The M+G+R Foundation

Hitler's Demonic Possession

Definitive Historical Confirmation

Originally published in June 2016


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 Jesus Christ.

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 Hitler.

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 knew otherwise.

The information comes through a friend from his youth, August Kubizek, who, although being the only witness to the event, never became aware of 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.

The Young Hitler I Knew (3)

by August Kubizek


[underscoring by The M+G+R Foundation]

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, unpleasant 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. He threw me a strange, almost hostile glance. "Shut up!" he said brusquely.

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 increased this impression.

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 from his 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 in 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 interpret this 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 understand 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 hour on 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".

Final 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!

Note added 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 below: (4)

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 more."

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 ignored.
(2) The Key Role Played by Occult Practices In Nazi Germany
(3) About 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

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En Español:  La confirmación histórica de la posesión demoníaca de Hitler

Published on June 28, 2016

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