The Mystery of Breakfast in America; or, Did Juice Do 9/11?
For many years, some of the more adventurous probers of the
reality and fantasy of the 9/11 attacks have questioned the puzzlingly
prescient character of the artwork associated with Supertramp’s 1979
masterpiece Breakfast in America. Britain’s Mirror acknowledged
the interest internet detectives had taken in the classic rock opus in a 2014 piece,
“Supertramp Breakfast in America Album Cover in Bizarre 9/11 Conspiracy
Theory on David Icke Forum”. “The odd - and frankly nuts - suggestion is that
the British rock band’s 1979 record apparently forecast the terrorist attack on
the World Trade Center in 2001,” writes Ben Burrows, poisoning readers’
expectations with disdain at the outset of his article. He continues, “The
off-the-wall cover shows a woman with a glass of orange juice in front of a
rendition of the New York skyline, all from a plane window,” and attributes the
theory of 9/11 prediction on the album cover to forum poster “Eve”:
“Orange juice = fireball,” she
adds.
“You are looking out of the window
of a plane, she is showing the target.”
“Eve” even posts a reversed view of
the cover which “appears” to show the “U” and “P” of Supertramp flipped around
to look like the figures “9” and “11”. [1]
Two years later, Ultimate Classic Rock’s David Lifton noted the growing number of people examining the album cover in light of suspicions “that the terrorist attacks of Sept. 11, 2001, were a plot by the Freemasons, and they were hinting at it as far back as 1979.” He elaborates:
A
nearly three-and-a-half-minute video, which first came to wide notice
after a 2016 report by Dangerous Minds, outlines the scenario:
Supertramp’s famous cover is a depiction of the New York City skyline as seen
from an airplane, with a waitress, substituting for the Statue of Liberty,
holding a glass of orange juice instead of a torch. The juice is positioned in
front of the Twin Towers and just happens to be the same color as fire. […]
The band’s name could be seen as a
synonym for “great whore” – as in the Great Whore of Babylon, the embodiment of
sin in the New Testament's Book of Revelation.
Even the title Breakfast in
America tells everybody when the attacks would be coming; the first
plane struck One World Trade Center at 8:45AM ET. If that’s not enough
evidence, a plane is seen flying toward the skyline on the inner
sleeve. […]
None of these clues, however,
explain why it took 22 years after the release of Supertramp’s Breakfast
in America for the plot to come to fruition. [2]
I will confess that even I, as someone firmly convinced that
the 9/11 attacks were staged to dupe America into initiating the “War on
Terror”, felt when I first encountered such speculations that the Supertramp
connection was a pretty dubious stretch and that it too greatly strained
credibility to assume that some goofy rock album, of all things, could present
decades-projected foreknowledge of a geopolitical cataclysm, and with a
specificity that could pinpoint even the date on which it would occur. I was
reminded of Breakfast in America’s posited prescience a few months ago,
however, when a local disc jockey mentioned the 9/11 prediction conspiracy
theory in a condescending, ooh-spooky sort of way – and it may have been
the lingering, nagging offense I took at the broadcaster’s tone that prompted
me to take another look at Breakfast in America.
In addition to the details noted above, the packaging includes two instances of an unusually tall lower-case T being crossed by a stylized airplane – in the word “breakfast” on the menu featured on the front and back covers – and again in the name of the band on the inner sleeve. The two occurrences of the tall T intersected by aircraft could be read as representations of the Twin Towers struck by planes on 9/11. Something, too, seems off about the atmosphere of the imagery, with the garish lighting on the waitress rather suggesting the poster for some horror movie. Contributing to the sense of unease is the gloomy weather, with rain appearing outside the window of the plane from which Manhattan is glimpsed. Reinforcing this imagery, in the photograph of the band on the back cover, is a small television under the diner’s counter displaying what appears to be a perhaps metaphorically stormy sea. Belying the seemingly carefree scene of the group, moreover, are the incidents of violence and catastrophe reported in the headlines of the newspapers they hold. “That photo was staged inside of a diner known at the time as Bert’s Mad House,” observes Behind the Cover blogger Toni Marino – which, in conjunction with the album’s title and unsettling art direction, hints at a perception of something very wrong with America [3].
“I guess chart-toppers Supertramp were totally oblivious of all this,” muses Robert Heimdal, who instead suggests an “‘illuminated’ Jewish agenda” in his 2016 Renegade Tribune essay “The Great Jewish Rock ‘N’ Roll Swindle” – also noting that Breakfast in America was recorded in a building that had been designed as a Masonic temple. “The whole conspiracy revolves around who was actually behind the graphic concept for the album” (italics added), he rightly argues [4] – though Mike Doud and Mick Haggerty, to whom the cover concept and art direction are attributed, present no obviously sinister connections. Can the same be said, however, for the interests lurking behind the band and the world of rock? Supertramp’s identity and existence are inextricable from the influence of money power, its formation having been sponsored by mysterious Dutch millionaire Stanley August “Sam” Miesegaes [5]. “This fellow looks kind of suspicious to me, I don’t know, something about his face,” smirks Heimdal, leaving it at that [6].
 |
| "Sam" Miesgaes |
I, too, suspect that the ethnic dimension is crucial to understanding the meaning and significance of Breakfast in America, and the key to the mystery may be that glass of juice elevated by “Libby” and juxtaposed with the World Trade Center. Is it, as “Eve” theorizes, a fireball – or is it, as I will argue, a visual pun and a reference to Jews and their financial influence in the United States? The packaging of the title single from the album depicts the glass of juice tipping from Libby’s tray and spilling – a visualization of the risk associated with the achievement of higher status and aims, which complements Michael Hoffman’s insight that one of the metaphors favored by elites to express the risks they take with their skullduggery is gambling, as in the “Great Game” played by empires for Afghanistan in the nineteenth century or the game of twenty-one featured in the James Bond film The World Is Not Enough (1999), concerned with espionage and terrorism in the period leading up to 9/11. The juice, the cover art of Supertramp’s single playfully warns, is potentially imperiled by carelessness. “I’m a winner” and “I’m a loser,” the lyrics to “Breakfast in America” offer as alternate outcomes. The song concerns a sexually frustrated foreigner’s desire to “take a jumbo across the water” and see the United States. Roger Hodgson’s oddly kvetchy, whimpering vocals in combination with John Helliwell’s klezmer-style clarinet solo give the track an undeniably Jewish sensibility, and the single’s B-side, “Gone Hollywood”, alludes to a distinctively Jewish and fundamentally deceptive aspect of American culture. “I’m playing my jokes upon you,” confesses the visitor in “Breakfast in America”. It may be that Supertramp – owing partly to its name or other themes – has enjoyed a special affinity with Jewish audiences. The sociologist and zoologist Jared Diamond, a Supertramp “superfan”, even borrowed the group’s moniker as a label for a special type of invasively diasporic species in 1974 – the year the group released their album Crime of the Century. “Supertramp species get around, but you don’t want them moving into your area,” summarizes Gizmodo’s Esther Inglis-Arkell:
Named after both itinerant tramps and the band Supertramp, these species were animals that dispersed quickly and easily. Unlike many local birds, the supertramp birds that came back were generalists. They didn’t require a certain type of home, or a specific type of food, or anything else. They made their homes where they could and ate whatever was on hand. Because the fauna needed to support specialist species was wiped out, or at least limited, specialists stayed clear of the region. The supertramps were not limited – they did the limiting. By grabbing up food and shelter, they prevented local, specialized species from returning. [7]
 |
| Herb Alpert and Jerry Moss |
The “key man” at A&M, however, was Gil Friesen. “As head of day-to-day operations at A&M, Friesen was overseer of the label’s rapid growth; by 1966, the label was prominent enough to take up office and studio headquarters at the former Charlie Chaplin lot on La Brea Avenue in Hollywood,” notes his obituary in Variety:
In the ‘60s and ‘70s, the company
became the top independently distributed US label, scoring pop and rock hits
with the Baja Marimba Band, the Carpenters, the Captain and Tennille, Cat
Stevens, Quincy Jones, Joe Cocker, Procol Harum, Humble Pie, Supertramp,
Styx and Peter Frampton, among others. […]
Friesen was elevated to president
of A&M in 1977. Over the next decade – which saw the company move into a
distribution deal with major RCA Records – he guided the label to further
success with acts like Janet Jackson, the Police, Sting, and Bryan Adams;
distribution of Miles Copeland’s punk/new wave imprint I.R.S. Records landed
smash albums by the Go-Go’s.
During the ‘80s, Friesen revived
the long-dormant idea of an integrated film production arm. Though A&M
Films never became a major studio power, it did reap a box office hit in 1985
with John Hughes’ Brat Pack feature The Breakfast Club. Friesen also
produced or executive produced Better Off Dead, One Crazy Summer,
Worth Winning and Blaze for the company. [14]
The late seventies were an interesting period for A&M. In addition to Friesen’s promotion, the release of Breakfast in America, and the deal with the music subsidiary of defense contractor RCA, A&M also struck a distribution agreement with I.R.S. Records, the label started by Miles Copeland III, son of one of the Central Intelligence Agency’s founding fathers, Miles Copeland, Jr., a Middle East specialist who, among other intrigues, played a role in coups d’état in Syria and Iran [15]. “By making A&M Records an offer they couldn’t refuse” – whatever that means – Miles Copeland III managed to get his brother’s group the Police a contract. “The success of The Police and the novel methods used to break them enabled Miles to talk Jerry Moss (head of A&M Records) into distributing a US version of his UK labels with A&M in the United States, and I.R.S. Records was born,” relates the same account [16]. (Arguably ghoulish in view of the family CIA connection was I.R.S.’s signing of San Francisco punk act the Dead Kennedys a little over a decade after RFK’s assassination.)
 |
| Sting and Miles Copeland III |
A&M’s relationship with the younger Copeland represents, at the least, an indirect connection with the CIA. Another familial link with the world of intelligence is David Baerwald of A&M recording duo David and David. Baerwald’s grandfather, who lived in Japan, “started working for the OSS when WWII broke out,” Baerwald told interviewer Lynn Geller in 1993: “He sent my father and his sister to the US, and my father started working for the government section. He became a political science professor. When we were overseas, there were a lot of spooky people around and I’d hear stuff.” [17] Herb Alpert himself played trumpet on “A Secret Silken World”, the opening track from Baerwald’s conspiracy-preoccupied 1992 solo album Triage. There is also the matter of Friesen “keeping company” with model and actress Susy (or Suzy) Dyson, whose career was “launched in the 1970s when she was discovered by Aline Griffith, Countess of Romanones, an American born aristocrat and Madrid based CIA spy.” [18] Such details prompt one to wonder if there might have been direct connections between A&M and the CIA, as well.
Among the A&M Films productions not mentioned in Gil Friesen’s Variety obituary is 1988’s The Beast of War, a.k.a. The Beast. Adapted for the screen by playwright William Mastrosimone from his own drama Nanawatai!, which premiered in Norway in 1984 and in the US in 1985, The Beast of War – which, like the same year’s Rambo III, was filmed in Israel – depicts the disillusionment of a Russian soldier as his mad commanding officer blasts, butchers, poisons, and bumbles his way through Afghanistan. Discovering the local Mujahideen to be more civilized, the Russian protagonist joins their fight against Soviet imperialism. Serving as military advisor on the picture was Marine Corps veteran Dale Dye, whose recent work experience included the training of Nicaraguan Contras [19]. “An interesting aspect of our work on The Beast was my early mission to Israel during which I was given negotiable securities and ordered to purchase two captured Soviet tanks from the Israeli Defense Forces,” Dye recalls. “Fortunately, I had some personal contacts in the IDF from active duty days and I was able to negotiate a deal for two T-55s over a couple of beers in the bar of the King David Hotel in Tel Aviv. I hadn’t realized until that moment,” he adds, “that working as a military advisor on films might employ me as an international arms dealer.” [20] Dye has had an extensive career as a technical advisor and occasional actor in Hollywood movies, including multiple projects produced by Israeli spy Arnon Milchan.
The background to Nanawatai! and A&M’s The Beast of War is somewhat strange, to say the least. “I saw a TV film clip in January, 1980, of a Russian convoy going through a village in Afghanistan,” Mastrosimone told Sylvie Drake of the Los Angeles Times:
“This young boy, 9 or 10 years old,
stood in front of the lead tank. You could see something was going on inside.
The driver had the impulse to brake and then it was as though an order had been
given.
“The tank righted itself and
speeded up. It was a game of chicken. The boy stood there. The tank kept coming
and then I saw the most unbelievable thing: The boy went under the tank
shouting, ‘Allah akbar!’ (God is great).”
This staggering image triggered the
most intense connection in his experience yet. “I didn’t even know where
Afghanistan was,” he said, but the dusky playwright, who looks more
like a carpet dealer from Damascus […] became obsessed with it.
He had to go there, he decided, to
try to understand what made that child behave the way he did. [21]
Elsewhere, Mastrosimone gave a different account of his
first exposure to the struggle of the valiant Mujahideen:
One day during rehearsal [of a
play], Mastrosimone grew restless. “I got to walking around and reading The New
York Times,” he says. He noticed a picture of an Afghan tribal leader and
read the accompanying interview.
“‘We’re going to fight to the last
man, to the last bullet,’” Mastrisomine quotes from the interview. “‘Right now,
my men are eating tree bark to stay alive.’”
The playwright saw something in
the mujaheddin leader. “It just reminded me so much, of the
men who followed [George] Washington,” he explains. “I was really keyed into
the psyche of that leader.”
His interest became an obsession.
“It wasn’t too long after that that I became less interested in […] rehearsal
than I became in Afghanistan.” […]
“I went to this restaurant called
the Khyber Pass,” Mastrosimone recalls. The Lower East Side restaurant serves
traditional Afghan food. […]
“I went in and I partook of the
food and I started to get a little chummy with some of the waiters. I said, ‘I
want to go to Afghanistan, how do I do that?’”
The waiter told Mastrosimone to
call a travel agent. In other words, he blew him off.
He didn’t give up. He returned to
Khyber Pass over and over again until one of the waiters broke down.
The Afghan explained that the staff
thought Mastrosimone might belong to the CIA or the KGB. Either way, they
didn’t trust him.
Mastrosimone told them he was a
playwright, that he had a show in a theater right now. “I want to go
to Afghanistan,” he told them. “I want to write about it.” […]
The two Afghans explained to
Mastrosimone that they didn’t feel Afghanistan was getting a fair shake in the
media. The Soviets were murdering their people and America didn’t care. [22]
 |
| William Mastrosimone |
“The obsession launched him on an odyssey worthy of John Le Carré that culminated in a clandestine foray into Afghanistan in January, 1981,” writes Drake: “Mastrosimone made contact with wary Afghan agents who would tell nothing of themselves, behaved like fugitives – and offered to steal him into the country in a series of covert steps that could work only on blind faith.” [23] The playwright has stated that, before he could enter Afghanistan to do his research, he first had to secure the permission of warlord Gulbuddin Hekmatyar. “I had no idea who he was,” Mastrosimone claims [24]. According to Hekmatyar’s Wikipedia page, this future Prime Minister of Afghanistan “received more CIA funding than any other Mujahideen leader during the Soviet-Afghan War” and during the 1980s “his organization started trafficking opium and later moved into manufacturing heroin. He established himself and his group amongst the leading heroin suppliers in the Middle East.” [25] It may be worthwhile to note that Mastrosimone is an alumnus of the Mason Gross School of the Arts at Rutgers University, an institution that makes no secret of its connection with the CIA [26]. The Agency “has been working closely with Rutgers University over decades studying refugees, suspected communists, and protestors,” writes New Brunswick Today’s Molly O’Brien, noting the university’s participation in MK-Ultra [27]. In the wake of the US invasion in 2001, Mastrosimone would champion the cause of Afghan women’s rights, claiming, “those women do not have a chance without us,” and in 2003 he staged another moralistic drama set in the country, The Afghan Women [28].
In the late 1990s, Friesen’s involvements again become very interesting. The former A&M president served on the board of directors of Marc Collins-Rector’s doomed Digital Entertainment Network, an early attempt at internet television programming that later attained notoriety as an alleged grooming operation facilitating sexual access to underage boys for wealthy men. “Executives from Disney and other major companies flocked to join the company,” the Los Angeles Times related in the midst of the venture’s implosion: “Digital Entertainment Network hired Hollywood directors and actors to create original programs […] Advertisers including Ford and Pepsi eagerly plastered their logos on the DEN.net home page, and industry giants such as Microsoft invested millions of dollars.” Other stakeholders mentioned in this May 2000 Los Angeles Times story by Joseph Menn and Greg Miller are actor Fred Savage and California politician and homosexual activist Michael Huffington [29]. DEN investors not named by Menn and Miller are Usual Suspects director Bryan Singer and media mogul David Geffen – allegedly a friend of Menn. Collins-Rector, who accused Geffen of spying and seeking to seize control of DEN, reportedly feared for his life at the time and hired an “ex-CIA guy” private investigator [30].
Friesen’s obituaries and his surprisingly sparse Wikipedia
entry neglect to mention his embarrassing foray with Collins-Rector – nor do
most notices of Friesen’s death relate his concurrent involvement with Akamai
Technologies. Friesen, along with Bet Tzedek and Israel Emergency Alliance board
member Arthur Bilger, was among the “angel investors” for this company spawned
through the Massachusetts Institute of Technology to create solutions for video
streaming and high volumes of internet traffic [31]. Akamai’s founders were MIT
professor Tom Leighton and two Israeli students, Jonathan Seelig and Danny
Lewin. “Friesen became one of Akamai’s key contacts on the West Coast and a
willing point of contact for every potential investor or customer in his
entertainment and media circles,” reveals Molly Knight Raskin in No Better
Time: The Brief, Remarkable Life of Danny Lewin, the Genius Who Transformed the
Internet [32]. Friesen, for instance, introduced Lewin to Interscope Geffen
A&M executive Jimmy Iovine, then promoting his Farmclub online music service
[33]. In 1999, Akamai would join a “collaborative effort from some of the
industry’s leading players” – including Friesen’s Digital Entertainment Network
– to “solve the broadband dilemma facing the streaming media industry’s quest
to become a viable business” [34], with Akamai and DEN sharing an agenda “to
boost the creation of more video and audio entertainment in the Windows Media
format for high-speed connections.” [35]
The business relationship with Lewin is intriguingly ironic given Friesen’s previous linkage to Breakfast in America in his capacity as president of A&M. Lewin, a veteran of elite IDF counterterrorism unit Sayeret Matkal, purports to have been “the first man to die on 9/11” as a passenger on American Airlines Flight 11 [36] – as well as the day’s first hero, as, so the story goes, “evidence supports the conclusion that when the first two terrorists (who were sitting in front of Lewin in Business Class), initiated their attack on the cockpit, that Lewin rose to intervene – not realizing that two more of the terrorists were seated behind him in Business Class – and it was these two terrorists who were able to attack Lewin from behind and kill him.” According to the FAA, it was Satam al-Suqami, the terrorist whose passport was supposedly found on Vesey Street before the towers collapsed, who slit Lewin’s throat [37]. Rather like the “Death to America. Death to Israel. Allah is great” letters sent as part of the September 2001 anthrax mail scare campaign, the Danny Lewin story conveniently frames the United States and the Jewish state as fellow sufferers and natural allies in the confrontation with Islamic extremism. Did Lewin really die on Flight 11 that day, or did the Israeli mastermind, as Supertramp might put it, merely “take the long way home”? In either case, Akamai Technologies had thoughtfully insured his life for a million dollars [38].
Rainer Chlodwig von K.
Rainer is the author of Drugs, Jungles, and Jingoism.
Endnotes
[1] Burrows, Ben. “Supertramp Breakfast in America
Album Cover in Bizarre 9/11 Conspiracy Theory on David Icke Forum”. Mirror
(January 20, 2014): https://archive.ph/k85C2
[2] Lifton, David. “Did Supertramp’s Breakfast in America
Cover Art Predict 9/11?” Ultimate Classic Rock (March 7, 2016): https://archive.ph/5pR3l
[3] Marino, Toni. “Supertramp Serves up Breakfast in
America in a Big Way”. Pure Music Manufacturing (January 6, 2019): https://archive.ph/3a1AL
[4] Heimdal, Robert. “The Great Jewish Rock ‘N’ Roll Swindle
(Part 3/3 – Act 1)”. Renegade Tribune (September 23, 2016): http://www.renegadetribune.com/great-jewish-rocknroll-swindle-part-33-act-1/
[5] Thomas, Luke. “Rare Photo of Supertramp Financier
Emerges”. Fog City Journal (March 4, 2009): https://archive.ph/8tFT
[6] Heimdal, Robert. “The Great Jewish Rock ‘N’ Roll Swindle
(Part 3/3 – Act 1)”. Renegade Tribune (September 23, 2016): http://www.renegadetribune.com/great-jewish-rocknroll-swindle-part-33-act-1/
[7] Inglis-Arkell, Esther. “Meet the Ecological Supertramp”.
Gizmodo (October 6, 2014): https://archive.ph/rEhzb
[8] “17th Anniversary Dinner/Dance”. Billboard
(September 25, 1982), p. 13.
[9] Artsy, Avishay. “The 81-Year-Old Jewish Kid from L.A.
Whose Mariachi Band Once Topped the Charts”. Jewish Telegraphic Agency
(June 30, 2016): https://archive.ph/r0n6U
[10] Rosenblum, Avner. “Israeli Song Festival Is Meeting
Criticism”. Billboard (June 26, 1971), p. 48.
[12] Haithman, Diane. “Music Legend Herb Alpert Is the Business
Journal’s Philanthropist of the Year”. Los Angeles Business Journal (October
25, 2020): https://archive.ph/m2hbB
[14] Morris, Chris. “Music, Film Exec Gil Friesen Dies at
75”. Variety (December 14, 2012): https://archive.ph/h6hhf
[15] https://en.wikipedia.org/wiki/Miles_Copeland_Jr.
[16] https://archive.ph/QENJ3#selection-2505.0-2505.233
[17] Geller, Lynn. “David Baerwald”. Bomb (July 1,
1993): https://archive.ph/PxIaS
[21] Drake, Sylvie. “Mastrosimone: Writing by Instinct and
Image”. Los Angeles Times (September 17, 1985): https://web.archive.org/web/20210517173333/https://www.latimes.com/archives/la-xpm-1985-09-17-ca-20317-story.html
[22] Gault, Matthew. “The Playwright, the Warlord, and The
Beast”. War Is Boring (December 15, 2014): https://archive.ph/6Nfoe
[23] Drake, Sylvie. “Mastrosimone: Writing by Instinct and
Image”. Los Angeles Times (September 17, 1985): https://web.archive.org/web/20210517173333/https://www.latimes.com/archives/la-xpm-1985-09-17-ca-20317-story.html
[24] Gault, Matthew. “The Playwright, the Warlord, and The
Beast”. War Is Boring (December 15, 2014): https://archive.ph/6Nfoe
[25] https://en.wikipedia.org/wiki/Gulbuddin_Hekmatyar
[27] O’Brien, Molly. “The CIA Has Maintained Ties to Rutgers
University for Over 60 Years”. New Brunswick Today (August 5, 2021): https://archive.ph/2fvFV
[28] Nakhnikian, Elise. “The Beast”. Central Jersey
(April 24, 2003): https://archive.ph/JS2Sk
[29] Menn, Joseph; and Greg Miller. “How a Visionary Venture
on the Web Unraveled”. Los Angeles Times (May 7, 2000): https://web.archive.org/web/20190825224639/https://www.latimes.com/archives/la-xpm-2000-may-07-mn-27448-story.html
[30] Hall, Ellie, et al. “Found: The Elusive Man at the
Heart of the Hollywood Sex Abuse Scandal”. BuzzFeed News (June 26,
2014): https://archive.ph/FYQvK
[31] Spinrad, Paul. “The New Cool”. Wired (August 1,
1999): https://archive.ph/KaJi7
[32] Raskin, Molly Knight. No Better Time: The Brief,
Remarkable Life of Danny Lewin, the Genius Who Transformed the Internet.
Boston, MA: Da Capo Press, 2013, p. 103.
[33] Ibid., p. 184.
[34] Wilby, Dave. “Microsoft Touts Consumer Benefits of
Broadband Media”. ZDNet (October 1, 1999): https://archive.ph/wip/5vmDo
[35] Dunn, Ashley. “Microsoft in Entertainment Initiative”. Los
Angeles Times (September 30, 1999): https://web.archive.org/web/20210206180938/https://www.latimes.com/archives/la-xpm-1999-sep-30-fi-16801-story.html
[36] Leopold, Todd. “The Legacy of Danny Lewin, the First
Man to Die on 9/11”. CNN (September 11, 2013): https://archive.ph/NqRyY
[37] Danzig, Micha. “Honoring Danny Lewin. A Genius, a Hero,
and the First Victim of 9/11”. Jewish Journal (September 11, 2019): https://archive.ph/1ddWU
[38] Akamai Technologies Annual Report 2001, p. 26.
Bummer dude! I kinda used to like that album, though more for sentimental reasons then musical ones. Now I feel it's extra EVIL! Kind of like how I already view most Hollywood films.
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