Which lays the foundation that the Jesuits have controlled education, the cinema,
theater, for centuries, and still do today.
He makes this premise by studying the history and life of Amadeus Mozart,
showing categorically, through factual evidence, that Mozart was a fraud,
and created for control reasons by the Catholic Church and the Roman hierarchy
with the Jesuits.
Now today we're going to talk specifics again with Robert about some of his
claims, as well as talking about some of the general ramifications of this Mozart
fraud.
Now some of you may think this is a frivolous subject.
I think it is very serious, very important, and if we lay a foundation
correctly, I think you'll see what I mean.
Now let me do this for a few minutes, and let me indulge myself, Robert,
so that I've looked up a few things, and I know you have too.
And I just wanted to start out by saying that Gary Wills, in a book called Witches
and Jesuits, points this out.
He says Macbeth, and we know about Shakespeare, and he says Macbeth is an
elaborate condemnation of the Jesuits as Satanists, murderers, witches.
Macbeth is one of many of its period's powder plays, a genre in which certain
buzzwords, well understood by contemporaries, memorialize the guilt and
execution of eight Jesuits for having schemed the gunpowder plot of November
5th, 1605.
The plot aimed to blow up the entire government of Great Britain, including the
royal family, in a single catastrophic explosion under the House of Parliament.
But how could a play that defames Jesuits be of service to the Jesuit agenda?
Now, Tupper Saucy in his book says, as we shall see, warfare in defense of the
papacy requires extravagant measures.
In fact, both the gunpowder plot, which failed, and the celebration of its
direction, which lives on in Macbeth, serve Rome abundantly.
King James I, who declared himself the plot's divinely illumined discoverer,
blamed the plot on the Jesuits and papists, but at the same time,
James exonerated less fanatical Catholics.
And according to Wills in his book, Witches and Jesuits, the plot gave James
his best opportunity to separate loyal and moderate Catholics from the mad extremists
of the plot.
In short, the plot secured England for loyal and moderate Roman Catholicism.
Now, if we move further, we will see that now, Americans, you just think about this.
Riding the crest of humanist exuberance, following Loyola's canonization,
which, I might add, was the biggest theatrical event of its time, canonizing a
murderer and killer like him, when it says in the Bible that anyone who hears the
word of God is a saint, we don't need to go through this hierarchical Roman
Catholic red tape that they are going through today to canonize Pope Pius XII,
who was one of the biggest killers in Nazi Germany.
Unbelievable.
But anyway, it goes on still today.
Now, think about this.
A Jesuit priest named Kirschner, 1602-1680, contributed powerfully to
Jesuit theater as a sensory experience.
He created the megaphone, which enabled his voice to reach thousands.
Kirschner, in fact, invented broadcasting.
He's a Jesuit.
He also fathered modern camera theory, if you look back and see the Jesuit
influence.
Now, let's go even farther.
Now, do you know... Robert, I find this interesting.
The Jesuits were the father of the modern cowboy movies.
And if you look at this, it's incredible when you see who invented this,
who started this, who created the cattle industry in Arizona.
It all goes back to Jesuits.
Now, I'm not going to go into the particulars, but I can back that up with
facts.
Then we get to this point I wanted to make.
John XXIII made this announcement.
He said this regarding the importance of the church's birthright to use the press,
the cinema, radio, television, and others of like nature.
Now, Pope Paul VI amplified this in 1964.
It was first mentioned by Pope John XXIII.
Now, listen to what he says.
He says,
in a way that will not conflict with the common good and will not conflict with the
Vatican.
Now, here's what John XXIII said.
Now, we can back this up by stating that even today, in America and in Britain,
Robert, the Jesuits have a major control over our system of entertainment as well
as television, radio, print, film, stage, and it's just an extension of
Jesuit ratio studiara, the great control of Jesuit education throughout the
centuries.
I thought I'd just lay a foundation, because I know you have other facts,
but I think it's quite interesting and very important to understand how the New
World Order works.
Absolutely.
In fact, now you mention it.
If you look closely at standard reference books that you can find in your library
today, take, for example, Encyclopedia Britannica, one of the great sources of
information worldwide here in England and I'm sure also in the USA.
The Encyclopedia Britannica was sold in around 1910 to the Rockefeller Institute
in the United States of America and its Jesuit editors, ever since, have been
rewriting European history, American history, to conform to the version of
history of the Roman Catholic Church.
And you can find dozens of examples of this, there are several books on the
subject, dealing with the fraudulent, or the completely contorted history of
Europe which you now find in the Encyclopedia Britannica.
The removal of references to the Jesuits, for example, the removal of much reference
to the Spanish Inquisition, to the witchcraft trials of Europe, etc,
etc, etc.
And this has been going on for the last century, here in the standard classical
reference work known as Encyclopedia Britannica.
That's an amazing fact in itself, isn't it?
Incredible, and what I was mentioning about the, remember I said about the
father of the cattle business?
Now for all you cowboys out there in America who think that the Jesuits didn't
have any say about what's going on in your life, let's look at what this priest did.
He was a Jesuit, his name was Eusebio Quino.
His statue was one of two representing Arizona in the U.S.
Capitol building.
He was a Jesuit professor from Ingolstadt College in Bavaria.
Between 1687 and 1711, Quino introduced cattle and their management to southern
Arizona.
For this he is grateful and remembered as the father of the cattle business.
Pondering the works of Kirshner and Quino, we come to rather astonishing awareness.
Quino's Cowboys, as projected through Kirshner's magic lantern, indoctrinated
America's earliest movie audiences with the underlying message of Jesuit theater
and Catholic theology that knowing and obeying scripture is not necessary in
comprehending the ways of good and evil, or in doing justice under natural law.
So even in our cowboy movies, you see a Jesuit connection.
Amazing.
Interesting also, if you look back into the 18th century, just before the French
Revolution, was a great movement in France by the Jesuits and their occultist allies
to create what was called the Encyclopedists.
The Encyclopedists who produced a massive, many-volumed encyclopedia in France.
The contributors to which included the philosophers Voltaire and Rousseau.
Voltaire and Rousseau were clever, they were agents, occultists, agents of
the Venetian oligarchs.
In Venice, it was the Venetian oligarchs and their occultist friends who
transferred their beliefs to England.
And that's how the Bank of England was founded on occultist lines.
It was the connection with Venice.
And these philosophies, the occultists, merged through the Illuminati,
which the Jesuits created, of course.
This double-pronged attack, one of them conservative Catholicism, and the other
was the creation, through Ingolstadt and Weishaupt, of the Illuminati.
So that you have two different branches.
One of them is the orthodox, right-wing, extremist, Jesuit order that we know
today.
And the other one is the subcontractors of the New World Order, who are the
occultists.
The occultism are really the subcontractors of the Vatican's New World
Order.
And they react and interact with each other to this day.
Yeah, and I wanted to remind people that there was a group back around the 1920s
called Catholic Action.
Many people haven't heard about this group.
And what they were doing was using cinnamon radio to unite Catholic people
with the Roman hierarchy.
And that was the main purpose of Catholic Action.
Now you're going to see that this group had a lot to play with World War II,
Adolf Hitler.
And I want to show you this real quickly to show you the seriousness of what this
is all about.
And then we'll get back to, of course, your research that you've dedicated 15
years of your life.
But if you look back at 1922, Pope Pius XI had two great confessors.
And it was Father Alessandri and Celobrano.
And they were both Jesuits.
The Pope was in fact installed in 1931, the first Vatican radio station.
And then his National Film Review Office was also there in 1922.
Now he, at that time, had made statements ordering Catholics into politics.
In his letter, which is in, I will not mention the name of the letter,
but it's in English, the translation is, Containing the Flock, he warned that men
of Catholic Action would fail in their duty if, as opportunities allow it,
they would not try to direct the politics of their province and their country.
What they did then is they solicited Black Pope, who was the Jesuit General,
Vladimir Ledeckowski at the time, who we've discussed in depth in this show,
the strategy of bringing Catholic nations in Central and Eastern Europe together
into a pan-German federation.
To head the federation, Ledeckowski required a charismatic leader charged with
subduing the Communist Soviet Union on the East, Protestant Prussia, Protestant Great
Britain, and Republican France on the West.
Ledeckowski chose the Catholic, along with the Vatican, chose the Catholic
militarist Adolf Hitler, who told Bishop Bernin in 1936 this, this is Hitler's
words, There was no fundamental difference between National Socialism and the
Catholic Church.
He did not, had not the Church, he argued, looked on Jews as parasites and
shut them in ghettos.
I'm only doing, he boasted, what the Church has done for 1,500 years,
only more effectively.
Being a Catholic himself, this is according to Bishop Bernard Osnabruck,
being a Catholic himself, he told people that he admired and wanted to promote
Christianity.
So we see this connection between Hitler.
It's just incredible how this, and then using, of course, the media,
propaganda machines like Pravda in Russia, things like that, to control the people.
So you see this control, even as way back as you were talking about, with Mozart,
which people say, well, what is this important?
Why is this important?
Well, isn't it important to understand how they can take and manipulate even what you
read, even what you hear, even how you think?
Now, when I grew up thinking of Mozart, I grew up thinking of this icon.
I still, to this day, until I ran into you, I thought of Mozart as this great
figure.
Now, it's not going to change the course of history, but it sure did alert me to
the fact to start looking into more things regarding Jesuit control, and how they
might be doing it today.
The wonderful thing about Mozart is that if you study his life closely,
and the rise of his huge, giant career, you can see something quite unique.
You can see the Jesuit order in full view, you can see the Jesuit order hidden within
the fraternities.
All of this will be given to you by studying the life and career and
reputation of Mozart.
He is unique, because halfway through his life, the Jesuit order were forced
underground, as we all know.
And this is why the study of Mozart's life and career is so useful.
I dare say that if you study any subject in enough depth, you will understand many
things.
Likewise, if you study the history of classical music, of culture, and of
western propaganda, or the propaganda of the elites, you would also come across the
Jesuits.
They are there, and they don't like the light, you know, they scatter.
As soon as you throw light on something, they hide under the near light.
If you take away and you start looking in any detail, you will come across the
influence of the Jesuit order and their occultist friends.
So from 1773 onwards, if you want to trace what's really happening within the
European music situation, you are now into areas like the Freemasons, the
Rosicrucians, and all these other occult semi-secret societies.
And this is an almost unique cross-section of what's happening in Europe,
and in England, and later, of course, in the United States of America.
So it's not simply a classical composer, it's a test case, as it were, of how these
things first came into being culturally, and how they dominate the teaching and
education of music, theatre, the performing arts, right into our own time.
Yeah, and you can go back, when you mentioned Rosicrucians, it stimulated my
mind to think regarding what Wills said in his book, Witches and Jesuits,
when he traced Shakespeare's Rosicrucian background to the learning of Medici and
the secret traditions of the Templars through Shakespeare.
And he says this, he says, "...the philosophic ideals promulgated throughout
Shakespeare's plays distinctly demonstrate their author to have been thoroughly
familiar with certain doctrines and tenets peculiar to Rosicrucianism.
In fact, the profundity of Shakespearean production stamps their creator as one of
the Illuminati of the Ages." Yes, yes, yes, yes, yes.
A Jesuit background.
Interesting that the first edition of Shakespeare's works here in England,
if you look closely at the image that you find in the very first publication of
Shakespeare's plays, he's wearing a mask.
If you look very closely, it's the mask of an actor.
It's the mask of an actor.
You probably know this.
It's the mask of an actor.
His head is actually turned away.
It's not facing you at all.
This is the face of an actor.
And those who wrote these plays and who eventually became Shakespeare,
the Shakespeare we know today, of course these things were published at a
time when the Roman hierarchy had their agents in Britain and they wanted to
extend their influence and so Shakespeare became perhaps the first example of this.
Mozart, the relationship between Mozart and Shakespeare is truly remarkable.
And, you know, I wanted to mention that if you read Shakespeare's plays, you will see
that they do preach religion.
But it is not the gospel of Jesus Christ.
It is more the Gnostic illumination of the medicine earning that Shakespeare
preaches, the stuff that you see in Jesuit schools even today.
Yes, yes, yes, yes, yes.
Absolutely correct.
And in the 18th century, Shakespeare's works were being translated into German at
the time of Mozart's career.
The two of them have a very, very close relationship.
The founding of the early orchestras in England, if you take 1813, was the
founding of the London Philharmonic Orchestra.
If you look at the early patrons of that orchestra, they were all Illuminatist or
Occultist stroke Jesuit, all of them.
This is London 1813.
The first years of their musical programs were dominated by Mozart.
So through that channel, in the early 19th century, came all of these works which
people said, wow, we've never heard anything like this.
Where does it come from?
This is Mozart.
And it was coming from the continent.
Carefully stage-managed, and I've documented this, so that Mozart eventually
became known after his death, of course.
Most of his works were, well, 95% of them were published first after his lifetime.
All of these works were recognised and celebrated as being a product of the great
wunderkind, the great wonder, the great Frankenstein that had been created in the
Holy Roman Empire, Mozart.
And it swept through the musical world of its time, helped by these institutions,
these early orchestras, who were, of course, patrons of the same
fraternities and of the same system.
You know, we have a couple of minutes before the break, and then in the next
half hour I want to go in depth again into your book that's coming out in September.
But I just wanted people to think in these terms.
Something I said earlier regarding these elaborate canonizations that the Vatican
likes to put on, nothing in the Bible ever preaches anything like this.
In fact, to become a saint, it basically means to understand the word of God,
to follow Jesus Christ, and it has nothing to do with this hierarchical canonization,
mostly of criminals, if you look back at most of these people that they canonize.
And to me, that is the biggest theatre going on in the world today.
And people believe it is real.
So now, when you see this going on, and you try to tell even Roman Catholics,
listen, this is a farce, what they're doing is basically theatre, people believe
it's real, and then when they go into cinemas today, they have changed the
mindset to think people will actually go in believing that cinema is real.
That when they get their history, they don't get it from historical people
like you, from people that I've had on my show that have studied history,
they get it from a movie that is manufactured by the same people who
controlled Shakespeare and Mozart.
Now, when we say that, TV shows will laugh at, I've heard references to people who
think Shakespeare is a fraud, they laugh at them.
And that's how they operate.
But when you think about it, they're doing nothing more than theatrical work in the
Vatican daily.
That is the biggest theatre going on, but people believe it.
And they're going to believe something else.
There's a movie coming out, it's very timely that we had this discussion,
to show the importance and the money they spend on movies.
On May 15th in two days, a movie called Angels and Demons is going to appear in
America.
Now, the background behind this story is that millions and millions of dollars have
been spent.
Tom Hanks, Ron Howard, they've all met with the Jesuits in Rome to get this movie
off the ground.
It's another Dan Brown production movie written.
And this one basically discusses how the Vatican is fighting evil, the evil
Illuminati, depicting them as the good saints, the angels in white, against the
evil Illuminati who are scientists.
And you know, rich elite fighting the Vatican tooth and nail.
Nothing could be farther from the truth, because I did say this, the Vatican is the
Illuminati, and the Illuminati is the Vatican.
But, unfortunately, millions of people around the world will get the wrong
impression, due to Jesuit Ratio Studiarum, the control of the cinema.
Now, we're going to go into a break.
I'll just get your comments on that movie, because I'm sure you're going to see it in
England, too.
And that reminds me of Beef for Veneta.
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Alright,
we're back for the second half hour of the investigative journal.
My guest is Robert Newman.
He's an author of a new book coming out about the truth behind Amadeus Mozart.
And how the Jesuits were in control of his life from beginning to end.
Now, before I get back to Robert, let me say a program note.
Tomorrow's show I'm going to dedicate to the Tony Alamo story.
And I want to add something.
I have covered this story weekly.
I've tried to get as many interviews as I can to support their cause.
And one thing I've failed to do is look at the human side of this story, I think.
From Tony's point of view, and from the children's point of view.
And what I want to ask my listeners tomorrow is I'm going to provide an
address where you can write Tony Alamo.
And I believe he sits in a jail cell right now since last September.
And I believe many people have written him.
But I think I'd like to really help that human touch to this story and encourage
people.
I will give out his address where you can write him and the prison he's in.
And please do send him a note.
Because if you're locked away like that, a letter can help you get through a day.
And I wanted to basically mention that.
That throughout the coverage of this story, I forgot a little bit about the
human touch to this story.
A friend of mine reminded me of it and I've been thinking about it.
And I thought tomorrow I might do that.
And give out the address where you can write him and give him some encouragement.
Because there are people out here who are looking for the truth behind this story.
And I'd like to see these people vindicated.
Because there doesn't appear to be any probable cause or evidence to hold these
people.
Outside of concocted evidence by a government gone out of control here in
America.
So we'll do that tomorrow.
Back to Robert Newman.
On my website in the next day or so you're going to see an article regarding this
subject.
And Robert's going to contribute to it.
And I'm paraphrasing a few words here that I think are quite interesting.
And he sent me some words regarding his book.
And he says this, and I really want to emphasize this.
He says, To the late 19th century composer Peter Tchaikovsky, Mozart is, quote,
the musical Christ.
To philosopher Soren Girgard, the music of Mozart was reason to consider establishing
a new religion.
And to theologian Karl Barth, Mozart was an angel.
Hardly surprising, he was soon described as belonging to the elite pantheon of
Vienna composers such as Haydn and Beethoven, whose own stories have hardly
been told, says Robert.
But this iconic view of music history seems to be inevitable.
But it had the effect of slowly reducing the subject, almost without realizing it,
to virtual idolatry.
A pantheon of accepted demigods of music who seem unchallengeable because of their
unique works.
And, that is an interesting point.
Idolatry has been a tenant of the Roman Catholic Church for years.
Has this just been pushed into music, Robert?
What do you think?
Oh, absolutely.
Absolutely.
The people who will defend the status quo, when this book is finally published,
will say, this is nonsense, this is rubbish.
But my reply will be this.
Every study, every academic study in the world, which has any legitimacy,
is able to accept cross-examination of the assumptions on which it is based.
So that we have different theories in physics, we have this theory being proved
or disproved.
But in the case of culture, and especially in the case of icons such as Mozart,
there is no cross-examination and there never has been.
And that is the litmus test of whether or not this story is worthy of your belief.
It isn't.
And as soon as you examine things from more than one perspective, you have better
understanding on them.
And that's the reason why I've persevered with the writing of this book,
not against Mozart, but against the underlying evils, which have promoted him
to the exclusion of many other musicians and composers for almost 200 years.
Don't be fooled by this industry.
It is a highly seductive industry because its fruits are so beautiful.
It's very tempting.
And you think, wow, the fruits themselves are some of the greatest music ever
written.
True.
But the story behind this will never be conceded by the conservatives.
Never.
And so please judge the work having read a biography, read standard biographies,
and then also consider this aspect.
And I think the two of them together will give you the chance to form your own
judgments.
Right, and I think it opens up a door into an area that's quite important when
understanding the control today of our society, both here in your country and
mine, and what we can do about it.
Now, we may say right today that, well, the control is so vast that we have
no choice but to succumb to them.
I don't agree with that.
I don't think you can succumb to evil if you understand what evil is, you
understand who they are.
The natural thing to do is to fight against it if you have any kind of heart
and soul in your body.
And I think good Americans and good English and the good people of London and
England will understand that.
The real question becomes, are you willing to dedicate your life to understanding
this, or are you willing to just follow the leader?
And I believe they understand that most people will just follow the leader.
But I think stories like this have a great importance because, just like I said,
take the story of papal infallibility, folks.
Understand the truth behind it, and all of a sudden you've cut the Pope's
knees right out from under him.
He has no authority whatsoever.
I believe that if you take Mozart's life and you understand the truth, you can cut
the knees out from under the Hollywood industry and the music industry by
understanding that they're controlling every word and thought you're going to the
movies for, and demand that truth not take a backseat to this.
I'm not opposed to education.
I'm not opposed to entertainment.
But I'm opposed to controlling people's minds through it.
And if they can control how we view history, for example, what is wrong with,
if this music actually, well, it was written, why not just give credit where
credit is due?
I would love to see who these people were.
Can you imagine, if you had 10 or 15 composers, how this could have blossomed
into better music, into basically something so beautiful, that you take the
control element out of it and you have a whole different history, not only for
musicians, but for the world, don't you?
Yes, part of the process, they say, a professional musician will tell you,
ah, this music is definitely in the style of Mozart, and it's impossible for 15
different composers to be writing this music.
But my reply is this, have you heard the music of these 15 composers?
Mozart's music is distinctive, it seems to be distinctive, but that's
only because they've removed from textbooks all of these people.
And this is deliberate, because the style of music at that time, which we call
Mozart, was commonly shared by all of these composers, to a very, very great
extent.
And so if you remove all of these people, then you have the one image of Mozart,
and his style, which seems to be completely unique.
And this is another aspect of why these names were suppressed.
Right, I guess in your book you'll talk about this, there's a number of names here
that I'm looking at of these musicians that have been basically struck from the
history books.
Now, back then, of course, we didn't have the mass communication methods we have
today, secrets were perhaps easier to keep, but what do you think was going on
behind the scenes to keep these people quiet?
Were they being paid, basically?
And didn't they have any ounce of egotism to get their name out there as a great
composer?
If you look at the list of these composers, most of them had a very strict
religious background.
Very strict.
Jesuit-educated, most of them, and obedient to the point of sacrificing
their entire careers for the mission, for the glory of Rome, for the glory of
the Holy Roman Empire, which had its base in Vienna.
And so they were part of a project, rather like 9-11, the people who committed
these things were devoted to a cause, and that cause had the product,
its final end product was the control.
They knew what they were doing, they had careers of their own,
but their contributions to this project continued for years, and even for decades
in some cases, and some cases even rubbing out their own achievements so that they
would be lost completely.
If I can just take one name, Van Hal, V-A-N-H-A-L, Van Hal, almost unheard of
today.
You can ask professional musicians, have you heard of Van Hal?
No, they've never heard of Van Hal.
Van Hal was a next door neighbour to Mozart during his entire Vienna career.
Writer of more than 60 symphonies, remarkably similar to the music of Mozart,
but nobody's ever heard of him.
It's only recently that they've made some recordings of his music.
So eventually the truth will come out, and Van Hal was a very important player in
this story, along with nearly 20 other people.
You've listed some names here.
One that comes to mind after seeing that movie Amadeus was Antonio Salieri.
He played the antagonist in that movie, the man who was shunned.
What did you find out about him?
Antonio Salieri was the senior musical person in Vienna during the lifetime of
Mozart, during Mozart's career.
Salieri was a devoted follower of the Holy Roman Empire, it's sacred mission,
and he was the teacher of various pupils who came to him.
I haven't mentioned their names here, there are too many.
One of them, oh yes I have, Joseph Kartellieri.
Joseph Kartellieri was a virtual slave of the musical system, unknown today.
It's a strange thing, everyone's heard about Beethoven, but they've never heard
of Joseph Kartellieri.
It's interesting, because in 1795, the very first concert of Beethoven ever
gave in Vienna was in 1795, and in that concert, along with Beethoven's music,
was a symphony by Kartellieri, and it's forgotten today.
It was hugely famous, but they quickly removed him because they had other plans,
and he went to work for the next 20 years in editing Mozart's music.
Before it was first published.
Joseph Kartellieri, he was finally poisoned, but he died very young,
Joseph Kartellieri, and his music is truly quite beautiful, and it's only the last 3
or 4 years that people have discovered his talent.
Beethoven, meanwhile, has become the great icon, well, along with Mozart and Haydn.
Kartellieri is one example of the lengths to which people will go to protect or to
serve, to be enslaved by the system which Vienna really was at that time.
To dominate music, Vienna, the city of music, built upon the foundations of these
iconic composers.
And I'm sure nothing's changed, I mean, if you look, he's probably paid
well, and just basically worked for the Vatican back then, thinking he was doing
something right.
There are many people like that today, and I could name names, but I'm not going
to, because the same things exist today as they did then, just in a different manner.
And I think the stakes are higher today.
We're looking at a chance now for the Illuminati to control the world,
something they think they have a birthright to, and the Vatican...
I remember on that terrible morning of 9-11, here in London, I was in another
part of London on that day, and I was in a hurry, and I was going to take a bus into
the centre of London, and there was a lot of people gathering around the
televisions, in an electronic shop.
And I watched those horrible, tragic hours, as a British person, and I was
almost speechless.
And next to me was an architect, watching the same images through the shop
window, and he said to me, that's impossible.
His eyes were full of tears.
England, we were just devastated by this.
He said, that is mechanically impossible.
That an aircraft could have... and everyone here in England, our hearts were
just torn by these images.
He said, you know, I've been an architect, a designer of buildings, for 30 years,
and I tell you, there is something wrong with all of this.
And this was within minutes of the transmissions.
Honestly, we are living in such a deceptive age, really.
We really are living in the most deceptive age, I think, perhaps of all time.
And I just mention that, because deception and robbing people of the truth,
this has to end, and we just have to assert our sovereignty, you know,
as Christian people, and give the fruits of our research, whatever it is.
Exactly.
I mean, every piece of information from all areas helps to put this story
together.
And since you mentioned 9-11, let me just say this quickly, that I dedicated a
couple of years of my life to writing about it, and researching it, and bringing
researchers on who looked at this story from a criminal crime scene.
And the way it was handled, the physical evidence that was covered up, the
eyewitness evidence that was covered up, shows the great tragedy and the great
deception going on in the American government.
Now, what's happened with the truth groups here in America is that they've been
infiltrated by the Jesuit order, because they understood that Americans,
many, would not buy this story.
Now, what they've done is they've put their people in to control exactly where
the investigations go, and although many people understand that 9-11 was not the
way it was depicted by their government, and people around the world, in England,
in America, millions of them know this, many of them have never gotten to the
point of who really did it.
The story that we're talking about today, the connections to Rome, the connections
of our government, how this has much to do with the same thing they did in your
country in 1605, when we talk about the gunpowder plant.
But people don't even understand what that is.
Just a few weeks ago, I was watching here in London, the images of that aeroplane
which came down to land on the Hudson River.
But the strange thing about it was, if you follow the tape, those people are
walking on the wings of that aeroplane, within 20 seconds of it hitting the water.
Have a look closely at that.
There's something not right about this.
Now, what they were doing, that plane came to rest right opposite the very place
where the investigations of 9-11 were based from.
And I thought to myself, there's something strange about all of this.
How can you evacuate a plane within 25 seconds of it hitting the water?
There's something very strange.
If you come back always to the media, and to the mass media, are we ever getting
the truth of anything?
And so it's wonderful to share with other people on whatever we do.
I'm just a writer on music history, but to share with other people on the
scale of the deception of the mass media, it's truly breathtaking.
That is.
And 9-11 was a perfect example of how this will never get to the truth if we allow
the people in power to continue.
Because we've had other stories just like this in our history.
I've tried to document them on this show.
John F.
Kennedy, Abraham Lincoln.
And the long history of the Jesuit order seems to be involved in all of them.
Americans and the British, I know there's people in your country who've understood
this, who've tried to tell people in the past.
And I guess it's our only hope is that the little truth we leave behind will be
picked up by the generations to come.
But if you see how these people operate by changing history, by manipulating history,
as the generations move forward, I believe we're in a period where less
truth will be told.
And it's up to people like you, other people who come on my show,
to make sure that these stories continue so that others can listen to them.
And in the generations to come, we basically may see a change,
an understanding to a point where what we say on this show becomes mainstream,
and what they say, basically, are the outcasts and the people who really have
destroyed this world from the beginning to the end.
I actually don't know how to put it otherwise.
Go ahead.
The way I see it is this.
That evil hates light.
And as the sun rises, or begins to rise, the shadows, that is the darkness,
they throw very long shadows across our understanding.
But as the sun rises higher in the sky, the shadows get smaller, and smaller,
and smaller, and the truth itself finally prevails until it rises to its maximum
height, and evil will disappear completely.
And I honestly believe we are living on the edge of a time when we do have this
insight.
The reason we have these insights, this ability to see things, is simply
because we are living in the right age to see them.
And we must simply observe and be grateful for light coming into the world,
and we must welcome this, and always try to be a patron of throwing light on truth.
Exactly, and I agree with you, and I think you said those words are very
important, that we just, you know, there's nothing special about us people
here.
We're all children of God, or children of God, and basically what you're saying
basically is amplified in the Bible.
And here's the way I look at it, we're just in a period of time to be
fortunate, and I look at it as being fortunate to see the things that many in
the past have not been allowed to see.
And by that you open your heart to God, to truth, to what the Bible has to say.
And maybe in a sense you can see all the suffering that these people have put on
people in the past, and through our prayers we may be able to solve this,
at least in the name of Christ and God, and to cast aside this evil in the
Vatican, who I consider to be the most dangerous.
Because they use as their biggest shill, if you know how many shills they use,
look in your book, the shills they've used in music, look at the shills they use in
government, look at the shills they use in our financial world, in the media,
but the biggest one of all is Jesus Christ.
Because they hide behind him and claim to be him, claim to be, nothing more than the
Vicar of Christ.
And they use him as the biggest shill of all.
And I think when people start to understand that, their deception,
the Jesuit deception, will fall like a house of cards.
Yes, yes, absolutely, I do agree with this.
Now we have two minutes, let's not forget your book, tell us about, have you come to
a title, and where people can get this in the future, I'm sure you'll have a website
and things, so tell us a little bit about how people can get a hold of you,
and see this book, because it's going to be out shortly, go ahead.
I'm going to call the book, The Manufacture of Mozart.
The Manufacture of Mozart.
Not The Myth of Mozart, because that's very vague, but The Manufacture of Mozart.
And I hope to, I'll examine many, many aspects of his life and work,
etc, taking on board all the things we've spoken about, and presenting this to
musicologists, so that they can consider it themselves.
So it's very well documented, and hopefully it will be ready by September,
and it's a long period now, a long gestation period for this book,
but I'm now on the final road in, I'm coming to the end.
So the condensed version is in interviews like this, and other people, so that
ordinary people can be aware that there are other views, other points of view on
these important cultural and musical issues.
And you know, I know the Jesuits right now, and their hierarchy is busy in
creating this next war, and they have a lot on their table, but do me a favor and
write a personal note to the Jesuit General, and give him a copy of your book.
He's at Borgo Santo Spirito Cinque in Rome.
Do that for me.