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<v Speaker 1>You're listening to Freedom Talk Radio with your host Andy Pecher,

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<v Speaker 1>live from the UK. Email US Freedom Talk Radio twenty

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<v Speaker 1>thirteen at gmail dot com or visitors at freedom talk

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<v Speaker 1>Radio Online dot com.

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<v Speaker 2>There we go. Heany, good evening one. Welcome, It's Andy,

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<v Speaker 2>It's Tim. It's two peas in a Sunday podcast. Welcome again, Tim.

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<v Speaker 2>We've had some good weather to down the Ork news,

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<v Speaker 2>but it's gonna rain next week. Is snow again in May?

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<v Speaker 2>How about that?

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<v Speaker 3>Yeah, well you're pretty far up, You're close to the

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<v Speaker 3>North Pool, so got to expect these weather anomalies. Too bad.

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<v Speaker 2>Though, What did they do when the weather was birday?

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<v Speaker 2>What would they have done?

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<v Speaker 3>They would have gone to bed and pulled the quilts

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<v Speaker 3>on five deep.

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<v Speaker 2>Yeah. I think that's what people done when I was young.

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<v Speaker 2>You know, they didn't necessarily go to bed to sleep,

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<v Speaker 2>but they went to bed to keep warm, and they

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<v Speaker 2>put the TV on, or they put the old radio on,

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<v Speaker 2>you know, and just just chilled.

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<v Speaker 3>Yeah. Okay.

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<v Speaker 4>Uh So we're going to talk about Shakespeare today, So

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<v Speaker 4>our audience is probably a mix of.

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<v Speaker 3>UK people and North American. I don't know if anyone's

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<v Speaker 3>tuning in from the Philippines or anywhere else. But yeah,

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<v Speaker 3>we got a an audience that should be interested in,

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<v Speaker 3>you know, the truth about Shakespeare. To start off with, Yeah,

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<v Speaker 3>don't they say that.

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<v Speaker 2>What happened in history sometimes happen in the present and

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<v Speaker 2>the future sometimes.

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<v Speaker 3>Yeah, history does tend to repeat in cycles. So there

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<v Speaker 3>are similarities between our time and the Elizabethan era. There's

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<v Speaker 3>a lot of you know, secrecy, and there's a lot

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<v Speaker 3>of secrets coming out, just as there was then. I mean, yeah,

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<v Speaker 3>the queen and her court were very secretive, but at

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<v Speaker 3>the same time, a lot of the truth was leaking out,

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<v Speaker 3>and it would make the figures of the court, not

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<v Speaker 3>least the queen pretty nervous because if the truth came out,

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<v Speaker 3>the scandal could end careers and maybe even lead to

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<v Speaker 3>allegations of treason and which could then lead to execution. Okay,

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<v Speaker 3>So there's a scholar, Abouconian scholar named Edwin Derning Lawrence,

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<v Speaker 3>and he made a great contribution to the Baconian cause

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<v Speaker 3>to link Francis Bacon to the Shakespeare play. Now, most

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<v Speaker 3>Baconians jump on this kind of evidence and say, see,

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<v Speaker 3>we told you Shakespeare was Francis Bacon. Well not so quick. Yes,

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<v Speaker 3>he had a considerable influence on the place. But sole author. No, No,

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<v Speaker 3>I take strong exception to that. No, no, no, Bacon

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<v Speaker 3>didn't even fully write Bacon. There's evidence that's been found

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<v Speaker 3>that Thomas Hobbes, one of his secretary, shows that. The

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<v Speaker 3>study shows that one of Bacon's scholarly books shows the

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<v Speaker 3>style of Thomas Hobbes popping up in several passages from

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<v Speaker 3>the book. So did Bacon exclusively write that book? Doesn't

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<v Speaker 3>look like it? No? Did he claim sole ownership of

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<v Speaker 3>the Shakespeare plays. In fact, he did, and you're going

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<v Speaker 3>to learn about how he said it and what he said.

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<v Speaker 3>But his half brother, another tutor, Prince the seventeenth Earl

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<v Speaker 3>of Oxford. He wrote the quarto versions of the plays,

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<v Speaker 3>and Francis the half brother edited them for the sixteen

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<v Speaker 3>twenty three folio. Okay, so let me go on Andy.

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<v Speaker 3>In his case the heart of the discussion of Edwin

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<v Speaker 3>Derning Lawrence. The heart of the discussion focuses on the

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<v Speaker 3>play Loves Labor's Lost. Why particularly this play? Why did

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<v Speaker 3>Bacon choose this play? To insert the strongest clue in

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<v Speaker 3>the whole canon to the fact that he claims ownership

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<v Speaker 3>of the plays well, because if you're putting all of

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<v Speaker 3>your labor of love into the project and the credit

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<v Speaker 3>is going to a country bumpkin from Stratford named Will Shocksburg,

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<v Speaker 3>then it's love's labor's lost. So he inserts the strongest

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<v Speaker 3>clue of all in that work so that love's labor

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<v Speaker 3>can be regained and he can take credit for being

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<v Speaker 3>the editor of the exteen twenty three folio. And let

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<v Speaker 3>me tell you a little story here Andy. In Toronto,

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<v Speaker 3>the Ostler family still is strongly influential, especially in the

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<v Speaker 3>legal field. They're basically Canada's royal family. They're very high

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<v Speaker 3>up in the British peerage system. I'm not into this

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<v Speaker 3>snobbery aristocratic bloodline crap. I don't care, but I'm just

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<v Speaker 3>bringing it up because Peter Ostler, a very famous Canadian lawyer,

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<v Speaker 3>has a copy of the sixteen twenty three folio, and

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<v Speaker 3>my friend Peter viewed it and looked through it with

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<v Speaker 3>silk gloves, which Peter Ostler insisted he wear if he

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<v Speaker 3>was going to have a look at the book. So

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<v Speaker 3>he leafed through the book and he found all kinds

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<v Speaker 3>of markings and diagram not diagrams, but signatures in the

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<v Speaker 3>folio showing Bacon's hand. In the sixteen twenty three folio, okay, so,

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<v Speaker 3>the long word bear with me honorific cabilit to denatobus

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<v Speaker 3>is found in Love's Labor's Lost, near the beginning of

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<v Speaker 3>Act five, called Actus Cordus. In the sixteen twenty three folio,

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<v Speaker 3>the word honorithic honorithic cabilititi denatibus appeared on the twenty

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<v Speaker 3>seventh line of page one hundred and thirty six of

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<v Speaker 3>the sixteen twenty three folio edition. Okay, the word honorifica

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<v Speaker 3>belt tudenotymous is a Latin hexagram, which I'm going to

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<v Speaker 3>explain shortly. On lines fourteen to fifteen of page one

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<v Speaker 3>thirty six there appears the phrase Bomi boon for boone

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<v Speaker 3>p Prissian A little scratch twill serve. This line alludes

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<v Speaker 3>to a pedantic grammarian named Prissian, though the name is

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<v Speaker 3>spelled Pressian with an e pr e s cia and

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<v Speaker 3>in Love's labor Is Lost? Why refer to him at all?

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<v Speaker 3>Since his name has no significance to anything in the play,

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<v Speaker 3>nor has it anything to do with the dramatic action.

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<v Speaker 3>It rather refers solely and entirely to the phrase, which

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<v Speaker 3>is to be formed from the transposition of the twenty

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<v Speaker 3>seven letters contained in the long word honorithic, habilitu, denotomus.

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<v Speaker 3>The revealed sentence forms a correct Latin hexameter. It is

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<v Speaker 3>intended to prove without doubt that the Shakespeare plays or

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<v Speaker 3>the property of now Edwin Derning Laurence said, the property

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<v Speaker 3>of their author, the property of their editor and co author. Sorry,

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<v Speaker 3>Bacon cannot take sole credit for the Shakespeare works, No,

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<v Speaker 3>he can't. Edward de Vere, the seventeenth Earl of Oxford,

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<v Speaker 3>also is an author. They're the co authors of the

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<v Speaker 3>Shakespeare works. In fact, the Sonnet Poems appear to have

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<v Speaker 3>been given credit to the Earl of Oxford for that

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<v Speaker 3>part of the work. For example, in the dedication page

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<v Speaker 3>to the Sonnets, it says to our ever verr author

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<v Speaker 3>from an ever verr reader. Ever is a pun on

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<v Speaker 3>the word verr, as in Edward Vere and he died now.

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<v Speaker 3>The official date of the Earl of Oxford's death is

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<v Speaker 3>sixteen oh four, the year after the Queen died, who

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<v Speaker 3>died in sixteen oh three. Now it was claimed that

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<v Speaker 3>he died of the plague Lie Lie Lie lie lie.

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<v Speaker 3>Like most British history, it's a complete lie. So what happened?

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<v Speaker 3>King James staged his death so that he could send

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<v Speaker 3>the Earl of Oxford into exile on the penal island

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<v Speaker 3>of Mersey, which is just off the coast of Essex County.

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<v Speaker 3>And to add insult to injury, from the island where

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<v Speaker 3>many people claim there is Shakespeare's cottage, he could see

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<v Speaker 3>his childhood home with inhaling distance of the island, Castle Headingham,

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<v Speaker 3>which is featured in the play Hamlet as the childhood

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<v Speaker 3>home of Prince Hamlet Elsin or Castle. I believe it's

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<v Speaker 3>called all right, all right. So the Latin hexagram that

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<v Speaker 3>I was talking about is intended to prove without doubt

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<v Speaker 3>that the Shakespeare plays are the property of their editor

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<v Speaker 3>and co author, Francis Bacon, who conceived the entire schema

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<v Speaker 3>of the plays, and with the probable assistance of his

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<v Speaker 3>half brother and fellow poet Edward shall I call him

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<v Speaker 3>Tutor or Edward de vere He's a changeling child of

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<v Speaker 3>Queen Elizabeth the First, as was Francis Bacon. They both

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<v Speaker 3>were given to aristocratic families to be reared and raised

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<v Speaker 3>as a ward of the court. Why well, the Queen

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<v Speaker 3>had build herself as the Virgin Queen and wanted to

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<v Speaker 3>keep herself open for marriage for strategic political purposes. In

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<v Speaker 3>case some prince from the continent or some high ranking

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<v Speaker 3>official from the continent wished to marry her. If she

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<v Speaker 3>was seen as an eligible bride, there could be some

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<v Speaker 3>diplomatic leverage to be gained from that. She did marry

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<v Speaker 3>the Earl of Leicester, but secretly in the country, and

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<v Speaker 3>yes it was a church wedding. So beneath the Elizabethan cannon,

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<v Speaker 3>most particularly the shakespeare plays, Francis Bacon, who was in

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<v Speaker 3>charge of editing most of the Shakespeare but most of

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<v Speaker 3>the Elizabethan Canon, including the works of Ben Johnson, inserted

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<v Speaker 3>a biliteral cipher code. And so what is a biliteral

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<v Speaker 3>cipher code. Well, you can read the word as being

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<v Speaker 3>part of the central text, or you could read the

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<v Speaker 3>words as being embedded beneath as a concealed work, because

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<v Speaker 3>the letters were based on a cipher code, a binary

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<v Speaker 3>cipher code that had to do with the ital italicization

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<v Speaker 3>of the letters like letter L for example, which could

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<v Speaker 3>be itals is to slant this way to the left

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<v Speaker 3>or slant this way to the right, and those subtle

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<v Speaker 3>difference in the typography would allow for an embedded work

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<v Speaker 3>to be concealed beneath the surface work, so you can

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<v Speaker 3>read a running narrative embedded beneath the work, where, for example,

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<v Speaker 3>Francis Bacon wrote his own concealed biography beneath the Shakespeare cannon.

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<v Speaker 3>And in the embedded biography he did say, I am

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<v Speaker 3>a legitimate son of the Queen, not an illegitimate son,

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<v Speaker 3>because she was married in a Christian wedding to my father,

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<v Speaker 3>the Earl of Leicester, before I was born. There you

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<v Speaker 3>go right from the horse's month mouth. Now why did

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<v Speaker 3>Francis Bacon take sole ownership of the place. Well, for

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<v Speaker 3>a start, the Earl of Oxford died in sixteen oh nine,

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<v Speaker 3>And on the Sonnet dedication to the Sonnet Poems Shakespeare's Sonnets,

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<v Speaker 3>it indicates that it was published in sixteen oh nine,

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<v Speaker 3>and it indicates on the dedication page that he's already

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<v Speaker 3>dead right to an ever living author for an ever

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<v Speaker 3>living reader, or something like this, right, and it's ever

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<v Speaker 3>The word ether is a pun on his name, Edward Verer. Okay,

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<v Speaker 3>so you're following this, Andy it's a bit complicated.

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<v Speaker 2>A little bit complicated, but you know it's it's also

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<v Speaker 2>in you know, you're doing it in a in a

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<v Speaker 2>way that people can understand, because you know, you're just

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<v Speaker 2>running over about the joint authorships, how they related to

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<v Speaker 2>each other. You're kind of doing it in a nutshell

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<v Speaker 2>this time, rather than dragging it. Who three or four?

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<v Speaker 2>How was it's them? Tutorials I don't understand, but this

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<v Speaker 2>one is easier.

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<v Speaker 3>Okay, good, okay. So the Latin hexagram that we were

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<v Speaker 3>talking about comes from the long word honorithic cabilitude in nottibus.

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<v Speaker 3>It is intended to prove without doubt that the Shakespeare's

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<v Speaker 3>are the property of their editor and co author, Francis Bacon.

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<v Speaker 3>You conceived the entire schema of the plays, and with

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<v Speaker 3>the assistance of his half brother and fellow poet, Edward

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<v Speaker 3>de vere the seventeenth Earl of Oxford, also known as Shakespeare,

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<v Speaker 3>they both are. The Earl of Oxford has put his

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<v Speaker 3>claim to the plays as well, because he put a

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<v Speaker 3>initial e the on many of the sonnet poems. Okay,

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<v Speaker 3>so there is little doubt that this particular play, Loves

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<v Speaker 3>Labor's Lost, is actually Francis Bacon's work. I don't believe

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<v Speaker 3>the quarto version of this play was written by Edward

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<v Speaker 3>de Vere, although I would say most of the quarto

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<v Speaker 3>versions of the Shakespeare plays were his original conception and

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<v Speaker 3>his original work. But this one has Bacon written all

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<v Speaker 3>over it. It's very esoteric, it's very scholarly as a

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<v Speaker 3>play goes. It doesn't hold any entertainment value as far

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<v Speaker 3>as I'm concerned. But Edward de Vere is just amazing

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<v Speaker 3>with entertainment value, just amazing. I mean, come on, Hamlet.

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<v Speaker 3>Who couldn't be entertained by this great play? And he

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<v Speaker 3>wrote the quarto version, no question about it, and Francis

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<v Speaker 3>edited it, and in the editing process he expanded the

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<v Speaker 3>size of Hamlet by double the size for the sixteen

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<v Speaker 3>twenty threefolio. All right. When Bacon inserted the long word

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<v Speaker 3>honorithic kippa, I hate this word honarithic cability denatobus, which

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<v Speaker 3>is composed of twenty seven letters, he placed it on

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<v Speaker 3>the twenty seventh line of page one hundred and thirty

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<v Speaker 3>six of the sixteen twenty three where it appears as

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<v Speaker 3>the one hundred and fifty first word printed in ordinary type.

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<v Speaker 3>So the Latin hexerogramma reads he Ludi F. Bacon nati

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<v Speaker 3>tuiti orbi. Translated into English, it means these plays f.

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<v Speaker 3>Bacon's offspring are preserved for the world. So did Bacon

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<v Speaker 3>really mean that he was the sole author? H I

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<v Speaker 3>don't think he was taking sole credit. But he's saying

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<v Speaker 3>they are his offspring, preserved for all posterity by him. Well,

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<v Speaker 3>they're indisputably the offspring of he and his brother, and Bacon,

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<v Speaker 3>being the editor, is also the co author because he

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<v Speaker 3>added significantly to the original quarto version with his edited version,

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<v Speaker 3>where a lot of passages were inserted and added to

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<v Speaker 3>what the Earl of Oxford had already penn So, like

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<v Speaker 3>I said, Hamlet doubled in size by the time Francis

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<v Speaker 3>was done with it. Now, think about the significance of

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<v Speaker 3>the twenty seventh law nine of page one hundred and

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<v Speaker 3>thirty six of the sixteen to twenty three folio, and

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<v Speaker 3>the one hundred and fifty first word on that page.

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<v Speaker 3>When you do the numerology, it equals the numerological value

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<v Speaker 3>of the letters in the Latin hexagram, which, translated into English,

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<v Speaker 3>is these plays F. Bacon's ospring are preserved for the world. Okay,

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<v Speaker 3>so it's a mathematical proof, God damn it, a mathematical

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<v Speaker 3>proof that Francis Bacon takes credit for the Shakespeare plays.

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<v Speaker 3>Will Shacksburg go fuck yourself, you fucking liar, you cheat,

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<v Speaker 3>you charlatan, go back to Stratford to shoot the fuck up.

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<v Speaker 3>I am sick of this bullshit Eddie, and yeah, I'm

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<v Speaker 3>being a little coarse and vulgar to basically stay up.

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<v Speaker 3>You to the aux forty or sorry, the auch Oxford

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<v Speaker 3>her Oxbridge snobs that have been touting that wilsh Oksbur

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<v Speaker 3>is the author for four hundred years. It's tiresome and

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<v Speaker 3>they're arrogance and the condescending way in which they talk

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<v Speaker 3>to colonials like me is a little bit off pudding,

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<v Speaker 3>So I say fuck them anyway. Bacon deliberately arranged the

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<v Speaker 3>plays in the ox of the plays in the sixteen

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<v Speaker 3>twenty three Shakespeare Folio with an express purpose. The purpose

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<v Speaker 3>he executed was to have the long word honorifici honorific

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<v Speaker 3>cabilitudnotobis on page one hundred and thirty six as one

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<v Speaker 3>hundred and fifty first word falling on the twenty seventh line,

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<v Speaker 3>so that the interpretation and should indicate the numbers one

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<v Speaker 3>hundred and thirty six and one hundred and fifty one,

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<v Speaker 3>the aim being to create a mathematical proof that the

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<v Speaker 3>word and the message was placed there by design so

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<v Speaker 3>its meaning could not be discounted or explained away by

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<v Speaker 3>appeal to odd coincidences. The Latin exagram and its meaning

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<v Speaker 3>must have been constructed before Love's Labor's Loss first appeared

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<v Speaker 3>okay in fifteen ninety eight. Thus, when the plays were

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<v Speaker 3>printed for the sixteen twenty three folio, the scenes and

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<v Speaker 3>acts of the preceding plays and the printing of the

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<v Speaker 3>columns had to be arranged with extraordinary care in order

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<v Speaker 3>to ensure that the revealing page in question should commence

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<v Speaker 3>with the first word of the revealing page in the

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<v Speaker 3>area reginal Quardo of fifty ninety eight, so that this

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<v Speaker 3>page should form the one hundred and thirty sixth page

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<v Speaker 3>of the Shakespeare Folio of sixteen twenty three, in order

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<v Speaker 3>that the long word honorific, cabilitude and natobus should appear

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<v Speaker 3>on page one hundred and thirty six as the one

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<v Speaker 3>hundred and fifty first word of the twenty seventh line

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<v Speaker 3>proof positive mathematical proof positive that Francis Bacon had editorial

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<v Speaker 3>oversight and complete editorial control over the sixteen twenty three folio.

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<v Speaker 3>That clear eddy, that's.

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<v Speaker 2>Shook with about the last thing.

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<v Speaker 3>Okay, so hotorific cabilitude anatobus should appear with numerological significance,

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<v Speaker 3>of course. And so what do you find when you

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<v Speaker 3>add up the numerological value of all the letters in

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<v Speaker 3>the long word? It equals two hundred and eighty seven.

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<v Speaker 3>All right, So there is numerological significance to all of this.

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<v Speaker 3>For instance, Bacon's own name is derived of B, which

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<v Speaker 3>holds the value of two A all the value of

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<v Speaker 3>one C numerological value, three oh numerological value, fourteen n

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<v Speaker 3>numerological value thirteen. When we add all these numbers together,

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<v Speaker 3>we arrive at thirty three. Thirty three is the highest

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<v Speaker 3>degree in freemasonry. Was Bacon a thirty third degree Freemason?

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<v Speaker 3>I'm almost assuredly he was. And he was also the

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<v Speaker 3>founder of well the grand master of the Rosicrucian Society.

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<v Speaker 3>When we apply the numerological value of the letters forming

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<v Speaker 3>the long word, the total comes to two hundred and

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<v Speaker 3>eighty seven, all right. On page one hundred thirty six

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<v Speaker 3>of the sixteen twenty three folio numbers are placed pointing

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<v Speaker 3>to the fact that the long word honorific sorry honorific

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<v Speaker 3>ability to anonymous is on the twenty seventh line, which

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<v Speaker 3>was deliberately placed, of course, because there are twenty seven

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<v Speaker 3>letters in the word itself. There is another set of

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<v Speaker 3>numbers on the other side of the page which reveals that,

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<v Speaker 3>counting from the first word, the long word is the

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<v Speaker 3>one hundred and fifty first word on the page. How

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<v Speaker 3>is it possible that the revealing sentence hi Ludi f

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<v Speaker 3>bacon Nati tuti Orbi tells us that the page is

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<v Speaker 3>one hundred and thirty six and the long word is

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<v Speaker 3>the one hundred and fifty first word appearing on that page.

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<v Speaker 3>This can be explained simply. The numerological value of the

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00:30:47.079 --> 00:30:51.079
<v Speaker 3>initial letters and of the terminal letters of the revealed

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00:30:51.160 --> 00:30:53.880
<v Speaker 3>sentence arrive at the sum of one hundred and thirty

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00:30:54.000 --> 00:30:58.519
<v Speaker 3>six when added together, which is the actual page number.

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<v Speaker 3>At the same time, I'M the numerological value of all

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<v Speaker 3>the other letters arrive at the summer one hundred and

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<v Speaker 3>fifty one, which is the position of the long word

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00:31:11.359 --> 00:31:15.759
<v Speaker 3>on that page, where it appears as the one hundred

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<v Speaker 3>and fifty first word on page one, one hundred and

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<v Speaker 3>thirty six. So here's a lot in axagram, Andy, I

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<v Speaker 3>don't know. You can't see it. I wish you could.

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<v Speaker 2>If you had a digital copy, I could put it

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<v Speaker 2>with a show.

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<v Speaker 3>Okay, I'll send I think you have a copy. I

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<v Speaker 3>think I sent you and Donna copy earlier today. So

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<v Speaker 3>the initial letters of who Ludy F baconis nine T

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<v Speaker 3>two E T ORB. The initial letters are h, L, F, B,

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<v Speaker 3>and t O. The numerological value view of these initial

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<v Speaker 3>letters forms the anagram. Forming the anagram is for H

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<v Speaker 3>eight L eleven, F six, B two and thirteen T

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<v Speaker 3>nineteen oh fourteen, and so all of those add up

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<v Speaker 3>to seventy three. The terminal letters are as follows II SI.

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<v Speaker 3>The numerological value of the terminal letters is I nine

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<v Speaker 3>I nine S eighteen I nine I nine I nine

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<v Speaker 3>for total of sixty three. When we add the two

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<v Speaker 3>sums seventy three and sixty three, it equals one hundred

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<v Speaker 3>and thirty six. Okay. The intermediate letters are as follows U,

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00:33:30.480 --> 00:33:41.839
<v Speaker 3>D A, cony, at, U, I, T R B. Let's

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<v Speaker 3>place them in order for order's sake, U D A

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<v Speaker 3>C O, N I A, T, U, I, T R B.

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<v Speaker 3>You holds the value of twenty d numerological value four

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<v Speaker 3>A one C three oh, fourteen and thirteen I nine

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<v Speaker 3>A one T nineteen U twenty I nine T nineteen

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<v Speaker 3>R seventeen B two total value one hundred and fifty one.

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<v Speaker 3>Didn't I say that long word honor if it could

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<v Speaker 3>total batanus appeared as one hundred and fifty first word

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<v Speaker 3>on that page.

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<v Speaker 2>Anny, m hm, very interesting. I like the way the

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<v Speaker 2>numbers had up as well.

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<v Speaker 3>Yeah. Thus, in the revealed sentence is some of the

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<v Speaker 3>numerological values of the initial letters went added to the

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<v Speaker 3>sum of the numerological value of the terminal letters, arrives

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<v Speaker 3>at the sum total of one hundred and thirty six,

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<v Speaker 3>the page number the exact page number on which the

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<v Speaker 3>revealed Latin hexagram is located. Hi, ludi f bacon nati,

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<v Speaker 3>tuti orbi. Meanwhile, the sum of the intermediate letters in

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<v Speaker 3>the revealed sentence amounts to one hundred and fifty one,

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<v Speaker 3>which gives the word count position of the long word

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<v Speaker 3>honorific bilit to donatobus on page one hundred and thirty

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<v Speaker 3>six as the one hundred and fifty first word. These

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<v Speaker 3>two sums one hundred and thirty six and one hundred

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00:35:36.280 --> 00:35:40.159
<v Speaker 3>and fifty one went out together arrive at the sum

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<v Speaker 3>total of two hundred and eighty seven, which is the

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<v Speaker 3>sum of the numerological value of all the letters in

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<v Speaker 3>the long word honorific cupbilitou donatabus, which comes to a

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<v Speaker 3>total of two hundred and eighty seven. In addition, there

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<v Speaker 3>is a joke on page one hundred and thirty six

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00:36:08.280 --> 00:36:13.119
<v Speaker 3>of the Shakespeare Folio that reveals the truth in a

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<v Speaker 3>more definitive form online thirty three, which has the numeral

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<v Speaker 3>numerical value of Bacon's name the words what is ab

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<v Speaker 3>spelled backward with the horn on his head? And the

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<v Speaker 3>answer to the riddle Bacon, And so the numerological value

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<v Speaker 3>of Bacon's name when you add it up, equals thirty three.

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<v Speaker 2>Yeah, but one minute to go to him?

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<v Speaker 3>Oh really, Okay, you've got a final word there, my

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<v Speaker 3>good man.

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<v Speaker 2>Yes, we should make it a criminal offense for historians,

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<v Speaker 2>whether the Oxford or Cambridge, whether they're Stratford or Scotland,

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<v Speaker 2>to change history. You know, why can't we just have

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<v Speaker 2>history as it really is? Or was. You know, it's

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<v Speaker 2>not right, is it. I mean, it's basically what it

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<v Speaker 2>is in my eyes, is somebody's made up a lie.

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<v Speaker 2>People have believed it for a long time. Somebody comes

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<v Speaker 2>along and uncovers the lie, and then people still believe

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<v Speaker 2>the lie. It doesn't make no sense to me in

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<v Speaker 2>any situation, not just in Shakespeare authorships.

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<v Speaker 3>I know it's incredible, but you know, part of the

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<v Speaker 3>blame must be laid at the feet of Francis Bacon

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<v Speaker 3>because he was the head of her mad.

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<v Speaker 1>You're listening to Freedom Talk Radio with your host, Andy Pecher,

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<v Speaker 1>live from the UK. Email us Freedom Talk Radio twenty

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<v Speaker 1>thirteen at gmail dot com, or visit us at freedom

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<v Speaker 1>talk Radio online dot com.