Tag Archives: 9/11

The 1 after 909

In a previous post I listed various song lyrics and such, most of them discovered by William John, which could be read as prophecies of 9/11. Many of these prophecies included internal clues that it was necessary to add two to the numbers given. For example, Nostradamus refers to “l’an mil neuf cens nonante neuf sept mois” (1999, 7th month) — but “sept mois” is ambiguous. If we add two to “sept,” we find another “Sept. mois,” September. If we apply the same add-two formula to the year, we get 2001.

In reference to this pattern, I titled the post “Move over once, move over twice,” a line from the Beatles song “One After 909”:

My baby says she’s trav’ling on the one after 909
I said move over honey I’m travelling on that line
I said move over once, move over twice
Come on baby don’t be cold as ice
I said I’m trav’ling on the one after 909

At first glance this seems to fit the pattern established by Nostradamus. We have 909, we have the line “move over once, move over twice” telling us to add two, and that brings us to 911. It’s always bothered me, though, that the math doesn’t really work — because we don’t start at 909, we start at the one after 909, which presumably means 910.

That takes us to 912, the wrong number — and the song does later say, “then I find I got the number wrong.” His baby said she was traveling on the one after 909, which he assumed was 910, so when he told her to move over once, move over twice, he expected to find her on 912 — but she wasn’t there. They misunderstood each other. What was his baby thinking? She must have interpreted the numbers or the moving over in a different way.

Then it hit me: what he got wrong was the sequence itself. He assumed, naturally enough, that 909 was followed by 910 — but what’s the song called? “One After 909.” The next number in the sequence isn’t 910, it’s one. But what kind of number sequence goes . . ., 909, 1, . . .? Try this one.

If you move over twice from 909 you get 911, but if you move over twice from the 1 after 909, you get something even better: 9/11, complete with the slash between month and day. This interpretation also fits with the end of the song:

I said we’re trav’ling on the one after 9 0,
I said we’re trav’ling on the one after 9 0,
I said we’re trav’ling on the one after 909.

“Nine oh” and “nine oh nine” are two completely different numbers if we read them as integers, but they are the same if we consider them as two different ways of referring to the repeating fraction .90909090909 . . . .

What about the singer, who “got the number wrong” and ended up at 12 instead of 11? Well, this song comes from the album “Let It Be,” which has 12 tracks — and the 12th one is called “Get Back.”

While listening to “One After 909” just now, I noticed for the first time that it ends with, “Oh, Danny Boy, the old savanna calling.” A savanna is a kind of plain (as in plane), and “calling” alludes to phone calls and therefore to the emergency number 9-1-1.

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William John on 9/11 prophecies

William John (see his sites here and here) writes:

William James,

I tried to paste the following in the comments box of your 9/11 blog but was told it held too many characters. When I tried to cut it in half and enter it as two comments I was told it contained illegal characters. So I’m giving up and just sending it to you regularly.

The 1977 movie “Saturday Night Fever” opens with the shot of a bridge in New York City. Behind the bridge, looming above it and dominating the shot, are seen the Twin Towers of the World Trade Center. The camera holds this shot for quite some time. Finally the camera zooms in on the bridge and finds John Travolta prancing across it. After some exposition in which it is established that Travolta is a working class disco dancing fool, we are taken to the club where the disco dancing occurs. The name of the club is: 2001 Odyssey. Inside the club the large dance floor crowded with gyrating couples is bathed in the harsh glare of flickering red lights which create a fiery ambience fitting for the opening strains of the Trammps’ song “Disco Inferno,” which plays on the soundtrack. It begins with the phrase “Burn, baby, burn” repeated several times. This phrase comes from the ghetto riots of the 1960’s when bystanders shouted it as encouragement to arsonists. It turns out this is quite apt since the lyrics of the song which follow might be said to view 9/11 from the perpetrators perspective. “Two mass fires, yes! One hundred stories high. People gettin’ loose, y’all, gettin’ down on the roof. Do you hear? (The folks are flaming) Folks were screamin’, out of control. It was so entertainin’. When the boogie started to explode I heard somebody say: Burn, baby, burn! Disco inferno! Burn, baby, burn! Burn that mama down! Burnin’! Satisfaction (uhu hu hu) came in the chain reaction (burnin’) I couldn’t get enough, (till I had to self-destroy) so I had to self-destruct (uhu hu hu). The heat was on (burnin’), rising to the top, huh!”

The 1968 movie “2001: A Space Odyssey” itself is very interesting since it is a supposedly futuristic movie set in the year 9/11 occurred. This movie begins with a couple of packs of Darwinian predecessors to humanity squabbling over a water hole. Under the influence of a monolith planted by unseen extraterrestrials, one of these ape-men invents and murderously employs the first weapon of war. In triumph he throws his bludgeon into the air and it morphs into a commercial passenger spaceship in 2001 headed for the moon where the monolith has now been discovered. We didn’t have commercial space travel in the year 2001, but we did have commercial jetliners and some of these jetliners morphed into weapons on 9/11. Under secrecy and with a phony cover story, the spaceship headed for the monolith is evocative of the pirated jetliners headed for the Twin Towers. Furthermore, as the government official is making his spaceflight to the monolith, he makes a videophone call to his little daughter on Earth who’s birthday he is missing. During this call he asks her what she wants him to bring her as a present. She says, “I want a Bush baby.” “A Bush baby?” her father says. “Yes,” she replies. This too is evocative of 9/11, since President Bush, the son of another President Bush, used it to morph into a war president. I think it’s also suggestive that HAL the computer, when it is being disconnected, sings the song “A Bicycle Built for Two.” It suggests to me that the two movies, “2001” and “Saturday Night Fever,” know that they work in conjunction with each other as far as 9/11 is concerned.

The 1944 film noir movie “Double Indemnity” also teams well with a future movie which references it in terms of 9/11. Fred MacMurray is an insurance investigator who is trying to stage an accidental death for the husband of his paramour so they can collect double indemnity on the insurance. Having already bludgeoned the husband to death, MacMurray then boards a passenger train impersonating him. When he boards the train and hands in his ticket, the porter tells him that his compartment is train 9, section 11. After the porter puts his bags in the compartment and gives him the key, MacMurray goes to the platform on the back of the caboose. When the train slows down at a certain spot, MacMurray is going to jump off. The husband’s dead body is then to be placed at this spot so it looks like he fell off or tried to disembark while the train was moving and smashed his head on the tracks. But there is another man on the platform when MacMurray is trying to do this. Since there can be no witnesses to his nonlethal disembarkation if the plan is to succeed, MacMurray gives this man the key to his compartment and sends him there to get something for him. As he gives the man his key, MacMurray tells him that the compartment is train 9, section 11, just in case we missed it the first time.

This could more easily be dismissed as mere coincidence if it were not for the 1993 movie directed by Carl Reiner titled “Fatal Instinct.” This broad parody of cinematic thrillers, among its tricks, borrows and revises the “Double Indemnity” plot device for its own purposes. The hero is a cop/lawyer (he arrests you, then defends you) who is the unwitting target of a plot by his wife and her paramour to kill him on a train so they can collect triple indemnity on his insurance. The trick, however, is getting him to ride on a train in the first place since his entire family has been killed in various train mishaps, which, of course, explains the insurance policy. So the morning the hero has to leave on an important trip, his wife schemes to block his access to all modes of travel other than the train. His car is in the shop, there are no rental cars available, there’s a bus strike, etc. Finally, he says he’ll just have to take an airplane. “You can’t,” she tells him. “There’s been a terrorist attack at the airport. They flew a plane into the tower and all the runways are closed.”

There is a song written by the actor Hamilton Camp called “Pride of Man” which was recorded by the Quicksilver Messenger Service in the late 1960’s. The third verse of this song goes like this: “Turn around, go back down, back the way you came. Terror is on every side, though our leaders are dismayed. All those who place their faith in fire, in fire their faith shall be repaid. Oh, God, pride of man, broken in the dust again.” Further on, the ending chorus goes like this: “And it shall cause your tower to fall, make of you a pyre of flame. Oh, you who dwell on many waters, rich in treasure, wide in fame. You bow unto your god of gold, your pride of might shall be your shame, for only God can lead his people back unto the earth again. Oh, God, pride of man, broken in the dust again.” When I sing this song I take the liberty of pluralizing the word “tower.”

William John

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Move over once, move over twice: 9/11 prophecies

This is a collection of poems, song lyrics, etc., which were written prior to September 11, 2001, and which can be interpreted as prophecies of the terrorist attacks that took place on that day. Most of these were identified by William John, but some of them are my own.

(Update: See here for more of these, also from William John.)

Nostradamus:

Quatrain 10.72 from Nostradamus’s Centuries reads as follows:

L’an mil neuf cens nonante neuf sept mois,
Du ciel viendra vn grand Roy d’effraieur.
Resusciter le grand Roy d’Angolmois.
Avant apres Mars regner par bon heur.

“In the year 1999, seventh month, from the sky will come a great king of terror….” It’s very evocative of 9/11, but the date just isn’t quite right. Several people have noticed that “sept mois,” while literally referring to the seventh month, July, also suggests September, abbreviated as Sept. — but the year is still wrong. William John, though, has pointed out that we get from sept (July) to Sept. (September) by adding two. If we do the same for the year, adding two to 1999, we get 2001 — a perfect match. This is, as we shall see, an important pattern. Several other 9/11 prophecies also require adding two — and, like Nostradamus’s quatrain, they contain internal hints (like Nostradamus’s ambiguous sept) that adding two is necessary.

The Beatles:

The Beatles song “She Came In Through the Bathroom Window” contains the following lines:

Didn’t anybody tell her?
Didn’t anybody see?
Sunday’s on the phone to Monday,
Tuesday’s on the phone to me

Sunday plus two days is Tuesday, so the Sunday-Monday-Tuesday sequence fits the add-two pattern established by Nostradamus. September 11, 2001, was a Tuesday. “On the phone” is also a hint, since 911 is the emergency phone number in the U.S. Furthermore, the word Monday sounds like monde (world), implying, “The world hears Sunday, but I hear Tuesday” (because I know to add two).

Another Beatles song that fits the add-two pattern is “One After 909”:

My baby says she’s trav’ling on the one after 909
I said move over honey I’m travelling on that line
I said move over once, move over twice
Come on baby don’t be cold as ice
I said I’m trav’ling on the one after 909

If you start at 909 and “move over once, move over twice,” you end up at 911. This one’s not quite perfect, though, because we’re actually starting at the one after 909 — i.e., 910 — so moving over twice takes us to 912. It’s still highly suggestive, though.

The Beatles song “I Am the Walrus” also alludes to 9/11 — “stupid bloody Tuesday” — but it doesn’t require adding two.

The Rolling Stones:

“Ruby Tuesday” might be the same as “stupid bloody Tuesday,” rubies being blood-red, and the line “Still I’m gonna miss you” could refer to the way the prophecies tend to “miss” the day in question, requiring the reader to add two.

Cat Stevens:

“Tuesday’s Dead” fits right in with “stupid bloody Tuesday” and the others. Cat Stevens also recorded a song called “Sun/C79”; add two, according to the prophetic formula, and Sun. 7/9 becomes Tues. 9/11 (not sure what to do with the C; maybe it’s the Muslim crescent?).

They Might Be Giants:

In the song “The Guitar,” first they sing, “In the spaceship, the silver spaceship, the lion takes control.” This sounds like a hijacking, and the name Osama means “lion” in Arabic. Later in the song, we hear, “The lion’s on the phone.” Just as in the Beatles’ “She Came in Through the Bathroom Window,” the phrase “on the phone” is an allusion to 9/11 by way of the emergency phone number 911. The music video cuts to footage of buildings collapsing right after they sing “on the phone.” This song is from the album Apollo 18. Apollo suggests Apollyon, the demon mentioned in Revelation 9:11, and 18 plus two (move over once, move over twice) gives us 20 — that is 9 + 11.

Also of interest is the TMBG album “Mink Car,” which was released on September 11, 2001, and which begins with the word “Bangs!” — that is, explosions, plural. The lyrics to “Bangs” also include the line “Blow my mind, your royal flyness” — an echo of Nostradamus’s king of terror who comes from the sky.

Osama, by the way, though it means “lion” in Arabic, also happens to mean “king” in Japanese. (Actually, o means “king,” and sama is an honorific suffix, like san only more so.) The Japanese, of course, were the ones who pioneered the tactic of crashing airplanes into enemy targets.

U2:

If 9/11 is “stupid bloody Tuesday,” and if the add-two rule means Sunday can refer to Tuesday, then of course the song “Sunday Bloody Sunday” comes to mind. I can’t find any internal hints about adding two, though, unless it’s the name of the band itself. Just as Nostradamus’s sept uses the seventh month to allude to the ninth, the name “U2” — that is, a double U — uses the 21st letter to allude to the 23rd. Move over once, move over twice.

If you can think of anything else to add to this list, leave a comment.

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