9/11, The Musical

A Poisoned ‘Breakfast In America’

The cover of Supertramp’s 1979 blockbuster album Breakfast In America is basically a parody of the exact view outside a passenger window on American Airlines Flight 11, about a minute before it slammed into WTC 1. Also, dig what’s above the WTC on the inverted album cover.

“There are times when all the world's asleep / The questions run too deep / For such a simple man…” — Supertramp, “The Logical Song”

“They say Supertramp is the rock and roll of the future, which I find a depressing thought. I'll wait until their material — modest background schlock — is covered by artists of emotional substance. Tavares, say, or the Doobie Brothers. Maybe if we close our eyes they'll go away.” — Robert Christgau 

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I liked the British prog rock band Supertramp when I was in high school, but, as the saying goes, “when I became a man, I put away childish things.” 

Before we get to Supertramp High Weirdness, though, let me please digress and pretend to entertain two of Hollywood’s most successfully re-sculpted vessels Rob Lowe and Demi Moore, while we talk About Last Night (apologies to David Mamet, though from what I hear it should be Arclight Films and Barry Levinson who’re apologizing).

Anyway — AND IF YOU WANT TO SKIP THIS PART AND GET TO THE GOOD SUPERNATURAL CONSPIRACY STUFF, SCROLL DOWN AND I’LL TELL YOU WHERE TO PICK IT UP — if you were anticipating Tuesday night would put the final nails in Veep Kneepads’ campaign coffin, today would probably be a good day to stay off the internet. Though if you’re reading this, I guess that’s a moot ask. 

I shut off the debate pretty early. President Orange was off his game, the Disney-owned ABC media bias was so hateful and strong it was mentally debilitating (as designed, I’m sure). Veep Kneepads’ easily recited answers made it clear she got all the questions ahead of time so her Hollywood handlers could craft responses for her to memorize — as a presumed MK Ultra Beta Kitten, or whatever the Nazis are calling it nowadays, she’s very good at memorizing and reciting — and I recognized pretty fast that with the one-sided Rat Kingdom fact checkers oozing animosity at her opponent while ignoring her litany of lies, the tier-two Lady Babylon would do well enough for the controlled corrupt collectivist corporate criminal clown media to spin that she “won.” Mission Accomplished! 

The whole thing was a bullshit theatrical American Apocalypse Sign O’ The Times harbinger of any free man’s Sisyphus-ian struggle against the Death Cult. I mean, unholy fuck they’re everywhere — right down to good ol’ Naomi Wolf pulling her latest Revelation of the Method card to tell us she’s a witch, mere hours beforehand, which, on top of her prior self-acknowledged but unspecified secret society affiliation (my guess: Scroll & Key), makes the former Clinton White House advisor’s recent alt-media team up with imprisoned (did you forget? You’re supposed to!) Steve Bannon’s attractive acolyte and career-adjusted former professional actress Emerald Robinson all the more eyebrow raising for Ms. Robinson, coo coo ca-choo — and, let’s face it, the Death Cult always wins in the end in this material world: Everybody ultimately dies in the flesh, and the flesh — its sensations, its pleasures, its tortures, its consumption — is what these people specialize in. We’re not living in a good era for The Spirit. At least not yet. 

I’d call these two of the more cogent memes that came out of last night.

Either way, I’m going to presume “The Marriage of the Beast” was quite the bloody orgiastic success over this past weekend, despite my attempts to head it off at the pass. Ah well, O Hell; win some, lose some. I never expected to get off this rock like I’m the 1972 Miami Dolphins. 

So points on the board for the witchcrafting crew and a nod and a wink to their many malevolent minions in corporate media, plus (+?) roughly half as many in “indie” media, where the controlled operatives are popping up as election season (d)evolves like mushrooms in cow field after a heavy rain.

In hindsight, I realize that it was incredibly stupid and anti-“disclosure” for President Orange’s campaign to agree to a debate on September 10th. He either got fooled or tooled, or both, and it’s a good reminder of how over-matched the team around him is, just like last time. Unless, of course, it’s a feature, not a bug, and signifier of how “We’re all in this together!” Which/Witch of course they might be. Trust No One! (Not even me). 

Because, consider now, how the 9/11 anniversary of the most damaging attack on the United States of America — most destructive until the Covid/Vaxx attack at least, another “inside job” — will get very little reminder or play today as the controlled corrupt collectivist corporate criminal clown media, and all indie-media for that matter, will eagerly focus on Veep Kneepads’ big win last night, along with TayTay’s predictable but well-timed endorsement of her fellow wicked witch, and all the “Trump is [too old/too mean/too undisciplined/too threatened by a Strong Woman/a sign of the past/whatever]” stories that you know are being conjured and typed and verbalized in and from fake newsrooms for a week’s worth of relentless Narrative assaults coast-to-coast across our ever-more clearly conquered cat’s paw nation.

That’s enough About Last Night, other than to conclude we’re going pedal-to-the-metal on this hell-bound horror show, crank up the Apocalypse, America’s Amerika now, the pod people have taken over, sinister science, the devil knows what, and there are no brakes while we’re breaking, we’re going to see “horrors beyond our imagination” and I guess I’m here for it whether I want to be or not.

— OK, ALL THE PEOPLE WHO SCROLLED DOWN. HERE’S WHERE I GET BACK ON TRACK. —

Let us now halfway pivot on this terrible day to the British prog rock band Supertramp, another in-hindsight sick joke and never-stops-giving predictive programming blast from the past.

Supertramp! Yes yes, Supertramp, yes, namedropped on 9/11 just as it appears the satanic ruling class are indeed gearing up to put the Great Whore of Babylon in the White House. Who or what is the Great Whore of Babylon if not, to use the jargon of the band’s 1970s heyday, a “Super Tramp”? Great = Super, Whore = Tramp.

One of the cooler, comic-book-y depictions I came across of the Great Whore of Babylon. Then again, I didn’t look very much.

Let me state straight outta the gate, nearly none of this research is my own, all of it is culled from stuff I’ve read or heard over decades. Hell, there was a visiting researcher and lecturer telling us Theology students at that creepy college I attended in West Virginia 40+ years ago that Supertramp was satanic and served “the Great Whore of Babylon,” all the way back-back-back when I was a dubious-about-the-demonic DJ at WVWC-FM in Nowheresville, WV, and Supertramp released their last (and least) album with the band’s best-known lineup, Famous Last Words.

So many different sources, many of them anonymous or pseudonymous, have already followed this Supertramp flight path that I can’t cite anybody specifically. But I don’t want to take specific credit for any of it. I’m just recycling stuff to ever-more persuade you Things Are Not As They Seem and you best Get Right With Jesus before the biggest genocide in the history of mankind really cranks up the satanic globalists’ mass murder thing to “11.”

Moreover, I’m not saying the guys in Supertramp, or any one guy specifically in Supertramp, or any artist affiliated or hired by Supertramp, had specific knowledge of what they were creating when they created it. That said, I am of the belief that the guys in Supertramp — not just one guy — and at least one specific artist hired by Supertramp were messing with esoteric forces and magick and ended up channelling something that they maybe had no idea they were channeling (tho maybe they did!). Again, Just My Opinion. 

Supertramp, 1979. “The Logical Song” is the single referenced in the pop chart history, bottom right. It’s the band’s most successful commercial song.

Some back story history on Supertramp. The band’s two primary songwriters and singers — British blue-blood and private boarding school product (i.e., probable young male rape victim) Roger Hodgson, and U.K. working class son of a hairdresser and merchant marine Rick Davies — were thrown together in 1969 via a Holland billionaire’s vanity project. Stanley "Sam" August Miesegaes, a wealthy and mysterious Dutchman (there is only one known photo of him extant, and hold that thought!) living in Munich, Germany, introduced the two musicians, who were in separate groups at the time (Hodgson had been a member of Argosy, the one-shot keyboard-heavy group that also included a young Reginald Dwight, who later became much better known as a superduperstar under his stage pseudonym Elton John). “Sam” said that if the two young men of widely divergent economic backgrounds joined together to form a new musical group, he would financially back them unto rock’n’roll fame and fortune, make them the biggest band in the world. 

That didn’t happen, but it almost happened, close enough for the Devil to declare he held his side of the bargain, if indeed a deal with the Devil was made. Supertramp didn’t start producing hits right away after their eponymous first LP in 1970, but by their 1974 album Crime of the Century (hold that thought, too!), they managed to spin a couple Top 40 hits with “Dreamer” and “Bloody Well Right,” as they moved into the mainstream, building up a radio-friendly reputation for accessible melodic hook-filled progressive rock. It climaxed with their, ahem, 6th album, the blockbuster 1979 release Breakfast in America, which sold 19 million copies, and spent 6, ahem, weeks at #1 in the USA. It is the 18th biggest selling album of the 1970s, and could’ve been the #1 album of 1979 if Pink Floyd didn’t put out The Wall.

Breakfast In America was recorded shortly after all the members of Supertramp moved from U.K. to L.A., and more specifically most of them to Hollywood. Hollywood, as any or many of the readers here might recall, is named after magic wands made of holly wood. It’s also a dirty town loaded with occultists, which is one of the reasons what comes out of there is called “Movie Magic.” The opening track on Breakfast in America is, in fact, titled “Gone Hollywood.” But maybe the even more presciently titled track is the album’s closer: “Child of Vision,” as in the precognitive ability to have a reverie of the future.

Did it? Breakfast In America got nominated for a ton of big Grammy Awards, including Album of the Year, but only won one non-musical one: Best Album Package. How curious, because the album’s cover and design are themselves quite curious. Let’s explore, and, again, I’ll reiterate that this is an aggregation of others’ research, not my own. 

The cover of Breakfast in America is atop this page. It depicts a parody of the New York City skyline, circa 1979, as seen out a passenger seat window of an airplane nearing Manhattan Island’s southernmost point, just before the Statue of Liberty. The Statue of Liberty (which some conspiracy theorists claim is actually supposed to be the Great Whore of Babylon herself) is depicted as a laughing (mocking?) waitress holding a large glass of orange juice — color of a bright burst of fireball — in front of the two World Trade Center buildings. The Twin Towers are the lone architecture on the album cover’s city skyline pastiche that hasn’t been reimagined as a breakfast table accoutrement: plates, coffee pots and mugs, salt’n’pepper shakers, egg cartons, utensils and so on. Only WTC 1 and 2 are not altered. 

The first plane struck One World Trade Center at 8:46 am on 9/11/01, during breakfast time in America. In fact, while many Americans were eating their breakfast, breaking their fast before the breaking of their hearts, one of the last things somebody on American Airlines Flight “11” saw as their hijacked plane-turned-missile hurtled towards doom and dark destiny, was the view of Manhattan depicted on the album cover right before the Boeing 767 slammed into WTC 1. 

…“Like a Cannonball”…

Both the back cover of Breakfast in America and the inside lyric sheet show a silhouette of a plane speeding towards the Waitress of Liberty and the Twin Towers. Perhaps Lady Liberty was the target of Flight 93, which was shot down in rural Pennsylvania by American fighter pilots under orders of Big Dick Cheney after the passengers took control away from the hijackers…or at least that’s what I was told five or so years later by the brother of a NSA employee who was there while it was happening and was placed in solitary custody for ten days after 9/11 and resigned a month after that. My own research subsequent suggests that’s exactly what happened. Big Dick Cheney’s the devil. 

This picture of Big Dick Cheney (it’s the one on the right) originally appeared in Washingtonian magazine in September 2001. I challenge you to find another copy of it anywhere. Big Dick Cheney hates this picture for some inexplicable reason.

Speaking of the Devil, 1979 was also the year the Christian Right really started to zero in on backwards-masking in songs, via the research of DJ Michael Mills and pastor Garry Greenwald, along with the Christian neuroscientist William Yarroll, who claimed rock stars were cooperating with the Church of Satan to insert back-masked lyrics in their songs for subliminal subversive messaging. But inversions weren’t just happening aurally. It seems they were also sending sly visual messages from the future. 

People didn’t notice it at the time (how could they? The Death Cult ritual was decades away) but almost exactly a decade after 9/11, on a then-notorious-now-dormant Dutch website called “QFF - The Real Illuminati,” one of the site’s founding members who went by the name of “Baphomet” posted in February 2011 that an inverted mirror image of the cover of Breakfast in America transforms the “U” and the “P” in “Supertramp” above the two WTC buildings into a “9 11.” And so it does.

Couple more odd tidbits: Breakfast in America was released exactly 237 weeks after Supertramp’s breakthrough album, Crime of the Century (just like there were exactly 237 weeks between the assassinations of JFK and RFK). Any Stanley Kubrick fan knows the curious numerological stickiness of “237.” The band dedicated Crime of the Century to “Sam,” which maybe was intended for their original Dutch benefactor billionaire. 

Then again, “Samael” is the name of the God of Death in Jewish Talmudic and post-Talmudic lore, known better as Satan in English, though the Talmud identifies him as only one of several satans, not THE Satan, and is a mixed bag as fallen angels go: Although he condemns the sins of man, Samael remains one of God's servants and is not necessarily evil, according the Talmud, since his functions sometimes deliver good results (like the destruction of sinners).

As usual, all this ambiguous artistic stuff has multiple meanings, and not necessarily only two, though you could certainly make a valid claim that there’s been no bigger “Crime of the Century” than the 9/11 attacks, or at least until the pharma/Fauci Covid/Vaxx attacks. Tough call.

But for the sake of the argument, let’s agree that the individual or entity named “Sam” that Crime of the Century was dedicated to truly was Dutch billionaire Stanley "Sam" August Miesegaes, the guy who backed Supertramp’s creation. Here’s the only known picture of him remaining in the public realm:

I mean, it’s just hanging right there….

There are several people online who claim “Sam” has got a powerful Masonic amulet hanging around his neck in that photograph, and that he was a 33rd Degree Master Mason. Personally, I can’t tell what the hell it is he’s got around his neck, and I’ve zero clue whether he was any kind of Mason or not. Maybe I’ll reach out to the Freemasons’ U.S. HQ, which is in Washington, D.C., The House of the Temple, about a mile north of the White House, in a direct straight line.

Nah. I’m not calling Mason HQ. I’ll resign myself to never knowing what the mysterious Sam Miesegaes (pronounced “Me See Gays”? I have no idea) was really up to in his secret life, or if he was a Freemason at all. What I can tell you for a fact, however, is that Breakfast in America was recorded at The Village Studios in L.A., which was originally constructed as a 1920’s Masonic Temple. FWIW, their website’s home page prominently features a photo of a blank-eyed Veep Kneepads during a 2021 visit, as well as their proud SAG/AFTRA affiliation and line of luminaries who’ve recorded there, longer than I can list.  

I’m pretty sure I’ve already forgotten some of the stuff I wanted to say about Supertramp’s Breakfast in America [EDIT: Geez, I forgot to mention cover designer Mike Doud and his history; O well], and 9/11 and the dark occult ritual conspired by a sick mix of secret societies, all pulling their weight — “We’re All In This Together!” — to transmogrify the United States of America from a Christian, God-fearing nation of relative cohesion to a secular, perpetually sexual, small-“s”-satanic-leading-to-a-big-“S” Satanic shithole country run and rooted in constant fear and loathing, and commandeered by wannabe trillionaire aptronym psychopaths “forcing behaviors” antithetical to Natural Law, evangelizing for the free will choice of animal instincts over the human Spirit. And cannibalism. Bet on cannibalism. Sorry.

“Get used to cannibalism,” wrote the late, great, but probably not as great as I want to believe, Hunter S. Thompson, in one of his last articles, for Disney-owned ESPN of all places. “Guaranteed Fear and Loathing. Abandon all hope. Prepare for the Weirdness. Get familiar with Cannibalism. Good luck, Doc.” R.I.P.

Artists channel weird and often terrible visions, like Morgan Robertson’s 1898 adventure novel Futility, in which a fictional luxury ocean liner named TITAN —  described as the longest, fastest ship ever built and deemed “unsinkable” — hits an iceberg in the North Atlantic and sinks. The book failed upon initial release, but after its plot manifested in real life in 1912, the novel was re-issued with a new subtitle and became a best seller.