This is the Place XII: Joseph Smith Finally Gets a Building

 Previously: The Hidden History of Music

Welcome readers to part twelve of my current series called "This is the Place.” In this post, I'll be covering Utah's Classy Lady (The Hotel Utah, later changed to the Joseph Smith Memorial Building). 

Of all the many meaningless jobs I perform to eke out a living (if you can call it that), the coveted role of Sprinkler Contractor is my all-time favorite. I mean, what's not to like about sweating profusely in 90 degree weather, arduously digging through Idaho river rock, cloddy dirt, hard clay, and sandy loam? 

OK so maybe it's not a coveted job after all (except for the fact that it keeps you in shape and provides a nice farmer's tan). 

I've been in the sprinkler business for 18 years, and as of late I've learned that there are a lot of parallels between underground sprinklers and history. Installing a new system on a virgin lawn is no sweat, a piece of cake really. Once the water stub out is ready and the volume is measured all you have to do is layout the piping, valves, and heads. We use a Ditchwitch to pull the poly pipe right through the ground, and once the job has been pulled, hand shoveling only has to be performed directly over the pipe, as the hydraulic shank on the pipe puller does a great job of softening the dirt. 

Installing a new sprinkler system is actually quite enjoyable to me, there is nothing stressful about it. I get plenty of sunshine and exercise, and even get to make a few bucks on the side. I get to layout the heads, pipes, manifolds, valves and wire exactly as I want them. It's kind of like writing history. Everything is put into a neat and predictable pattern, and because I won the bid for the job, I get to decide what patterns and layouts I want to use.

My first year in the sprinkler business consisted of only installing new systems. It was great fun, and I actually made some decent money. The year was 2006, but I was a new contractor with few connections and an unestablished name, and as many of us remember, the crash of 08 was just around the corner. I had to supplement income by working part-time in the summer and full-time during the winter at my dad's cabinet shop, and I had to add a new division to my fledgling business: sprinkler repair.

Sprinkler repair was a whole new ball game. It required sorting through some other contractor's (or do-it-yourselfer-homeowner's) old design. I literally had to try to get into the head of a guy that to me might as well have been a ghost. Even if the homeowner remembered who put in the system the chances of me getting ahold of him or him remembering what he did was slim to none. Once pipes are in the ground, it's anybody's guess as to which way they run.

Sometimes, on really gnarly repairs, it requires randomly digging for hours through extremely hard ground, aimlessly searching for where the problem is. When grass is not watered in Idaho, the combination of dead roots and rocky ground make digging next to impossible, always requiring a pick axe to soften things up. It can take hours to dig a small trench extending only a few feet. 

Even when there is leak in a pipe it can be tricky to find. Water follows the path of least resistance, and sometimes where the water comes up in the grass is several feet or even yards away from where the leak is. I remember a job in St. Anthony that had several leaks in an old pipe. The top of the lawn was so infused with rock that the water would stay under the grass and create a waterbed effect that stretched out hundreds of square feet in all directions. Finding the location of the leak took hours of digging up large swaths of grass, and after successfully patching the leak, I was drenched in mud and sweat. 

Succeeding at sprinkler repair requires perseverance and relentlessness. Once you start the job, you have to put your head down and dig with everything you’ve got. If you give up before the problem is fixed, you’ve wasted your customer’s time and won’t get paid.

Finding the problem may require digging trench after trench, only to refill each one and start again, repeating the process over and over, becoming exhausted and encumbered with mud, sweat, and frustration - until finally you find the fitting that’s causing the problem. 

And you think to yourself: “it was there all along, just laughing at me, taunting me, hiding just below my feet.” The ground is, after all, the perfect place to hide a troublesome anomaly. 

The historian, like the sprinkler repairman, should also be relentless. The pursuit of history should be an exhaustive effort to uncover absolute truth, leaving no stone unturned, and no available record unexamined. A historian should be a digger, incessantly and obsessively analyzing every word of every obscure book, every source document, and every "official" record.

The historian should also be dauntless, never fearing to search into the darkest abyss for even a sliver of truth, caring not what peers say or agree upon, and putting aside the comforts of a distinguished career. Unlike the sprinkler technician, the historian should not even labor for money, but only for the love of truth, becoming like a little child, questioning everything, and being open to all possibilities. 

Real history, like an old underground sprinkler system, is a jumbled mess, with pipes running every direction, failing fittings causing a myriad of leaks, old wires and solenoids not firing, pressure to the heads weakening, and the mother board on the control panel shorting out. An honest historian, using his proverbial shovel, should be willing to dig up the entire landscape to reveal every leak, digging trench after trench exposing every anomaly, tracing every wire to its short, measuring the water flow at every valve, and discovering which sprinkler heads are defective and need replaced. 

Let's face it, no rational thinking person wants to be a sprinkler repairman, spending hours in intense heat digging randomly through the hard ground searching for what might be the problem. Similarly, no historian wants to be labeled as "fringe", researching conspiracies or digging into old books that might cast an alternative view on what we've been told our history is. Most will stay within the carnal security of the mainstream, enjoying comfy careers and peer recognition while teaching at establishment institutions, substituting vain ambition for academic honesty. 

Very few historians want to dig into the ground to find the real truth, searching vigorously for what's hiding in obscurity and crying from the dust just under our feet, willing to get their hands dirty and put themselves at the risk of becoming unpopular. 

Finding the truth sometimes requires putting your hands directly into the muck and digging around profusely just to find a single clue, a process that has to repeated over and over again in order to form even a cursory picture of what happened in our past. It's a life-long journey, and we should all be our own historians, taking no one at their word, analyzing and evaluating every historical work we come across. 

I wanted to be history professor, but I dropped out of college twice (the second time in 2021), only a few credits away from obtaining a bachelors in history. I couldn't do it. I couldn't listen to the mainstream garbage combined with neo-liberalism and creeping wokism at a school that was once conservative. 

Over twenty years ago I had a professor at Rick's College that I'll never forget, his mind was not encumbered by the left/right paradigm, and he valued logical thinking over emotional talking points. The class was World Civilization, and we read Animal Farm, Brave New World, and 1984 in the same semester. We studied collectivism in all its forms: communism, socialism, and fascism. He opened my young mind, and I'll always be grateful for that. No other professor that came after compared, and I soon grew impatient with all the establishment pap I was digesting from all the others. 

The point I'm making here is that you, the reader, should never take my word for granted, or the word of anyone else. Do your own research, be your own historian, become a digger, learn to become analytical, learn to avoid logical fallacies, and take everything to the Lord for confirmation. He, after all, is the only source of truth in this world. And He has promised that there will come a day when He will "reveal... hidden things which no man knows." And always remember, compared to Him, none of us know anything.

And with that introduction, let's dive into the Hotel Utah, now known as the Joseph Smith Memorial Building. 

Utah's Classy Lady: The Hotel Utah (Built in 2 years; 1909-1911)

As the story goes, in April of 1909 a group of diverse businessmen met at the Deseret National Bank to discuss plans to construct a high end hotel on the northeast (remember the Masonic significance of northeast?) corner of Main and South Temple streets. All the major Utah religions were represented: Jews, Catholics, Protestants, and of course, the Mormons. Joseph F. Smith, Church president at the time, together with apostle Heber J. Grant spearheaded the deal, and formed a plan to tear down the "old" tithing house and build a $2 million luxurious hotel.

Leonard Arrington, in a book entitled The Hotel, lays out the financial arrangement as follows: the LDS Church, owner of the lot, would invest half a million, the other businessmen representing various religious groups would come up with another half million, and bonds would be issued to cover the remaining $1 million. The site, we are told, had been the location of the old adobe Church Mint, where Brigham Young minted coins with gold brought from California during the late 1840's. The mint was replaced in the 1850's by the three-story tithing house, which we are told was still around in 1909 when President Smith was planning to build the 10-story hotel.

Like many of the old world edifices we have researched in this blog series, the LDS Church was the majority shareholder of the Hotel Utah. Of the 10,000 shares valued at $100 per share, Joseph F. Smith, acting as Trustee-in-Trust for the Church, held 3,620 of them, while Heber J. Grant, through enterprises he personally owned, purchased 500 shares. Zion and Deseret banks jointly held 250 shares, ZCMI (a Church-owned cooperative) held 750 shares, The Deseret News held another 250 shares, and the Clayton Investment company, which I wrote about here, held another 250 shares.

The First Presidency, consisting of Joseph F. Smith, Anthon H. Lund, and John R. Winder, privately held 200 shares between them. And right away, with First Counselor Winder, we get our first clue that the Hotel Utah was indeed an old world building. In a documentary entitled Utah's White Palace: The Legacy of Hotel Utah, an old familiar pattern is revealed. John R. Winder, we are told, had managed the interior work of the Salt Lake Temple, and this prior experience in construction qualified him to chair the building commission for the Hotel Utah. We are told that Winder oversaw the construction of the hotel up until his death on March 21 of 1910, a year before the building was completed.

What is interesting about this pattern is that it is usually the architects that are said to die before (usually a year before) seeing the old world buildings completed, but here the pattern shifts to a man who, at 89 years old no less, was overseeing the construction of this huge project while simultaneously serving in the First Presidency of the LDS Church. Ask yourselves readers, what 89 year-old could handle the stress of serving in both capacities? According to the official story, this was a massive building project, touting the Hotel Utah as one of the largest and most luxurious hotels west of the Mississippi. 

This to me is a nod from the group controlling these narratives that men leading the LDS Church were the original founders of this building.

As the story goes, the architectural firm awarded the contract for designing the building was Parkinson and Bergstrom. This partnership was formed in 1905 and lasted until 1915. John Parkinson and his son Donald were said to have designed some of L.A.'s most iconic (old world) buildings, such as the Memorial Coliseum and L.A. City Hall. G. Edwin Bergstrom, who terminated the partnership with Parkinson in 1915, went on, we are told, to design the Pentagon, which was built in only two years, from 1941-1943. The Pentagon is in my opinion a gigantic old world star fort, which occupies over 30 acres of land, and is the world's second largest building, with floor space spanning more than 6.5 million square feet.

Tell me dear readers, how did we build the massive Pentagon complex, with limited resources during a major world war, and in only two years? 

There is a consensus among many Tartarian researchers that our modern society didn't do much building until after the 1950s. This would mean that even the Empire State Building might be Tartarian, and when you look into its narrative this makes a lot of sense, because the 102-story structure was said to be built in only one year, during the Great Depression no less, from 1930 to 1931. Have a look at the Empire State Building and ask yourself if that seems feasible, and oh ya, pay no attention to the dirigible refueling at the top. Nothin' to see here folks:

The excavation for the foundation of the Hotel Utah was said to be performed by the contractors Raleigh and Harmon in the summer of 1909 (most of the other buildings I've blogged about were said to have been excavated during the dead of winter). According to Leonard Arrington, the basement of the hotel was excavated using horse-drawn wagons. Surprisingly, there is a photo of the undertaking, shown below:

As you can see, there doesn't appear to much excavating going on at all. Why would they use men with shovels and pick axes and wagons to haul off material when steam shovels were also said to be in use at this time in history? This photo isn't the greatest quality, but if you can zoom in and look around you'll notice that all the wagons are empty, totally devoid of dirt. It looks like just a bunch of horses standing around with a few men leaning over a shovel. 

Now focus your eyes on the anomaly in the lower right-hand corner. It appears to be the entrance to some underground tunnel or opening. Also notice the circle of men in the upper left-hand corner, digging as if they are looking for something. To me, this photo looks much more like an archeological excavation rather than digging a building foundation, with wagons standing by to haul not dirt, but artifacts. From what we know about early 20th century photography, it would have been very easy to superimpose the buildings in the background over this archeological dig site.

Interestingly, one of the definitions for the word excavation is "the act of removing earth that is covering very old objects buried in the ground in order to discover things about the past." (Cambridge Dictionary)

In the "construction" photo below we see the steel framework of the Hotel Utah:

Typical of these types of old photos, we don't see any construction workers at all. All we see is a small group of well-dressed people in the bottom-left corner acting like they are in a totally different place. And as usual, we see the vanilla skies in the background. 

The steelwork was said to have been performed by the Jones Company, led by front man "Dick" Jones. Apparently, they built the steel frames for the Hotel Utah and the Kearns building at the same time. According to a 1910 edition of the Deseret Evening News, in addition to the buildings mentioned above, the Jones Company was given the contract on "a number of other buildings which will keep the company busy in Salt Lake for at least two years."

That is a lot of steel work to accomplish in a time frame of only two years. I wonder if modern steel companies can knock out ten-story steel frames as fast as their 1910 progenitors? 

Dick Jones was said to have been the son of an old sea captain from San Francisco, and is described in the Desert Evening News article as a kind and benevolent "commander", often working side by side with his men and cheering them on. He was said to have been "a big figure in the building circles of the California metropolis" (a reference to San Francisco). According to the article, Jones was involved in the rebuilding of San Francisco after the great fire and earthquake of 1906, including the re-building of the St. Francis hotel. Supposedly, he also built the "new" Flood building in 1904.

The Flood Building:

The St. Francis Hotel:

As it turns out, Jones came late to the party, because the St. Francis Hotel had been rebuilt multiple times before he ever got his hands on it. In my opinion, the Jones Company link to San Francisco is a nod from the group controlling these narratives that all of these buildings were built by the previous civilization (more details on this later).

The construction history of San Francisco is full of anomalies and impossibilities. It was said to have been built up very quickly by gold miners after the winter of 1848, when the population increased from 1,000 to 25,000. Over the decades between 1850 and 1906 there were several fires that destroyed many stone and brick buildings (because you know, stone and brick are “flammable”) but these were of course rebuilt in record time. For the complete story, and with very compelling evidence for the Old World, I recommend Jon Levi's book below. Click here for the Amazon link.

John gathered some interesting information the St. Francis Hotel:

The St. Francis Hotel was constructed in 1850 in less than a year. The building operated for less than a year when it was destroyed in a fire in 1850. It was rebuilt in one year in 1904, right before the 1906 earthquake and rebuilt after the earthquake, we are told, using the exact same materials. (p. 220)

Scroll back up and take another look at the St. Francis Hotel, do you really think it was possible to build that behemoth structure in less than one year in 1850? And does it make any sense that it would burn down and not be rebuilt until 1904, again in one year? And then rebuilt again, in one year, after the 1906 earthquake, out of its own rubble? 

The Flood Building was also built in only one year, from 1903 to 1904. According to the narrative it survived the great earthquake of 1906. The Deseret Evening News article, which I will quote at length later on in this post, vaguely suggests that Jones built the original steel frame for it. (More on Jones and San Francisco later). 

As with Dick Jones, and many other contractors said to have built (or rebuilt) these old world structures, there is an aura of mysticism and heroism enshrouded into the stories of these men, painting them as benevolent and paternal workers of the impossible, almost as if we have created our own cultural mythology.

We have a tendency to deify historical figures of the past, especially in LDS culture. Although there is nothing wrong with honoring our ancestors and the pioneers who settled the West, perhaps our view of them should be a little more balanced.

For instance, how many Latter-Day Saints acknowledge that the early Saints failed at building the Nauvoo temple in the time frame that the Lord set and were "moved out of their place?" Because of their slothfulness in building the temple, putting it off in order to construct high-end homes and a Masonic lodge, the church (congregation) was rejected by the Lord with their dead. The Lord told them that if they failed in this appointment it would bring cursings, wrath, indignation, and judgments upon their heads. Yet, despite this being written plainly into the LDS version of the Doctrine and Covenants, we celebrate our Mormon pioneers as if they were uber-righteous-super-heroes who built Salt Lake valley up from nothing.

Ironically, Heber C. Kimball admitted in an 1852 General Conference talk that the Latter-Day Saints were nothing but "squatters," occupying empty houses apparently abandoned throughout the Utah territory.

What? Abandoned houses?

Why were there abandoned homes in Utah during this early time period? The Brighamites had only been there for five years. 

Here is what Heber declared in the Tabernacle (most likely the already-existing large Tabernacle that was said to have been built twenty years later):

In the city of Manti, half of the houses are vacant; there are houses enough empty there to accommodate fifty or a hundred families. In Iron County also there are similar advantages...

We shall thus travel back and forth, and live about as much in one place as in another; for the future we shall keep on the move, going to and fro, and shall never be easy; we never want to be, nor that you should, until the kingdom of God prevails over this earth. We will fill up these mountains, take up the land, and, as they used to say in the States, "become squatters," and we will will become thicker on the mountains than the crickets ever were. (Journal of Discourses; Volume 1, pp. 295-96)

Tell me dear readers, whose houses were they occupying? Are we to believe that Utah pioneers traveled to Manti, 124 miles south of Salt Lake City, built houses, and then abandoned them within five years? Kimball declared that "similar advantages" were to be had in Iron County, which is even farther south, over 200 miles away from Salt Lake City.

This makes entirely no sense at all, unless of course there were abandoned buildings and homes left over from a previous civilization that were ripe for the taking.

It's also interesting that Kimball used the word squatter, which literally means "a person who unlawfully occupies an uninhabited building or unused land." Kimball speaks as if this term was bandied about commonly in those days by all Americans, as if it was common to find abandoned homes throughout the country. 

I have to thank Jon Levi for the above reference in the Journal of Discourses. A friend sent it to him and he presented it in this recent video, skip to around 13 minutes for his report on the reference:

Getting back to the Hotel Utah, a structure I definitely believe existed when Brigham and crew rolled into Salt Lake Valley, I found this newspaper photo of the structure "under construction" very interesting:

The man standing just to the left of the crane hook is supposedly "Dick" Jones himself. Notice the other men having that same Charlie Chapman look that we see in scores of other "construction" photos of old buildings. Also notice the date, February 5 of 1910, only 8 months from when ground was supposedly broken for the hotel (According to Arrington, construction began on June 1 of 1909), and the work had already progressed far beyond steel work, yet that's what we're told Jones was doing. 

Again, this doesn't make any sense at all. Also notice that the shape of the building itself looks nothing like the Hotel Utah that we see today. Compared to the photo below the image in the article looks like it is only one wing of the hotel, and a much shorter wing at that:

Again, we have to ask, who builds this way? Who builds an entire finished structure and then adds to the top of it?

Scroll back up to the steel frame photograph that I shared earlier in this post and compare it to the Deseret Evening News photo. You'll notice a glaringly obvious size and shape discrepancy. The steel frame actually looks like the shape of the hotel, the other does not.

These anomalies are easy to find in almost every narrative of old buildings similar to the Hotel Utah. It is impossible for all those involved in writing scripts (whether they are using AI or real people to write them) covering up true history to be completely consistent in their stories. This is the weakness of those who endeavor to cover the earth with lies, they leave breadcrumb clues everywhere they go.

The problem however is that people refuse to question narratives that are just "too big to fail." Small lies are easy to scrutinize, but big lies involving the covering up of true history are much easier to get away with. Adolf Hitler, a master propagandist, actually said the following, and just think about this in reference to this massive cover up of old buildings:

In the big lie there is always a certain force of credibility; because the broad masses of a nation are always more easily corrupted in the deeper strata of their emotional nature than consciously or voluntarily; and thus in the primitive simplicity of their minds they more readily fall victim to the big lie than the small lie, since they themselves often tell small lies in little matters but would be ashamed to resort to large-scale falsehoods. It would never come into their heads to fabricate colossal untruths, and they would not believe that others could have the impudence to distort the truth so infamously.

Even though the facts which prove this to be so may be brought clearly to their minds, they will still doubt and waver and will continue to think that there may be some other explanation. For the grossly impudent lie always leaves traces behind it, even after it has been nailed down, a fact which is known to all expert liars in this world and to all who conspire together in the art of lying. (Mein Kampf, vol. 1, ch. X, quoted in D. Christian Markham, There are Save Two Churches Only, p. 158, emphasis added)

In the research of old world buildings, there are "traces" of the big lie that can be picked up in every narrative. After you've looked into so many building narratives it becomes like clockwork, finding anomaly after anomaly, distortion after distortion, and flat out lie after lie. 

But who is going to believe it?

Who is going to say, "oh that's interesting, maybe I'll look into it"? No, the first reaction is to think that such a lie is too massive to pull off, and that the pilgrims, the pioneers, the Indians, the mountain men... someone would have said something. Someone would've have said, "Holy shit, there is a massive abandoned building there!"

And as soon as this thought crosses the mind, the theory is put to rest, and the researchers who look into it are labeled as conspiracy quacks.

Yet, which of you was there a century (or two) ago when these buildings were said to have been built? Who actually witnessed it? Anyone now living? No, so we are left to study the records of those who went before us. But how do we know they weren't tampered with, destroyed, or outright fabricated? How can we trust whoever controlled the records to show us the truth? How do we know that they had our best interests at heart and were only concerned with reporting facts? 

Honestly, we don't. If we weren't there ourselves to witness a thing, there is no way of knowing for sure what actually transpired. This, unfortunately, is the state of the world we now reside in, a world covered in gross lies and falsehoods, a world that groans under darkness.

And what has been revealed about human nature is that the natural disposition of almost all men is to abuse power and gratify their vain ambition. The abuse of power and gratifying of ambition are more easily accomplished when the truth is hidden from the masses. This should tell us something about the world we reside in: truth, or things as they really are, were, and will be, is the absolute nemesis of the powers that be. It is the first casualty in the war for our minds, and as you've probably heard many times before, the victors always get to re-write history.

I know many of you believe that a false script for Joseph Smith's supposed practice of polygamy has been written by the LDS Church, manufactured out of whole cloth with zero contemporary evidence. There are some good folks doing some great work on this subject right now, bringing the truth to light and clearing Joseph's, Hyrum's, and Emma's good names. The polygamy narrative is a great example of an organization changing the historical narrative to bolster authority and power that they never received from God. It's a perfect example of the victors (in this case those who took over the organization after the succession crises) re-writing history. 

If you apply this same logic to old world buildings, you find the same pattern repeated. A pattern that I believe repeats in different cycles of creation, or "doing that which has been done on other worlds." I believe that we have been placed in a world that is mostly saturated with lies as a test to see how much we love the truth. Are we content to digest what the victors feed us, or do we long for something more? Can we feel that something is wrong with our narratives, and our we willing to follow the Spirit of Truth into whatever abyss it leads us to?

Sometimes the lies are so obvious that it's actually funny. The image below found in the Deseret Evening News supposedly taken during the winter of 1910 is a ridiculously fake insult to intelligence:

The first giveaway is the vanilla sky and the 3 large smudges in the top-right corner, the second is that the men standing on the car appear to be drawn in with ink. According to the article, the Jones Company is using their crane to hoist up a Hupmobile 150 feet in the air. The article states that the "photograph is an actual reproduction, showing the steel work under construction of the mammoth Hotel Utah..." But hold on a minute, I only see one piece of steel and a few wooden poles, and this is February of 1910, the same month that the Deseret Evening News article I shared earlier showed a photo of a finished wing of the hotel. 

What the hell is going on here? 

In my opinion, nothing at all. No construction whatsoever, because it was already there. Just take a moment and scroll through this gallery of photos of the Hotel Utah and ask yourselves if the cartoonish-like stooges portrayed in the headliner photos above seem capable of this kind of elaborate work:

According to Leonard Arrington, the completed building had consumed the following resources:

As many as 550 men had worked on the building each day. Construction had required 3,700 tons of steel, 3.5 million bricks, 25,000 barrels of cement, 10,000 yards of concrete, and 400,000 square feet of partition tile, with twenty miles of piping to link the network of plumbing and heating. The use of "white" granite and the porcelained pure-white terra-cotta had given the structure one of the most brilliant facades in the nation. (The Hotel, p. 18)

My, my, that's quite a tall order... and in only two years no less... very impressive. 

The Hotel does indeed have a beautiful facade, the terra-cotta glazed brick looking so fresh and clean, it begs the question: where did all those bricks come from, where were they cooked, and how did they manufacture them so quickly?

A Massive Clue From San Francisco

As the story goes, terra-cotta facade finishes were a very popular form of masonry work for building exteriors during the early 19th century, but was completely phased out during the 1920s and 30s. According to a catalogue published in 1888 by the New York Architectural Terra Cotta Co., architectural terra-cotta has been around since the dawn of man and was even used on the Tower of Babel. It is one of the oldest and most durable building materials in the world. It was used by the Egyptians, Chaldeans, Babylonians and Assyrians to preserve public records, and is virtually indestructible.

On page 15 of the catalogue mentioned above, there are several examples given of how terra-cotta is more durable than stone, but the following paragraph sums it all up:

For timber will rot, stone, even granite, will disintegrate, iron will oxidize, these and all other materials will succumb to the action of fire, but properly-made and thoroughly-burnt terra-cotta will pass through centuries, and be the last to yield to those influences to which all natural productions must give way--the only material known which is not only absolutely fire-proof, but also, in all architectural employments, practically time-proof and indestructible.

The process of making terra-cotta (a Latin word that literally means "cooked earth") takes about six weeks from start to finish. Aged clay is mixed with "sand or pulverized fired clay" and fired at extremely high temperatures (around 2800 degrees Fahrenheit). After being fired in a kiln the material has to cool for at least a month. If a glaze was applied, as in the case of the Hotel Utah, a clay wash "or aqueous solution of metal salts was brushed or sprayed on the air-dried block before firing." 

Each design on the facade of the Hotel had to be hand carved out of clay before being fired in the kiln. This was a painstaking and tedious process, we are told, and had be performed by a highly skilled artist. Just look at the detail on these perfectly homogenous lions:

As the story goes, the contractor who was awarded the terra-cotta work on the Hotel Utah was Gladding McBean, a company located in Lincoln, California that started out making clay sewer pipe in 1875. Supposedly, the brick for the Hotel came from clay deposits close to the plant in Lincoln, and every piece of the facade was fired in Gladding McBean's kilns and shipped to Utah on train cars. This company is still around today, and the video below offers some interesting details on the process of making terra-cotta. Even today in our modern world, the clay still has to be hand-carved by an artist:

The architectural art of terra-cotta has a strange history in the United States, as we are told that it wasn't used as a building material until 1853, when James Renwich, Esq., a New York architect, suddenly became interested in it. For the next fifty years, buildings with terra-cotta finishes went up all over the country, but during the 1920s the industry turned from building facades to clay wares and "restoration" projects. The entire industry of architectural terra-cotta seemed to vanish overnight. 

An interesting question to ask here is why was the strongest building material known to man only used for such a short time in the United States?

Gladding McBean's factory was located on the path of the transcontinental railroad in between San Francisco and Salt Lake City. They would've had to ship 3.5 million bricks to Salt Lake during a small window of a few months to supply the masonry company (said to have been James Black Masonry) with enough material to finish the job by June of 1911. 

Was this logistically possible? How many bricks could fit on a single train car, how many train cars could a locomotive haul on a single trip? How many men did it take Gladding McBean to sculpt and glaze the intricate clay designs, fire them in the kilns, prepare them for shipping, and load them onto train cars? 

The distance between Salt Lake and Lincoln, Californian is 631 miles, the average train speed in 1910 was between 25-40 miles per hour, which means that each train load would take about 25 hours each way. Also consider that each load of bricks would have to be hand loaded onto wagons at the train station in Salt Lake and delivered to the job site using horses. 

According to some estimates, each train car could hold about 10,000 bricks, and a single locomotive could haul around 20-40 cars depending on how mountainous the terrain was. This means that it would've taken around 20-25 trips to deliver all the bricks to Utah, or at least a few months just to deliver the product. Although this seems feasible, we don't know the capacity of Gladding McBean's kilns, like how many bricks could be fired at one time, or how many artists they had working to produce perfectly sculpted designs simultaneously. If they could only produce and fire say 20,000 bricks at a time, then they would’ve had to wait six weeks in between each wave of bricks, which would put our time line at more like 3 years just to produce the material (this is assuming that Gladding McBean had no other jobs going at the same time).  

Now, we don't know the history of the actual logistics, because we are not given it. The official record says that Gladding McBean was the contractor for the terra-cotta and that is the only information we are given. We don't know what other companies or businessmen were involved in the supply chain to get these bricks to Salt Lake in a timely fashion. We are just expected to believe that it happened in our given timeline. 

Now, we can guess at logistics all day long and get nowhere, because the clues that tell us this building comes from a previous civilization are to be found elsewhere; I believe they are encoded into the link between Salt Lake and San Francisco. Remember, Salt Lake and San Francisco have a lot in common, because, as we are told, they were the two fastest-growing cities in the West, sharing a direct railroad line that was also built in record time during the 1860s.

(Did you know that there is also a "Hotel Utah" in San Francisco? Read about its history here.)

Since 1949, San Francisco was said to have burned down many times with subsequent rebuilding. But in 1906 the mother of all earthquakes struck the city, we are told, and damaged gas lines ignited a myriad of fires that burned down 90% of the city's buildings. These, we are told, were rebuilt in less than two years. I found an old book describing the heroic efforts to rebuild the city involving over 25,000 men. The book was published in the fall of 1906, just six months after the earthquake shook the city. 

I am going to share an excerpt from the book, and I'll let you decide if what is described was feasible. Just think about this logically and logistically. Remember, just to clean up the rubble of 911 at ground zero took a few years, and that was one building, but homeless and destitute workers in San Francisco, using horse-drawn wagons, cleaned up rubble (with picks and crowbars) and rebuilt thousands of stone buildings in just a matter of months. Read the following paragraphs carefully, the narrative reads like a fairy tale:

The vacant lots were cleared and graded, and the foundations of laid buildings in which merchants who had grown old in the city of the past were to make a fresh start in the city to be. Old buildings were raised and stores built underneath [What? How was it possible to raise a building?]...

The removal of debris in the burned districts was at first badly handicapped by the lack of facilities. But one a a time donkey [does this mean literal donkeys?] engines began to puff in the streets; standing walls began to disappear, and tangled steel and iron came to be straightened out. Bunkers were built and spur tacks laid. As early as July [the earthquake struck in April] a hundred cars of debris were moved daily. An army of men from the camps was soon at work among the ruins, clearing bricks (which had a value in rebuilding, if unbroken) and piling them up in neat stacks; loading wagons en route to the bunkers; tearing down with pick and crowbar the stump of walls; breaking up with heavy sledges fallen and useless cast-iron columns...

Wooden buildings of from one to four stories clustered around the frames and shells of the former great office buildings (already under repairs) and here and there appeared the growing skeletons of new steel, stone, and brick structures--the work of the new city. The foundations of new and greater skyscrapers appeared. Many brick buildings reared their splendid walls high above the ruins around. Building operations involving an expenditure of over twenty-five millions, were under way. The streets were crowded with wagons hauling great loads of lumber. Orders for whole trainloads of steel were placed with the manufactories. Carloads of cement were used daily. Six months after the fire, six thousand buildings, which covered half the burned area, had been erected. A new city was rising from the ruins, gradually, with much labor. (A History of the Earthquake and Fire in San Francisco; an Account of the Disaster of April 18, 1906 and its Immediate Results, pp. 184-192, emphasis added)

The Hotel Utah took two years to build, but men living in camps built 6,000 buildings in six months? This is by far the most ridiculous narrative I have ever read. If this doesn't convince you that our history is a complete fraud and fabrication, I'm not sure what else I can say. This story is 100% impossible. This could never happen in the real world. Here are the supposed before and after pictures of the San Francisco earthquake:

1906:

1909:

Now for the connection to Utah. 

In the Deseret Evening News article I shared earlier, published in February of 1910, a story was ran on Dick Jones, the owner of the Jones Company that erected the steel frame of the Hotel Utah, supposedly. Jones was from San Francisco, and the article relates that his company had been busy rebuilding structures in San Francisco lost in the earthquake and fire as follows:

Since the great earthquake and fire in San Francisco the Jones Company has cut a big figure in the building circles of the California metropolis. The great St. Francis hotel, the Flood Building, many of the new structures which have replaced the old in the business district, bear the imprints of the hand and brain of "Dick" Jones and the men behind him. His monuments rear their heads all along Market street, the main business artery. Across the bay at Oakland, in Alameda, Berkeley, San Rafael, Sausalito, in Portland, Or., and in Seattle, the Jones company has left its mark. And it is leaving its mark in Salt Lake, its mark stretched indelibly by the globe-trotting ironworkers who swear by "Dick" Jones because he can always be depended upon to answer the call of one of his "floaters" in distress.

This man named "Dick" seemed to have been able to build massive structures simultaneously all over California. Keep in mind the time line here; Jones rebuilt several large buildings in San Francisco between the years 1906 and 1908, and then had time to erect the Hotel Utah, the Kearns building, and several other unnamed buildings in Salt Lake as claimed by the article. How was this possible for one company to pull off in a matter of 4 years? Just one of the massive steel building frames Jones was said to erect could have taken at least two years. But this man and his crew of "globetrotting ironworkers" can knock out a dozen or more buildings in four years?

Given the ridiculous narrative of the rebuilding of San Francisco in 1906, I'm not sure that Dick Jones even existed. Perhaps he is just an anomaly to explain away all the buildings that our civilization still does not have the technology to build. 

Furthermore, the narrative of rebuilding San Francisco after the 1906 disaster offers a few more clues in some of the names that appear in the story. For instance, one of the city planners said to be most instrumental in coordinating rebuilding efforts was named Daniel Burnham. This name is most interesting. Daniel, the name of the biblical prophet who witnessed his three friends being thrown into a fiery furnace and miraculously spared. Just think about that, three men thrown into a furnace and not burned. And the last name is even more obvious, Burnham. The word burn hiding in plain sight. In my opinion, a nod to the fire narrative to explain away the strange construction histories of thousands of old world buildings.

In the same narrative, we find that one of the buildings spared from the fire was the James C. Flood Mansion. Here is yet another clue. Flood, as in mud-flood, a building was spared with the name flood. What are the storytellers trying to tell us?

How is it that homeless workers living in camps can clean up rubble with hand tools and rebuild 6,000 buildings in six months but it takes our modern society (with supposedly advanced technology) six years to build the One World Trade Center that replaced the twin towers?

Dear readers, none of this narrative makes sense. I'm not claiming to know what happened, and in fact, the more I research the more I discover I don't know. At this point all I do know is something is seriously wrong with our history. And as always, I encourage you to do your own research and come to your own conclusions. 

Advanced Tech and a Name Change

The top of the Hotel Utah is adorned with an interesting structure:

Here is an image from google earth. This is about as close as they will let you get to this beehive looking structure, also take notice of all the elaborate terra-cotta detail:

There is no mention of why the beehive top was added to the building, except that it honored the heritage of the Deseret State. But why would builders go through the trouble of adding this expensive decoration? What true purpose did it serve?

My question is this: if this building was truly a product of the previous civilization, was the beehive some kind of advanced tech? Did it resonate with other buildings in Salt Lake that may have been free energy stations (such as the Capitol Building)?

(Click here for a photo gallery of the Hotel Utah showing 43 images. There is an interesting "construction" photo showing various stages of progress, as well as a close-up of the beehive with the Capitol Building in the background. These photos are AVI files and not Jpegs so I can't share them here.)   

As far as the name change, that came, we are told, after extensive remodeling in 1987, when Gordon B. Hinckley looked around one day and noticed that there were a total of zero buildings dedicated to Joseph Smith in Salt Lake City. Brigham Young had monuments aplenty dedicated to him, but poor ol' Joseph had none. So in 1993, the Hotel Utah was renamed the Joseph Smith Memorial Building, you know, to make things fair. It is now closed and under construction for "seismic upgrades", but who knows what they are really doing to it? Who knows what tech or old world evidences they are destroying or covering up?

Finally, a friend pointed out something interesting to me in the new modern English version of the Book of Mormon called the Covenant of Christ. In the Isaiah chapters that Nephi quoted in his record, there is a clearer rendition of Isaiah describing desolate lands full of abandoned houses and buildings.

Isaiah makes two references to these abandoned homes. In this first one, I believe he is referring to a future time in America:

Woe unto you that build house to house until everything is crowded and yet you live isolated in that place. The Lord of Hosts said directly in my ear: Truly many families will become desolate, and fine mansions abandoned. (Covenant of Christ, 2 Nephi 8:XII, p. 65, emphasis added)

In this second reference, Isaiah seems to be talking about ancient Jerusalem, the Lord is describing to him what will happen to the very people he is called to preach to. They will inevitably reject Isaiah's message because of their hardened and fallen state, and when the prophet asked the Lord how long the Jews will remain this way, this was His reply:

Until their cities have been destroyed and left desolate, and their houses abandoned, and the land deserted, until the Lord has driven everyone far away, and there are many abandoned places throughout the land. (Covenant of Christ, 2 Nephi 9:II, p.67)

The scriptures are describing both a past and future time of cities being abandoned and left desolate. My question is are we looking at a pattern here? Did such a pattern repeat two or three hundred years ago and did the Utah Brighamites stumble onto those building remains? Why else would they describe hundreds of abandoned houses over 200 miles away from Salt Lake City in 1852?

We ought to be curious about our past. We should want to know who came before us, what technology they possessed, what kind of economy they had, how they approached healing and disease, what kind of food they ate, and what kind of religion they practiced. We can't get away from history, we are only here because of thousands of choices made by those who came before us. Whoever they were, we owe them a great debt for our lives.

King Limhi was very curious about the 24 Jaredites plates that 43 of his men discovered when they went in search of the land of Zarahemla. Instead of finding Zarahemla, they "stumbled upon the ruins of various types of buildings that were once inhabited by many people, as numerous as the Israelites".

The king told Ammon:

I want these records to be translated into our language so we can learn more about the people who were destroyed, potentially the same people whose bones were found with these records. It would be valuable to understand what caused their destruction. (Covenant of Christ, Mosiah 5:XII, p. 129-130)

The Book of Mormon teaches us that a healthy curiosity about our past is a good thing, especially when those who came before us were swept off the land by God's wrath. Moroni and Mormon gave us several warnings about nations being swept off this promised for breaking the commandments of God. Moroni specifically used the phrase whatsoever nation when describing the everlasting decree of God on this land. Although we assume he is describing the Jaredites, the Nephites, and us the Gentiles, he never said that there weren't more. He simply stated that any nation that possesses this land would have to abide by the same decrees, whoever they were.

There is a period of 1200 years in between the destruction of the Nephites and the time the European Gentiles began to inhabit this nation. Were the Lamanites really alone here the entire time, or did some other group take control of the land? And was this group the people who built all the amazing buildings I've been blogging about? Were they subsequently destroyed for rejecting the God of this land, Jesus Christ? 

We, the Gentiles, have only been here for four hundred years and are already ripening for destruction. Is it not unreasonable to speculate that other groups could have been here and swept off in similar time frames, leaving buildings, bones, and other clues behind them.

The Book of Mormon uses the imagery of dreams to describe how our lives pass away. Studying history is also like stepping into a dream, a dream with no beginning or no end, like watching the end of a play or movie and trying to figure out the plot. Dreams only give us glimpses of reality, few and far between the abstract nonsense that our subconscious minds feed into the nightly player. When I look at construction photos of the past, they look and feel like an abstract dream. When I read about impossible building narratives, I feel that familiar nagging feeling of something trying to tell you to wake up, that something just isn't right. 

Like dreams, true history only comes in glimpses. Those who rule and allow power to corrupt will never be willing to tell the truth. That's why we must become our own historians, we must become diggers, searching the realm for clues about the past. God has given us scripture, true records of the past (as long as they haven't been corrupted), and this is where we start. If He reveals something new, then we get a little closer to the truth. In the meantime, we can study perhaps the only physical link between us and a lost civilization: unexplainable buildings. 

Join me next time when explore the narrative of the original Church Administration Building and its Corinthian columns made of granite, standing just east of the Hotel Utah on Temple Square. 

Postscript: Awesome New Podcast

Jeremy Hoop has started a new podcast dedicated to defending Joseph Smith against polygamy and other accusations. He and some others are working on a massive project to make historical documents more accessible to those who are sincerely questioning the polygamy narrative. 

Joseph Smith's polygamy is not "settled history," and Jeremy aims to prove it. Special thanks to him, Michelle Stone, Whitney Horning, Mark Curtis, Justin Griffin, and a host of others who are working hard to clear Joseph's good name. 

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.)