we suppose to believe that after all this effort and expense to build the Tabernacle organ it was disassembled and then reassembled again in the Tabernacle, before the roof was even finished? 

In his Master's Thesis, Stewart L. Grow surmises that the installation of the incomplete organ only took two months:

Although the preliminary work on the organ was started in 1866, the base for the organ was not laid in the Tabernacle until the summer of 1867. Truman O. Angell records the laying of the foundation for the organ: "Tuesday, August 6, 1867. All the fore part of today my attention was on placing the stones to take the timbers under the organ, singers stand etc." From the time of the laying of the foundation for the organ the work progressed rapidly, because it was in condition to accompany the choir at the first meeting in the Tabernacle on October 6, 1867. Thus, the organ was installed in its place and was sufficiently tuned to accompany the singing in the short space of two months. This indicates that most of the building of its parts was done at a place other than in its location in the Tabernacle. (Quoted in Esplin, The Tabernacle: "An Old and Wonderful Friend", pp. 206-207, emphasis added)

Although Grow claims the organ was tuned, a newspaper reported that Brigham Young declared that despite its not being tuned, it was still able to accompany the choir. Notice the language of the article excerpt below, painting Ridges as some kind of superhero working day and night getting the organ ready: 

[President Brigham Young] thought it proper to say something of the unfinished condition of the organ. Not over one-third of the pipes were up, and till the casing was built, they had thrown around it a loose garment. It was now only about fifteen feet high, but when completed it would be forty feet high. Bro. Ridges and those who had labored with him had done the best they could, and notwithstanding their diligence, by early day, noon, and night, they had been unable to have it properly tuned. It was, however, in a condition to accompany the choir, and he was pleased with it. ("The Thirty-Seventh Semi-Annual Conference," Salt Lake Daily Telegraph, October 8, 1867)

The storytellers tell us that work continued on the pipe organ for the next three years, and it is estimated that in the summer of 1870 it was finally finished, consisting of: 2,368 pipes, two manuals, 27 pedals, and 35 stops. The largest pipe was 32 feet tall, and the beautiful 600 square-foot wooden case that housed the organ was 40 feet tall.

The artwork on the organ was immaculately carved into the smooth pine wood with hammers and hand chisels before power tools were invented as shown below:

The face above sure looks a lot like all the other Old World art (graven images) that we have seen on many buildings, usually carved in stone. Compare it to the photos below I took inside a cathedral (built in the 1870s) from a recent trip to Boston:

 

The previous civilization was big on including faces in their artwork. The narrators want us to believe that this artwork was carved tediously with  hand tools into wood and stone. Such exquisite detail is next to impossible to freehand, even by the most talented artists. It is far more likely that these stone designs were 3D printed using some kind of advanced technology. 

As you look at the wooden face above ask yourself this question: 

Why would Utah pioneers, working with extremely limited resources, go through all the trouble to carve this image in an already over-the-top organ case made with wood that was hauled from 350 miles away on wagons? 

Furthermore, why would they include faces on any of their buildings when they were supposed to be a Christian people who claimed to adhere to scriptures that expressly prohibit the creation and adoration of idols and graven images?

The Lord talked with you face to face in the mount out of the midst of the fire—I stood between the Lord and you at that time, to show you the word of the Lord, for you were afraid by reason of the fire and went not up into the mount—saying, I am the Lord your God, who brought you out of the land of Egypt, from the house of bondage. You shall have no other gods before me. You shall not make any engraved image, or any likeness of anything that is in heaven above, or that is in the earth beneath, or that is in the waters beneath the earth. (Deuteronomy 2:10, RE, emphasis added)

This, dear readers, makes entirely no sense at all. 

For any of you who live close to downtown Salt Lake City, when you have some spare time just walk around and look at some of the older “pioneer” era buildings, and take note of all the carvings of human faces, lions, eagles, demons, gargoyles, dragons, etc. 

You'll begin to see these graven images everywhere. The same is true for any major city in the United States supposedly built in this era.

Was all of this built by a Christian nation, or by some other people who did not acknowledge or worship the God of the Old Testament bible who gave the Ten Commandments to Moses?

Built in Pieces 

As the story goes, Joseph Ridges had completed enough of the organ for it to be used in the October conference of 1867, but the mighty organ was missing its “wings”, and would not receive them, we are told, until a later renovation in 1915.

Here is the organ before the wings:

And here we see it after the wings were added in 1915:

The first photo obviously looks to be photoshopped, notice the vanilla sky walls surrounding the organ. The second photo appears natural and real; notice that the shadows are realistic and defined, and the shadows in the first photo appear to be drawn in. We've seen many of these anomalies in "construction" photos of buildings in the 1800s, but there is a stronger argument that should sway us toward the opinion that Utah pioneers could not have built this massive organ. And that is simply the way organs are built.

In fact, professional organ builders do not even begin to draft plans and designs for a new organ until they have gone into the building that will house the organ and study its acoustics and layout. Building the organ before the building is constructed is putting the proverbial cart before the horse. In the video below, an organ building company lays out all the preliminaries of building an organ, how long it typically takes, and how intricate every part and piece really is. Keep in mind this process and these construction timelines are in our modern day, not 1866:

Organs are the most complicated instruments on earth, and historians tell us that during the middle ages and Renaissance organs were the most complex machines in existence, made of thousands of working parts, requiring long hours of tedious labor, with technicians meticulously fitting parts and pieces together in an intricate web of wood, metal, leather, and ivory. In an old book entitled Organ Construction, author J.W. Hinton makes a most interesting observation. He records that pipe organs were built with much higher quality in the past. Writing in 1900, he declared:

There was a time, not many years distant, when the number of old GG organs existing (many of which contained pipe work of great excellence) would have afforded reasonable excuse for a long chapter upon this fascinating subject. As a matter of fact such organs have now virtually disappeared, and the few that remain scarcely justify a writer in devoting space to their possibilities. It is with organs, as with every other industrial product. Now, when the seams of coats are not intentionally spoiled to prevent this, the material itself is seldom good enough.

Moreover, even in the case of instruments by thoroughly first-class builders, the modern organ is such an ephemeral thing, made of toy-like motors, magnets, and wires, and one whose fashion changes so quickly, that--to follow up my simile--it is better to buy another garment, than to have an old one, already shewing signs of wear, remade according to a new fashion. The old slider and pallet sound board, when well made, is practically everlasting; but it is quite different in the case of the intricate (and of necessary fragile and perishable) work of which modern organs are composed. Lastly, age does not appear to improve modern pipes to the extent (probably from the higher pressures of wind now used,) it did those of the old school of builders. (Organ Construction, p. 53-54)

If society is supposed to be "evolving," then why was the quality of pipe organs actually diminishing at the turn of the 20th century, at the apex of the industrial revolution no less? If we are truly advancing in technology and industry shouldn't the quality of our manufacturing increase? This brings up an important question: were all of the best pipe organs built by the previous civilization, and did our modern society just do its best to duplicate the technology pioneered by them? 

I wonder who these "old school builders" really were who Hinton speaks of? Builders who build in such a way as to make their organ pipes, and entire buildings for that matter, become stronger as they age. 

Here are some of the "old school" pipe organs that Hinton claimed couldn't be duplicated in 1900:

The organ of the Cathedral of Notre Dame (which recently burned in 2019), built in the 12th century:

The organ of the Riga Cathedral in Latvia, the largest in the world at the time before it burned down in 1547. This "restoration" was completed by a German firm in one year, from 1882-83. We are told it was restored again in 1983:

This one was built in Halberstadt, Germany, in 1361:

This one, housed inside St. Stephen's Cathedral in Germany, was built sometime after 1682. In 1662 the entire cathedral burned to the ground, along with the original organ. The one you see below supposedly took centuries to rebuild. My guess is that it's the original organ and there was no fire at all:

Question: do we see any modern pipe organ companies building organs like this today? 

The most important part of the organ is housed inside the casing and is not visible at all to the audience. It is known as the action. According to one website I found explaining the intricacies of pipe organs, "the action is the complex mechanism which is operated by the console to control the flow of air to the pipes." Actions can be mechanical, pneumatic, electric, or electropneumatic.

Below is a typical action of a smaller organ. Notice how many working parts there are. Ask yourself how Ridges was able to tediously manufacture each of these delicate precision parts (we are told for one of the largest pipe organs in the world at the time) without modern resources, in an isolated desert 800 miles from civilization, and in only one year:

According to official history, early 19th century organs had manual pumps for air bellows operated by workers while the organist was playing the keys on the console. We are told that later innovations involved powering the pumps with water wheels. According to Stewart Grow, there was a story told by an old Tabernacle Block guide (keep in mind Grow wrote his thesis in the late 40s) named Samuel S. Bateman, about a time when a distinguished guest was invited to perform on the organ at the Tabernacle. When the performance began he put his fingers to the keys yet no sound came out.

This man, who remains nameless, eventually got up from the console and went behind the organ to search for the five men who were supposed to be pumping the bellows. He found them doing nothing but sitting on their chairs, and after scolding them severely, one of the men replied with, "I wanted our dignified guest to know that there was someone else beside you who had something to do with the working of the organ." Grow, after quoting this ridiculous story, proceeds to make a claim that creates a glaring contradiction in the narrative, having to do with the Tabernacle basement. 

According to the Encyclopedia of Mormonism and an article published by the Society of Architectural Historians, the Tabernacle basement was not added until 1968. Yet Grow, in his 1948 Thesis, nonchalantly slips in the following sentence regarding the basement:

A little later [after the dignified guest incident] a large waterwheel was put in the basement of the Tabernacle, and that provided power for the organ. (Ibid, p. 209, emphasis added)

Grow claims that this waterwheel was powered by diverting the flow of City Creek from North Temple Street to the basement of the Tabernacle, and from there to "a point about fifteen feet north of the present west gate." He claims that this was done in 1875. 

It is no small thing to divert a creek out of its course, especially in 1875 when the only means for doing so were hand shovels. Furthermore, once diverted how did they adjust the flow to keep the water from washing out the foundation of the Tabernacle during seasonal flooding? Was there enough of a slope to keep the water running at a flow rate significant enough to power the water wheel? 

As to the matter of the Tabernacle having a basement, we are given no detail of the excavation process. How many men with shovels did it take to dig it out? How many stories down did workers excavate? Was it dug down as deep as the Salt Lake Temple, exceeding four stories? Were there tunnels that connected the Tabernacle to the Temple? Was this really possible to accomplish with only hand shovels and wagons to haul out hundreds of tons of dirt? 

If the basement wasn't added until 1968, then what kind of sense does it make to add a basement in an already existing building? Was it possible, even in 1968, to excavate underneath a massive building without disturbing its foundation or compromising its support structures? 

According to this Tabernacle Project Fact Sheet published on the LDS Church's website, a basement was dug out in 1967, yet we not only have several other accounts of a basement already existing, we have accounts of a baptistry being installed in the basement of the Tabernacle in 1890. Apparently, scores of baptisms took place in that basement, including the baptism of Thomas S. Monson. 

Supposedly, in 1935, when Monson was only eight years old, his mother took him there to be baptized on a Saturday, apparently without his father. Monson recalled in 2007 that in those days it was not "customary as it is now for fathers to baptize their children, since the ordinance was generally performed on a Saturday morning or afternoon, and many fathers were working at their daily professions or trades" (Tabernacle Memories, May 2007).

How did Thomas S. Monson get baptized in the basement of the Tabernacle in 1935 when it didn't exist until 1968? 

Upon further scouring of the internet, I found this interesting article written by a blogger who goes by Latter-Day Soprano. In 2021, an 89-year old woman left a comment on the blog where she shared that her own baptism was performed in the Tabernacle in 1932:

I was baptized in the baptistry in the basement of the tabernacle. For several years I have been trying to find information about the baptistry and especially a photo. In writing my personal life history I wish to include this information and, if possible a photo. (About the Salt Lake Mormon Tabernacle, emphasis added)

Again, like Monson, how could this woman have been baptized in the basement of the Tabernacle in 1932 when the basement didn't exist until 1968? Here is the long-lost photo of the Tabernacle baptismal font this elderly woman has been looking for:

Indeed, isn't it strange that such things as wings to a massive organ and a basement to a massive building can seem to be added later with such ease? 

I'm beginning to notice a common theme in all of the construction history of Old World buildings (and organs) in Utah: 19th century workmen seem to able to construct these things out of literally nothing, in record time.

Think of the patterns: the massive Tabernacle was said to be built in an isolated desert without a railroad to bring in supplies; Joseph Ridges' first organ used in the Old Tabernacle was somehow expanded into a larger organ and installed in the Assembly Hall; and the first phase of the Tabernacle organ, the largest in the United States at the time, was also built in an isolated desert in just over a year. 

Only two men were actually named as the builders of the organ: Joseph Ridges and Ralph Ramsey (the carpenter said to have built the case).

Did two men actually build the Tabernacle organ in less time than professional organ manufacturing companies with hundreds of employees and state-of-the-art technology can do today?

Dear readers, this is not history, this is mythology. 

Ironically, the Desert News actually references Greek mythology when describing Ridges' effort in building the organ:

The story of the building of the original Tabernacle organ is an epic of the West. In perhaps no other country could such mountains of difficulty and obstacles have piled one upon another like Pelion upon Ossia, to harass and thwart so noble an ambition as that of Joseph Ridges. (Quoted in Grow, A Tabernacle in the Desert, p. 73)

These 19th century workmen were not miracle workers, they did not have the power tools we have today, but were said to have done better work in shorter time frames. And yes, their "work" is much more elaborate than we can accomplish today, but that is because they did not build these structures. They could not have built them. They did not have the resources or the technology to do so. They did not have the manpower. The populations of 19th century cites and towns were much smaller than they are telling us.

The Freemasonic "Architects"

In Luciferianism, Lucifer the "light-bearer", the god of primordial knowledge, is also worshipped as "the Supreme Architect of the Universe." This title is a massive fraud, because Lucifer does not create anything, but only imitates the true God. But the fact that he calls himself an architect is very interesting when we consider this research into Old World buildings. 

You may recall from my last post that historians recognize the fact that most 19th century architects had little to no formal schooling or training in architectural drawing or design, yet somehow managed to design and build some of the most elaborate and structurally sound stone buildings on earth, better than we can build today. How is this possible? 

Could this be another pattern?

Is Lucifer incorporating his own lie about himself pretending to be an architect into the narrative of his own story, or “his-story”?

According to Freemasonic lore, Hiram Abiff (the supposed builder of Solomon's temple) is honored as one of the greatest architects that ever lived. He is an almost messianic figure to the Masons, with his story being incorporated into the very rituals that permeate Masonic halls today. Is Lucifer trying to tell his-story through the lore of this great architect named Hiram? 

Manly P. Hall, in his book, The Secret Teachings Of All Ages, explains just how important this concept of architecture is in Freemasonic lore:

According to those who regard Masonry as an outgrowth of the secret society of architects and builders which for thousands of years formed a caste of master craftsman, Hiram Abiff was the Tyrian Grand Master of the world-wide organization of artisans, with the headquarters in Tyre. Their philosophy consisted of incorporating into the measurements and ornamentation of temples, palaces, mausoleums, fortresses, and other public buildings their knowledge of the laws controlling the universe. Every initiated workman was given a hieroglyphic with which he marked the stones he trued to show to all posterity that he thus dedicated to the Supreme Architect of the Universe each perfected product of his labor. Concerning Mason's marks, Robert Freke Gould writes:

"It is very remarkable that these marks are to be found in all countries -- in the chambers of the Great Pyramid at Gizeh, on the underground walls of Jerusalem, in Herculaneum and Pompeii, on Roman walls and Grecian temples, in Hindustan, Mexico, Peru, Asian Minor -- as well as on the great ruins of England, France, Germany, Scotland, Italy, Portugal and Spain." (Kindle Edition, p. 204, emphasis added)

Hall's admission here is most revealing: Freemasonry is a guild of "architects" who meet together in secret societies. But obviously, they are not real architects, their architecture is nothing but symbolism, as in they are architects of society, their building materials consisting of human beings and societal constructs. 

They did not build all of the Old World buildings that have been the subject of this series, and the "marks" that Mr. Gould writes about that are found in myriad buildings spread across the entire world, were obviously put there by some past civilization, not by Freemasons. 

Like Lucifer, the Freemasons did not create or build anything, but a house of cards supported upon a foundation of lies.

Yet, the Freemasonic connection to Old World buildings is a massive clue to the fraud that has become our accepted history. Just as Mr. Hall writes, the Masons have dedicated to Lucifer (their supreme architect of the universe) all of the buildings which they have, in my opinion, founded and taken over. They, being liars, dedicate their spoils to the greatest liar, Lucifer. This, to me, is the most revealing pattern that the true origins of these great buildings has been covered up and hidden from us.

My Lunch Break did an interesting video on this very subject of Freemasons controlling the building narrative:

If you go the 7 minute mark, you'll see that My Lunch Break found a very compelling clue concerning the Roslin Chapel said to be built in the 15th century. Inside this Old World chapel there are two pillars: the Apprentice's Pillar and the Mason's Pillar. The Apprentice's Pillar was formerly named the Prince's Pillar but overtime was renamed due to an apprentice boy that supposedly carved the designs with nothing but a mallet and chisel:

According to Wikipedia, the name of the pillar was changed due to "the master mason in charge of the stonework... and his young apprentice mason." So we have two pillars, the Apprentice and the Mason, representing the two pillars of Solomon's temple, Jachin and Boaz. In Freemasonic lore, these pillars were built by Hiram Abiff, the original Master Mason who was martyred in a ritualistic manner by the three ruffians, representing the Church, the State, and the Mob.

The Hebrew word for Jachin, yakin, means "he will establish," while Boaz, bo'az, means, "in him is strength." Jachin is positioned on the right and Boaz on the left. In the Roslin Chapel, the Apprentice's Pillar, located in the south east corner, is positioned on the right as you walk through the main entrance, and the Mason's Pillar is positioned on the left. Now look again at the image above, notice that the pillar also looks like the symbol we associate with fascism, the fasci. 

The fasci, we are told, dates back to Roman times and was a symbol for the absolute power of the State over the individual. It consists of what appears to be a bundle of metal tubes or sticks held together by some kind of metal band, rope or garland, and sometimes depicted with an axe at the top. The axe may signify that the fasci was some kind of ancient energy weapon, used to brutally subject the masses to the ruling elites running the State. 

We can see that the fasci is used as a symbol literally everywhere in the United States, and even on our money. One of the most notable places is at the Lincoln Memorial. Notice that the graven image of "honest Abe" is resting his arms on two pillars, each one a fasci:

Now, I don't know what the fasci meant to the previous civilization that actually constructed these buildings, but I suspect it may have represented some type of advanced technology that could've been used for good or evil. To our modern society, the fasci represents the State's great power over the individual. The significance of the Lincoln Memorial displaying the fasci is symbolic of Abe being the great centralizer, crushing states rights and forcing all Americans to become subject to a centralized federal government; a treasonous act that violated every principle the original Constitution was based upon.

Getting back to the Roslin Chapel, the Apprentice's Pillar was located in the south east corner, which is interesting when you consider that in a Masonic cornerstone ceremony, the figurative cornerstone is laid in the northeast corner in honor of the Entered Apprentice. This is symbolic of the apprentice completing his initiation and beginning the ascent to becoming a Master Mason. The direction of northeast represents a melding of opposites, north (representing darkness), and east (representing the sun; light). 

In the case of the Roslin Chapel, I don't know why the pillars have been inverted (the Apprentice's Pillar being located in the opposite, or southeast corner), but I think it may be a subtle clue that the Masons did not build the Roslin Chapel at all, an admission of sorts that has been hidden in plain sight. 

(Who do I think really built the Roslin Chapel? The Knight's Templar, before they were infiltrated and corrupted, and I think they were somehow linked to the Tartarians, but that is a blog post for another time.)

To tie this all together and put it in perspective for you, I'm going to share some details about the cornerstone ceremony that was performed for the Salt Lake Temple, held on April 6 of 1853. Only a few months before, on February 14 (always in winter) of 1853, the temple site was dedicated and excavations began. These excavations were accomplished with hand shovels in less than two months. Yet, we are told, that this original foundation was sandstone and had to be scrapped and rebuilt out of granite during the 1860s. 

As the story goes, the original foundation was covered up when Johnson's army stormed into Utah in 1857, and when it was uncovered a few years later, it was found to be "defective." Beginning in 1862, renovations were undertaken to remove the sandstone foundation and replace it with granite. This process, we are told, took five years (and excavations reached down to depths of 40 feet, with hundreds of tons of hard rocky dirt dug out with hand shovels of course). The footings of the "new" temple foundation were solid stone blocks, sixteen feet thick, and the walls of the temple would be solid stone blocks six feet thick. The walls reached up to ground level fourteen years after the original cornerstones had been laid. 

Pay attention to the numbers 16, 6, and 14. They are all symbolic. Fourteen is the number of parts that Osiris's body was cut up into and sent all over the earth (think 14 fundamentals of following the prophet or Wilson's 14 points). The number six needs no explanation, but what of the number 16? 

Here is what Brigham Young said the day of the original cornerstone ceremony in 1853:

I scarcely ever say much about revelations, or visions, but suffice it to say, five years ago last July [1847] I was here, and saw in the Spirit the Temple not ten feet from where we have laid the Chief Cornerstone. I have not inquired what kind of Temple we should build. Why? Because it was represented before me. I have never looked upon that ground, but the vision of it was there. I see it plainly as if it was in reality before me. Wait unit it is done. I will say, however, that it will have six towers, to begin with, instead of one. Now do not any of you apostatize because it will have six towers, and Joseph only built one. It is easier for us to build sixteen, than it was for him to build one. (Journal of Discourses, 1:133)

Brigham said a lot here, and I believe much of it is encoded with layered meanings. The Chief Cornerstone is a Masonic concept, "the Chief Cornerstone the builder's rejected." It is symbolic of the ignorant rejecting light and truth, and is displayed symbolically as the top of a pyramid, which is missing on the pyramid that displayed on the back of the U.S. dollar bill. 

The phrase is also used in Christianity, with Jesus being the Chief Cornerstone, but to the Freemasons, the Chief Cornerstone represents gnosis, or primordial knowledge. (Remember, Luciferian's believe they are saved through knowledge, and not a literal Savior like Christ.)

Why would Brigham use this terminology (and capitalize it so we know what he is talking about) in regard to the cornerstone of the Salt Lake Temple?

Next Brigham says that he never had to inquire of the Lord "what kind of Temple we should build." Why did he say that? This flies against very basic teachings in scripture. Nephi had to inquire about a thing as simple as finding ore to smelt to make tools to build a ship. The brother of Jared had to inquire about how to light (with sixteen stones) the barges that he built to cross the great deep, and Joseph Smith's every inquiry led to a direct revelation from the Lord. The fact that Brigham said that he did not have to inquire is revealing who he really is: an imposter in sheep's clothing. 

And of course he did not have to inquire of the Lord because as we are starting to realize that the Temple was there all along. Of course he knew how many towers it would have, because they already existed ("I see it as plainly as if it was in reality before me"). But why did he say that it was easier for them to build sixteen towers, than for Joseph to build one?

What is the significance of 16? Find out in my next post.

There were four cornerstones laid in the ceremony that took place on April 6 of 1853. These stones were supposedly quarried from Red Butte Canyon, and were made of firestone (another clue; think fire narrative). The stones were 2 x 3 x 5 feet in size. These are also symbolic numbers. 2 represents the power of 2, or the 2nd dimension, and 3 represents the power of three, or the 3rd dimension. 5 represents the perfect fifth in music, which synthesizes the powers of 2 and 3 (much more about this in my next post).

The southeast cornerstone was laid by the First Presidency and the Church Patriarch, the Presiding Bishopric (representing the Aaronic priesthood) laid the southwest corner, and the Stake Presidency and high priests laid the northwest corner. 

The Twelve, seventies, and elders laid the northeast cornerstone, the stone representing the Masonic Entered Apprentice.

Dear readers, in all reality, this ceremony was most likely the Masonic claiming and founding of this temple they had discovered.  The Twelve, having usurped the authority of the Church in opposition to the checks and balances Joseph had established, was claiming ownership of its new Masonic temple, granted to them by their Jesuit superiors. 

Join me next time for a deep dive into the reality behind our modern music...