How we write songs

Chris and I didn’t write songs like other people write songs because we didn’t have access to the language (aka code aka slang) that every other artist has been using, nor knowledge of the framework around which this language hangs – framework in which Chris and I were actually centered. The set up may be depraved but you have to admit it’s clever.

Other artists code things in layers – even coding nonverbal sounds, beats, and chord progressions. Chris and I had no conscious access to any of this and so we wrote in a more straightforward manner. That said, there is still some complexity. For example, Chris wrote the songs on his 1986 album Moving To And Fro generally from the viewpoint of a teenage boy or young adult – but in a song like “Monster” he was actually writing from the viewpoint of a disapproving adult commenting on this teenage boy who spends all his time “drawing weird pictures” and playing electric guitar. Chris felt the phrase “electric guitar” was quaint and old fashioned – like I might think of the word “hyperlink” as quaint and old fashioned. There’s a line in the song about “smoking acid” which is I think an old cliché about people who don’t actually know how LSD is ingested. And the bit about “big red eyes moving to and fro” is about being stoned on marijuana. In coded language, the “red eyes” would indicate surveillance. Chris didn’t have that in mind writing, but others might have it in mind listening, because their background is different.

I think sometimes Chris would put in lines that sounded good, where he liked the rhyme, but in which meaning was secondary. I remember asking him to explain a line from his song “Unworthy” – “Tell me something true, and if it comes from you, I will believe the truth is all you knew” – he tried to explain it, but I think it was hard to explain. I think the sentiment was that – this song being likely directed toward his second wife, Denise – he wanted to believe this idea that she was radically honest and her example could make him a better man. In reality, she was not what he thought she was. Chris tended to self-blame a lot, and to absorb blame from others, and I think part of this was his heavy church upbringing and part of it was his way of being courageous and taking responsibility for everything that went wrong in his life. But part of this line might have just been about the way the words rhymed and flowed together. Chris was very musical.

I wrote the same way as Chris, except that I tended to rewrite and rearrange and try out different words, etc, whereas Chris would write out a song fully formed. Both of us tended to write from personas or different parts of our personality and/or as characters. I have a song called “minivan mom” for example which was about how I was feeling, but not at all about who I was or who I thought I really was. I think the term for this is “implied narrator” – in other words, the narrator of the song is a fictional persona. This I think is pretty standard. Where we differ from other songwriters is that we were unaware of the strange structure that were were born into, the language used to describe it, and the layers of deception within or cloaking around the structure and the language.

It’s weird to have gone through college and gotten a Masters Degree in English, as I did, without having this basic information about the use of coded language in art and music. It’s weird to have slogged through pages of critical theory where all minutae of text is analyzed from every angle, without this ever having been overtly discussed. I imagine if I were to go back to these analytical texts I’d find the coded language in them as well – code language analysis of coded language texts with all these meanings and motifs being analyzed all the while the code itself is never overtly discussed. Trying to comprehend this – what appears to be a fundamental dishonesty in higher learning – is one of the many challenges I’ve faced in recent years. At first I thought that this was the most radical thing about the structure around us – the near complete co-opting of language and it’s deep integration into western art and culture. Now I see that there are bigger issues, like global genocide.

As for the language issue, I eventually concluded that the symbolic coded language must have become ever more deeply engrained because of the nature of the situation. It’s not something that must be the way it is – it’s something that is the way it is because it serves a function. Part of the function is entertainment, but much of the function is secrecy, cover up, or exposure – but coded exposure. Usually a planned (or in progress) crime is exposed too late for it to be stopped.

To a large extent the code is the way it is because of what amounts to violent suppression of free speech and expression, and rewards offered for participation in and cover up of crime. Artists have information about crimes they are not able to share. If they did share this information, nothing would be done to prevent the crime, and the artist might endanger him or herself. This suppression of free speech and the associated patterns of crime should be of great concern.

Coded language – stairs / stares

A realistic view of the situation around Chris Newman and the celebrity system isn’t found in any of the pre-packaged rock ‘n roll myths but more likely in plain-sight coded language. Ambition and mobility are less a matter of gumption, talent, creativity, and hard work (though this is helpful) and more about working a covert system of gears and ratchets. This is described in coded language. I’m guessing that most people are familiar with this language, but it’s hard to know, because neither Chris, nor I, nor my daughter were ever let in on this. I’ve had to try to decipher it on my own.

Maybe the most important symbol of mobility is the stairs. Often you see this visually coded in an indigenous looking design.

still from Jim Jarmusch movie Broken Flowers showing Don Johnston character clutching a pillow with a stair step design
still from Jim Jarmusch 2005 movie Broken Flowers showing Don Johnston character clutching a pillow with a stair step design
detail – stair step design with cross-shaped “hole”
Chief White Elk, Burtha Thompson wedding photo
Chief White Elk, Burtha Thompson 1918 wedding photo – the dentalium necklace she’s looking at is NW California native money
detail of Chief White Elk, Burtha Thompson wedding photo showing stair step design on blanket
detail – stair step design on blanket

The stairs (sometimes further coded into the homophone “stare”) represent advancement – especially professional advancement – though what I saw with Chris was also the use of going downstairs to represent medically ending his life. Chris was linked to the Yurok woman, Burtha Thompson pictured above, including in the ways their lives were ended. These financed medical murders have been going on a very long time, and I am of the opinion that many – especially Black and Indigenous people – continue to be murdered this way. This too is covered up with myths and misdirection.

I don’t know how much of this is focused around Chris and my family lines specifically, and how much is more generally focused, but people seem to be taught that the route to professional advancement is to take part in occult linked crimes. There are a number of reasons for this – one obvious one is opportunism. Wealthy and powerful people are permitted through this system to “get rid” of people they consider to be a threat or a nuisance. The other pretty obvious reason for this is capture and control. If you take part in a crime on behalf of the system, you show your fidelity to the system, and probably more importantly, you are now a compromised person and can be more easily controlled by the string pullers. The bigger the crime, the more compromised and under control a person is, and thus the more juice they earn. This system has allowed the controllers to infiltrate every seat of power on the planet. This – along with bribery, threats, coercion – are why the crimes associated with this group and this system are somehow all at once very large, very obvious, and very effectively covered up. It is both a show of power and a gathering of power. There are other effects these extreme crimes have as well, including creating dissociative personalities. A person may seem to function normally, but with huge chunks of reality missing from their personal narrative. This is no doubt partly the role of the pre-scripted celebrity myths. They fill in some of the blanks, explain things – but falsely.

It appears that there is a “secret” telephone-based system for reporting to the FBI which people use to earn money, gifts and professional advancement, and that this system is and has been the basis for these covert assassinations. This, plainly put, is how people get to make records. They snitch on (and often lie about) their friends, neighbors, and even, sadly, on their own family members. And this isn’t done randomly – as I’ve said before, there are entities who have very effectively weaponized this system, creating prefabricated scripts which are then assigned to people within the community. Thus, it may look like multiple witnesses are reporting the same event, when in fact what is actually going on is multiple people were handed a script. The whole thing is concocted, to create and maintain and reenforce a false profile. This goes on over and over from different angles until the FBI and/or CIA assassinates the person. All of this is apparently highly lucrative.

I will say right now even as I write this I find the whole thing incredibly difficult to believe – not that people would game such a system, but that the system exists at all. It’s a violation of numerous constitutional rights and other laws, for one thing. It’s clear how such a system would be gamed. It’s clear that such a system would be used for control and coercion, not for justice or safety. It’s clear that certain people would be unfairly targeted by such a system – those with unusual ideas, those who refuse to comply with demands of power, and those who are already in weakened social positions.

Chris and I seem to be centered in this, which is why so many of these massive crimes “reference” us or people around us in some way, from the 9/11 attacks to the murder of John Lennon to the forced suicide of Kurt Cobain.

Another moment of reflection

Every once in a while I have to stand back and look at what the heck is going on here.

Initially, back in 2014, when I started I thought I was writing about an artist who had been unfairly ignored, or who may have burned some of his own bridges during a period of drug addiction. It didn’t take long for me to see signs of something far weirder going on. The response to this was, from the community and industry linked people alike, steadfast denial and pushback – including covert but violent – and ultimately deadly – pushback.

Nonetheless, people have a right to their own legacy, the fruits of their own artistic output, and the right not to be victims of crime, regardless of who the perpetrators are. Also, it became clear that if I did not push forward, the erasing machine would complete its task and not only Chris’ life, but his legacy and memory would be completely wiped. And that’s exactly opposite of what he wanted. He wanted to reach people with his art. He was tricked by what he saw as the community’s threat to withdraw what little support he enjoyed, and to shame him (or me) for expecting or wanting more recognition or reward than he had already received. Now this was all real, it was all scripted, and it was all coordinated as part of this plan to keep Chris sealed away in his corner, which they did, and that is where he was murdered.

Meanwhile, there are efforts out there to tell stories around Chris, but not in any way that will challenge the dominant narrative or have any kind of lasting influence. These are in publications that could easily disappear. Everything is designed to self destruct and disappear at a moment’s notice, and that is what had been going on.

It can be helpful to look at how these narratives are constructed. In fact, it can be helpful to look at how rock n’ roll narratives generally speaking are constructed. It’s increasingly clear these are almost always fairy tales which are concocted to teach people what to expect from artists, or from their own experience, or from the industry, should they wish to take this route. This is part of the financed cult-and-control system set up around celebrities.

Chris’ invisibility was concocted, not real. In fact, Chris was one of the most highly visible artists, but only in a covert manner which meant that he could not even see it himself, much less profit from it. Within this realm, Chris was highly controlled. A lot of this control was linked to CIA MKULTRA related research and technology – cult behaviors, mountains of drugs, hypnosis, lies, frequency based weapons, industry-wide blacklisting.

There are a limited number of scripts to work from with these rock narratives, and the fact that there are scripts at all is evidence of a coverup – or multiple coverups. This is one of those big crimes that is made of lots of smaller ones. The scripts include The Ugly Duckling, The Tale of Redemption, The Cautionary Tale, The Tale of Too Much Too Soon, etc. These are used to cover up CRIME.

The ugly duckling is someone who’s brilliance is not seen or appreciated at first, but then they bloom later on. The tale of redemption is a story about someone who gets set onto the wrong track and is headed for a fall but something or someone rescues the person and/or they are otherwise saved from destruction. The cautionary tale is the person who took the wrong road and didn’t survive (this is a tale that’s been pushed onto Chris and which he at times would internalize), and too much too soon is the concocted and often repeated story of Kurt Cobain. Of course, these tales get mixed up and combined in different ways – for example, Too Much Too Soon can either become the Tale of Redemption or the Cautionary Tale, depending on which direction it takes; the Ugly Duckling is a starter tale which can branch out into different directions, etc. And there are probably other scripts as well, the point being that these are scripts which are imposed onto artists – they are not reality.

And why would there be scripts like this? The primary reason, I’m beginning to think, is to cover up crime. Secondarily, perhaps the creators of these scripts think that they have some kind of timeless take home message or moral for the kids. But these scripts are weak, and more importantly, false.

Celebrities are presented to us for consumption like Roman Gods – larger than life, yet fallibly human.

I do believe that Chris Newman is a thread that when pulled sufficiently, threatens to unravel the entire celebrity system.

Holocaust in the Land of the Lost

Diamonds seem to represent both finance and piezo-electrical biomedical implants. Chris Chalenor was a colorist for Dark Horse comics. Dark Horse Comics was established in 1986, the same year that Chalenor was interviewed for the Napalm Beach documentary. I think there must be some important link between this company and Chris Newman – one that Chris was unaware of. This is something to discuss later, but as far as Wu Tang Clan’s Gravel Pit goes, it came out in 2000 and Chalenor died in 2001. Because of the imagery in Gravel Pit, and the cartoonish nature of it, I’m convinced that it is intentionally referencing Chalenor and the financing of FBI files that lead to covert assassinations being linked to construction projects (thus, the endless gravel pit). Diamonds and gravel are part of the same system. There’s a nod to Ol’ Dirty Bastard who was in prison during this time period, probably for the same reasons.

Land of the Lost is the name of a Wipers album that also came out in 1986, for which Chris Newman painted the cartoonish cover.

Chris Chalenor flanked by two unidentified women at Satyricon, 6 January 1989
Dark Horse Comics logo

It is common to see media that covertly references something linked to Portland or the Pacific Northwest open with a direct reference to New York City. This makes me think that the finance and instructions linked to the finance is often coming from New York. In this case, it likely indicates finance for construction projects, and/or activities linked to biomedical implants. It may be that someone in New York is providing the outlines of the damaging scripts to distribute to the community, that they are expected to report back to the FBI. Perhaps in return for this, comes investment dollars.

Photos by Rozz Rezabek

Rozz used to take lots of photos, at household gatherings, at shows – back in the MySpace days, and post them to his page. I thought he did a good job and saved a lot of his photos. Almost all of them have gone missing. There was a photo from New Years Eve 2006 or 07 where he had me pose holding balloons in front of a Kazan “Baby Doll” poster. There was a photo where he had me pose holding a guitar in one of his “Psycho Bitch” t-shirts – he’d make these shirts with homemade stencils and cans of spray paint. They’d have the words “psycho bitch” and often also stencils of pills or wine glasses. He gave these shirts out to his friends and took photos of us in them. And he took other photos and like I said, all the photos seem to have gone missing save one or two.

Here’s one that didn’t go missing, and here’s a match.

Erika and Rozz 2014
Erika and Rozz 2014
Harley Quinn - Birds of Prey - empty gun cabinet
Harley Quinn – Birds of Prey – 2020

Courtney Love - Mono - 2004 - pushing over detergent
Courtney Love – Mono – 2004
Harley Quinn pushing shopping cart in Birds of Prey 2020
Harley Quinn – Birds of Prey – 2020