Definitive Historical Confirmation
Originally published in June 2016
INTRODUCTION and PURPOSE
The purpose of sharing this excerpt from one of many Hitler's
biographies is to
highlight the moment when Hitler became possessed by satan, a
possession which led to the bloodiest century of recorded history.
As you well know, disregarding the requests made through Fatima (1), the Roman Catholic
Church Administration triggered the mechanism which will automatically
lead the world to the End of These Times and the Glorious return of
If there was one individual who could be singled out as the one most
responsible for the misery triggered upon humanity through World War
II, that individual was, without question, Adolf
As it was illustrated in one of our documents, (2) Nazism was clearly
linked with the forces of darkness. It logically followed that Hitler
had to be possessed in
order to manipulate and lead the Germans the way he did. An
absolute nothing of a man could not do that unless he was fully
possessed by satan.
Through sheer providence, we came across information that gave us the when, the where and the how Hitler's
possession was triggered - thus historically confirming what we
The information comes through a friend from his youth, August
Kubizek, who, although being the only witness to the event, never
what had spiritually happened on that fateful night.
August Kubizek met Adolf Hitler in 1904 while they were both competing
for standing room at the opera. Their mutual passion for music created
a strong bond, and over the next four years they became close friends -
probably the only friend he ever had.
We will share with you the full text describing the 1906 events
associated with Hitler's possession as it appeared
in the English version of The Young
Hitler I Knew by August Kubizek - originally published in 1955.
Young Hitler I Knew
[underscoring by The M+G+R
Chapter 10 -- In That Hour It Began
It was the most
impressive hour I ever lived through with my friend. So unforgettable
is it, that even the most trivial things, the clothes
Adolf wore that evening, the weather, are still present in my mind as
though the experience were exempt from the passing of time.
Adolf stood outside my house in his black overcoat, his
dark hat pulled down over his face. It was a cold,
November evening. He waved to me impatiently. I was just
cleaning myself up from the workshop and getting ready to
go to the theater. Rienzi was
being given that night. (4)
We had never seen this Wagner opera
and looked forward to it with great excitement. In order to secure
the pillars in the Promenade we had to be early. Adolf whistled, to
hurry me up.
Now we were in the theatre,
burning with enthusiasm, and
living breathlessly through Rienzi's rise to be the Tribune
of the people of Rome and his subsequent downfall. When at
last it was over, it was past midnight. With my friend, his
hands thrust into his coat pockets, silent and
withdrawn, we strode through the streets and out of the city.
Usually, after an artistic
experience that had moved him, he
would start talking straight away, sharply criticizing the
performance, but after
Rienzi he remained quiet a long
while. This surprised me, and I asked him what he thought of it.
threw me a strange, almost hostile glance. "Shut up!" he
The cold, damp mist lay oppressively over the narrow streets. Our
solitary steps resounded on the pavement.
Adolf took the road that led up to the Freinberg. Without
speaking a word, he strode forward. He looked almost
sinister, and paler than ever. His turned-up coat collar
I wanted to ask him, "Where are you going?" But his pallid
face looked so forbidding that I suppressed the question. As
if propelled by an invisible force, Adolf climbed up to the
top of the Freinberg. And only now did I realize that we
were no longer in solitude and darkness, for the stars
shone brilliantly above us.
Adolf stood in front of me; and now he gripped both my
hands and held them tight. He
had never made such a gesture before. I
felt from the grasp of his hands how deeply moved he was. His eyes
were feverish with excitement. The words did not come smoothly
mouth as they usually did, but rather erupted, hoarse and
raucous. From his voice I could tell even more how much
this experience had shaken him.
Gradually his speech loosened, and the words flowed more
freely. Never before and
never again have Adolf Hitler speak as he did
that hour, as we stood there alone under the stars, as though
we were the only creatures in the world. I cannot repeat
every word that my friend uttered.
I was struck by
something strange, which I had never noticed before, even
when he had talked to me in moments of the greatest
excitement. It was as if
another being spoke out of his
body, and moved him as much as it did me. It wasn't at all
a case of a speaker being carried away by his own words. On
the contrary; I rather felt
as though he himself listened
with astonishment and emotion to what burst forth from him
with elementary force.
I will not attempt to
phenomenon, but it
was a state of complete ecstasy and rapture, in
which he transferred the character of Rienzi, without
even mentioning him as a model or example, with visionary
power to the plane of his own ambitions. But it was more than
a cheap adaptation.
Indeed, the impact of the opera was rather a
sheer external impulse which compelled him to speak. Like
flood waters breaking their dikes, his words burst forth from him.
He conjured up in grandiose,
inspiring pictures his own
future and that of his people. Hitherto I had been
convinced that my friend wanted to become an artist, a
painter, or perhaps an architect. Now this was no longer
the case. Now he aspired to
something higher, which I could not
yet fully grasp. It rather surprised me, as I thought that
the vocation of the artist was for him the
highest, most desirable goal. But now he was talking of a
mandate which, one day, he would receive from the people,
to lead them out of servitude to the heights of freedom.
It was an unknown youth who
spoke to me in that strange
hour. He spoke of a special mission which one day would be
entrusted to him, and I, his only listener, could hardly
what he meant. Many years had to pass before I realized the
significance of this enraptured hour for my friend.
His words were followed by silence. We into the town. The
clock struck three. We parted in front of my house. Adolf
shook hands with me, and I
was astonished to see that he did
not go in the direction of his home, but turned again
towards the mountains.
"Where are you going now?" I asked him, surprised. He
replied briefly, "I want to be alone."
In the following weeks and months he never again mentioned this
the Freinberg. At first it struck me as odd and I could find no
explanation for his strange behavior, for I could not
believe that he had forgotten it altogether. Indeed he
never did forget it, as I discovered thirty-three years later.
But he kept silent about it because he wanted to keep that
hour entirely to himself. That I could understand, and I
respected his silence. After all, it was his hour, not mine.
I had played only the modest role of a sympathetic friend.
In 1939, shortly before war broke out, when I, for
the first cited Bayreuth as the guest of the Reichs
Chancellor, I thought I would please my host by reminding
him of that nocturnal hour on the Freinberg, so I told Adolf
Hitler what I remembered of it, assuming that the enormous multitude
of impressions and events which had filled these past
decades would have pushed into the background the
experience of a seventeen year old youth. But after a few
words I sensed that he vividly recalled that hour and had
retained all its details in his memory. He was visibly pleased that
my account confirmed his own recollections. I was also
present when Adolf Hitler retold this sequel to the
performance of Rienzi in Linz to Frau Wagner, at
whose home we were both, guests. Thus my own memory
was doubly confirmed. The
words with which Hitler concluded his story
to Frau Wagner are also unforgettable for me. He said solemnly, "In
that hour it began".
Comments by The M+G+R Foundation
Hitler's demonic possession took place in 1906, almost 11 years before
the first apparition in Fatima, but 60 years after the Apocalyptic
Message of LaSalette was delivered.
If the requests of Heaven had been
fulfilled, Hitler would not have reached the position that he did
regardless of being possessed. God would have derailed Hitler's ascent
just as He caused Hitler to lose the war through two major mistakes
made by Hitler; mistakes that, in human terms, should have never happened:
(a) Not becoming aware that the Nazi
message encoding system had been cracked by the Allies; and
(b) Insisting that the V-2 flying bombs were to be launched from fixed
installations and not from mobile launchers.
As we always remind everyone who is willing to listen: God always has the last word!
on February 20, 2020
We have found another quotation that may serve the reader to further
confirm what is stated in this document - a quotation that we reproduce
Albert Speer claims to have remembered
an incident when Robert Ley advocated using a modern composition to
open the Party Rallies in Nuremberg, but Hitler rejected this idea:
"You know, Ley, it isn't by chance that I have the Party Rallies open
with the overture to Rienzi. It's not just a musical question. At the
age of twenty-four this man, an innkeeper's son, persuaded the Roman
people to drive out the corrupt Senate by reminding them of the
magnificent past of the Roman Empire. Listening to this blessed music as
a young man in the theater at Linz, I had the vision that I too must
someday succeed in uniting the German Empire and making it great once
It is known that Hitler possessed the original manuscript of the opera,
which he had requested and was given to him by the Wagner family in
1939 as a gift for his fiftieth birthday. The manuscript was with
Hitler in his bunker. (4)
(1) Requests from Heaven
through Fatima were
The Key Role
Occult Practices In Nazi Germany
the book "The Young Hitler I Knew"
by August Kubizek
(4) "Rienzi, the Last of the Tribunes"
is an opera by Richard Wagner
written in 1938-1840 and premiered in Dresden in 1842. Hitler saw it in
Linz in 1906. "The opera is set in Rome and is based on the life of
Cola di Rienzi
(1313–1354), a late medieval Italian populist figure who succeeds in
outwitting and then defeating the nobles and their followers and in
raising the power of the people. Magnanimous at first, he is forced by
events to crush the nobles' rebellion against the people's power, but
popular opinion changes and even the Church, which had urged him to
assert himself, turns against him. In the end the populace burns the
Capitol, in which Rienzi and a few adherents have made a last stand." Rienzi, Opera by Richard Wagner
En Español: La confirmación histórica de la
posesión demoníaca de Hitler
Published on June 28, 2016
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