Speaker 1: Oh bed of the aar, and welcome to the show.
Speaker 1: This is the Cult of Conspiracy. And my name is Jonathan.
Speaker 1: I'm Jacob, Jacob taking away my good sir brother.
Speaker 2: You know that I have a very eclectic musical taste, right,
Speaker 2: if you were to hit shuffle on my phone.
Speaker 3: I said this a million times, but it's very true.
Speaker 2: Anything from death metal to Mozart to Frank Sinatra to
Speaker 2: old country because new country is trash and anything in between,
Speaker 2: it's probably gonna play. There's probably gonna be some gangster rap.
Speaker 2: There's probably gonna be some trap music. That's it's all
Speaker 2: over the place.
Speaker 3: Right.
Speaker 2: We've gone on car riots, We've gone on road trips,
Speaker 2: and you look at me like I'm a fucking psychopath.
Speaker 2: How my musical taste will shift song to song to
Speaker 2: song Like there's no there's no vibe that I'm ever on.
Speaker 3: I'm all over the place.
Speaker 1: Bro That Irish folk music just hits different on a
Speaker 1: road trip, yo, it does.
Speaker 2: Though Irish drinking music goes hard pretty much twenty four
Speaker 2: to seven, you know. But so I am actually a
Speaker 2: pretty prolific fan of classical music of opera, right. I
Speaker 2: love Bach, I love Mozart, I love these old composers
Speaker 2: that were musical geniuses.
Speaker 3: Of their day and age.
Speaker 2: Right, and Mozart is a particularly interesting case study in
Speaker 2: and of himself. Right, take all the other things you
Speaker 2: hear about him. Yes, he was the absolute musical prodigy. Yes,
Speaker 2: he was composing before I think it was like before
Speaker 2: he hit puberty, he had already written his first whole composition.
Speaker 2: He could pretty much play any instrument after watching it
Speaker 2: be played for like thirty seconds, then he could jump
Speaker 2: on it and play it like give a whole masterclass
Speaker 2: on it. Essentially, it just the man had God given
Speaker 2: talent when it came to the musical art form.
Speaker 1: Right, what is going on today? That is the second
Speaker 1: time that you brought up something that I was just
Speaker 1: recently like looking into. Well, I mean you mentioned something
Speaker 1: earlier that we'll talk about later, and that was kind
Speaker 1: of a weird coincidence, and then you mentioned like classical music, Beethoven, Bach, Mozart,
Speaker 1: that kind of shit. I just saw a video last night.
Speaker 1: I got really fucking baked, right, and you know my
Speaker 1: nightly ritual. I saw this video and this guy was like, look,
Speaker 1: I'm not saying what it is. I just want you
Speaker 1: to go and listen to it. He goes, listen to
Speaker 1: Beethoven's Seventh Symphony, second movement marked out Greto, and he goes,
Speaker 1: just close your eyes and see where it takes you.
Speaker 1: And he believes that that is proof that we live
Speaker 1: in a simulate, like some kind of simulation or a
Speaker 1: matrix or something like that, because your mind literally takes
Speaker 1: you to another place. Whenever you listen to this kind
Speaker 1: of music, which I listened to it, I was like,
Speaker 1: am I just high? Or am I going someplace right now?
Speaker 1: And it's wild. It really does take you on some
Speaker 1: kind of It's like a guided journey, almost without words.
Speaker 3: I fully agree with that.
Speaker 2: I know Beethoven's Seventh Symphony very well and I fucking
Speaker 2: love it.
Speaker 3: Right.
Speaker 2: I think Beethoven was a lot better before he went
Speaker 2: to death. Don't get me wrong with the fact that
Speaker 2: he was still able to compose masterpieces that we still
Speaker 2: listen to today after he went in death, just off
Speaker 2: of the vibrations that he could feel in his chest,
Speaker 2: and he would know how that music would resonate regard
Speaker 2: like that's That's what I'm saying. There is a level
Speaker 2: of not even intellect, there's intuition, there is, there is
Speaker 2: real God given talent beyond the scope of something that
Speaker 2: can be learned. That some of these composers from back
Speaker 2: in the day were really on one.
Speaker 1: It's the internal intelligence that is within all of us.
Speaker 1: How does does a deaf person hear in their dreams?
Speaker 1: You know, does a deaf person hear their thoughts? I
Speaker 1: would imagine they do, right, And it's that kind of
Speaker 1: you know, sixth sense or whatever it is that probably
Speaker 1: allowed him to compose music whenever he was deaf.
Speaker 2: Right, And we've said this a million times and has
Speaker 2: been confirmed by all metrics.
Speaker 3: Existence is nothing.
Speaker 2: More than vibrations and frequencies, right, And I'm not going
Speaker 2: on some spiritual woo woo talk on that. That's just
Speaker 2: the fact of the matter atoms vibrating or what make
Speaker 2: up the entirety of the matter around us. Whether it's
Speaker 2: the air you're breathing, or whether it's the vape in
Speaker 2: your hand, or your phone or your heart beating whatever,
Speaker 2: it's all a series of atoms that are vibrating at
Speaker 2: certain rates and certain frequencies to make up physical matter
Speaker 2: of solid, liquid, gas, plasma.
Speaker 3: And that's the realm that we live in. So to
Speaker 3: say that music which is literally vibrations in motion that
Speaker 3: can make you feel a type of way. And I
Speaker 3: know that depends on the person. There are some people
Speaker 3: that will listen to opera music and be like, oh,
Speaker 3: this is garbage, blah blah blah.
Speaker 2: But then there's other people that an opera will literally
Speaker 2: bring them to tears, right, and it is everything in between.
Speaker 1: Everybody has felt something from a song in their lives.
Speaker 1: It doesn't matter if it's classical whatever. I mean. I
Speaker 1: I know grown men that cry like babies listening to
Speaker 1: country music. You know, it's like, and not not to
Speaker 1: make fun of anybody, I mean, it's just something that
Speaker 1: is happening to your body that's taken you to a
Speaker 1: place in your mind that you know it maybe brings
Speaker 1: up a past memory or that time you heard that
Speaker 1: song in that moment that you wish you had back
Speaker 1: kind of thing.
Speaker 2: Oh bro, I still can't listen to Landslide by Stevie
Speaker 2: Nicks without crying still to this day. That's that I
Speaker 2: only have like three songs that like instantaneously I will
Speaker 2: tear up.
Speaker 3: Landslide is one of them.
Speaker 1: D dude, I'm that same way with a Pearl jam
Speaker 1: last kiss.
Speaker 3: Yup, I get it?
Speaker 1: Where oh where came up?
Speaker 3: Bababy.
Speaker 1: I've never even had somebody like, I'm not even gonna
Speaker 1: put that out in the universe, but yeah, it's a yeah,
Speaker 1: there's some music just does it to you.
Speaker 2: So with that being said, this morning, as I was
Speaker 2: contemplating the things I wanted to get researched in on right,
Speaker 2: I was walking through Barnes and Nobles, just kind of
Speaker 2: mine in my business. I'm perusing there's some some halloween
Speaker 2: books out in the kids section. I thought, maybe I
Speaker 2: can get my kids a cute little halloween book, you know,
Speaker 2: one of the little uh you're my most favoritest ghosty
Speaker 2: or something, these little cute little books. And I look
Speaker 2: over in another section and I see this book called
Speaker 2: The Magic Flute, and it dawned on me. I was like,
Speaker 2: hoh on, I know that that's a story. That's a
Speaker 2: very old story. And I was trying to remember, is
Speaker 2: that like like an Asop's Fables type of thing. Is
Speaker 2: this a Brother's Grim type of thing?
Speaker 3: What is it? So I did a little bit of
Speaker 3: research into it.
Speaker 2: The Magic Flute is actually a story that was posed
Speaker 2: by Wolfgang Amadeus.
Speaker 3: Mozart in the late seventeen hundreds.
Speaker 2: Right, it is an opera, and it is a very
Speaker 2: famous story that has been told over and over and
Speaker 2: over again.
Speaker 3: And I thought that was interesting. Cool. I guess they
Speaker 3: made it into a children's book.
Speaker 2: Some of the themes are a little bit on the
Speaker 2: fantastical side of things, and it would probably make a
Speaker 2: pretty solid children's book. Then I saw this little excerpt
Speaker 2: that said that there was a lot of controversy surrounding
Speaker 2: this particular composition, And then I found myself on a
Speaker 2: deep dive to show that this entire play, this entire opera,
Speaker 2: was an homage to the initiation practices of Freemasons.
Speaker 3: Have you ever heard of such things, Jonathan?
Speaker 1: I have never, But I'm I can't say that I'm
Speaker 1: too surprised because they get down with some weird shit
Speaker 1: they do.
Speaker 2: Indeed, so buckle up, everybody, let's get into it here.
Speaker 2: I got a couple of videos that are gonna play
Speaker 2: very short, very very short videos. Got some articles are
Speaker 2: going to read that are going to talk about Mozart's background,
Speaker 2: where the Freemasons do tie into this play opera rather,
Speaker 2: how many operas are masonically based what do the Masons
Speaker 2: feel about music in itself right? Or is it just
Speaker 2: us as a series of vibrations to be used during
Speaker 2: a ritual? Or is there some real magic with a
Speaker 2: k that is being used in a lot of our
Speaker 2: music that we listen to today We're.
Speaker 3: Going to get into all of it.
Speaker 2: Some things that you should probably see for yourself would
Speaker 2: be the videos talking about the magic flutes, if you
Speaker 2: would like to see these rather than just hear the
Speaker 2: talks about them.
Speaker 3: Jonathan, Where can they go?
Speaker 1: Patreon dot com, slash Cultive Conspiracy Podcast. It's the best
Speaker 1: way to be able to support us over there, and
Speaker 1: we appreciate all the good cult members who have done so.
Speaker 1: If you come over there, you'll be able to have
Speaker 1: access to every single video that we put up, along
Speaker 1: with being able to slide into our dms. Maybe you
Speaker 1: have a show suggestion or something like that. The one
Speaker 1: of the main reasons why most people go over to
Speaker 1: Patreon is because it is completely so Yeah, come check
Speaker 1: that out. You get all of that for five dollars
Speaker 1: a month. We do I don't even know infinite number
Speaker 1: of episodes every month. I don't it's too much math
Speaker 1: that I can't do in my own head, and I'm
Speaker 1: pretty good at math. But whenever it comes to the
Speaker 1: amount of episodes that you get for five dollars a month,
Speaker 1: completely commercial free and days in advance, and being able
Speaker 1: to just join the good community of Cult members at Patreon,
Speaker 1: that is the best bang for your buck. But if
Speaker 1: you want to take it even a step farther than that,
Speaker 1: then you can sign up for the Third Eye all
Speaker 1: the way open to here, and that gives you access
Speaker 1: to be able to come and hang out with us
Speaker 1: every Tuesday night for the Cult Member Live Show. It
Speaker 1: happens every Tuesday night at nine pm Central, and it's
Speaker 1: always a banger. We just did it last night as
Speaker 1: a time of recording, and dude, three hours flies by.
Speaker 1: Whenever you're speaking with family, you know, like the family family,
Speaker 1: not the family that you're stuck with, the family that
Speaker 1: you chose, you.
Speaker 2: Know, fucking right, man, It's always a good time. Come
Speaker 2: check us out on the live every Tuesday night. And
Speaker 2: like you said, that's the only place to see these videos.
Speaker 2: You might catch a clip on the youtubess or on
Speaker 2: the social medias or something. We have clips that we
Speaker 2: have released to the public. This is the only spot
Speaker 2: to see the entire video. It's worth your time. It's
Speaker 2: worth your five dollars, I can promise you that.
Speaker 1: Yeah, check us out. Yeah. And also before we get
Speaker 1: into this video, I just want to throw this out there.
Speaker 1: And I don't know, maybe I was just real late
Speaker 1: to the party, but I recently, well not recently, I
Speaker 1: just kind of remembered that I learned it not that
Speaker 1: long ago. But the term universe literally means one song.
Speaker 1: Did you know that? I mean universe like one verse verse, so,
Speaker 1: and it says it suggests harmonious and interconnected existence. This
Speaker 1: interpretation and emphasizes unity and the idea that everything in
Speaker 1: the universe is part of a single, cohesive, whole universe.
Speaker 3: Very very interesting, Okay.
Speaker 1: Pretty cool.
Speaker 3: I love it. I love that etymological breakdown of it.
Speaker 2: Yeah yeah, all right, real quick, this is a three
Speaker 2: minute overall synopsis of Mozart's Magic Flute for anybody who
Speaker 2: has never seen the opera. There's a few key songs
Speaker 2: within it that are very iconic that I promise you
Speaker 2: have heard at some point in your life, just because
Speaker 2: you live in modern society. Right, there's a few, a
Speaker 2: few songs, right, they have made their way into very
Speaker 2: popular movies, very popular.
Speaker 3: Cartoons because they are so iconic.
Speaker 2: So with that being said, here is the overarching plot
Speaker 2: to Mozarts the Magic Flute.
Speaker 4: Let's Go the Magic Flute is a fairy tale with
Speaker 4: themes of love and good versus evil. The opera is
Speaker 4: divided into two acts. In Act one, Tomino, a prince,
Speaker 4: is alone in the woods fleeing from a deadly serpent.
Speaker 4: He faints but is saved by three ladies who are
Speaker 4: the attendants of the Queen of the Knight. Tomino wakes
Speaker 4: up and here's someone coming. It's Popagano, a bird catcher.
Speaker 4: Tomino assumes that it was Popagano who saved him, and
Speaker 4: the two become friends. The three ladies return and explain
Speaker 4: that it was they who's save Tomino, and they give
Speaker 4: him a picture of Pamina, the Queen of the Knight's daughter.
Speaker 4: Tomino falls in love with the portrait, but is told
Speaker 4: that Pamina has been kidnapped by Zerastro, a high priest.
Speaker 4: Tomino vows to rescue Pamina. Hearing this, the queen arrives
Speaker 4: and offers Tomino her daughter's hand in marriage if he
Speaker 4: is successful to aid in their quest. Tomino is given
Speaker 4: a magic flute, and Papagano is given a set of
Speaker 4: magic bells. Tomino and Papagano are led to Zarastro's temple
Speaker 4: by three spirits. Papagano scouts ahead. He finds Pomina and
Speaker 4: reassures her that she will soon be rescued. Tomino sneaks
Speaker 4: into the temple and goes in search of Papagano and Pimina.
Speaker 4: They all run into Ziostro and his followers. It turns
Speaker 4: out that Zerostro is kind and wise, and he insists
Speaker 4: that Tomino must undergo a series of tests to prove
Speaker 4: himself worthy of Pomina. Enact two, with the series of
Speaker 4: tests about to begin, Ziostro explains that he kidnapped Pamina
Speaker 4: from her evil mother, the Queen of the Knight, because
Speaker 4: Tomino and Pemina are meant to be together. Popagano is
Speaker 4: also promised a wife if he successfully can completes the trials.
Speaker 4: In preparation, they must remain silent. Tomino and Papagano are
Speaker 4: not allowed to speak. Meanwhile, the Queen appears before Pamina
Speaker 4: and tries to convince her to kill Ziostro. The Queen
Speaker 4: sings her famous aria d'arho luraja, which translates as a
Speaker 4: hellish rage burns in my heart. But the Queen of
Speaker 4: the Knight's efforts are in vain. Tomino and Pamina meet again,
Speaker 4: but because he is not allowed to speak, Pamina fears
Speaker 4: Tomino no longer loves her. The three spirits reassure Pamina
Speaker 4: that Tomino does love her. Tomino declares he is ready
Speaker 4: to be tested, and together with Pamina, faces the trials
Speaker 4: of water and fire. With the aid of the eponymous
Speaker 4: magic flute. They are successful. Papagano meanwhile plays his magic
Speaker 4: bells and his destined wife, Papagana appears. He is filled
Speaker 4: with joy. Papagano and Papa againa seeing their signature duet.
Speaker 4: The Queen of the Night is angered by everyone's love
Speaker 4: and success. She returns to destroy the temple, but she
Speaker 4: is cast out into the darkness forever. All is well,
Speaker 4: everyone is thankful, and they watched the sunrise together. And
Speaker 4: that is the story of the Magic Flute.
Speaker 3: All right.
Speaker 2: So there was a few of those musical notes that
Speaker 2: you probably have recognized at some point in time, because
Speaker 2: it's just very iconic.
Speaker 1: I couldn't help but think of Mario and Luigi trying
Speaker 1: to go save Peach from Bowser that whole time.
Speaker 2: It's very possible that that was a little bit of
Speaker 2: the inspiration. I don't know that for a fact, but
Speaker 2: that also would check out. Now, I do want to
Speaker 2: make mention of something, right, we have a Queen of
Speaker 2: the Night figure who presents herself as the good guy
Speaker 2: whose daughter was kidnapped by Dister, the evil king of
Speaker 2: the day. Right, he's like a son king and she's
Speaker 2: a Queen of the Knight. Real quick, before we go
Speaker 2: any further, are we seeing a little bit of dichotomy, right?
Speaker 2: A sun being a male figure, the moon being a
Speaker 2: female figure.
Speaker 3: The daytime being the nighttime being all these things.
Speaker 2: Now we have Zoraster, who is very very close to Zorasthustra,
Speaker 2: which was a Zoroastrian guy or deity prophet for lack
Speaker 2: of better words, but he represents the East right and
Speaker 2: possibly Eastern philosophies.
Speaker 3: The Queen of the Nights.
Speaker 2: We're gonna talk about who she represents here in a
Speaker 2: little bit, but my point is, you also notice there
Speaker 2: was a lot of symbolisms of threes, right, three women
Speaker 2: that saved him, three spirits that kept guiding him. These
Speaker 2: types of things, this trial that took place, all of
Speaker 2: these things are gonna come a little more into.
Speaker 3: Focus as we get through this episode.
Speaker 1: It's very, very cult like for sure, nothing wrong with that.
Speaker 1: It's just symbolism, is really what it is.
Speaker 2: But to the people that would not know any different
Speaker 2: if I never told you any of the things that
Speaker 2: just pointed out, that seems like a very good story
Speaker 2: and opera. There were some themes that were being presented,
Speaker 2: but nothing outside of the realm of what you might call,
Speaker 2: you know, fantasy.
Speaker 1: It's a story with multiple levels. A little kid can
Speaker 1: can you know, see that story and take it at
Speaker 1: face value whatever is in front of the kid. And
Speaker 1: the older you get, the more dare I say, initiated
Speaker 1: you become, and you know, more enlightened you are. You
Speaker 1: can see the forest through the trees.
Speaker 2: Indeed, indeed, so real quick, we're just gonna look at
Speaker 2: the brief overview on the wiki about The Magic Flute.
Speaker 2: The Magic Flute is an opera in two acts by
Speaker 2: Wolfgang Amades Mozart to a German libretto by Emmanuel Schitznader,
Speaker 2: probably mispronouncing that it is a singspiel, which is a
Speaker 2: popular form that includes booth singing and spoken dialogue. It
Speaker 2: wasn't what we'd say, possibly like what we call today
Speaker 2: a musical, right, like you see a movie that's a musical.
Speaker 2: There's some spoken dialogue and then they'll break out in
Speaker 2: a song. For reasons, right, This is more or less
Speaker 2: a modern rendition of a singspiel, which Mozart was kind
Speaker 2: of one of the pioneers of the work. Premiered on
Speaker 2: the thirtieth of September seventeen ninety one at that theater
Speaker 2: and the Frauhause Theater aufder.
Speaker 3: Veeden in Vienna. Okay, so this all took place in Austria.
Speaker 2: This is also very very important the location that this
Speaker 2: took place, because at the time when this was going down,
Speaker 2: Austria was being ran by the Holy Roman Impress, which
Speaker 2: we'll get to in a bit, who was not very
Speaker 2: fond of Freemasons or Protestants or Jews, even though her
Speaker 2: husband was Francis the First of Austria, was a zealous
Speaker 2: free She like hated it for all these reasons. We
Speaker 2: will talk about it later, but we have to keep
Speaker 2: in mind Mozart didn't just do things just to do them.
Speaker 3: He did things with a purpose.
Speaker 2: Now, whether that purpose was to entertain that is still
Speaker 2: a purpose, right.
Speaker 3: If it was to convey a message, okay.
Speaker 2: Fine, if it was to be a slight at the
Speaker 2: royalty in charge at that time, while also acting as
Speaker 2: a recruiting tool for his Masonic lodge. Because Mozart was
Speaker 2: in fact a free mason, this was kind of one
Speaker 2: of those killed two birds of one stone thing. And
Speaker 2: then he goes ahead and puts down one of the
Speaker 2: most iconic plays operas ever composed.
Speaker 1: Yeah, yeah, and honestly he I mean, he was a Freemason,
Speaker 1: so he probably uh conducted the music as part of
Speaker 1: some kind of ritual for freemasonry.
Speaker 5: Right.
Speaker 2: We will get into that as well, absolutely, because freemasonry
Speaker 2: has what they call working tools, right, and they're things
Speaker 2: that you've seen before. The square, the plum, the compass,
Speaker 2: the twenty four inch ruler which is supposed to be
Speaker 2: sectioned off into three equal sections for harmony, the trowel,
Speaker 2: the gavel. They these are they're working tools right of
Speaker 2: their craft. That being said, they also have other, for
Speaker 2: lack of better words, quote unquote, tools that you would
Speaker 2: use for your own spiritual enlightenment, for your own moral
Speaker 2: development these types of things, and it's not a physical
Speaker 2: gavel or a physical trowel. These are things that are
Speaker 2: more like lessons that you can gain and apply to
Speaker 2: your life. Does this makes sense?
Speaker 1: Yeah, symbols that were always all around them and they
Speaker 1: attached meaning to them, because you know, it's like, you're
Speaker 1: not just gonna look at a you know, as you
Speaker 1: said that, what was it a twenty four inch ruler
Speaker 1: or something like that, which, by the way, I just
Speaker 1: heard something about the number eight as far as symbology goes.
Speaker 1: So the number eight, a lot of people just look
Speaker 1: at it as if it's like only stands for infinity.
Speaker 1: But and not to say that that's not what it is,
Speaker 1: but it also can be understood in another way to
Speaker 1: where if you look at an eight, it usually whenever
Speaker 1: you're making an eight, there's the smaller circle on top
Speaker 1: and the bigger circle on the bottom, almost like the
Speaker 1: microcosm on top of the on top of the macrocosm,
Speaker 1: or you know, like the unenlightened version of you on
Speaker 1: top of the enlightened version of you. You know, there's
Speaker 1: many different ways to be able to interpret it. But
Speaker 1: it's just as far as the symbolism of just the
Speaker 1: eight goes and that's section into three, which is pretty interesting.
Speaker 1: As you mentioned earlier that almost everything divinely is inspired
Speaker 1: by the number three. So I don't know, and I'm
Speaker 1: just that's my weird occult mind.
Speaker 3: I like it.
Speaker 2: I think that that's also the intention here, and I've
Speaker 2: only heard it, and you might be completely correct as
Speaker 2: far as like how the eight like you can see
Speaker 2: right here on the eighteen fifteen, the little circle over
Speaker 2: the big circle right.
Speaker 3: I could see where you're going with that.
Speaker 2: The way I heard it broke down was that eight
Speaker 2: three times, and then that's infinity thrice. Right, we're talking
Speaker 2: about a trifecta or a triune of perfect infinities that
Speaker 2: you would use for the harmonious balance thereof Now they say,
Speaker 2: of course, in their esotericism, that this would be like
Speaker 2: the three head of Father, Son, Holy Spirit, or you know,
Speaker 2: it depends on which side of masonry you're on, if
Speaker 2: you're on the Christian esotericism or if you're on the
Speaker 2: eastern side of it, but.
Speaker 3: Either way it goes. That's how I heard it broke down.
Speaker 2: It's very possible that there's levels within levels, just in
Speaker 2: the twenty four inch that could be broken.
Speaker 1: Yeah, anyway, that's just my way of looking at it.
Speaker 1: I have no idea how they look at it fair
Speaker 1: and it's not even my way. It's just something that
Speaker 1: I heard that I thought was.
Speaker 3: Interesting, no doubt. Okay, So back to it now.
Speaker 2: It premiered on the thirtieth of September seventeen ninety one,
Speaker 2: just two months before Mozart's death.
Speaker 3: This was Mozart's last opera.
Speaker 2: It was an outstanding success from its first performances, and
Speaker 2: it remains a staple of the opera repertoire. In the opera,
Speaker 2: the Queen of the Night persuades Prince Tomino to rescue
Speaker 2: your daughter from captivity under the High Priest Sirostro.
Speaker 3: Now they said Sarastro with a S.
Speaker 2: But you could see the connection to Zora and Sora
Speaker 2: there right, Like, it's not that far of a stretch
Speaker 2: to say that this may have been a And especially
Speaker 2: if you see the images of his temple.
Speaker 3: Did that door not look very Eastern, very Arabic?
Speaker 1: Yeah? Yeah, for sure. I mean you take creative liberties
Speaker 1: whenever you're making your own story.
Speaker 3: For sure. For sure.
Speaker 2: I'm just saying he was I think that was also
Speaker 2: most Art's way of showing the east versus West as
Speaker 2: far as the philosophical conversation goes.
Speaker 3: But I digress.
Speaker 1: Smulti dimensional this conversation, dude.
Speaker 3: Oh yeah, for sure.
Speaker 2: Instead, he learns the high ideals of Sirostro's community and
Speaker 2: seeks to join it separately. Then, together to Mino and Pamina,
Speaker 2: undergo severe trials of initiation, which end in triumph when
Speaker 2: with the queen and her cohorts vanquished, the earthly Pappagino,
Speaker 2: who accompanies Tomino on his quest, fails the trials completely,
Speaker 2: but is rewarded anyway with the hand of his ideal
Speaker 2: female companion. So your boy with the bell has actually
Speaker 2: failed the test, but he was still rewarded in the
Speaker 2: end for being such a faithful companion. Anyway, we don't
Speaker 2: need to get into the composition of it. It's just
Speaker 2: kind of what it is. I just wanted to show
Speaker 2: that there was a background to it. All they actually
Speaker 2: give on the Wikipedia page. They give a breakdown of
Speaker 2: each act, each scene, all the things with it. But
Speaker 2: we kind of heard the overarching themes in the video,
Speaker 2: so there's no real need to, you know, go that
Speaker 2: deep with it.
Speaker 1: What are your thoughts on this kind of understanding like
Speaker 1: multi dimensions to one story or to one song, and
Speaker 1: you know, almost for the initiated to get the entire picture,
Speaker 1: like what do you think about this? And in general?
Speaker 2: So and you know that I'm a Christian, right, I've
Speaker 2: never been shy about this fact. I think that that
Speaker 2: plays a lot in to everything. How many times have
Speaker 2: you heard me say that context is key?
Speaker 3: Right?
Speaker 2: And I'm not saying that you need to be some
Speaker 2: sort of an initiate to read the Bible, for instance,
Speaker 2: at its entirety, but you do have to look at
Speaker 2: it through a certain scope. If you're reading it like
Speaker 2: a story, reading it just cover to cover, you're not
Speaker 2: going to get anything out of it that's really supposed
Speaker 2: to hit you hard. You do need to know the time,
Speaker 2: the place, and the audience. You have to do research
Speaker 2: to figure out what this was supposed to mean to
Speaker 2: this audience, to see what was supposed to be, like
Speaker 2: what you were supposed to glean from it, what was
Speaker 2: the actual message, not that it was like some sleight
Speaker 2: of handwork, but you also have to know what you're
Speaker 2: looking at to make sense of it.
Speaker 3: I think that that is the way that this was.
Speaker 2: Done, and there's tons of information like this, Like as
Speaker 2: far as the Freemasons are concerned, the initiated, basically, they
Speaker 2: just teach you how to look at things and see
Speaker 2: what is actually being conveyed. They do that through a
Speaker 2: series of secrets, right, And that's I get this one
Speaker 2: hundred percent, But I mean that's the way it is
Speaker 2: for a lot of things. Huck Finn that book, if
Speaker 2: you were to read that today, you'll be questioning a
Speaker 2: few very key points in the book. You need to
Speaker 2: know what America was like during the day and age
Speaker 2: that that book was written, Right. You need to understand
Speaker 2: why this was so crazy? Why this wasn't that crazy?
Speaker 2: Why do they keep calling this dude this word?
Speaker 3: And John?
Speaker 2: He could have just called him John, Like he didn't
Speaker 2: need to keep calling him in word John the entire book.
Speaker 3: That was unneeded.
Speaker 2: But like you got to understand the time and the
Speaker 2: place and the audience.
Speaker 3: Does that make sense?
Speaker 1: Yeah? Yeah? And I just you know, it just reminds
Speaker 1: me of something that The reason why I asked that
Speaker 1: is because you always say a quote, and you haven't
Speaker 1: said it in a while, but there's this quote that
Speaker 1: you always say. You don't give a baby meat, you know,
Speaker 1: you give the baby the milk, right, And as far
Speaker 1: as these kind of multi dimensional I don't even know
Speaker 1: if that's the right term, but just like layered, level,
Speaker 1: layered type of story, right, And I think that, you know,
Speaker 1: for the masses, most people are just gonna be They're
Speaker 1: gonna be totally happy just with that milk. And there's
Speaker 1: nothing wrong with that. You don't need to go and
Speaker 1: not everybody needs to go on some kind of spiritual
Speaker 1: journey to understand the universe or understand God or anything
Speaker 1: like that. But some people milk ain't enough, and some
Speaker 1: people need that meat, and we need those veggies, and
Speaker 1: we need that fucking Tony's on there. And while you're
Speaker 1: at it, get me a cup of kianki, you know,
Speaker 1: as Jim Carrey would say, it's like you need a
Speaker 1: little bit of extra something because the milk is not enough.
Speaker 1: And I feel like, you know, your boy Mozart probably
Speaker 1: thought that way too.
Speaker 3: I agree.
Speaker 2: And the milk would be the synopsis we just heard, right,
Speaker 2: the if you were just a person. Oh, Mozart just
Speaker 2: dropped a new opera, bro, let's go check it out
Speaker 2: this weekend.
Speaker 3: What's up? It's dropping at the theater.
Speaker 2: You go and see it, you'll lead there being like, bro,
Speaker 2: that would tell me that was.
Speaker 3: Not a banger of a show. Come on.
Speaker 2: Meanwhile, if you were an initiated free Mason and you
Speaker 2: went and solve this performance, you would be like, wow,
Speaker 2: he really did encapsulate everything that goes into the initiation
Speaker 2: practices and rituals of our order.
Speaker 3: That was gorgeous.
Speaker 1: A literal masterpiece. Yeah, right, and masterpiece.
Speaker 2: Then the guy just saw it that didn't know anything
Speaker 2: would look at you be like, what are you talking about?
Speaker 3: Like that?
Speaker 2: The story with the witch and the queen and the
Speaker 2: what are you talking about the initiation.
Speaker 3: To your order?
Speaker 2: What do you this story? There's a fantasy And they'd
Speaker 2: be like, m I'll bet you think so. I'll bet
Speaker 2: you would think so.
Speaker 1: That milk tastes good, don't it, Bud? Exactly. So with
Speaker 1: that being said, let's go to another synopsis. This is
Speaker 1: from the Ted Talk series where they do give a
Speaker 1: brief synopfice of the play and then they break down
Speaker 1: it's more Masonic, an esoteric and occult meaning. Then we're
Speaker 1: gonna get into even more of a breakdown of how
Speaker 1: this is an understood fact, not just a hypothetical.
Speaker 3: Let's listen.
Speaker 6: In a boy named Prince Tomino runs through a dark
Speaker 6: wood pursued by a dragon. Just as it rears up
Speaker 6: to devour him, three mysterious ladies appear and slay the
Speaker 6: dragon with their fierce battle cry. So begins Wolfgang Amadeus
Speaker 6: Mozart's Ditzaubaflirta, or The Magic Flute. This fantasy Zinschpiel, a
Speaker 6: type of folk opera with music and dialogue, premiered in
Speaker 6: seventeen ninety one in Vienna. Though it may seem like
Speaker 6: a childish fairy tale, this intricate opera is full of
Speaker 6: subversive symbolism, and it's now regarded as one of the
Speaker 6: most influential operas in history. Tomino's run in with the
Speaker 6: dragon is only the start of his journey. The three
Speaker 6: women summon their leader, the Queen of the Night. She,
Speaker 6: in turn, sends Tomino on a quest to rescue her
Speaker 6: daughter Pamina from the evil sorcerer Zorostro, and to help
Speaker 6: him on his journey, she gives him the titular magic flute.
Speaker 6: Tomino eventually finds Pamina at Zorostro's temple, but behind enemy lines,
Speaker 6: Tamino and Pamina learn that they're on the wrong side.
Speaker 6: The Queen of Night actually wants to plunge the world
Speaker 6: into darkness. Everything Tomino thought he knew was wrong, filling
Speaker 6: him with.
Speaker 1: Doubt and confusion.
Speaker 6: So a new quest begins for Tomino and Pamina. They
Speaker 6: must pass three trials of wisdom, and only then can
Speaker 6: the day vanquish the Knight. Helped by the flute's magic power,
Speaker 6: the two youths overcome these trials and the Queen's attempts
Speaker 6: to sabotage them. They're finally initiated in to the Temple,
Speaker 6: having restored balance to the kingdom. Many elements in this
Speaker 6: peculiar fairy tale were inspired by Mozart's involvement in Freemasonry,
Speaker 6: a network of fraternal organizations throughout Europe. Much of their history, symbolism,
Speaker 6: and ritual came from the Middle Ages, but the Freemasons
Speaker 6: of Mozart's time were also influenced by eighteenth century European
Speaker 6: ideals rationalism, humanism, and skepticism towards traditional authorities like monarchy
Speaker 6: and the church. The symbols of Freemasonry and these ideals
Speaker 6: of the Enlightenment are found throughout the opera. If this
Speaker 6: sounds like a conspiracy theory, that's because it sort of
Speaker 6: was at the time, but it's now taken quite seriously
Speaker 6: and has been the subject of considerable scholarly publication. For example,
Speaker 6: some Mozart scholars believe the Queen of the Knight symbolizes
Speaker 6: Maria Teresa, the Empress of the Holy Roman Empire, who
Speaker 6: opposed freemasonry and band it in Austria. While there continues
Speaker 6: to be debate as to the specific meaning, interpretation, and
Speaker 6: location of these Masonic references, scholars agree that they're there
Speaker 6: and are fully intentional. One of these symbols is the
Speaker 6: number three, which represented balance and order to Freemasons. Now
Speaker 6: the number three is, of course easy to find in
Speaker 6: any work of storytelling, but it's particularly prominent in the
Speaker 6: Magic Flute, Three Trials, three Ladies, three spirits, and three Doors.
Speaker 6: Much of the music is written in E flat major,
Speaker 6: which has three flats in its key signature, and historically
Speaker 6: Masonic rituals began with three knocks. The opera references them
Speaker 6: by opening with three majestic chords, complete with dramatic pauses.
Speaker 6: Those chords, which reoccur throughout the opera serve another purpose.
Speaker 6: They capture the dramatic arc of the opera. In literature.
Speaker 6: The first chord, E flat major, is in its most
Speaker 6: natural root position, simple and unadorned. It echoes the childlike
Speaker 6: prince Tomino, who, in his naivete, accepts everything the Queen
Speaker 6: and her ladies say without question. The second chord is
Speaker 6: C minor, a sour sonority that mirrors Tomino's sadness and doubt.
Speaker 6: In the middle of the opera, that's when his world
Speaker 6: and notions of good and evil get turned on their heads.
Speaker 6: And good and evil are just two of the opera's
Speaker 6: extreme opposites. It features some of the highest and lowest
Speaker 6: notes in opera day and night, simple hummable melodies, and complicated,
Speaker 6: forward looking music. The opera's central theme concerns balancing these
Speaker 6: extremes to achieve perfect harmony. To reflect this, the final
Speaker 6: chord in the opening restores musical order. It returns to
Speaker 6: the triumphant E flat major, the same chord at started with,
Speaker 6: but inverted, meaning Mozart moved the bottom note to the top.
Speaker 6: Although it retains its original harmony, the chord sounds higher,
Speaker 6: pointing towards enlightenment. That's similar to Tomino, who, in passing
Speaker 6: his trials, restores balance to the kingdom while growing stronger, wiser,
Speaker 6: and more complete.
Speaker 3: Bro.
Speaker 1: That is That's That's another way I think of telling
Speaker 1: the story of the Full's journey if you really think
Speaker 1: about it, like the Full, you know, he's just this
Speaker 1: fucking idiot. He has one foot dangling over a cliff,
Speaker 1: he has his knapsack, He's just ready to start this journey, right,
Speaker 1: doesn't know what ahead of him, dude, right, just kind
Speaker 1: of like childlike, right, very excited, which it started out,
Speaker 1: and then he comes upon, you know, some struggles and
Speaker 1: dark times which could be represented by you know, if
Speaker 1: we're talking about the tarot and the Full's journey could
Speaker 1: be represented or represent the Tower card maybe, and then
Speaker 1: finally gets to the end enlightened with the World card.
Speaker 2: So I don't know, I'm pretty interested to something here,
Speaker 2: I really do. I think that there And like they said,
Speaker 2: there's a lot of stories that have been told of
Speaker 2: this where it's this person that has to go through
Speaker 2: these trials, go through these tribulations, and they achieve success
Speaker 2: on the other side of them, right, And this is
Speaker 2: a tale as old as time, honestly as far as
Speaker 2: the magic flute is concerned. You can see now breaking
Speaker 2: it down in that way, that this was not only
Speaker 2: meant to be a multi level story being told. Even
Speaker 2: the musical composition, the words that we're saying and spoken,
Speaker 2: the story of the night queen versus the day King,
Speaker 2: the East versus the West, the lies of the initiation,
Speaker 2: all of this this was intentionally done to be a
Speaker 2: bit of a conspiracy in and of itself.
Speaker 1: Dude, this is expert level composition like that is so
Speaker 1: so well thought out that it speaks a story on
Speaker 1: every level.
Speaker 2: Yeah, Just the musical notes themselves tell a story. The
Speaker 2: story on stage tells a story. The imagery, if you're
Speaker 2: deaf and you can't even hear what's going on, and
Speaker 2: you can't even hear the dialogue, just the set in
Speaker 2: the scenes playing out a certain way tell a story.
Speaker 2: It's this is what I'm saying. Mozart was literally a genius. Now, granted,
Speaker 2: he was a bit of a a vagrant, a little
Speaker 2: bit of a He was into some some things, a
Speaker 2: little bit of some malarkey. Your boy liked to fuck you,
Speaker 2: boy like to party hard. You know, I'm not judging.
Speaker 2: I got no room to judge, but also like, that's
Speaker 2: the thing. It's like, when you get to that level
Speaker 2: of being an absolute genius, there's certain parts of your
Speaker 2: mind that are just going off and doing their own shit.
Speaker 1: I think it's more so that like, and I've actually
Speaker 1: been putting some thought into this too, because my life
Speaker 1: has been pretty damn hecked over the past couple of years,
Speaker 1: and I don't know, I just started to think, like,
Speaker 1: I'm not even saying that I'm anywhere near the enlightened
Speaker 1: by any means, but I looking at it through that lens.
Speaker 1: It's like maybe once you do become enlightened, or you know,
Speaker 1: deeply initiated into all of the mystical stories and the
Speaker 1: understandings of the universe and stuff like that, maybe once
Speaker 1: you do, it's like you just don't take this life
Speaker 1: as seriously anymore because you know that this is a
Speaker 1: lower level to the grander scheme.
Speaker 3: I think it might be on something there. It's like
Speaker 3: a ignorance is bliss right.
Speaker 2: And you see these people that they're living a simple
Speaker 2: life and they got their little nine to five, take
Speaker 2: care of the kids, and they get home from work,
Speaker 2: they just have their little thing. Maybe they go on
Speaker 2: like a vacation a year. They're not like out there
Speaker 2: trying to learn new things. They're not out there trying
Speaker 2: to break the mold and start something new. They're just
Speaker 2: kind of doing their little thing. And you notice they
Speaker 2: don't really have much controversy, They don't really have much
Speaker 2: struggle and strife in their life aside from like the
Speaker 2: normal stuff that everybody deals with. Then you have people
Speaker 2: that really do try to set out on their own
Speaker 2: to blaze their own path to make something for themselves,
Speaker 2: and they have to fight and claw every fucking step
Speaker 2: of the way to gain an inch for themselves.
Speaker 3: I think you might be.
Speaker 1: On to say, but I think most of those most people,
Speaker 1: not even most of those people, most people in reality
Speaker 1: don't know that you can. Most times you're the one
Speaker 1: that's in your own way, like it's life is just
Speaker 1: going to be life. It's your perspective about how you
Speaker 1: interpret that life. And so there's things especially involved within
Speaker 1: you know, the mysteries and the initiatory kind of stuff
Speaker 1: that there. They understand transmutation, which is an incredible tool
Speaker 1: if you can, you know, kind of harness that and
Speaker 1: the idea of transmutation is about like, all right, whenever
Speaker 1: something bad happens to you, you have an opportunity to react,
Speaker 1: you know, animalistically and just you know, kind of get
Speaker 1: very emotional and struggle with it, or or you can
Speaker 1: look at it as life's not happening to you, it's
Speaker 1: happening for you, all right. Well, now if you change
Speaker 1: the perspective on that, well, that was a test that
Speaker 1: I was just you know, that's that was an opportunity
Speaker 1: for me to grow. And if I instantly reacted like
Speaker 1: an animal would, then I'm not growing. I'm staying the same.
Speaker 1: And so that's kind of the idea is that if
Speaker 1: you don't allow things to bother you in some kind
Speaker 1: some kinds of way, and you have majority control over
Speaker 1: your thoughts and your emotions, then life gets a hell
Speaker 1: of a lot easier. Like you just got to get
Speaker 1: out of your own way. You are the bearer at
Speaker 1: the gate. That's like you in your mind, according just
Speaker 1: to your perspective here.
Speaker 3: Yeah, no, I think you're on a sum here.
Speaker 2: And again, of course it depends on the course of
Speaker 2: you're choosing, right, it depends on There are certain people
Speaker 2: that are born to a certain class of way wealth
Speaker 2: that anything they really just want to do. They have
Speaker 2: the means and they have the funds and it's not
Speaker 2: a struggle or anything.
Speaker 3: They just fucking do it.
Speaker 1: Yeah, but the worst thing that's ever happened to you
Speaker 1: is the worst thing that's ever happened to you, regardless.
Speaker 3: Yeah, that's true.
Speaker 2: I remember seeing a picture of it was two dogs, right,
Speaker 2: and they were it looked like they both went through
Speaker 2: like eight inches of mud and it was like a
Speaker 2: blonde lab versus the chihuahua. You could see where the
Speaker 2: level of mud was on both of them. They went
Speaker 2: through an equal puddle, and it was like, look, just
Speaker 2: because y'all went through the same struggle doesn't mean it
Speaker 2: affected you the same way.
Speaker 1: But even in that story, the chihuahua could potentially just
Speaker 1: look at it and like, I don't know, maybe he's
Speaker 1: like a like a little kid playing in the mud
Speaker 1: and it's a fun time, and like this this is
Speaker 1: a journey, and you know that's that whole thing. And
Speaker 1: the idea is the old quote is is that the
Speaker 1: the journey is the obstacle, right, and so like if
Speaker 1: you can kind of transcend that and not wallow in
Speaker 1: self defeat and say pour me and pity me and
Speaker 1: all those things you're right to say. So, like nobody's
Speaker 1: gonna tell you that you're wrong to say you know,
Speaker 1: or wrong to feel bad for yourself. But it's the
Speaker 1: idea of being able to overcome those kinds of things
Speaker 1: that turns it into the journey that it was meant
Speaker 1: to be.
Speaker 3: Now I'm with you.
Speaker 2: I'm just saying that to your point about how the
Speaker 2: worst thing that's ever happened to you is the worst.
Speaker 3: The worst thing that's ever happened to you.
Speaker 2: Whether it's to the world or to the outside looking in,
Speaker 2: that might be like, brother, that was not that big
Speaker 2: of a deal, get over it, But to you it
Speaker 2: might have been the worst thing. Everybody's got their struggles,
Speaker 2: everybody's got their tribulations, their hurdles and all these things.
Speaker 2: You're right, it's about how you overcome them or do
Speaker 2: you let them overtake you.
Speaker 1: Oh dude, just imagine, like, you know, an ancient king.
Speaker 1: Let's just say of like the year five hundred, right,
Speaker 1: and that ancient king probably you know, was sitting in
Speaker 1: his palace. He had you know, servants and maids and
Speaker 1: butlers and cooks and all these different things, right, but
Speaker 1: he still had to sit in heat all day. He's
Speaker 1: still never had a cold, you know what I'm saying.
Speaker 1: He still had to ride on a horse and buggy.
Speaker 1: He would look at you and be like your complaining,
Speaker 1: you know what I mean. So it's all really all
Speaker 1: about perspective. Even the most renowned, you know, illustrious, super
Speaker 1: wealthy kings of old would be jealous of what you have.
Speaker 2: I agree. I forget what movie I was watching. I
Speaker 2: think it was the Dracula series that came on Netflix.
Speaker 2: It was like a four part mini series. It was
Speaker 2: really dope, by the way, but basically Dracula in his coffin.
Speaker 2: He wakes up and it's like this year I think
Speaker 2: it was like the year twenty seventeen or something, and
Speaker 2: he's in this like shit apartment in England and the
Speaker 2: girl gets there and she's like, what are you doing here?
Speaker 2: And he's like, you know what, you must be so
Speaker 2: wealthy to have all these things.
Speaker 3: What kingdom do you resign? Fro him?
Speaker 2: She's like this place is a dump, and he's like,
Speaker 2: I have been alive for thousands of years and if
Speaker 2: I can get the smartest and wisest kings of all
Speaker 2: that time to sit in this room, they would never
Speaker 2: leave this room again.
Speaker 3: He was watching a TV.
Speaker 2: He was watching a sunrise on the TV, and he
Speaker 2: could like it was. It was mind blowing air conditioning,
Speaker 2: running water, a fucking freezer with ice in it. Bro
Speaker 2: what But yeah, to your point, it's perspective. Yeah, it
Speaker 2: all ties down to perspective.
Speaker 1: And that's what a lot of like the maybe it's freemasonic,
Speaker 1: you know, whatever kind of accult like nature of a
Speaker 1: lot of things are just by being able to shift
Speaker 1: your perspective. That's most of it is about that.
Speaker 2: Fair enough. Now, let's talk about perspective right quick. Let's
Speaker 2: talk about the perspective of the day and age of
Speaker 2: Wolfgang Amadeus Mozart.
Speaker 3: Right.
Speaker 2: He was living in Austria at this time, and the
Speaker 2: Impress of Austria was a woman by the name of
Speaker 2: Maria Teresa. We heard about that in the Ted video
Speaker 2: there saying that some scholars believe that the Night Queen
Speaker 2: was supposed to be her. Now that's not a a
Speaker 2: certified guaranteed thing. However, it is a perspective that I
Speaker 2: tend to side on as far as it goes. Is
Speaker 2: that supposed to be Mother Teresa was no, no, no, no, no,
Speaker 2: mother Teresa was an Indian nun.
Speaker 1: Okay was Teresa mother Teresa? Was that her name or
Speaker 1: is that just like a title thing?
Speaker 3: Uh?
Speaker 2: No, No, that was her I believe that was her
Speaker 2: actual birth name. And she became a nun and became
Speaker 2: instead of just Teresa of uh well, it was the city.
Speaker 2: It wasn't a capula, that's a Roman city. Uh cattl Calcutta.
Speaker 3: That's it.
Speaker 2: Instead just being like Teresa of Calcutta, she became mother
Speaker 2: Teresa of Calcutta.
Speaker 3: But anyway, but so, but Teresa is a very old name.
Speaker 3: That's it's very very old.
Speaker 1: Oh my god, her real name. Let me just share this.
Speaker 2: This is crazy, all right, old let me uh, let
Speaker 2: me see what you're working with here.
Speaker 1: Look at this.
Speaker 3: I pulled something pulled up on my screen.
Speaker 1: But her real name was on jez gon Cha Bolgillo.
Speaker 3: I don't speak Indian or Indi all empire. Yeah, yeah,
Speaker 3: all that.
Speaker 1: That's crazy. That's why I was wondering because most of
Speaker 1: those like kings and whatever they were, like, they just
Speaker 1: take after names of venerated saints or whatever you know.
Speaker 2: Right, And for that point, I don't know if like
Speaker 2: the Empress Maria Theresa. I don't know if that was
Speaker 2: her birth name or not, but she broke up Freemason
Speaker 2: lodges by force in Austria in seventeen forty three. So
Speaker 2: by the time the Magic Flute was composed right in
Speaker 2: the year seventeen ninety one, she was already well known
Speaker 2: to knock it down with Freemasons.
Speaker 3: Now, while she was hostile.
Speaker 2: Towards Freemasons due to her religious convictions, her husband, Francis
Speaker 2: the First was a zealous Freemason. The lodges in Vienna
Speaker 2: were largely tolerated due to her forty year reign because
Speaker 2: of his influence. The seventeen forty three incident is an
Speaker 2: example of her specific actions against the organization despite her
Speaker 2: husband's protection. That was when she broke up the lodge
Speaker 2: one of them anyway. Now, a more long lasting band
Speaker 2: on Freemasonry and Austria came later in the year seventeen
Speaker 2: ninety five after her death when her son took over. Now,
Speaker 2: why was she so hostile towards Freemasons, And keep in
Speaker 2: mind the Illuminati were also founded in seventeen seventy six
Speaker 2: in Bohemia in Austria.
Speaker 3: In this area of the world, Bavaria, So Bavaria.
Speaker 2: I'm sorry, but that's also like right there, the Austria situation,
Speaker 2: all these things, like keep in mind Hitler was from
Speaker 2: Austria but took over Germany and then that's called Bavaria.
Speaker 2: It's these are like, it's kind of interchangeable. I know,
Speaker 2: there's gonna be some history nuts that are going to
Speaker 2: tell me that, no, Bavaria and Austria are completely separate
Speaker 2: from it.
Speaker 3: Okay, fine, Look.
Speaker 1: It's like Rome is not the same Rome as it
Speaker 1: was in yesteryear.
Speaker 2: This is like saying Sicily and Naples, which are on
Speaker 2: polar opposite ends of the country of Italy, are not
Speaker 2: equally itally. It's like, yes, there's a very very different
Speaker 2: culture in both of these places, but they're both in
Speaker 2: that same neighborhood.
Speaker 1: You see what I'm saying, Yeah, under the same imaginary lines.
Speaker 3: Yeah, there you go.
Speaker 2: So, all that being said, the Illuminati was popping off
Speaker 2: seventeen seventy six. Masonry had been around for a very
Speaker 2: long time, so what was her issue with secret groups
Speaker 2: as a whole?
Speaker 3: Right?
Speaker 2: Maria Theresa was strongly against free Masonry for a combination
Speaker 2: of religious, political, and personal reasons, as a devout and
Speaker 2: pious Roman Catholic. She adhered her church's staunch opposition to
Speaker 2: the secretive and Enlightenment influenced organizations. Now, she was trained
Speaker 2: by Jesuit priests, right, they were her teachers growing up.
Speaker 2: So she had a fondness of the Jesuits. But she
Speaker 2: had a I don't want to say disdain, but she
Speaker 2: did not get down with Protestants. She instead of hating them,
Speaker 2: she tried to convert them. That was her big thing.
Speaker 2: Her big thing was religious unity for her nation. She
Speaker 2: was convinced that religious unity was necessary for a peaceful
Speaker 2: and stable state.
Speaker 3: The Masons, on the.
Speaker 2: Other hand, promoted a form of religious tolerance, which she
Speaker 2: explicitly rejected and viewed as a danger to state order. Now,
Speaker 2: the Catholic Church viewed Free Masonry's principles of religious indifference,
Speaker 2: indifference being like this idea that members from any religion
Speaker 2: could equally be pleasing to God. They saw this as
Speaker 2: a form of heresy, right, And we've talked about that
Speaker 2: with Freemasonry. The G within their compass and square that
Speaker 2: just means grand Architect. It could mean God, it could
Speaker 2: mean whatever, But that's what is originally supposed to be
Speaker 2: whether you are a Buddhist, a Muslim, Vedic, whatever. If
Speaker 2: you believe in some higher power, some entity that created
Speaker 2: all this, then you're welcome with Freemasonry, and that was
Speaker 2: seen by the Catholics as a form of heresy. Maria
Speaker 2: Theresa and her advisors shared this view, seeing Masons as
Speaker 2: undermining the primacy of the Catholic faith. Plus the whole
Speaker 2: thing with secrecy, secrecy surrounding the Masonic rituals and the
Speaker 2: oaths for that memberships. Excuse me, the oaths that members
Speaker 2: swore to one another were viewed with deep suspicion by
Speaker 2: the Church and the state. They were seen as potentially
Speaker 2: replacing or overwriting a subject's loyalty to their monarch and
Speaker 2: their God. So clearly we cannot have this now. On
Speaker 2: the political side of things, the Enlightenment ideals that were
Speaker 2: going on here, the secretive nature of the lodges and
Speaker 2: the intellectual discussions that took place within them were tied
Speaker 2: to the ideas of Enlightenment. We've talked about that many times.
Speaker 2: These new ideas challenged traditional, divinely ordained monarchical rule, and
Speaker 2: Maria Theoriesley was deeply traditional in her understanding of her office.
Speaker 2: She was one of these people that truly believed that
Speaker 2: if you were born into royalty to lead a nation,
Speaker 2: you wire ordained by God to do so. Right, You're
Speaker 2: not speaking on behalf of God, but God wanted you
Speaker 2: in that position. Otherwise you wouldn't have been born into
Speaker 2: this family in the timeframe that you were.
Speaker 3: So this is just the way it must be.
Speaker 2: Meanwhile, the Enlightenment revivalist thing that was going on at
Speaker 2: this time was kind of throwing a wrench in those gears,
Speaker 2: and they were getting a lot of the well and
Speaker 2: well well influenced the well to do the well educated people,
Speaker 2: specifically men together to discuss opposing ideas, and that's dangerous.
Speaker 2: Of course, there was also a Prussian rivalry here. Maria
Speaker 2: Teresa's chief rival was Frederick the Great of Prussia, a
Speaker 2: prominent and vocal Freemason. Her opposition was fueled by suspicion
Speaker 2: that her Prussian enemy could use Austrian Masonic lodges as
Speaker 2: a tool for political influence or espionage. Keep in mind,
Speaker 2: her husband was a Freemason and a really tight homie
Speaker 2: of Mozart, I might add, so while she's over here
Speaker 2: trying to rule the Holy Roman Empire. Her husband's over
Speaker 2: here playing Masonic lodge with this Mozart guy, and how
Speaker 2: do I know he's not also with the Prussian king.
Speaker 2: It's you see, she already had some conspiratorial thinking going on.
Speaker 1: Here, So it makes sense then that Mozart would view
Speaker 1: her as that evil witch or whatever that came and
Speaker 1: tried to give him the flute and basically just to
Speaker 1: become his undoing of sorts, right, you see it?
Speaker 3: Right now.
Speaker 2: I'm not saying one hundred percent that the Queen of
Speaker 2: the Knight was supposed to be Queen or Impress Maria Theresa.
Speaker 3: I can't say that one hundred percent. But the argument that.
Speaker 2: Stands that suggests that that is true, I personally find
Speaker 2: myself aligning with that.
Speaker 1: It checks out, Yeah, it does check out. It's interesting
Speaker 1: that he would call her a witch too. But I mean,
Speaker 1: I guess if you're you know, an opposing religion or
Speaker 1: an opposing spiritual thought or whatever kind of lodge that
Speaker 1: you're attached to within you know, secret society, and you
Speaker 1: have essentially a gatekeeper, you know that is saying that
Speaker 1: you're wrong, and you know, saying nothing but bad things
Speaker 1: essentially about Freemasons, or just trying to convert them. You
Speaker 1: would probably look at her through the lens of being
Speaker 1: an evil witch, you.
Speaker 2: Would, indeed, especially if they're struggle and strife between the
Speaker 2: Holy Roman Emperor Francis the First and the Holy Roman
Speaker 2: Empress of Maria Theresa, which there absolutely was. So Francis
Speaker 2: was a Freemason who joined a lodge in the Hague.
Speaker 2: Right because of his influence, Masonic lodges in Vienna were
Speaker 2: largely tolerated during Maria Teresa's forty year reign. Francis the
Speaker 2: first intervened to secure the release of the members that
Speaker 2: she ordered arrested when she broke up a lodge in
Speaker 2: seventeen forty three, and her disapproval of Masonic groups were
Speaker 2: often checked by her husband's protection of them, which allowed
Speaker 2: Freemasonry to persist in Vienna for a time. So you
Speaker 2: see that there was already a little bit of some
Speaker 2: struggling strife between the powers that be.
Speaker 1: Right, So I wonder what the symbol like significance of
Speaker 1: the flute role plays her giving him the flute, Like,
Speaker 1: I wonder what that means.
Speaker 2: So I got a video here in a bit that
Speaker 2: is going to go a little more in depth with it,
Speaker 2: and we don't get the entire story of the flute
Speaker 2: from the two little quick videos that I showed earlier.
Speaker 2: The flute itself, I should mention it is made so
Speaker 2: all right, the Freemasons and most esoteric groups, right, it's
Speaker 2: all about the perfect harmony in the combining of the
Speaker 2: four elements, right. Yeah, Now they'll have the five element,
Speaker 2: with the fifth being ether or spirit or whatever the case.
Speaker 2: But as far as the Freemasons are concerned, they're more
Speaker 2: worried about the physical world we live in. So a
Speaker 2: lot of their principles and practices have to do with earth, fire, water, air, wind, yeah, air, right, right, which,
Speaker 2: depending on how you look at it, is that the
Speaker 2: spirit or is that the breath or is that just
Speaker 2: the actual wind blowing.
Speaker 3: That conversation we can have.
Speaker 2: But my point is it's the harmonious balance of these four, right,
Speaker 2: the mastery of the four, if you will.
Speaker 3: The flute was made with fire.
Speaker 2: It was also made during a rainstorm with lightning, which
Speaker 2: is also seen as fire. It was made from wood,
Speaker 2: which would encompass the earth, and then to give it
Speaker 2: life you do have to blow into it, which would
Speaker 2: be the air.
Speaker 1: This is so funny that you're bringing this up.
Speaker 3: Bro.
Speaker 1: Literally, my next episode that I'm shooting on Meta Mysteries
Speaker 1: is going to be getting into each the depth of
Speaker 1: each of the four well the fifth, the five main elements.
Speaker 1: Some people you know like to include the ether. I'm
Speaker 1: not saying anybody's wrong or right. It's just a way,
Speaker 1: but yeah, it's interesting. Like if you look into the
Speaker 1: symbolism of fire, so the and I'm just gonna read
Speaker 1: this one little part real quick. So the flame isn't
Speaker 1: a thing. So whenever you see a flame, it's not
Speaker 1: an actual thing. It's just a process. So when you
Speaker 1: light a match, it seems like a flame appears out
Speaker 1: of nowhere, but what's really happening is a chemical reaction
Speaker 1: the fuel. The fuel like wood or wax, combines with oxygen,
Speaker 1: releasing stored chemical energy as heat and light. The flame
Speaker 1: is not a substance that comes into being. It's the
Speaker 1: visible process of energy transfer, and once the fuel is gone,
Speaker 1: the process ends. So it looks like the flame has
Speaker 1: been destroyed, but the energy has simply changed form. So
Speaker 1: that's why the fire is always like a magical thing.
Speaker 1: That is, it's always brought up and that's just one
Speaker 1: of the ways of looking at it.
Speaker 3: But yeah, it's just having this conversation with my sun
Speaker 3: the other day.
Speaker 2: We were talking about the elements, right of just solid
Speaker 2: liquid gas, and then the fourth one, which is like plasma,
Speaker 2: which is I guess it could be also kind of
Speaker 2: put into the realm of like a gel ish, but
Speaker 2: it's not a physical gel it's like some other thing
Speaker 2: that there's still they're still currently having trouble like really
Speaker 2: putting limits on what it is and is not right.
Speaker 2: And that's fine, it's kind of a relatively new discovery.
Speaker 2: But he was like, so you could like pick up
Speaker 2: a handful of plasma. I'm like, theoretically, depending on the type. Yes,
Speaker 2: But it's like I showed him what a plasma vortex
Speaker 2: looks like on YouTube and it's like an electro magnet,
Speaker 2: and they like, can show you a plasma vortext and
Speaker 2: he's like, you can't pick that up, And I'm like, well,
Speaker 2: this example of it, no, But in this example it
Speaker 2: was a reaction to the environment that they had put
Speaker 2: it in. It's kind of like saying, you can't pick
Speaker 2: up a handful of fire, right, you can pick up
Speaker 2: something that is burning, but fire itself is not a element, right,
Speaker 2: It's like electricity. You can't pick up a handful of electricity.
Speaker 3: It's a force.
Speaker 2: It is a transfer of energy, right, And that's essentially
Speaker 2: what it is. We can harness it, we can control it,
Speaker 2: we can utilize it, but we can't physically handle it
Speaker 2: in that way.
Speaker 3: So, yes, to your point.
Speaker 2: It's very very interesting how all these things tie in,
Speaker 2: and all these for the backstory of it went into
Speaker 2: the making of the magic flute itself, and then when
Speaker 2: he went through the trials of fire and water, he
Speaker 2: had to use this flute with his air, which was
Speaker 2: made of wood, to harmoniously balance and get through each
Speaker 2: of the three initiation steps.
Speaker 1: So a literal magic relic. Then at that point there
Speaker 1: you go a lot like the wand or something like that.
Speaker 2: You could definitely make the inference that that was what
Speaker 2: it was supposed to be, right.
Speaker 3: A form of one.
Speaker 2: Anyway, I'm not saying it was his magic wand, but
Speaker 2: at least for the principle of him getting through the
Speaker 2: initiation which he could not speak through. Yeah, the flute
Speaker 2: was his voice, if you will, which it's.
Speaker 3: Very interesting to look through.
Speaker 2: All right, Now back to it, let's talk about Mozart
Speaker 2: and free masonry. So if you want to jump in
Speaker 2: here to Mozart's lodges.
Speaker 1: Mozart was admitted as an apprentice to the let me
Speaker 1: take you some off.
Speaker 2: I will say, for the last seven years of his
Speaker 2: life he was a Mason, so it wasn't like he
Speaker 2: was born into it, but in his mid twenties he
Speaker 2: absolutely was raised as a brother of.
Speaker 3: The Masonic lodge. Also, his father was a Freemason. Should
Speaker 3: throw that out.
Speaker 1: So Mozart was admitted as an apprentice to the Viennese
Speaker 1: Masonic lodge called zerr Waltzell to get kick hike kite, sure,
Speaker 1: I don't know which means beneficence on December fourteenth, seventeen
Speaker 1: eighty four. He was promoted to fellow on January seventh,
Speaker 1: nineteen eighty or seventeen eighty five, and became a master
Speaker 1: Mason shortly thereafter. It says in quotes Mozart also attended
Speaker 1: the meetings of another lodge called True Concord in another
Speaker 1: language and a record.
Speaker 3: Quick, just gonna throw this out.
Speaker 2: He went from initiate to master, which is the level three,
Speaker 2: in the matter of about two months, month and a half.
Speaker 1: Well I mean it if you can, you know, understand
Speaker 1: the information faster than everybody else because you're kind of
Speaker 1: already putting it within your music, maybe the initiatory process
Speaker 1: isn't extremely long and treacherous.
Speaker 2: There's I know, we have some freemasons that listen to
Speaker 2: this show and they kind of scoff whenever we get
Speaker 2: on this topic. But even they will tell you it
Speaker 2: really depends lodge to lodge. I personally know dudes that
Speaker 2: it took them a year to go from initiate to
Speaker 2: master Mason, which is not the thirty third degree, just
Speaker 2: the initial first three.
Speaker 3: That's all we're talking about here.
Speaker 2: And then they'll also see guys that will go from
Speaker 2: a level twelve to a level twenty five in the
Speaker 2: matter of a weekend because they pay their money, they
Speaker 2: go through the coursework. And I mean there's certain lodges
Speaker 2: that aren't doing things in the correct way. There are
Speaker 2: certain lodges that are very strict about the time stamps,
Speaker 2: and like it's it varies lodge to lodge, but especially
Speaker 2: in this day and age and when you're somebody as
Speaker 2: prominent and well off and well connected as Wolfgang Ameda,
Speaker 2: as fucking Mozart bro it would make sense that they're
Speaker 2: going to try to get him to be in the
Speaker 2: click as soon as possible.
Speaker 3: So I'm still on that out.
Speaker 1: I mean, a more like real world exit would be.
Speaker 1: So the Steelers drafted a quarterback this past April. Right,
Speaker 1: he came from Ohio State. His name is Will Howard
Speaker 1: want a championship. Was really good all throughout last season, right,
Speaker 1: But but then we decided to sign Aaron Rodgers. Aaron
Speaker 1: Rodgers been in the league twenty something years, you know
Speaker 1: what I mean. And so you're going to make your
Speaker 1: rookie go through the initiatory process, you know, learning about
Speaker 1: the playbook and training camp and watching film and you know,
Speaker 1: let's see what kind of leadership you have amongst the
Speaker 1: rest of the team and all that stuff. That stuff
Speaker 1: is already in Aaron Rodgers. So he's going to start,
Speaker 1: and it's not even a question, right, And he did
Speaker 1: really well. So I think that maybe it's somewhere along
Speaker 1: those lines, like he was already well versed, but also
Speaker 1: like already well known, and so you kind of want
Speaker 1: to promote the guys that are already well known from within.
Speaker 1: Maybe it shines a little bit of extra light on
Speaker 1: your lodge in that say, because then now you can say,
Speaker 1: you know, Mozart goes to our fucking lodge, so we're
Speaker 1: gonna bring him all the way up to the We're
Speaker 1: not gonna treat him like a little bitch.
Speaker 3: Think of it.
Speaker 2: Also, in the realm of Lebron James and his kid, right,
Speaker 2: he is like seen as some sort of NBA royalty.
Speaker 2: I think that's silly, but whatever, his son, who does
Speaker 2: not have the same skill set as his father, instantly
Speaker 2: gets signed on to a big fat contract with the NBA,
Speaker 2: like fresh out.
Speaker 3: He didn't have to.
Speaker 2: Go through any of the any of the making his
Speaker 2: way for himself or anything like that. It was a
Speaker 2: little bit of nepotism, right, you could see it. But
Speaker 2: also it was for the status of having both of
Speaker 2: the james Is on the team, right you could see.
Speaker 3: This is what I'm saying.
Speaker 2: Sometimes you get people that demenitating on their situation get
Speaker 2: on the fast track, and some people that have to
Speaker 2: struggle and claw their way. But either way it goes
Speaker 2: just want to make a mention, Yeah, within under two months,
Speaker 2: Mozart went from an initiate to a master mason.
Speaker 3: So throwing it out.
Speaker 1: Anyway, According to Otto Eric Deutsch. This lodge was the
Speaker 1: largest and most aristocratic in Vienna, and Mozart, as the
Speaker 1: best of the music brothers, was welcome in all the lodges.
Speaker 1: It was headed by the naturalist Ignaz von Born, Mozart's
Speaker 1: own lodge God what was that again? Beneficence was consolidated
Speaker 1: with two others in December of seventeen eighty five under
Speaker 1: the emperor reform of masonry called something which means Masonic
Speaker 1: degree on December eleventh, seventeen eighty five. And thus, and
Speaker 1: thus Mozart came to belong to the lodge called Beneficent
Speaker 1: New Crowned Hope. Oh, the new Crowned Hope. Oh yeah,
Speaker 1: because they all consolidated.
Speaker 2: So this Masonic decree that took place was because of
Speaker 2: the Empress who was trying to break up these lodges.
Speaker 3: So she didn't want.
Speaker 2: Them spreading out with all these little outposts all over
Speaker 2: the place, so she wanted some of them broke up.
Speaker 2: So instead of having three lodges, you now had one
Speaker 2: massive lodge that basically spoke on behalf of the entirety
Speaker 2: of the aristocratic class of Vienna.
Speaker 1: Checks out. Yeah, So it says based on surviving Masonic documents.
Speaker 1: Mozart was well regarded by his fellow Masons. Many of
Speaker 1: his friends were Masons, and during his visit to Vienna
Speaker 1: in seventeen eighty five, Mozart's father, Leopold, also became a Mason.
Speaker 1: How about that?
Speaker 2: So Mozart became one first and then brought his father
Speaker 2: along into it.
Speaker 3: Now, let's talk a little bit.
Speaker 2: Let's get into the thick of it here, the Masonic
Speaker 2: ideology and Masonic music. Now we do have a couple
Speaker 2: of articles that are going to go even further in
Speaker 2: depth on this, but I thought this did a good
Speaker 2: job of kind of a glossing over for sure.
Speaker 1: Mozart's position within the Masonic movement, according to Maynard Solomon Lay,
Speaker 1: lay with the rationalist Enlightenment inspired membership as opposed to
Speaker 1: those members oriented toward mysticism and the occult. This rationalist
Speaker 1: faction is identified by Catherine Thompson as the Illuminati, a
Speaker 1: Masonically inspired group which was founded by Bavarian professor of
Speaker 1: canon law Adam Weissopt, who was also a friend of Mozart.
Speaker 1: Oh shit, I didn't know that, all right.
Speaker 2: There is in fact connection between the Freemasons and the Illuminati,
Speaker 2: and they definitely combined forces later on, but in their inception,
Speaker 2: believe it or not, Mozart was a really really strange
Speaker 2: lynch pin between the two and these see, these two
Speaker 2: groups were seen as opposing forces in this area at
Speaker 2: this time. Hell the Illuminati was started because your boy
Speaker 2: Adam Weishaupt wasn't allowed to be a free Mason, so
Speaker 2: he said, fuck you, I'm gonna start my own group. Meanwhile,
Speaker 2: Mozart kind of attended both meetings. Now was he a
Speaker 2: member of the Illuminati. There are some that say absolutely,
Speaker 2: there are some that say no way. But he was
Speaker 2: homies with the head guy. I mean, I'm just saying
Speaker 2: there is obvious connections within.
Speaker 1: I'm sure there were some notes passed, you know, Oh
Speaker 1: for sure.
Speaker 3: I person of the belief that Mozart attended.
Speaker 1: Both the Illuminati and Rationalist Masons espoused the Enlightenment inspired
Speaker 1: humanist views proposed by the French philosophers Jean Jacques Rousseau
Speaker 1: and did A.
Speaker 6: Row.
Speaker 1: For example, they contended that social rank was not coincident
Speaker 1: with nobility of the spirit, but that people of lowly
Speaker 1: class could be noble in spirit, just as nobly born
Speaker 1: could be mean spirited. The view or this view appears
Speaker 1: in Mozart's operas, for example, The Marriage of Figaro, an
Speaker 1: opera based on a based on a play by Pierre
Speaker 1: Baumart Ka Beaumarchie Beaumarche another freemason. The low born Figuo
Speaker 1: is the hero and the count Alma Alma Viva is
Speaker 1: the bore.
Speaker 2: That's also very crazy for this timeframe to say that
Speaker 2: people of lowly birth could be noble and could show
Speaker 2: noble characteristics, and people of the nobility class could be
Speaker 2: just assholes. That was crazy because if you were born again,
Speaker 2: the tradition would say that if you were born to
Speaker 2: a noble class a family, you must have a little
Speaker 2: something extra in your DNA, otherwise you wouldn't be noble.
Speaker 3: It wasn't.
Speaker 1: You might also be able to suggest that like this
Speaker 1: was at least proposed one day a year during Saturnalia.
Speaker 2: Well, that was an ancient room Saturnalia, didn't That didn't
Speaker 2: like make it through the four hundred's ad bro.
Speaker 1: No, I'm saying, you know, maybe maybe the some people
Speaker 1: had a similar idea.
Speaker 3: Oh, I see what you're saying. See what you're saying.
Speaker 3: But towards this time, dude, the Middle Ages. It was
Speaker 3: very rare.
Speaker 2: We see these movies right where you get this, uh,
Speaker 2: this lowly born peasant who did crazy shit on the
Speaker 2: battlefield and becomes knighted, right, and then like through time
Speaker 2: his family can rise through the ranks and become dukes
Speaker 2: and lords and all of these things.
Speaker 3: That was rare.
Speaker 2: That that was the exception. That was not something that
Speaker 2: happened like every battle. There wasn't some dude that got
Speaker 2: knighted as a result of it. Like, they didn't just
Speaker 2: like make up new nobility families just to make them up.
Speaker 3: So for them to say that, like somebody.
Speaker 2: Of low birth could be a noble in his own
Speaker 2: right was preposterous in the traditional sense of the word.
Speaker 2: But Mozart and other humanists of the what was considered
Speaker 2: at that time New Age Enlightenment, super super got down
Speaker 2: on that vibe and they proposed this, and they showed it.
Speaker 2: And like he said, even in his plays, even in
Speaker 2: his operation of figro So.
Speaker 1: In other words, they didn't believe in the goyam Royce
Speaker 1: with you.
Speaker 2: Oh, they didn't believe in the uh. They didn't believe
Speaker 2: in the tradition. Although it's funny that you mentioned that
Speaker 2: Maria Theresa. Uh, yeah, I think I said that one, right, Maria, Yeah,
Speaker 2: Mary true.
Speaker 3: She had an issue with.
Speaker 2: The Jews hardcore, she had an issue with all secret societies.
Speaker 2: She had issue with the Protestants, but she didn't hate
Speaker 2: them out right, She just wanted to convert them to Catholicism.
Speaker 3: But she had a fucking issue with Judaism for sure.
Speaker 1: Well, I mean, to each their own. So the Freemasons
Speaker 1: used music in their ceremonies uh and adopted Russo humanist
Speaker 1: views on the meaning of music. The purpose of music
Speaker 1: and the Masonic ceremonies is to spread good thoughts and
Speaker 1: unity among the members in quotes, so that they may be,
Speaker 1: in quotes united in the idea of innocence and joy,
Speaker 1: wrote Ludwig Friedrich Lenz in a contemporary edition of Masonic Songs.
Speaker 1: Music should in and culcate and it's okay. It should
Speaker 1: bring about feelings of humanity, wisdom and patience, virtue and honesty,
Speaker 1: loyalty to friends, and finally, an understanding of freedom. These
Speaker 1: views suggest a musical style quite unlike the style of
Speaker 1: the Gallant which was dominant at the time. Gallant style
Speaker 1: music was typically melodic with harmonic accompaniment accompaniment rather than polyphonic,
Speaker 1: and the melodic line was often richly ornamented with trills, runs,
Speaker 1: and other virtue virtuosick effects. These the style promoted by
Speaker 1: the Masonic view was much less virtuosic and unornamented. Mozart's
Speaker 1: style of composition is often referred to as humanist and
Speaker 1: as and is in accord with this Masonic view of music.
Speaker 1: The music of the Freemasons contained musical phrases and forms
Speaker 1: that held specific semiotic meanings. For example, the Masonic initiation
Speaker 1: ceremony began with the candidate knocking three times at the
Speaker 1: door to ask admittance. This is expressed musically as a
Speaker 1: dotted figure.
Speaker 2: And there's a little piece of sheet note here that
Speaker 2: shows the notes of the three knocks as musical notes,
Speaker 2: if you.
Speaker 1: Will, which is actually pretty interesting just as far as symbolism,
Speaker 1: because I feel like there's always two sides to every story, right,
Speaker 1: and somebody's always trying to paint somebody else as a
Speaker 1: bad guy that's playing on the dark side or something
Speaker 1: like that, and where they enlightened and you're not kind
Speaker 1: of thing. Everybody has their own view about what that is.
Speaker 1: Right throughout all.
Speaker 3: Of knots, there always will be.
Speaker 1: And so if you think about it, like you were
Speaker 1: supposed to knock at the door three times to try
Speaker 1: and get admitted in, right, And it's almost like, what
Speaker 1: is it like vampires? Like they have to knock and
Speaker 1: you have to invite them in? And I almost wonder
Speaker 1: if that's like the church's way of calling out the
Speaker 1: Freemasons or whatever that you have to you have to
Speaker 1: welcome them in. They can't just step in your door
Speaker 1: because of their practices. Maybe I don't know, maybe I'm
Speaker 1: just piecing shit together.
Speaker 3: No, No, I think that there's a lot to say
Speaker 3: about that.
Speaker 2: Also, as far as a becoming one, you have to
Speaker 2: ask three times.
Speaker 3: You ever heard the expression I'm here for you to
Speaker 3: tell me no? Twice?
Speaker 1: And yes once that was in Austin Powers remember.
Speaker 2: That that was in a lot of things. But that
Speaker 2: is a Masonic thing, right whenever you uh, this is
Speaker 2: how it's supposed to go anyway, not one hundred percent.
Speaker 2: But if you ask a Masonic lodge or a Mason like, hey,
Speaker 2: I want to be a Mason, they're supposed to tell
Speaker 2: you no, and then you're supposed.
Speaker 3: To ask them.
Speaker 2: Maybe in a couple of days, a couple of weeks,
Speaker 2: or even right after that. No, I want to be
Speaker 2: a free Mason.
Speaker 3: Let me be No. If you ask a third time,
Speaker 3: they will tell you yes.
Speaker 1: It makes sense. I get it.
Speaker 4: Um So.
Speaker 1: This figure appears in Mozart's opera The Magic Flute, in
Speaker 1: the overture, suggesting the opening of the Masonic Master Mason's degree.
Speaker 1: According to Catherine Thompson, there are many other examples of
Speaker 1: specific musical symbols taken from the Masonic rights that appear
Speaker 1: throughout Mozart's compositions. These include the use of suspensions to
Speaker 1: indicate friendship and brotherhood, the use of three part harmony
Speaker 1: harmony to emphasize the special significance of the number three
Speaker 1: in Freemasonry, and special rhythms and harmony to signify fortitude
Speaker 1: and other attributes. Notwithstanding these manifestations of Freemasonry and Mozart's
Speaker 1: music and activities, some scholars question Mozart's personal commitment to
Speaker 1: Masonic ideology. Peter Fall Fox is that his last name, Paul?
Speaker 2: I'm gonna hope that's Foots, But you know what it
Speaker 2: also is Austria, so that's probably fuck yeah.
Speaker 1: Dude, Peter Paul Fox notes that Mozart was a devout Catholic,
Speaker 1: a religion that threatened Freemasons with excommunication. Mozart was pulled
Speaker 1: in various directions stylistically and probably personally. There is little
Speaker 1: evidence that he found these tensions troubling, he writes. However,
Speaker 1: in his book Mozart, The Mozart and the Enlightenment, Nicholas
Speaker 1: Till demonstrates that Mozart's original lodged, The Beneficent One, was
Speaker 1: a reform Catholic lodge following the tenets of the Italian
Speaker 1: liberal theologian Ludovico Moro Moratory, and was committed in particular
Speaker 1: to the Catholic ideal of charity and music. Musicologist David J.
Speaker 1: Buck Booch notes that many of Mozart's musical devices identified
Speaker 1: with Masonry have precedence in non Masonic music as well.
Speaker 1: For example, the three notes, which originate from the French
Speaker 1: genre of Les murvillu, already appeared in the musical theater
Speaker 1: of the early eighteenth century. The three chords in the
Speaker 1: overture can be found in many other eighteenth century stage works,
Speaker 1: such as Treeta's Armida and Gazinga's Las Cirque, operas that
Speaker 1: have no connection with Freemasonry, so somebody he's just arguing
Speaker 1: against it at that point.
Speaker 2: Now that being said, here's a list of Mozart's Masonic compositions. Okay,
Speaker 2: and I'm not going to read their German words because
Speaker 2: i don't speak the German. Oh, Helling's band or it's
Speaker 2: an oh, sacred bond of friendship between true brothers. Another
Speaker 2: one it's a fragment, but essentially it is a contanta
Speaker 2: or contata for two tenors, male chorus and orchestra in
Speaker 2: a seal. Del Waltel's Yeah, I guess song for tenor
Speaker 2: and piano for use at an installation of New Journeymen,
Speaker 2: for use at installation of new Journeymen He's talk about
Speaker 2: for a Masonic temple and for becoming a journeyman. There's
Speaker 2: another one for a male course and orchestra. It's called
Speaker 2: the Mason's Joy. There's one for Masonic funeral music. There
Speaker 2: is one for two songs for tenor, male chorus and
Speaker 2: organ use for the opening and closing of ceremonies of
Speaker 2: the lodge in Austria. There is another one here, Oh
Speaker 2: those are the names of them. Sorry, little German cantata
Speaker 2: which was for tenors and piano for the use at
Speaker 2: meetings of the Colony of Friends of Nature. This next
Speaker 2: piece is for two tenors base male cours and orchestra
Speaker 2: Klein fremature contante.
Speaker 3: I'm not sure what that's for. Song for male choruses.
Speaker 2: This one is for the closing of the lodge and
Speaker 2: intended final chorus and the story and music of his.
Speaker 3: Opera The Magic Flute.
Speaker 2: So these are all just a brief rundown of compositions
Speaker 2: from the year seventeen seventy two to seventeen ninety one
Speaker 2: where he absolutely had his hand in freemasonry. Right now,
Speaker 2: quick list of fellow Masons, and I'm not going to
Speaker 2: go over all the names here, but friends of his,
Speaker 2: his brother in law, another friend, his father, a friend
Speaker 2: of his that loaned him money a good bit, a
Speaker 2: patron of his arts, a royal servant that was a
Speaker 2: friend of his, another friend and colleague, a brother and
Speaker 2: founder of the charity lodge we talked about here, and
Speaker 2: one of the people that was very heavily involved in
Speaker 2: the creation of the Magic Flute. All these people that
Speaker 2: were surrounding him at that level of society were absolutely
Speaker 2: free Masons.
Speaker 3: And that's all guaranteed.
Speaker 1: Here now most reason to believe that it was a
Speaker 1: Masonic kind of creation.
Speaker 2: Oh, it's one hundred percent confirmed. I never knew that.
Speaker 2: I've heard that little we have heard that so many times.
Speaker 2: I had no idea that these very notes were dripping
Speaker 2: in Masonic lore all the way through.
Speaker 3: That's interesting as fuck to me.
Speaker 1: Oh yeah, dude, And I don't know if whenever your
Speaker 1: kids were little, did you guys, did you help them
Speaker 1: watch this show called Little Einstein's.
Speaker 3: Oh for sure. They have a lot of Mozart in the.
Speaker 1: Dude, I used to love that shit. That was so good.
Speaker 1: My daughter was addicted to that show.
Speaker 2: Yeah, and that's that was back. Have you seen what
Speaker 2: these kids are watching these days? And I'm not saying
Speaker 2: like kids are like early teens, I mean like four
Speaker 2: little kids. It's there is a clear line in the
Speaker 2: sand that was drawn, I would say sometime in the
Speaker 2: last ten years where things were like overtly educational and
Speaker 2: there were some shows out there there were trash. Now
Speaker 2: you have to go out of your way to try
Speaker 2: to find educational material.
Speaker 1: Yeah, there's a lot of bullshit out there, like Masha
Speaker 1: and the Bear. Dude, I can't stand in that damn show.
Speaker 1: There's a bunch of other ones that we always bring
Speaker 1: up to. But you know, my son, dude, he digs
Speaker 1: some Bluey. I get down with it. I can watch
Speaker 1: Bluey all day. There's this YouTube channel called Danny Go.
Speaker 1: He went to the concert and everything I mean informational,
Speaker 1: I don't know, entertaining, not not derogatory in any kind
Speaker 1: of way. It's okay. I think I look at it
Speaker 1: as like an ungay version of the Wiggles. Okay, fair,
Speaker 1: But yeah, you're right, though not necessarily, you know, informational
Speaker 1: when trying to build up the intelligence or the intellect
Speaker 1: of the of the child in any way.
Speaker 2: But Mozart does, and they've always said Mozart makes baby smart?
Speaker 3: Right, Yes?
Speaker 2: Is it possible that this is because in his music
Speaker 2: he was putting in certain notes that he knew would
Speaker 2: stimulate the mind, would actually get some things firing off
Speaker 2: on all synapses up there, even for a young mind.
Speaker 1: Coco Melon was the one I was thinking of that
Speaker 1: I wanted to talk to shit on, dude. I that's
Speaker 1: not allowed in my house. It's just not absolutely not.
Speaker 1: It's it's terrible for a little kid to watch. But
Speaker 1: we've talked about that plenty of times.
Speaker 3: We have we have.
Speaker 2: Now let's go on to another quick little article here.
Speaker 2: This is the Berliner Philarmonicer, right, and it's talking about
Speaker 2: composing and networking Mozart in Freemasonry. So again, Mozart being
Speaker 2: a Freemason is not a debatable conversation.
Speaker 3: That's an understood thing.
Speaker 2: Him having certain musical numbers that were put in for
Speaker 2: the principle of spreading free Masonic ideals.
Speaker 3: Absolutely, Now that.
Speaker 2: Being said, was there a little more going on to
Speaker 2: Mozart being a Mason rather than him just feeling the
Speaker 2: call of the brotherhood? Was this possibly because keep in
Speaker 2: mind he was also not a struggling artist by any means,
Speaker 2: but he had a propensity to spend a lot of
Speaker 2: money really quickly. Like we said, you boy like to
Speaker 2: party hard, right, So is it possible that he got
Speaker 2: involved with freemasonry not just for his own enlightenment, but
Speaker 2: also as a way of networking, as a way of
Speaker 2: trying to find some wealthy benefactors that might fund his
Speaker 2: music and his next perform Mormans and these things too.
Speaker 1: I feel like you left out a little piece of
Speaker 1: vital information there. You mentioned about how he liked to
Speaker 1: party hard. He also liked to fuck. Now, if you
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Speaker 1: gotta throw that in there.
Speaker 3: No doubt, no doubt.
Speaker 2: So let's see if there was maybe some more things
Speaker 2: afoot with him joining the launch.
Speaker 1: In the eighteenth century, Freemasonry combined mysterious rituals with enlightenment ideals.
Speaker 1: Mozart was a member of this secretive society. His affiliations
Speaker 1: repeatedly reflected in his works, not only in Die Zaborflot,
Speaker 1: but also in his incidental music for Thamos calling in
Speaker 1: Egypt Tin.
Speaker 2: The King of Egypt. I think that one's the king
Speaker 2: of Egypt and this is the magic flute.
Speaker 3: But anyway.
Speaker 1: Leopold Mozart and his son traveled to Vienna in the
Speaker 1: summer of seventeen seventy three and visited the famous doctor
Speaker 1: Franz Anton Mesmer. Oh, that's where mesmerization comes from. Who
Speaker 1: lived in a villa in a large park. His open
Speaker 1: house attracted visitors from far and wide. He was a
Speaker 1: member of the middle class, with vast wealth at his disposal.
Speaker 1: Contemporaries wandered or wondered how this was possible. Was it
Speaker 1: because he was a freemason. The most Arts also met
Speaker 1: another freemason, the writer and theater administrator Franz rein Hard
Speaker 1: who Feld, at his home. We can never know whether
Speaker 1: or not it was who Feld who drew Mozart's attention
Speaker 1: to Tobias Philip von Gebler's play called what was That?
Speaker 1: The Egyptian One?
Speaker 3: Famous Conigan Egypt ten.
Speaker 1: But we do know that soon afterward, soon afterwards, Mozart
Speaker 1: stated or started to set two choruses from the play
Speaker 1: to music. It was probably in seventeen seventy two that Mozart,
Speaker 1: then sixteen years old, wrote his song in praise, Yeah,
Speaker 1: song in praise of Solomon Saint John's Lodge K one
Speaker 1: eight for tenor male voice, chorus and keyboard.
Speaker 2: Mozart quick sixteen years old, and he's writing a song
Speaker 2: of praise of the Solomon of Saint John's Lodge, sixteen
Speaker 2: years old. You're not allowed to be a Freemason at
Speaker 2: that early age. But there he was being inspired by it.
Speaker 1: As the kids would say, he was built different.
Speaker 3: Yeah.
Speaker 1: So Mozart was not yet a member of any Masonic lodge,
Speaker 1: and neither was his father. All that has survived of
Speaker 1: this piece is the melody and the baseline, Oh, sacred
Speaker 1: bond of friendship TwixT true brothers, akin to highest happiness
Speaker 1: and Eden's joys, A friend to faith and never more
Speaker 1: against it, well known to all the world, yet full
Speaker 1: of mystery. Here we find a feature that was to
Speaker 1: return in many of the Masonic works that Mozart would
Speaker 1: go on to write. The chorus has the last word.
Speaker 2: Indeed, now let's talk a little bit about it being
Speaker 2: a useful network for friends of the invitement. The Freemasons,
Speaker 2: whose heyday was in the eighteenth century, embodied the highest ideals.
Speaker 2: Although the lodge was a cult like symbolic community, writes
Speaker 2: the Mozart biographer Eva gesen Bauer, it was, above all
Speaker 2: a community of like minded men, bent on action, and
Speaker 2: made up of members of the upper and lower middle
Speaker 2: classes of the aristocracy. The links that were forged here
Speaker 2: were advantageous to everyone who was dependent on aristocratic patronage.
Speaker 2: At court, Leopold Mozart was a hard working businessman who
Speaker 2: saw the Freemasons had an excellent network of contacts at
Speaker 2: their disposal, and this network could be of use to
Speaker 2: him and his son. Freemasons occupied key positions, notably as
Speaker 2: sos in the court orchestra of manham Manheim. Rather, but
Speaker 2: by the same token, several members of the Concert Spiritual
Speaker 2: in Paris, one of the finest orchestras in France, were Freemasons.
Speaker 2: But many rumors were circulating at that time what exactly
Speaker 2: did Freemasons get up to at their meetings? Did they
Speaker 2: worship the devil? Or were they planning an international conspiracy?
Speaker 2: Little information reached the outside world. All that was reported
Speaker 2: was that their activities served as served a humanitarian goals
Speaker 2: and that Freemasons followed the paths of true and brotherly love.
Speaker 2: Silence was also said to be one of their fundamental values,
Speaker 2: be steadfast, patient, and silent. Seeing the three boys in
Speaker 2: the Magic Flute, and Serastra warns that within these hollowed
Speaker 2: halls where mankind loves his fellow, man no trader can
Speaker 2: never lurk. So you're saying that in the Magic Flute,
Speaker 2: there's all of these references to this play where there's
Speaker 2: obviously Masonic inspiration, so to it.
Speaker 1: It would only be a man's rule that there would
Speaker 1: have to be silence. You know, I just want to
Speaker 1: throw that out there, you know what I mean, Like,
Speaker 1: I can't imagine too many female lodges that have that
Speaker 1: rule in there. Y'all talk a lot.
Speaker 2: I mean, there are female Masons these days though it's
Speaker 2: the Order of the Eastern Star, although there is a
Speaker 2: lot of argument to whether these women will ever get
Speaker 2: the entire keys of knowledge that the men get. Are
Speaker 2: they seen as equal sisters or are they seen as Basically,
Speaker 2: the dudes had to make a group to where their
Speaker 2: wives are stout giving them shit for going to lodge
Speaker 2: meetings so much so they finally form their own female groups.
Speaker 2: They could kind of do their own thing and fuck off.
Speaker 2: I've heard arguments for both, to be completely honest with you,
Speaker 2: I don't know. I'm not a Mason.
Speaker 1: Oh how about this. The Order of the Eastern Star
Speaker 1: does not have a former vowel, a formal vow of
Speaker 1: silence like some religious traditions, but it emphasizes secrecy and
Speaker 1: discretion regarding its rituals and teachings.
Speaker 2: So yeah, like I said, is this just where the
Speaker 2: Masons sent their wives? Though, y'all have your own hen
Speaker 2: cackling club. Yeah, you can call it the Eastern Star. Yeah,
Speaker 2: no doubt. Here, here's some some aprons you can wear. Sure, sure, sure,
Speaker 2: let us go do our thing like it could very
Speaker 2: well be.
Speaker 1: Yeah, it's like, look, you don't need to shut up,
Speaker 1: you know, but you gotta keep your secrets. You don't
Speaker 1: need to be going around and you know, telling your
Speaker 1: neighbor about what you're getting into in the lodge with
Speaker 1: no windows, like just not just you know, keep it
Speaker 1: zipped up for a little while.
Speaker 2: Speaking of that, this picture that we are looking at
Speaker 2: right now is a very famous painting of what is
Speaker 2: inside the Freemason's Lodge in Vienna at this time.
Speaker 3: This is the lodge that Mozart was a part of.
Speaker 1: It's pretty sick actually, right.
Speaker 2: You see the guy blindfolded right here, he's going through initiation.
Speaker 2: You have all these guys sitting around it, the floors,
Speaker 2: the pillars, right, all the iconic things, the three candles,
Speaker 2: the triangle, they don't show the checkerboard floor here. But
Speaker 2: I mean, like I said, I don't know if this
Speaker 2: is an artist rendition or if this was a brother
Speaker 2: Mace who also painted this themselves. I know, But anyway,
Speaker 2: let's look into when Mozart joined the brotherhood.
Speaker 1: Eleven years after visiting Mesmer's house in Vienna, on December fourteenth,
Speaker 1: seventeen eighty four, Mozart finally became a freemason. No evidence
Speaker 1: survives to indicate what may finally have promoted or prompted
Speaker 1: him to act. Did he feel that he had been
Speaker 1: misunderstood as an artist? Was he looking for new friends?
Speaker 1: Was he driven by financial motivation? All that we can
Speaker 1: say for certain is that free freemason reflourished in the
Speaker 1: Vienna of Joseph the Second. Indeed, the Journal for the
Speaker 1: Journal for Frey Mauer was founded in seventeen eighty four
Speaker 1: at a time when, according to its inaugural issue, the
Speaker 1: better part of humanity is at pains to free reason
Speaker 1: from the oppressive burden of prejudices both sacred and profane
Speaker 1: in quotes. The Crowned Hope Lodge was largely made up
Speaker 1: of members of the aristocrat aristocracy, while the tradesmen of
Speaker 1: the middle classes frequented the Saint Joseph Lodge. Two lodges
Speaker 1: where the members of the educated middle classes met were
Speaker 1: in quotes true concord and beneficence, both of those lodges.
Speaker 2: So you can already see that there is multiple lodges
Speaker 2: going on here at the same time. There's one where
Speaker 2: it's for the higher class individuals. Then you have this
Speaker 2: other lodge on the other side of town that's for
Speaker 2: more of the tradesmen, right, and all these things. Then
Speaker 2: you have these other lodges where both of these parties
Speaker 2: would meet, and it will kind of be the combining
Speaker 2: of the minds, if you will think.
Speaker 3: Of it like a job site.
Speaker 2: You've got your your office hands, your superintendents, your general
Speaker 2: foremans and all these things.
Speaker 3: And you have your.
Speaker 2: Field hands and your field foremans and these types, right,
Speaker 2: and they operate in different fields, they go to very
Speaker 2: different meetings. But ever now and then there will be
Speaker 2: a big meeting where all of the heads, whether their
Speaker 2: field hands or office hands, will come together to get
Speaker 2: on the same page and make sure that everybody's moving
Speaker 2: in the same direction.
Speaker 3: Does this make sense?
Speaker 5: Yeah?
Speaker 1: Yeah, So the lodge that Mozart joined was Beneficence, which
Speaker 1: had been founded only a year earlier in seventeen eighty three.
Speaker 1: A glance at the subscription list for Mozart's Wednesday Concerts,
Speaker 1: which started in March seventeen eighty four, reveals a strikingly
Speaker 1: large number of fellow Masons. These members seem to know
Speaker 1: value and support one another. After joining the lodge, Mozart
Speaker 1: wrote a whole series of pieces, most of them intended
Speaker 1: for specific occasions. They include the lead zur, the song
Speaker 1: that its song for the Journeyman's Travels, two songs for
Speaker 1: Malevoy's Choir, and a Freemason's Joy and Masonic funeral music.
Speaker 1: It included all those songs. In the spring of seventeen
Speaker 1: eighty five, Leopold Mozart became an apprentice at the Lodge
Speaker 1: of the True Concord and Vienna Freemason re Proliferated. Joseph
Speaker 1: the Second put a stop to this when he limited
Speaker 1: the number of lodges, imposing a cap on their members.
Speaker 1: As a result, Mozart joined the new Crowned Hope Lodge
Speaker 1: in January seventeen eighty six, after a number of smaller
Speaker 1: lodges were merged together.
Speaker 2: Indeed, so this is when they started getting more oppressed
Speaker 2: in their native land.
Speaker 3: But anyway, let's continue.
Speaker 2: So now we're talking about the magic flute and its symbolism.
Speaker 2: There is a well known oil painting from the late
Speaker 2: seventeen eighties depicting the interior of a Masonic lodge. That's
Speaker 2: the painting that I showed right here on the left,
Speaker 2: But which one The answer is unclear. It is possible
Speaker 2: that it does not represent a particular lodge, but is
Speaker 2: rather a kind of collage designed to capture key features
Speaker 2: of a life in a lodge. The painting is also
Speaker 2: famous because at the right hand side of the image
Speaker 2: we can see a man who has repeatedly been identified
Speaker 2: as mostart. He can be seen in an agitated conversation
Speaker 2: with the man standing next to him. It is not
Speaker 2: possible to say if this second person is the clarinetist
Speaker 2: Anton Stadler or the playwright Emmanuel Schicknieder Schiicinieder, whatever you know. Anyway,
Speaker 2: soide of the point, Mozart worked with Chickenaeder on the
Speaker 2: Magic Flute, a songspiel that has repeatedly and with good reason,
Speaker 2: been interpreted in the context of Freemasonry even today. The
Speaker 2: work continues to be reinterpreted reinterpretated rather yeah reinterpret et
Speaker 2: c right.
Speaker 3: The piece reflects the spirit of.
Speaker 2: An age in the late eighteenth century in Vienna and
Speaker 2: mirrors the social upheaval of the period as well as
Speaker 2: the values of the Enlightenment. It also includes timeless elements
Speaker 2: drawn from the world of fairy tales, but it also
Speaker 2: has been interpreted as the light of its affinities with Freemasonry.
Speaker 2: The music is rich in Masonic symbolism. One component of
Speaker 2: the ritual that is enacted here is the priest's fanfare,
Speaker 2: heard for the first time in the overture. This fanfare
Speaker 2: imitates the hammer blows of the grand Master, who is
Speaker 2: in charge of the lodge and who sits by the altar,
Speaker 2: and of his two assistants during the ceremony in the temple.
Speaker 2: But despite these illusion Mozart gives away no Masonic secrets.
Speaker 2: He was astute enough to limit himself to the most
Speaker 2: general of illusions. Right up until the final months of
Speaker 2: his life, Mozart wrote music close to the Mason's world
Speaker 2: of ideas. As late as November fifteen, seventeen eighty one,
Speaker 2: he entered the Cantanta loudly proclaim Our Joy in the
Speaker 2: catalog of his compositions. Two days later, he conducted the
Speaker 2: first performance of the inauguration of the Temple of Crowned
Speaker 2: Hope Lodge when light was carried into the room. Three
Speaker 2: weeks later, he was dead, another of the world's great mysteries. Now,
Speaker 2: I'm not saying that there is some sort of conspiracy
Speaker 2: surrounding Mozart's death. It's very possible, right, But that's not
Speaker 2: what this conversation today is about. But you can see that, well,
Speaker 2: he was a Catholic, so it's very possible.
Speaker 1: I don't know, not astute anyway.
Speaker 3: It's also there's a conversation.
Speaker 2: To say that he died from an std right, there's
Speaker 2: a conversation to say that he died from over drinking.
Speaker 2: There's a conversation to say that he died from being poisoned.
Speaker 2: The reality is he had consumption which we would now
Speaker 2: call tuberculosis, and autopsies showed that he was suffering from
Speaker 2: this for a while. And he also drank like a fish.
Speaker 2: He partied hard. Whatever was going on during the day.
Speaker 2: If there was a drug of choice in this timeframe,
Speaker 2: he was dabbling like he was.
Speaker 3: This is just what he.
Speaker 2: Got down with, right, So I'm not saying poisoning as in,
Speaker 2: like a bad actor poisoned him.
Speaker 3: Now, would he have died from alcohol.
Speaker 2: Poisoning or something like that, maybe, But as far as
Speaker 2: I can sell, there are some conspiracy, conspiratorial conversations that
Speaker 2: he had about Mozart's death. But when you look at
Speaker 2: the autopsies and the reports of the people that found
Speaker 2: him and did and I'm granted we're talking to the
Speaker 2: late seventeen hundreds, it wasn't like they had the excess
Speaker 2: of medical technology that we have today, but all the
Speaker 2: telltale signs did not point to poison.
Speaker 1: But anyway, interesting, Okay, Well, I would actually be pretty
Speaker 1: interested to see which drugs he was messing around with.
Speaker 3: Well, if it was during this time, there's a conversation
Speaker 3: to say.
Speaker 2: That opiates or opium itself may have made its way
Speaker 2: to this section of Europe. But I mean, I'm trying
Speaker 2: to think when the Opium Wars took place, the East
Speaker 2: India Trading Company was big with making sure that England
Speaker 2: and by extension, most of Europe had that. But it
Speaker 2: wouldn't have been like heroin. It would have been true
Speaker 2: traditional opium den type of things that were going down.
Speaker 1: From what I could find, it was probably for the
Speaker 1: area and the time, a little bit of marijuana.
Speaker 2: Oh well, I mean, hey, nobody's ever died from marijuana overdose.
Speaker 3: I don't know.
Speaker 2: But anyway, all right, this next article that we have
Speaker 2: pulled up here is actually from a very interesting website,
Speaker 2: Universal co Masonry. This website, bro is uh you know,
Speaker 2: I'm just gonna show you their main page if you
Speaker 2: will tell me what you think about the way this
Speaker 2: looks pretty interesting.
Speaker 1: Well, there's a man and a woman.
Speaker 3: There there there is.
Speaker 1: Indeed, oh, free masonry for men and women. Okay, Oh,
Speaker 1: that's the idea of Universal co Masonry then.
Speaker 2: Okay, indeed, indeed, and so this website has a lot
Speaker 2: of information.
Speaker 3: Can women become Freemasons? Right, there's right off the rip.
Speaker 3: It's all about that equality.
Speaker 2: The path too serious as in the Egyptian god, which
Speaker 2: you're gonna see a lot of serious and Osiris references
Speaker 2: anytime you look into free masonry, and there's esoteric reasons
Speaker 2: for that, but we are not.
Speaker 3: Talking about that at this time.
Speaker 2: We are talking about freemasonry and the secrets of music.
Speaker 2: Are you ready to learn even more about what the
Speaker 2: Masons feel towards music.
Speaker 1: Brother music is as timeless as humanity itself, and it's
Speaker 1: harmonies and melodies bring us from the unmanifested to the manifest,
Speaker 1: from the unreal to the real. What is the significance
Speaker 1: of music to the Freemason? And how how can its
Speaker 1: immutable principles teach us about the reality of Masonic ritual
Speaker 1: I do it on.
Speaker 3: Bank mentioned real quick.
Speaker 2: This was published September tenth of twenty twenty four from
Speaker 2: the very illustrious brother Pamela mcdown, thirty third degree.
Speaker 1: Oh indeed, imagine being called a brother brother, imagine that right.
Speaker 2: But even still, it is a thirty third degree Mason
Speaker 2: who wrote this. So this is somebody who has gone
Speaker 2: through all the rights, all the rituals, all of the things,
Speaker 2: paid their dues, and they, being a thirty third degree Mason,
Speaker 2: had the highest levels of knowledge and enlightenment as far
Speaker 2: as Blue Side Masonry would allow.
Speaker 3: Just throwing this out.
Speaker 1: As far as tradition goes, it goes against tradition. But
Speaker 1: to say that a woman can't become enlightened, that's that's ridiculous.
Speaker 1: So I understand why they would want to introduce both sexes.
Speaker 1: I don't see a.
Speaker 3: Problem with that.
Speaker 2: Now, I don't know. Maybe Pamela is a dude. There's
Speaker 2: been dudes with female names before. Stay saying that. That
Speaker 2: being said, I just want to make sure the female
Speaker 2: versus male on that.
Speaker 3: I'm just saying. It's a thirty third degree Mason.
Speaker 2: So this is not somebody who's like a third level
Speaker 2: master Mason who's been in the Order for like five
Speaker 2: years that wrote an article about it. This is somebody
Speaker 2: that has dedicated the majority of their life to the Order.
Speaker 1: It's the Scottish rite, right, that goes up to thirty three.
Speaker 2: You can achieve thirty three from both York and Scottish. However,
Speaker 2: one of them kind of skip some levels. You got
Speaker 2: one through three, then you jump to five, seven, nine, thirteen, eighteen,
Speaker 2: twenty five, twenty seven, thirty and then thirty three the
Speaker 2: other one.
Speaker 3: You have to go through each individual step.
Speaker 2: It's been a while since I did a real deep
Speaker 2: dive into them, but yeah.
Speaker 1: I know. No better way to place a frame around
Speaker 1: the ideas I would like to express in this article
Speaker 1: than to begin with a beautiful statement often attributed to
Speaker 1: Johann Sebastian Bach and the archie brother, Johann, I'm Trippin.
Speaker 1: I speak freedom. Okay, So Jay.
Speaker 3: We don't have j in this country. It's Johann.
Speaker 1: It's a hard j okay. In the architecture of music,
Speaker 1: or of my music, I want to demonstrate to the
Speaker 1: world of the architecture of a new and beautiful social commonwealth.
Speaker 1: The secret of my harmony. I alone know it, each
Speaker 1: instrument in counterpoint, and as many counterpuntal parts as there
Speaker 1: are instruments. It is the enlightened self discipline of the
Speaker 1: various parts, each voluntarily imposing on itself the limits of
Speaker 1: its individual freedom for the well being of the community.
Speaker 1: That is my message. Not the autocracy of a single
Speaker 1: stubborn melody on the one hand, nor the anarchy of
Speaker 1: unchecked noise on the other. No, a delicate balance between
Speaker 1: the two, an enlightened freedom, the science of my art,
Speaker 1: the art of my science, the harmony of the stars
Speaker 1: and the heavens, the yearning for brotherhood in the heart
Speaker 1: of man. This is the secret of my music. Of course,
Speaker 1: was from Bach bro That was Bach in the day, dude,
Speaker 1: you know ah.
Speaker 2: Now I will say this Bach himself, and I'm a
Speaker 2: fan of his and I've talked to people who are
Speaker 2: like professional opera singers and musicians in this realm, and
Speaker 2: I've always felt personally that Bach has had almost a
Speaker 2: mathematical principle to his music. If you ever listened to
Speaker 2: it and with the same level of intensity that you
Speaker 2: listen to that one song and you're like, bro, is
Speaker 2: there something extra going on here? If you listen to
Speaker 2: some of Bach's work, it almost sounds now I understand
Speaker 2: there's a tempo. That's not what I mean, but it
Speaker 2: sounds like it's very there's a structure, there's an order
Speaker 2: to it, right, there's a mathematical equation that is going
Speaker 2: on the entire time. I just talked to an opera
Speaker 2: singer when I went to Phoenix. As a matter of fact,
Speaker 2: a couple months ago, one of the members of an
Speaker 2: organization that I belonged to, he is an opera singer,
Speaker 2: and I said that to him and he's like, the
Speaker 2: going understanding is that Bach gave us the order, Mozart
Speaker 2: gave us the fire. And I'm like, oh, oh shit.
Speaker 2: And when he said that, it all clicked to me.
Speaker 2: And now it would only make sense that both of
Speaker 2: these individuals were free.
Speaker 1: Masons when he calls it a delicate balance between the
Speaker 1: two right and so it almost you know, it reminds
Speaker 1: you of the light and the dark, the black and
Speaker 1: the white checkerboard. Everything was always duality, duelist.
Speaker 2: Night and the day. In the Magic Flute, for instance, absolutely.
Speaker 1: Brother yes, Yes. What follows will be an exploration of
Speaker 1: the notions of brotherhood and enlightened freedom. My aim will
Speaker 1: be to demonstrate that the architecture of music is an
Speaker 1: apt metaphor for the Masonic lodge work. What exactly are
Speaker 1: the secrets of music and how do these secrets relate
Speaker 1: to the craft craft?
Speaker 3: What freemasonry is not?
Speaker 2: Okay, Freemasonry is not the autocracy of a single stubborn melody.
Speaker 2: As Box said, the above phrase highlights the dangers of
Speaker 2: dominance and lack of diversity in music. It represents a
Speaker 2: scenario where one melody overpowers and dictates the entire composition,
Speaker 2: stifling the richness and complexity that multiple harmonizing parts can bring. Similarly,
Speaker 2: in freemasonry, this phrase warns against the concentration of power
Speaker 2: and the suppression of individual voices within the fraternity. Just
Speaker 2: as a symphony achieves its beauty through the harmonious interplay
Speaker 2: of various instruments. A Masonic lodge flourishes when it fosters
Speaker 2: an inclusive environment and cooperative ritual allowing for the collective
Speaker 2: wisdom and efforts of all of its members to create
Speaker 2: a unified, dynamic community. Freemasonry, again, is not the anarchy
Speaker 2: of unchecked noise direct quote from your boy Johann Vach.
Speaker 2: In both music and freemasonry, chaos and disorder arise when
Speaker 2: there is a lack of structure, discipline, and harmony. In music,
Speaker 2: this phrase conveys the importance of balanced compositions, where each
Speaker 2: instrument contributes purposefully to the overall symphony, avoiding discordant and
Speaker 2: aimless sounds. Infreemasonry, this concept underscores the necessity of adhereing
Speaker 2: to Masonic principles and rituals to maintain order and unity
Speaker 2: within the fraternity. Both in music and in freemasonry, the
Speaker 2: anarchy of unchecked noise quote unquote serves as a metaphor
Speaker 2: for the breakdown of coherence and the loss of a
Speaker 2: shared purpose.
Speaker 1: Now, if you really think about it, I I was
Speaker 1: just thinking about this for a second. So I know
Speaker 1: you have the different lodges. What is a It's called
Speaker 1: like King Henry's Lodge for the for the Black Prince
Speaker 1: Henry Hall, Prince Henry's right, it's it's mainly for the
Speaker 1: black folk, right, and then you have only four yeah,
Speaker 1: and then you have the female lodge, which one was
Speaker 1: that what called.
Speaker 3: Again Order of the Eastern Star.
Speaker 1: Order of the Eastern Star. I would actually suggest that
Speaker 1: there is a much if we're looking at the spectrum
Speaker 1: of duality, right, that you're you're gonna get much more
Speaker 1: equal and opposite ends of the spectrum of polarity with
Speaker 1: a man and a woman than you would a white
Speaker 1: man and a black man. So I'm not saying I
Speaker 1: think that everybody should be involved, but I'm saying, as
Speaker 1: far as the the differences go with the black and
Speaker 1: white that they're always trying to show up there, it
Speaker 1: would make sense that you would include both sexes. You know,
Speaker 1: the sun for the man, the moon for the woman.
Speaker 1: It's always seen as opposites in that point, not necessarily
Speaker 1: you know, right and wrong, but more of just a
Speaker 1: night and day kind of thing. So so I understand
Speaker 1: their point here just as far as the symbolism goes.
Speaker 2: So with that being said, I don't disagree with you.
Speaker 2: I see what you're saying, and I'm on the same
Speaker 2: page with you right now. I also, in my research
Speaker 2: have I'm more led to believe that the admittance of
Speaker 2: African American gentlemen into freemasonry under the auspices of Prince
Speaker 2: Henry Hall and the admission of women to the Order
Speaker 2: of the Eastern Star, this was more of a financial
Speaker 2: move and an attempt to change with the times while
Speaker 2: still holding true to the original ideals of the Four
Speaker 2: Letter Charter.
Speaker 3: And here's what I mean by that.
Speaker 2: When the civil rights got passed, Okay, now black men
Speaker 2: were completely equal in all way, shapes and forms to
Speaker 2: white men.
Speaker 3: There was nothing that they could say that they could
Speaker 3: hold over them.
Speaker 2: And free masonry at this time was also kind of
Speaker 2: going through a bit of a dip, and they have
Speaker 2: been for quite some time, and still to this day
Speaker 2: they are struggling to maintain membership in a lot of
Speaker 2: the lodges. There are some lodges that are doing well.
Speaker 2: More often than not you have lodges closing down than
Speaker 2: you have new lodges starting up.
Speaker 3: But anyway, when this happened, they realized.
Speaker 2: That hey, wait a minute, y'all, we could start a
Speaker 2: lodge specifically for them and keep the segregation intact. Okay,
Speaker 2: and we'll give them some of the ceremonial things and
Speaker 2: the rituals, but we're still gonna collect their dues from them, right.
Speaker 2: And so now we have a way to reach a
Speaker 2: wider audience, collect more dues, make more.
Speaker 3: Money, and we can make them feel like they're equal.
Speaker 2: But in reality, we're gonna keep our secrets for ourselves, right.
Speaker 2: And I know there's gonna be a lot of Masonic
Speaker 2: people that will listen to that and say that that
Speaker 2: is preposterous and incorrect and all the things. Listen, I'm
Speaker 2: not a Mason. I'm not speaking as if that's a fact.
Speaker 2: That is what I have been led to believe from
Speaker 2: my research. Same thing with the Order of the Eastern Star. Now, okay,
Speaker 2: all of these women are bitching that their husbands would
Speaker 2: rather be at the lodge drinking and hanging out with
Speaker 2: their boys rather than being hope with them with the kids.
Speaker 2: So they had to find a way to appease the women.
Speaker 2: But they don't just want to make a women's club.
Speaker 2: They want to make a women's club that collects dues
Speaker 2: to bring more money into the overall free masonry and
Speaker 2: all these things. So they come up with the Order
Speaker 2: of the Eastern Star and they give them some enlightenment.
Speaker 2: They give them some stories from different books and texts
Speaker 2: that makes them feel like they're super in the know.
Speaker 3: Reality they have will never get.
Speaker 2: The same level of information that a four letter charter
Speaker 2: would get.
Speaker 1: No, I get it. I'm just saying that, you know,
Speaker 1: it was freemasonry in general in general was created in
Speaker 1: a time where the traditions of the time where the
Speaker 1: men were it was, you know, it was kind of
Speaker 1: a the men ruled the world and you know, kind
Speaker 1: of looked at everybody else. Well, the white men ruled
Speaker 1: the world and kind of looked at everybody else as
Speaker 1: beneath them as far as the time of the tradition goes.
Speaker 1: What I'm saying is is that these people are probably
Speaker 1: a little bit more on the money if you really
Speaker 1: look at it just for its symbolism's sake, that you
Speaker 1: would want to include both sexes and maybe even all
Speaker 1: the different races. Why not, Because if it's supposed to
Speaker 1: be a dualistic kind of polarity kind of thing, then
Speaker 1: you would want that dualistic polarity kind of thing represented
Speaker 1: by not only the symbols and rituals, but also amongst
Speaker 1: your people.
Speaker 3: I would say, oh, agreed.
Speaker 2: And the Freemasonry of today is not the Freemasonry of
Speaker 2: the nineteen sixties. No, Like on some real levels, yeah,
Speaker 2: they might be reading morals and dogma the same book,
Speaker 2: but the way they operate and the way that they're
Speaker 2: they are begging people to come join them these days
Speaker 2: because their numbers are dwindling to solo. So absolutely they're
Speaker 2: accepting women as full members and they the whole Prince
Speaker 2: Henry Hall.
Speaker 3: There's a tradition. We're involved with that. But you have
Speaker 3: a lot.
Speaker 2: There was an old rule that basically you had black
Speaker 2: lodges and white lodges and you did not blend the two.
Speaker 3: You just did not.
Speaker 2: These days there is more blending happening nationwide and arguably
Speaker 2: worldwide than ever before. So yeah, it's it's a different
Speaker 2: world that we're currently living in.
Speaker 1: For it's also there's no money in enlightenment, you know
Speaker 1: what I mean, Like, there's no money in brotherhood anymore.
Speaker 1: And you think about it, dude, Like I went to
Speaker 1: the pool yesterday. So I live in an apartment complex.
Speaker 1: We have a like a community pool, that we go to.
Speaker 1: Me and my son, we go just about every day,
Speaker 1: and there were people there, Dude, Nobody said hi to anybody.
Speaker 1: Nobody said hey, how you doing or anything. Everybody just
Speaker 1: wants to kind of keep to themselves. So the idea
Speaker 1: of brotherhood or sisterhood or you know, just community amongst
Speaker 1: your peers, it's dwindling so much so that people don't
Speaker 1: even you know, say hi so much anymore.
Speaker 3: Dude.
Speaker 1: I can't tell you how many times I open a
Speaker 1: door for somebody, not expecting a thank you, but think
Speaker 1: you would be nice. Right I open a door, Dude,
Speaker 1: they don't even look back at me, like, don't even
Speaker 1: acknowledge that I just opened it. I'm like, what where
Speaker 1: did where did all this go?
Speaker 2: Like?
Speaker 1: How did they get here?
Speaker 2: They used to be a thing in the South, right
Speaker 2: like this, the Southern hospitality that used to really be
Speaker 2: a thing. Bro, it's only a thing in small pockets
Speaker 2: anywhere anymore. I mean, you're living in it right outside
Speaker 2: of a big city. It's gonna have big city vibes
Speaker 2: to it. Yeah, there's still parts of Texas where it's
Speaker 2: absolutely that small town vibe and people still have that
Speaker 2: Southern hospitality. But to your point, due, that's that's also
Speaker 2: a generational thing. I think we are one or two
Speaker 2: generations from that being absolutely a thing of the past.
Speaker 1: Yeah, I mean the way that people represent themselves online
Speaker 1: and in person are two totally entirely different people, you know.
Speaker 2: But anyway, so we talked a lot about what freemasonry
Speaker 2: is not.
Speaker 3: Now let's learn what freemasonry is.
Speaker 1: Freemasonry is an enlightened freedom in quotes. In the realm
Speaker 1: of music, this concept embodies the idea that each instrument,
Speaker 1: while capable of independent expression, chooses to harmonize and balance
Speaker 1: its contribution for the collective beauty of the composition. This
Speaker 1: voluntary discipline ensures that no single part overwhelms the others,
Speaker 1: creating a cohesive and pleasing musical experience. Similarly, in freemasonry,
Speaker 1: this principle reflects the fraternity's ethos, where individual members exercise
Speaker 1: exercise self restraint and align their actions with the broader
Speaker 1: goals of the lodge. By doing so, they foster a
Speaker 1: harmonious and cooperative environment. This enlightenment approach highlights the values
Speaker 1: of balancing personal freedom with collective responsibility, whether in the
Speaker 1: intricate interplay of the musical ensemble or the collaborative spirit
Speaker 1: of a sonic lodge. Freemasonry is and quotes the harmony
Speaker 1: of the stars in the heavens, the yearning for brotherhood,
Speaker 1: and the heart of man. Indeed, in music, this harmony
Speaker 1: represents the perfect alignment and interplay of diverse elements, creating
Speaker 1: a celestial symphony that transcends individual contributions. Each note and instrument,
Speaker 1: though distinct to comes together to form a unified, harmonious whole,
Speaker 1: much like the stars forming constellations in the night. In freemasonry,
Speaker 1: this concept reflects the fraternity's core mission of fostering brotherhood
Speaker 1: and unity among its members. The quote unquote yearning for
Speaker 1: brotherhood speaks to the deep intrinsic human desire for connection, solidarity,
Speaker 1: and solidarity and mutual support. Just as the stars are
Speaker 1: bound by the laws of the cosmos, Freemasons are guided
Speaker 1: by universal principles that promote peace, understanding, and a shared
Speaker 1: sense of purpose.
Speaker 3: Indeed, so there you go.
Speaker 2: Now, with that being said, we get to the secret
Speaker 2: laws of music, law, vibration, law of resonance, law of rhythm,
Speaker 2: law of harmony. These promatic Now when we're getting into
Speaker 2: the realm of what the Masons believe as far as
Speaker 2: working tools within their craft her meticism.
Speaker 1: Baby, let's go so the secret laws of music. As
Speaker 1: we have seen, mastering the power of sound can be
Speaker 1: one of the most potent working tools at the hands
Speaker 1: of the freemason to bring about transformation during ritual. Here
Speaker 1: are four laws that deserve contemplation for the serious brother
Speaker 1: and student of the mysteries. The law of vibration embodies
Speaker 1: the truth that everything in the universe moves and vibrates
Speaker 1: at one frequency or another, a fact which modern science endorses.
Speaker 1: Behind the magical work of the ritual lies the mystery
Speaker 1: of vibration. The freemason uses this law to govern uniformity
Speaker 1: in work, to dispel disorder, and to produce heightened awareness.
Speaker 1: Law vibration, then you have the law of resonance. It says,
Speaker 1: physics explains how sound affects matter. In detail, we know
Speaker 1: that everything has a resonant frequency at which it most
Speaker 1: naturally resonates. When we find that resonant frequency in play
Speaker 1: and play a sound that matches it, it actually feeds
Speaker 1: energy into the object. A stronger vibration causes a weaker
Speaker 1: vibration to vibrate at the same frequency. As the stronger vibration,
Speaker 1: the proper use of musical resonance by the music by
Speaker 1: the Freemason, produces a powerful group vibration that attunes to
Speaker 1: the brethren physically, emotionally, mentally, or spiritually.
Speaker 2: You hear these things right as we're reading these aloud,
Speaker 2: you can already hear how they are getting into the esoteric,
Speaker 2: into the occult, into the mystics, into all these things.
Speaker 1: Right, I mean, what is freemasonry without those things?
Speaker 2: Well, according to Alford Pike, without the Kabbalah, what is freemasonry?
Speaker 1: Same thing.
Speaker 2: Yeah, Although, as we were talking about vibrations and residents,
Speaker 2: before we get to the law of rhythm and harmony,
Speaker 2: if you would like to experience the healing powers of
Speaker 2: sound frequency technology, can go check out real Rife technologies.
Speaker 2: All right, our homeboyd Matt Rife, the great nephew of
Speaker 2: war Raymond Rife, the scientists and engineered that produced and
Speaker 2: first it discovered these healing frequencies. He has now found
Speaker 2: a way to produce them, right, to create these speakers,
Speaker 2: these coils that will send out resonant fibrations and frequencies
Speaker 2: to your body to heal you.
Speaker 3: He sends out this iPad with it.
Speaker 2: It's a Samsung rather and it's got like over four
Speaker 2: thousand different sequences and frequencies on it. Let's say you're
Speaker 2: having stomach pains, there is a frequency for that. You're
Speaker 2: having a migraine, there's a frequency for that. You got
Speaker 2: a joint that is killing you, muscle aches, you're trying
Speaker 2: to recover faster after a workout, whatever the case is,
Speaker 2: this has the solution within it. It sounds crazy, I
Speaker 2: know it does, but the science is sound and I
Speaker 2: personally know at least three people who can verify and
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Speaker 3: I understand that the calls are a little expensive.
Speaker 2: They are on the pricier side of things as far
Speaker 2: as your own day to day ritual goes, and maybe
Speaker 2: you don't want to spend that kind of money. There
Speaker 2: is a thirty day money back guarantee, so if you
Speaker 2: are not impressed with the results within thirty days, send
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Speaker 1: Foul, and it's cheaper than insurance, So I just want
Speaker 1: to throw that out there. Also, just as far as
Speaker 1: the rife machines go, is that each frequency is a
Speaker 1: resonant frequency that is attuned to a healthy organ or
Speaker 1: a healthy whatever that is going on in your body.
Speaker 1: So your you know, your liver, your lungs, your heart,
Speaker 1: your brain, your skin, whatever, all has some kind of natural,
Speaker 1: healthy resonant frequency. And that's the idea of the rife machine,
Speaker 1: is that it's sending out the frequencies in hopes, not
Speaker 1: in hopes, it's targeting those organs or whatever on your
Speaker 1: body that is ailing or out of natural resonance and
Speaker 1: trying to attune them back to their normal, healthy resonance.
Speaker 1: That's the idea of the rife machine in general, I think.
Speaker 2: And it's not gonna take a one time fix, right Like,
Speaker 2: you're not gonna Let's say that you're somebody who suffers
Speaker 2: from a high stomach acid or something like that. So
Speaker 2: you play the frequency for this, okay, cool. The first day,
Speaker 2: you may not feel the effects. It might take you
Speaker 2: using it every day for a week before you actually
Speaker 2: start to feel the effects. It takes a while for
Speaker 2: vibrations to actually start working. Onto your body on that level.
Speaker 2: But again, I personally know three people, not myself, like
Speaker 2: three people who are not interested in new age medicine
Speaker 2: and holistic approaches, and that that wu woo shit, as
Speaker 2: someone would say, who will swear by these devices.
Speaker 1: Yeah, it's not woo woo at all. It's like you
Speaker 1: can actually feel it, so it's not that crazy.
Speaker 3: You.
Speaker 1: If Jacob can say that, that should be like the
Speaker 1: check mark, Because Jacob I.
Speaker 3: Can say that. Dude, Me and my dad we shot
Speaker 3: a commercial together.
Speaker 2: He has physically felt the effects of this machine and
Speaker 2: he uses it twice.
Speaker 3: A day every day. Like religious, Oh, my parents too.
Speaker 1: I gave my rife machine to my parents and you know,
Speaker 1: they got back pain. They're a little bit older, you know,
Speaker 1: and they say, yeah, I mean it's it just works, wonders.
Speaker 1: It's crazy how it works in your mind. Your mind
Speaker 1: has a hard time wrapping itself around how it's working
Speaker 1: because you can't see it happening. But I also want
Speaker 1: to say too that you know you can't see in
Speaker 1: a leave happening, you know, but whenever you take it,
Speaker 1: it works, you know kind of things. Except for this
Speaker 1: is not sponsored sponsored by Bayar so that's good.
Speaker 2: No, it is not fuck Big Pharma, but we are
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Speaker 3: Again.
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Speaker 1: Yes, yes, good plug there sir. Another law that they
Speaker 1: get into is the law of rhythm. Music rises in crescendo,
Speaker 1: it fades, it moves quickly, then slows, it fades into
Speaker 1: de crescendo. Behind all of this is a steady and
Speaker 1: constant rhythm. Everything in the universe vibrates and moves at
Speaker 1: certain rhythms, like a heartbeat. These rhythms establish seasons, cycles,
Speaker 1: stages of development, and patterns. The Freemason uses this law
Speaker 1: to produce effective ritual work. As the nature of the
Speaker 1: rhythm is established. Through ritual music, the Brethren trains themselves
Speaker 1: to work together with with united thought, united action, and
Speaker 1: united ideals and objectives. Stay in rhythm, baby, absolutely see
Speaker 1: this is you know, And we've we've talked a lot
Speaker 1: about how you know, just over the over the years
Speaker 1: we've been doing this show for five years. We would
Speaker 1: not be looking at freemasonry like the way that we
Speaker 1: do in understanding the core principles and stuff like that.
Speaker 1: We were not looking at Freemason freemasonry the same way
Speaker 1: now as we did back then. Everybody likes to point
Speaker 1: the finger at the Freemasons or you know, maybe the
Speaker 1: Illuminati whatever and say that these are the guys that
Speaker 1: are practicing Satanic sacrifice. And maybe there are some that
Speaker 1: are right. Who's to say whether that it's not. But
Speaker 1: if they're based and founded upon these core principles, are
Speaker 1: you calling on the dark Lord with these principles? I
Speaker 1: don't think so.
Speaker 3: No.
Speaker 2: But and we've said that even years ago, we said this,
Speaker 2: ninety nine percent of Masons are decent people.
Speaker 5: You know.
Speaker 2: Maybe they got involved with it for the networking of it,
Speaker 2: maybe they got involved with it because they wanted to
Speaker 2: make new friends, they wanted to get, you know, a
Speaker 2: little more enlightenment. Whatever the case is, ninety nine percent
Speaker 2: of them are not doing anything involving the Dark Arts, right.
Speaker 2: It is the very very very tippy top and a
Speaker 2: few of the offshoots that are doing the bad shit
Speaker 2: that gives the entire group a bad name. However, they
Speaker 2: are still a secret society, and that in and of
Speaker 2: itself leads people to immediately have some suspicions surrounding them.
Speaker 1: Sure, sure, yeah, well I mean it. You know, it
Speaker 1: maintains with the idea of initiation. You know, you're not
Speaker 1: just gonna get Joe blow off the street to come
Speaker 1: in on a thirty third degree meeting, you know what
Speaker 1: I mean. So it's probably a little something like that.
Speaker 1: And also I think that there are and this is
Speaker 1: a heavily disagree to disagreed upon idea right here. But
Speaker 1: I just want to throw it out there because I
Speaker 1: believe that probably most Freemasons believe this. I'm not saying
Speaker 1: it's right or wrong. I'm just saying if we're talking
Speaker 1: about perspectives here, the idea of Lucifer being the devil
Speaker 1: and just the antithesis or whatever to God or to Jesus,
Speaker 1: I don't know if they look at him that way.
Speaker 1: They look at him for his original symbolism, which is
Speaker 1: the light bringer. And if you're talking about philosophy and
Speaker 1: wisdom and your love of wisdom and everything, you want
Speaker 1: to shed some light on the path that you're on,
Speaker 1: right like, just the symbolism behind Lucifer being the light Bringer.
Speaker 1: I don't know if they're they're you know, aligning off
Speaker 1: with Hell.
Speaker 2: That's more gnostic and a lot, and there's no real
Speaker 2: ties between the Gnostic literature and Masonic literature.
Speaker 3: There is a cabbalistic.
Speaker 2: Take on it, don't get me wrong, but I think
Speaker 2: it also depends Mason and Mason right. Like, if you
Speaker 2: have Freemasons that are also openly Christian, they probably do
Speaker 2: see Lucifer as like the bad guy obviously, And if
Speaker 2: you have some Freemasons that are not really involved with
Speaker 2: one religion or another, they're kind of open and it
Speaker 2: on that front, they may be more inclined to believe
Speaker 2: what you're saying.
Speaker 3: I think it varies personal person.
Speaker 1: The reason I say that is, and it's been talked
Speaker 1: about a lot, and I think we've probably even mentioned
Speaker 1: it before too, that Lucifer, Satan, and the devil are
Speaker 1: not the same person.
Speaker 3: Respectfully, I disagree with that.
Speaker 1: But if you look at it, you know Satan is
Speaker 1: supposed to be it just stands for adversary and Lucifer
Speaker 1: just stands for you know, light bearer or light bringer
Speaker 1: or whatever. So if you were to split them up,
Speaker 1: and even just in the occult nature of them, you're
Speaker 1: not going to be calling upon Satan for this kind
Speaker 1: of ritual. Whenever you're talking about the different laws of
Speaker 1: her meticism and the laws of universe. You know, you
Speaker 1: wouldn't be calling upon Satan. You might call upon Lucifer
Speaker 1: just to shed light. I don't know.
Speaker 2: I feel like that same thing would be like saying
Speaker 2: that Yeshiah, Messiah, and Redeemer are not the same thing, right,
Speaker 2: Like they're different entities, and it's like that it's not true, right,
Speaker 2: his name was Yeshiah, but he was the Messiah and
Speaker 2: he is there for the Redeemer. So like Satan means adversary,
Speaker 2: devil just means like the antithesis thereof, and the bad
Speaker 2: guy Lucifer means light bring We're talking about the same
Speaker 2: entity that's got different words associated to it, that has
Speaker 2: different weight to it. There's people that disagree that Jesus
Speaker 2: was the Messiah. There are people that agree that he
Speaker 2: was the Messia. You see what I'm saying.
Speaker 1: Also, the idea of Satan, if you look into it,
Speaker 1: that Satan is referred to as different individuals. So the
Speaker 1: idea that Satan was able to go up in heaven
Speaker 1: and have a conversation with God, it doesn't necessarily mean
Speaker 1: the individual name Satan. It just means an adversary went
Speaker 1: up into heaven. I believe that just from doing my
Speaker 1: own research.
Speaker 2: Joe, Right, yeah, I again, from what I mean, you
Speaker 2: have done our own research on this, and I respectfully
Speaker 2: disagree with that.
Speaker 3: That's all I mean.
Speaker 2: Yeah, Like whenever Jesus told Peter right after he said
Speaker 2: that this is the rock of which I will build
Speaker 2: my church, like two sentences later, says get behind me, Satan.
Speaker 3: He wasn't calling him the devil.
Speaker 2: He was saying, get behind me adversary or person who
Speaker 2: was going against what I'm trying to do here.
Speaker 3: Right, I'm with you on that.
Speaker 2: But then whenever they're talking about Job and the court,
Speaker 2: they are talking about the actual fall in one patrolling
Speaker 2: the earth. And that's why the whole conversation of Job
Speaker 2: took places. Like the only reason Job is even worshiping
Speaker 2: you is because you've blessed him.
Speaker 3: Take all that.
Speaker 2: Away, and I guarantee he'll fall and worship me instead.
Speaker 2: Like that was that was the whole thing. So it's
Speaker 2: it's understood that that was the one in question. It
Speaker 2: was the evil one, the adversary, the devil, Satan, Lucifer,
Speaker 2: that person. But to say a satan or a devil
Speaker 2: is yeah, that's that term itself could be used and
Speaker 2: applied in other places.
Speaker 1: I guess my point is is that you know, you
Speaker 1: can have one book but a million different interpretations.
Speaker 3: You know.
Speaker 1: It's like Roy says, it's like, you know, you get
Speaker 1: two Jews together, you're gonna get three different opinions. You know,
Speaker 1: that whole idea. So there are many different ways of
Speaker 1: looking at one piece of literature, you know, and everybody
Speaker 1: is up to their own interpretation, and hey, whatever if
Speaker 1: it if it works in ritual, or it works in ritual.
Speaker 1: That being said, I don't think that the majority of
Speaker 1: Freemasons are in some sort of a collective even worshiping
Speaker 1: the Dark Lord.
Speaker 3: Right. They may not are.
Speaker 2: If they are, they don't know that what the rituals
Speaker 2: they're doing are pertaining to that. A lot of them
Speaker 2: are doing it because that's just the tradition. That's just
Speaker 2: that's just how it's been done for hundreds of years.
Speaker 2: This is how you go through your initiation. I look,
Speaker 2: I may think it's weird, but that's the way they
Speaker 2: do it here. We're just we're doing it this way.
Speaker 3: Cool.
Speaker 2: Cool, It's only the one percent at the very tippy
Speaker 2: tippy top and some of the offshoots that are doing
Speaker 2: way more of the dark occult practices that are actually
Speaker 2: doing something in the realm of evil.
Speaker 1: Yeah, it's the one percent of the one percent of
Speaker 1: the one percent that are doing any of that evil shit.
Speaker 1: Most of the people in you know, in any in
Speaker 1: any secret society, I would say, are you know, just
Speaker 1: seeing as more of you know, enlightenment training with brotherhood
Speaker 1: right right that being said, we'll get to it. The
Speaker 1: law of harmony and harmonic relationships is not an arbitrary creation.
Speaker 1: It is a fundamental attribute of music based on certain
Speaker 1: proportional relationships among musical tones that the human ear accepts.
Speaker 1: Consonant music pleasant and agreeable in contrast to dissonant music,
Speaker 1: which causes tension, influences the emotion expression. Thus, the conscious
Speaker 1: choice of music in alignment with universal law can intentionally
Speaker 1: evoke the full range of human emotion, from relaxed, calm,
Speaker 1: happy and joyous to tense, sad or agitated. In closing,
Speaker 1: we can gain further inspiration from the wisdom of the past.
Speaker 1: In ancient times, music was the testimony of the human soul.
Speaker 1: It was an integral part of the life of the community.
Speaker 1: Laws of harmony were followed, and only music, not noise,
Speaker 1: was allowed into society. As each person added his tone
Speaker 1: to the building of a great his stone to the
Speaker 1: building of a great cathedral, everyone's quote unquote tone contributed
Speaker 1: to the evolving melody of the human world. With the
Speaker 1: rise of individuals individualism, many people began living for themselves alone,
Speaker 1: thus producing chaos in the world. It is a freemason's
Speaker 1: duty to bring order out of chaos. Ordo ab chao.
Speaker 1: The laws have been discussing that we have been discussing.
Speaker 1: Help us move forward into the light of the greater
Speaker 1: truth that our labors thus began, or begun in order
Speaker 1: may be conducted in harmony and closed in peace. May
Speaker 1: we ever avoid the autocracy of a stubborn melody and
Speaker 1: the anarchy of unchecked noise. Beautifully said, that was almost poetic.
Speaker 2: Like I said, this entire article was written by a
Speaker 2: thirty third degree Mason, And like they said, they talked
Speaker 2: about what freemasonry is, what it is not, the secret
Speaker 2: laws of music, and within that the principles of the
Speaker 2: law vibration, resonance, rhythm, and harmony, and these are things that, yeah,
Speaker 2: we probably could have just had this conversation and debated
Speaker 2: back and forth. But at least this is what the
Speaker 2: Freemasons accept as far as that goes, and they have
Speaker 2: accepted these principles for a very long time. And when
Speaker 2: we look at Wolfgang Amadeus Mozart, right, and we talk
Speaker 2: about how his musical things played in with free masonry,
Speaker 2: you start to understand that there was a lot more
Speaker 2: going on here than just a stage performance. Right now,
Speaker 2: we can go even further with that. We talked about Mozart.
Speaker 2: There's Duke Ellington, he was also a Freemason, h js
Speaker 2: Bach Right, Obviously.
Speaker 3: We've talked about him.
Speaker 2: This article that I'm kind of glancing over here is
Speaker 2: from The Square magazine dot com, the Square being a
Speaker 2: Masonic magazine. Here we go within the craft music has
Speaker 2: served and to be played in Masonic lodge's music composed
Speaker 2: for Masonic rights and occasions, and lodge songs performed to
Speaker 2: keyboard accompaniment before, after, and during meetings. But with all
Speaker 2: this being said, right, we're gonna just kind of gloss
Speaker 2: over this and kind of go further with this. There's
Speaker 2: a few people who really have been influential in the
Speaker 2: realm of music, even into our modern.
Speaker 3: Day and era. Have you ever heard of John Phillips Susa.
Speaker 1: Can't say that I have.
Speaker 2: John Phillips Susa is seen as the father of the
Speaker 2: modern day marching band. Okay, he was a marine and
Speaker 2: he was head of the commander, for lack of better words,
Speaker 2: of the Marine Corps band, which is still operating today.
Speaker 2: They're known as the President's own because they played for
Speaker 2: him so much. John Phillips Susa was, in fact a freemason.
Speaker 2: This is him right now. He is an iconic figure
Speaker 2: of American music, heralded for his stirring military marches, carved
Speaker 2: a niche for himself as the March King. Born in
Speaker 2: eighteen fifty four in Washington, DC, Susa's early life was
Speaker 2: steeped in music, influenced heavily by his father, a marine
Speaker 2: band traumbonist or trombone player.
Speaker 1: He almost looks like Teddy Brosevelt.
Speaker 2: He kinda kind of like it humb eighteen fifty four's
Speaker 2: this is pre Civil War Okay, goes back. So his
Speaker 2: undeniable talent blossomed as he mastered the violin under the
Speaker 2: guidance of George Felix Benkirk post a brief tumultuous.
Speaker 3: Stint with John esputa junior.
Speaker 2: The pivotal moment came when his father enlisted him in
Speaker 2: the United States Marine Band to deter his young son
Speaker 2: from joining a circus band, setting the stage for a
Speaker 2: remarkable career that would see Susa ascend to the directorship
Speaker 2: of the Marine Corps Band. During his tenure, Susa elevated
Speaker 2: the band's prestige, serving under five presidents. His creative genius
Speaker 2: bird the marches such as the Stars and Stripes Forever
Speaker 2: which you've heard that one before, Dun Dun du du
Speaker 2: du dun dun dun du and simper fidelis, the Marine
Speaker 2: Corps hymn anthems that resonate with American pride to this day.
Speaker 2: Susan's own band, formed post his time with the Marine Band,
Speaker 2: embarked on global tours, endearing him to audiences worldwide. Later,
Speaker 2: his patriotic fervor found expression in World War One service.
Speaker 2: Even as he composed prolifically, Susan's legacy, encapsulated in timeless
Speaker 2: marches and military service, continued to inspire, embodying the spirit
Speaker 2: of American patriotism and musical excellence. So the point that
Speaker 2: I wanted to bring up on this is that there
Speaker 2: is all there's multiple places where you can find musical
Speaker 2: excellence and genius that would say that they found it
Speaker 2: from a masonically inspired place. So then when we look
Speaker 2: back at the Magic Flute, right, this opera, now, like
Speaker 2: they said, was also seen conspiratorially. It was a middle
Speaker 2: finger to the Queen, It was a thumbs up to
Speaker 2: the king, and it was a statement that was being
Speaker 2: made to those that were initiated that would understand the
Speaker 2: message that was being played on stage for them. But
Speaker 2: it was also super entertaining and fantasy enough to where
Speaker 2: your average Joe blow off the street that happened to
Speaker 2: go to the theater that day would also leave it
Speaker 2: feeling like they just saw for an amazing performance.
Speaker 1: Right right, And it's almost the manifested feeling that you
Speaker 1: get whenever you're listening to that music. Could be the
Speaker 1: message that underlays all of free Masonic understanding. I would
Speaker 1: say it's very very true.
Speaker 2: So with that being said, we got one more video
Speaker 2: to play here where a master Mason will actually speak
Speaker 2: about the Magic flu itself and give a little more
Speaker 2: insight to it to solidify the theories and the perspectives
Speaker 2: that we have shared on this episode.
Speaker 3: Let's listen in this.
Speaker 5: Is inside the music. I'm Brian Lawrenson. The Magic Flute
Speaker 5: is not only an opera that tells the story of
Speaker 5: love and trials, there's also a deeper meaning. Mozart intended
Speaker 5: the work to be a dramatic representation of a person's
Speaker 5: initiation into Freemasonry, and to learn more about it, I
Speaker 5: went to the Masonic Center in Santa Monica spoke with
Speaker 5: former Grand Master of Masons in California, Stephen Don.
Speaker 7: This is known as Mozart's Masonic Opera, written in the
Speaker 7: last year of his life, and he did something that
Speaker 7: he knew his Masonic brothers would attend and that non
Speaker 7: Masons would come out of curiosity for what the Masons
Speaker 7: were about. And he thinly disguised a Masonic initiation ceremony
Speaker 7: in this opera. So as part of the Masonic initiation
Speaker 7: ceremony at the time, the cam goes through these four
Speaker 7: elemental tests earth, water, air fire to prove to the
Speaker 7: brethren that they have the right balance of these four
Speaker 7: and of course we see these in the second act
Speaker 7: of the opera. Tomno's going through the initiatic process and
Speaker 7: the first two are earth and air, and then he
Speaker 7: does fire and water subsequently.
Speaker 3: So this opera is called the Magic Flute.
Speaker 5: I imagine there's quite a bit to unpack there.
Speaker 7: Freemasonry is all about harmony. That's why geometry is the
Speaker 7: central symbol of freemasonry. Because geometry measures the harmony in
Speaker 7: the universe. There's a principle in theology, it's called hypostasis.
Speaker 7: We can never know the divine, we can only see
Speaker 7: the work of the divine. And because geometry measures the
Speaker 7: harmony in the universe, geometry therefore becomes the symbol of
Speaker 7: the creator of that harmony. That's the whole point of freemasonry.
Speaker 7: That's really the whole point of this opera, and the
Speaker 7: Magic Flute convey this sense of harmony. The flute is
Speaker 7: magical because the four elements are in balance. It's made
Speaker 7: from wood from the earth. It was made on a
Speaker 7: rainy night when there was water and also thunder and lightning,
Speaker 7: which is fire. But then most importantly, it takes someone
Speaker 7: to apply the breath, somebody who has the wisdom to
Speaker 7: play the music on the flute that will return harmony.
Speaker 1: Okay, so it actually it compares, you know, the way
Speaker 1: that he just kind of explained that with Taoism in
Speaker 1: a way as well, because the one of the main
Speaker 1: quotes in the the Doao says that the dow that
Speaker 1: can be told is not the true Dao, basically saying that,
Speaker 1: like words or explanations can't explain the very definition of
Speaker 1: the doo or you know, some might say the God
Speaker 1: or the source or whatever. Taoism is kind of just
Speaker 1: you know, another word for God.
Speaker 3: I think.
Speaker 2: I've looked into Taoism a good bit and it.
Speaker 3: It doesn't really show a creator.
Speaker 1: But no, no, it's not necessarily a creator. I'm just
Speaker 1: trying to put it in your lens.
Speaker 3: So like the universe essentially, you.
Speaker 1: Could look at it that way, just like whatever makes
Speaker 1: up the individual atoms of everything, you know, the everything
Speaker 1: that created that or whatever. But anyway, I just pulled
Speaker 1: it up and it says this phrase suggests that the
Speaker 1: true essence of the dow or the natural way of
Speaker 1: the universe cannot be fully captured or defined by words
Speaker 1: or explanations. It emphasizes the idea that personal experience and
Speaker 1: understanding of the doo are more soignificant than any verbal description.
Speaker 3: Okay, so fair.
Speaker 1: You know that people like to put God in a box. Basically,
Speaker 1: they're saying you can.
Speaker 2: So all this to say, Mozart wrote this composition with
Speaker 2: this intention, specifically to convey a very Masonic message, right, and.
Speaker 3: To the uninitiated.
Speaker 2: If me and you, let's say that The Magic Flute
Speaker 2: had a playing in Houston, and for whatever reason, I
Speaker 2: was in town and we decided let's go check it out,
Speaker 2: we would have never known that. We would have just
Speaker 2: seen the play and thought that it was kind of crazy.
Speaker 2: Mozart was kind of losing You're not not losing his mind,
Speaker 2: but he was.
Speaker 3: He had a very wild imagination.
Speaker 1: Yeah.
Speaker 2: Right, then those that were initiated would know what the
Speaker 2: deeper meaning really was. This is actually called the Masonic Opera.
Speaker 1: I love it. I did not know about that. That
Speaker 1: makes me love it even more.
Speaker 2: Actually, it's kind of crazy, Like I said, I just
Speaker 2: I kind of stumbled upon a book about this this
Speaker 2: morning when I was at Barnes and Noble had no idea.
Speaker 3: I was like, that's kind of an old story, isn't it.
Speaker 2: And then as I looked into him, I was like, well,
Speaker 2: I know what my topic is today.
Speaker 1: Let's go. Yes, yes, we find inspiration on a daily
Speaker 1: basis as for the topics that we will be conversing about.
Speaker 1: So yeah, that's what we try to do. Look, if
Speaker 1: you have an idea about a show that you would
Speaker 1: like to see us shoot on or see us talk about,
Speaker 1: then there are many of different ways that you can
Speaker 1: reach out to us. The best way would be to
Speaker 1: come over to Patreon, Instagram, TikTok, Twitter, all these other
Speaker 1: things are very hard. We can't keep up with them.
Speaker 1: It's just too many. It's a two man operation. We have,
Speaker 1: you know, affiliates that we work with as well that
Speaker 1: help us edit and help us promote, you know, shorts
Speaker 1: and stuff like that, but for the most part, we're
Speaker 1: the ones that are reading all the messages and we're
Speaker 1: the nobody else does it right. And so if you
Speaker 1: want to be able to do that, come over to Patreon.
Speaker 1: But we do have a couple of other ways that
Speaker 1: you can do that as well.
Speaker 5: We do.
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Speaker 1: And with that being sad, this was another beautiful episode
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