Skullman Records

Boo Frog, Snow Bud and the Flower People, Divining Rods, Napalm Beach

Message to and from Mark Lanegan

I’ll be criticized for publishing this, because these were private messages, and because I’m criticized for doing anything and everything, especially when what I’m doing threatens to expose people who’s cover for crime is misdirection and silence. This is a message from Chris Newman to Mark Lanegan, and Lanegan’s response. Comments following.

Twitter message from Chris Newman to Mark Lanegan

Chris never saw the response. I found it, unread, after Chris died.

Lanegan died in Ireland 2/22/22 (1 year + 3 days after he wrote this response to Chris, apparently of Covid-19, but I believe that like Chris Newman, Sam Henry, Steve Hanford, Tom Roberts, Fred Cole, Andrew Loomis, Elliott Smith, Chris Cornell, Layne Staley, Andrew Wood, Mia Zapata, Kurt Cobain, Kristin Pfaff, Stephanie Sargent, Jimi Hendrix, and so many others, Lanegan – a butterfly – was assassinated by the CIA/FBI via wirelessly accessed piezo-electrical biomedical implants

Again, these assassinations are not so much secret as covered up, being as the victims seem to be chosen based on community informants, and it appears that these informants get together to decide who to target in this way, and they are financed in this endeavor from a variety of corporate sources.

“You look good in my dress
I’ll get your friends to clean the mess
You look good in my clothes
I can feel you where the doctor goes..”
– Courtney Love (Hole) “Beautiful Son”

Mark Lanegan and Kurt Cobain wearing dresses


Infrared blinding

lyrics to Mark Lanegan song Stitch It Up
Images shown in Google photos - Jeffrey Lee Pierce Walking with the beast from July 2020 juxtaposed with a similar looking image of Chris from July 2019

Infrared Riding Hood Tad

Tad Doyle tweet from 7:55pm December 5, 2013. “Everyone can be bought and has their own price threshold. Mine just happens to be pizza with extra cheese and mushrooms.” Note the comment below “are you Tad Doyle as in Infra Red Ridinghood Tad?”
Excerpt from a longer video describing a coordinated take down of me which involved use of infrared devices mounted on the backs of cars and trucks.

“Pizza” seems to be slang for piezo-electrical biomedical implants. “Mushrooms” seems to have to do with finance used to manipulate situations, maybe specifically such that one group can profit off harming another (in Alice In Wonderland, one side of the mushroom makes you grow larger, and the other side makes you grow smaller). Infrared Ridinghood is a Tad album but I do suspect the comment and likely the album title itself is a link to these infrared weapons systems. Tad’s first album was called Inhaler, a likely link to Chris’ asthma and/or 1980s cocaine addiction, both which I am fairly certain were biomedical manipulations.

Because of the way these comments appear about a month before this takedown operation occurred, I think that Tad Doyle was among those linked to the abduction event.


What Did I Know And When Did I Know It – Part 3

Two similar images shown side by side, one showing a 2011 mirror selfie from my personal collection, the other a Mudhoney poster from 2013 that appears to have been inspired by my photo

The poster is advertising Mudhoney playing at an event called Festsaal in Kreutzberg, Berlin, May 2013. The adjacent image was a photo I took of myself in a mirror backstage at Dante’s in Portland, using an iPhone, probably in 2011. The iPhone was one I’d purchased and used for a short time in 2009, it was offline. I went home after the show and downloaded the photos onto a Mac iBook I’d purchased in 2006. The iBook did have a wireless internet connection, but I never uploaded the photo to the internet before Fall of 2014 when I saw the poster online and recognized a similarity to the photo.

A few things I find a bit remarkable about all of this. First, I had seen other signs, similar to this, that there was unlawful surveillance and distribution of surveillance from private spaces in our homes, and including hijacking of computer systems, back in January 2014. I attempted to report this to Portland Police on January 20, 2014 and it was solely on the basis of this allegation that Portland Police and Adventist Hospital first tried to put me on a 72 hour psychiatric hold. Now, it’s possible that police records say something different, and I know that the associated medical records are complete fiction. However, what the police officer, Zach DeLong, told me at the time, is that any time anyone reports unlawful surveillance involving hidden cameras, they always do a psychiatric assessment first, as a routine matter. I knew I didn’t have any psychiatric issues that would cause a problem, and I had never, up to that point, had a negative experience with a police officer, so this did not raise any red flags with me. Also, when I spoke with the doctor, I answered all questions with the minimal, correct answers “no I am not a danger to myself or others, I simply want to report a crime.” They then asked me for a urine sample and when I refused they began to initiate a psychiatric hold, which I was able to talk them out of. However, one week later, in California, while trying to contact an attorney about fraudulent music contracts, I was handcuffed and dragged out the home of Julie Brusca and taken to a hospital where I was involuntarily held for several days, and given the impression I was lucky I got out at all. This is why I call that event a kidnapping. The hospital where I was held seemed to be cordoned off, and they engaged in some really bizarre activities which is why eventually realized it was actually a US government-linked black site.

What is a bit interesting is that in January 2014, for historical reasons, I was laser focused on the band Mudhoney as being central to the problems we were having. I have since realized that while Mudhoney was involved, they weren’t as central as I’d believed at the time. By the time I found the poster shown here, I’d been successfully subdued by a community-wide system of stalking, harassment, and covert threats. I did feel the poster vindicated my allegations of surveillance. However, I have never found a single person who will openly admit to seeing a similarity between the photo and the poster.

In 2014 when I found the images, I directed a tweet to Sub Pop saying “the similarity is uncanny.” They responded with something along the lines of “I dunno, looks pretty canny to me.” This was rare response, but it went nowhere.

I can’t remember exactly how Chris responded to it – I feel like maybe he saw the similarity, but was unable to intellectually connect it to a larger narrative. My brother, in 2019, said that the only similarity between the two images was that they both contain a female figure. I believe this was gaslighting.

What do I think was going on? I already knew our computers had been compromised, either through an open wireless network or in other ways (probably both). I think files were taken off my computer, distributed globally, and this image eventually became inspiration for the poster which is credited to an Italian art collective called Malleus.

My position is that if police and others were operating in good faith, and in accord with the law, and not engaging in coverups, something like this should have been enough evidence to at least investigate my allegations of surveillance.

I’m aware that this surveillance trafficking has been going on so long, and is been so widespread that people have simply accepted it as normalized, but in fact explicitly establishing that this type of surveillance is going on at all is actually crucial to explaining how a number of other very serious crimes have happened, including financed reports to the FBI including by people with whom we’ve never had any relationship; multimillion dollar intellectual property theft by the top levels of the entertainment, publishing, gaming industries and others; and some of the associated medical malfeasance, some of which is related to sex trafficking, some of which is related to trafficking in manufactured sickness and murder.


Music Industry Issues (Part 3) Big Black Monsoon

This version of Napalm Beach’s Pugsley was recorded and released on cassette in 1983.

Napalm Beach – Pugsley (original version)

Nirvana released Lithium on their breakout album Nevermind, September 1991.

Nirvana – Lithium

PJ Harvey’s Meet Ze Monsta was released on To Bring You My Love in February 1995.

PJ Harvey – Meet Ze Monsta (Live)

Big Black was the name of Steve Albini’s band. Albini was the engineer/producer for Nirvana’s final album, In Utero (1993).


Music Industry Issues (Part 2) Muzzling Kurt Cobain

The section of the article which I’d titled Chris Newman and the northwest fuzz-wah continuum states that the fuzz/wah combination was later associated with Mudhoney, and the chorus/distortion sound with Nirvana. The thing about this is, the fuzz/wah effect was used by Hendrix and other blues artists of the 60s and 70s, but I don’t know of any other musicians who were combining fuzz and chorus like Chris was. And as I noted, Chris started using the fuzz sound early on, and he added an Electro Harmonix Small Clone in 1980 which is about when that pedal was invented.

When I first published the article, this part of it included a footnote, in which I stated “Kurt Cobain’s signature effects were a Small Clone chorus and a Boss distortion pedal (DS-1) that sounds a lot like the (Dunlop) MXR distortion pedal which was an early Wipers sound.” That is basically true, but it’s not the entire story, and in fact in a sense, what I realized shortly after publishing the article there is some misdirection going on with that as well.

By way of background, by the time I’d met Chris Newman in 2009 I’d spent quite a bit of time studying the music of Nirvana and Kurt Cobain’s techniques of songwriting and improvisation. Some of this was from listening to albums and live recordings, some from watching videos, and some from reading books and articles. I was particularly interested in how Cobain put songs together, but I also really liked how he created improvisational soundscapes with feedback and effects not unlike Jimi Hendrix.

Once I began to work with Chris musically, early 2009, I became aware pretty quickly, that Chris was an originator of the “grunge” sound as elucidated by bands like Mudhoney and post-grunge acts like PJ Harvey, Scout Niblett, etc. It took longer for me to see the connection between Chris and Nirvana. That had a lot to do with the way Chris’ recorded music had been sabotaged.

Lots of books have been written about Nirvana, and since 2013, they continue to be written. The difference is, I’ve stopped reading them. So I don’t know what, if any, new information has come out. What I did realize is that with regards to artists like Kurt Cobain (and others), there appears to be what amounts to a scripted narrative, and what essentially amounts to anointed gatekeepers of the narrative. And the narratives contain lies. Even two conflicting stories, when told, may both be lies (or contain enough omissions to effectively be lies). There are a few reasons for the scripting, and it seems one of the reasons is to direct attention away from anything having to do with Chris. And it’s not just because Chris was emulated while paradoxically also being ignored; it’s because Chris was being used in a number ways.

I say this, because in all the reading I’d done about Cobain as a musician, and in the live performances, you see him pretty consistently using just two effects pedals – the Electro Harmonix Small Clone chorus pedal and the Boss DS-1 or DS-2 distortion pedal. And everything that is written about Cobain says that’s what he used. But – and I’m sorry I don’t have sources to cite right now, but we can get to it later as this is all stuff that was published in books prior to 2009 – my recollection is that on the Nevermind album, the recording of Lithium was said to use a Big Muff, and that engineer Butch Vig claimed it was his idea to use that effect. My recollection is that, again, at least prior to 2009, no other Nirvana recording was said to use the Big Muff. However, bizarrely – and this was not anything I was aware of at the time – it turns out I’d published that Napalm Beach article within days of the 20th anniversary of the release of Nirvana’s final album, In Utero. And with that, some new information was coming forward, for example, the director’s cut of the Heart Shaped Box video was published for the first time in August 2013.

Possibly because of this anniversary, I found myself listening back to In Utero and realizing that there was Big Muff – and small clone – used on several songs. Two that stand out to me are Heart Shaped Box and Pennyroyal Tea.

So why was it, I wondered, that I’d read all these books about Cobain as a songwriter, and they all mentioned the use of Big Muff on Lithium, but none of them mentioned that Big Muff was used throughout In Utero?

And having read all of those books and articles, I saw Cobain was credited – including by the Electro Harmonix company – as an innovator of this sound – and by now I know that everyone who did this had to know better. They had to know who the real innovator was – that it was Chris Newman. So a reasonable person would have to wonder why this would be kept covered up. And it gets even weirder when you get into pattern-based evidence, and by pattern based evidence I mean how Cobain generally was with regards to other musicians in his community. He was always giving shout outs. And because of his fame, a shout out from Cobain was like fairy dust – immediately the band he name checked would get increased attention, notoriety, maybe even a record deal.

By now it’s pretty clear to me that some of the answers to this are found in the songs themselves – Heart Shaped Box, which expresses the desire to “kill your cancer when you turn black” (Chris died of cancer last year) – Very Ape which as I’ve noted in the past lyrically evokes both a poem I wrote in the late 1980s called Atrophy and a song of Chris’ from the early 1980s called Into The Sky (which also used Big Muff and Small Clone and while never formally recorded, was apparently bootlegged from a Seattle performance) – and Pennyroyal Tea, in which Cobain laments “I’m a liar and a thief.”

Cobain seems to have been a warm, generous-hearted human being. It’s not that he didn’t want to explicitly recognize Chris’ contributions, but it’s that he felt he couldn’t.

Napalm Beach – Into The Sky – Golden Crown, Seattle 1982