Category: malfeasance

Regarding the number 13

Number 13 is the Death card in the Tarot deck, and I think to most people, this is the meaning of 13. However, you don’t hear this explicitly discussed much if at all. The numerology around this situation seems to be widely known and covered up. The numerology and other related symbols are seen in seals, including the US seal which seems to “obsess” over the number 13 and linked numbers (like 76).

US seal front (showing eagle) and reverse (showing pyramid with floating eye)
US seal features 13 stripes, 13 stars, 13 arrows
1700s Tarot card 13

Chris found himself attracted to the numbers 11 and 13. He died at exactly 11:33pm, and that was neither magic nor coincidence – it was because he was murdered in an occult manner. He was 56 (5+6=11) years old when we got together and 67 when he died (6+7=13). He told me that he was attracted to the numbers 11 and 13 because they came up so often in his life. I later saw that this was true. It’s not surprising.

Chris also tended to like spooky stuff – but it was not because he was evil or into black magic or anything like that. Quite the opposite – Chris not only wasn’t into the occult, but he seemed to be unable to identify others who were into it. When I figured out that the Rider Waite Tarot deck could be used as a way to decode some of the numerology being used around us he wanted nothing to do with it. He didn’t even want to know about it. It’s tempting to explain this psychologically when it was more likely a visceral reaction brought on by mind control technology. He explained it by saying that his religious upbringing eschewed everything Tarot related as the work of the devil – but that explanation doesn’t really jive with his generally open minded approach to life. Clearly, the idea of looking closely at the Tarot was triggering to him. What is less clear is why it was triggering. If I had to guess, I’d say it was direct frequencies to the brain. And I’d say that’s why Chris never could see the bigger picture around him – direct frequencies to his brain.

What I find even more intriguing is what Chris thought the number 13 meant – because in fact I thought the exact same thing. We both thought that 13 was code for “marijuana” – because M is the 13th letter of the alphabet. In his song “Bong Hit” (written late 1985) Chris sings “13 is my bag” – and by that he meant a bag of marijuana. No hidden meanings relating to captivity or death were intended.

Chris didn’t know why he thought 13 was code for marijuana but I know why I did. My dad (like Chris) had been into 1960s underground publications, and had kept some of these stashed around our home when I was growing up. There was an old foot locker (black and white checkerboard design on the outside) that I opened up one day and it was full of all these old newspapers and zines. There were various issues of the Berkeley Barb from about 1967-1970, and a few copies of the LA Free Press and even a couple copies of the Village Voice all going back to the late 1960s, maybe up to 1970 or 71. I read all of this stuff cover to cover. There were advertisements in these publications and one advertisement in particular was for a t-shirt with a character that looked like the illustration from zig zag rolling papers, along with the number 13. I remember staring at this illustration and thinking – “why 13?” – then figuring out that M was the 13th letter of the alphabet, and since zig zag papers back then were usually associated with marijuana, I decided that 13 must be code for marijuana. This would have been around 1982, me reading a newspaper from the late 1960s.

I will say that I’ve never run into anyone else that I know of who had that idea – that number 13 was code for marijuana – until I met Chris.

Was “13” ever code for marijuana? I have no idea.

I suspect that the advertisement I was looking at in those underground papers actually had a different agenda. That in fact the 13 always meant death – and that in this case, death was being associated with the idea of a “zig zag” – going back and forth, up and down – in other words, not really progressing. It’s similar to the idea of a spinning disc or a spiral (groovy!). And maybe along with this was this idea that a person could be sabotaged by being introduced to marijuana (which was seen as a gateway drug, etc). The idea was to keep us (Chris and me) in place long enough to kill us with frequency-based technology which has been in use as a cancer/murder weapon for over 100 years now. That this is a financially sponsored activity, which the CIA was behind.

I’ve said before, I think that 1960s drug culture was invented – and it definitely was exploited – by the occult-linked CIA.

1974

Mysteries that could potentially be cleared up with access to Chris’ stolen materials

I’ve shown how some of my journal entries seem to have made it into popular songs including Soundgarden’s “Black Hole Sun,” Smashing Pumpkins “Bullet With Butterfly Wings,” and Nirvana’s “Sappy,” but in fact there are many more instances. In some cases there are incidents that happened that may not have had associated journal entries, or it’s just a phrase taken from my journals, so that it’s harder to make the case. This would include Hole’s “Asking For It,” and Nirvana’s songs “Very Ape,” “Pennyroyal Tea,” and “Something In The Way” (this is just off the top of my head). With regards to Chris, there are links to Nirvana’s “Very Ape” and to “Heart Shaped Box.” And then there are things like Leonard Cohen’s “Famous Blue Raincoat” which doesn’t reference a journal entry, but is pretty clearly a reference to a photo that was stored in an album along with a lock of my hair. What do you do with that? I don’t know because I’m not a lawyer and so far, lawyers are all afraid to touch this.

There are things I know, but cannot prove, like John Lennon putting a lick of mine into the beginning of the song “Woman” – it’s the suspended riff used in the intro, behind the phrase “for the other half of the sky.” Even though I was a child, I was already playing guitar and I played this suspended lick over and over and over. It’s not that this is actionable in court or that I would want to take it to court, but that it’s like a hidden message. That said, looking at what’s happened to us, I think that some of the more obvious stuff should be under consideration for court cases.

Chris played a lot more guitar than I did over the years, performed and recorded, and his style was copied in a lot of ways, including, I would say, in the theme song of “Magnum P.I.” (possibly a sources of the Zoolander joke about “magnum”). But that’s just style – people copy styles all the time. The reason I bring it up is because the same people profiting from the copying Chris’ style will turn around and say Chris as an artist wasn’t worth a damn.

I’ll note here that I’ve seen hints that the guitar player for The Carpenters took inspiration from Chris’ guitar playing. This would have been in the early 1970s.

Music-wise, the feel of Nirvana’s “Lithium” seems to have been inspired by Chris’ song Pugsley, and this is repeated again in PJ Harvey’s “Meet Ze Monsta.” And if I could access Chris’ archival materials – journals and tapes and that sort of thing, I suspect I’d find a lot more. So the thefts that have happened over the years were just not property thefts, as well as intellectual property thefts, but evidence tampering. This idea that all this crime can somehow be justified with libelous stories collected and distributed by the FBI is beyond absurd. Theft is theft and libel is libel and the repeated pattern is of crimes (theft, libel, medical malfeasance, kidnapping, assassination) committed specifically in order to cover up other crimes (theft, sex trafficking, child trafficking, medical trafficking, nonconsensual human subjects research, malfeasance, graft, murder) along with various other tactics and techniques like control of focus. The depravity of all of this, not to mention the criminality, senseless waste, and stupidity, is honestly, for me, almost beyond comprehension. I think anyone in my position would want to see the perpetrators of this collection of crimes, regardless of who they are, held accountable under the criminal statutes of this nation, same as they themselves do to others. They should not be permitted to kidnap and murder their way out of everything.

With regards to intellectual property theft, a lot would probably be cleared up by access to what must be mountains of stolen journals and other creative materials from Chris’ lifetime. In some cases, Chris was performing songs for years before recording them. Someone recently uploaded a bootleg to YouTube of a Napalm Beach performance from New Years Eve 1985 at Satyricon in which they perform a song called My Master Calls, a song that would not be recorded until 1993’s Curiosities, eight years later. At first I thought that the performance couldn’t have been from 1985 because of the presence of that song, but it later became clear that for whatever reason, the song had not been recorded in the studio until years later. In addition, there seem to be songs that show up on live recordings and bootlegs that were never recorded including in 1982, “Into The Sky” (among the inspirations for Nirvana’s 1993 song “Very Ape”) and a 1986 performance of a song called “Mercury” that was uploaded by Mike Lastra. Chris for whatever reason was ambivalent about both these songs, though I think both of them are good songs. (In the case of “Into The Sky,” Chris said, ironically, that “They didn’t seem to like it in Seattle.”)

When I met Chris in 2009 he either had never heard the 1994 Mazzy Star song “Fade Into You” or he had just recently heard it for the first time. Something I noticed, that he never mentioned to me, was the similarity between the Mazzy Star song and his song Crippled Mind. I don’t know when Chris wrote Crippled Mind, and I didn’t think to ask, because this was before I knew anything about surveillance or intellectual property thefts – I’d seen things I thought were weird coincidences. He recorded Stoned and Alone in 1996 under what seems like almost desperate circumstances. Now of course I wonder how long he was playing the “Crippled Mind” chord progression at home or in performances, unaware he was under this kind of surveillance. But he wrote his lyrics in his journals, and that is one reason the journals are important to unravelling mysteries like this.

(track info available on Soundcloud)

Backlash – June 1989

“Welcome to Nirvana’s Nightmare”

In a recent entry, as an afterthought, I published a photo from the a copy of Backlash. And then it occurred to me that there is more to see here.

Backlash was a rock-oriented Seattle paper published between 1987 and 1991. According to their Facebook page “Dawn Anderson also published Backfire, 1983-84, and another zine called Backfire in 1997-2003.”

Several years ago, we were gifted an original copy of the June 1989 Backlash. It is yet another possession that seems to have vanished. However, I still had some scans hidden away in nooks and crannies, somehow avoiding the (FBI) wiping machine. I guess now is as good a time as any to publish them – I’m publishing here everything I have left. This copy of Backlash was supposed to be focused entirely on Oregon music, and I think that aside from paid advertisements, the Oregon focus was maintained throughout most of the magazine, with the exception of an review of Nirvana’s first album, Bleach. I noticed this anomaly from the beginning, but now I’m beginning to wonder if there’s something meaningful behind it. Look at which band is on the cover.

“At this point in time, Simon wanted me to mention that all old Napalm Beach bass players move to Seattle and get married.”

To recap – I am alleging that both Kurt Cobain and Chris Newman were murdered via a system of malfeasance that includes set ups, lies, secret FBI files, and biomedical implants used to manipulate behaviors and create diseases including chronic diseases like chronic pain (Kurt) and asthma (Chris) and terminal diseases like cancer as well as terminal behaviors like suicide. And I’m also alleging that these murders are planned out long ahead of time. So therefore, one has to consider whether the choice to put The Obituaries on the newspaper cover was influenced in some way by these advance plans. The tricky thing about this, is the biomedical implants can be used to make people appear to do something deliberate that isn’t deliberate at all – but I suspect putting the Obituaries on the cover was a deliberate death reference. I suspect Dawn Anderson among others knew there was a plan to murder both Chris Newman and Kurt Cobain via the filing of false and defamatory reports to the FBI.

I have never met Backlash editor/publisher Dawn Anderson. My statements are entirely based on observations of patterns and in this case, inductive reasoning. In other words, I’m not just talking about this one edition of this one paper. I’m saying there seems to have been a pattern of implied threats around Kurt Cobain that (unlike Chris) he would have picked up on. I have thoughts and ideas about why this would be going on – basically, at this point I think the issue was something like the following

  1. Chris Newman was already marked by this community and others for destruction and death.
  2. Kurt Cobain knew this, and was against it. This is clear to me from his lyrics.
  3. Kurt Cobain was picked out at some point for rock stardom, where his rise would parallel Chris’ fall. I don’t know if he knew this or not, but I suspect at some point he did.
  4. Kurt Cobain was also marked out for death, but I don’t know when this happened, or what the reasoning was. (Usually there’s something you’re supposed to think, and hidden behind that, the actual reason.)

Likely the plans for murdering these two artists were mostly about control and profiteering – continuing a very destructive and profitable crime. To this end, finance was coming in from around the world. Sub Pop (as well as K Records) seems to have had a particular link to the UK record business.

What Did I Know And When Did I Know It – Part 2

To give an alternate timeline to what I knew and when I knew it — it was while I was writing the article on Napalm Beach that I knew something strange was going on with regards to Chris’ history and the development of Sub Pop as a label, in that it appeared that Sub Pop was essentially following in Chris’ footsteps in a number of ways. For example, Chris recorded Napalm Beach’s self-titled album (commonly known as Teen Dream) at Triangle Studios in 1985. In 1986 Triangle became Reciprocal Recording, and Sub Pop began to record all their records there. Similarly, Chris had played regularly at a Seattle club called the Wrex which then became the Vogue. Again, beginning around 1986, Sub Pop basically auditioned its potential signings at the Vogue. In 1989 I saw that as Chris was touring Europe with Napalm Beach, Nirvana and Tad were touring the same circuit, two weeks behind. At this point, Chris and Sam were seasoned musicians with a significant musical catalog while Nirvana were still quite green. This is the period of time when the Berlin Wall was coming down, an event witnessed by both Napalm Beach and Nirvana.

Two years later, in 1991, Napalm Beach toured two weeks behind Nirvana – while back in the states Nirvana’s breakout album, Nevermind, was rocketing to the top of the charts. I just knew there was something more than a coincidence at work, but I couldn’t figure out what. Mostly what was bothering me back in 2013, is the fact that when I sent inquiries to people at Sub Pop and K Records, including those who certainly knew who Chris was, had interacted with him, had played shows with him, had recently had pleasant personal and/or email exchanges with him – when I asked about certain aspects of this story – they all went silent.

Meanwhile, as I was composing the article “Introducing Napalm Beach,” originally on a WordPress-based platform run by music critic Everett True, it became clear that someone else was in my account. My edits were being sabotaged, reverted, etc. I’d been writing for this blog for about two years by that point and this was the first I’d noticed that type of thing going on. Another thing that was happening at that time is the screen of my iMac would suddenly go dark for a second or two, and then come back again. I thought at the time the system was glitching in some way, but it later became clear that was also a type of remote interference going on.

So that’s what I mean when I said I knew something was “fishy.”

As a background to this, at least since 1996 Napalm Beach was always being excluded from any kind of books or narratives about Pacific Northwest music, and even at times about Portland music. I always knew the exclusion was unjustified, and felt that it was odd – but after researching the story of Napalm Beach and their links to Wipers and Courtney Love among others, it seemed even more so. So I felt that publishing this story on a blog like Everett True’s would garner some kind of serious response and/or discussion. Yet it seemed to land with a yawn and a thud. And at that point I pushed a bit harder, asserting that the band had been deliberately buried by the industry, and the responses I got were along the lines of “no, they were just overlooked. It happens.” Sorry, but there was simply no way this was true. I knew it then, and it’s even clearer now.

Music Industry Issues (Part 1)Tear The Pedals Off Of You

The following is an excerpt from an article the article I originally published in 2013 entitled “Introducing Napalm Beach.” I originally – rather carefully – titled this section of the article “Chris Newman and the northwest fuzz-wah continuum.” This was because I was trying to keep everyone’s feelings in mind – Chris, and others who were influenced by Chris’ music. I was trying to avoid making the claim that Chris’ ideas had been stolen by other artists who became far more successful and who avoided sharing their success or crediting their inspirational source.

However, 2013 was a very different time for me. When I published the article, I was not aware of the bigger picture of what was going on around us. I just knew something was fishy. It was shortly after publishing the article that I realized that more than any other band, it was Kurt Cobain and Nirvana who had adopted Chris’ innovations. And Nirvana was, at one time – a time before the web and YouTube, when celebrities were fewer, and larger – the biggest band in the world. This probably deserves a follow up article. The only reason I never published a follow up earlier is because many others in the industry already knew the things I was just figuring out, and had actually been waiting for years for this day to come, and were busy finalizing plans for the hailstorm of chaos that would ultimately lead to Chris’ death, and because after the initial blast of music industry/FBI blowback, Chris didn’t want me to pursue that line of inquiry anymore. It’s not because the line of inquiry was wrong or would be unfruitful; it’s because Chris was, and had always been, mightily controlled.

Because the original article was intended to be a fairly comprehensive history of Chris’ career as a musician, it’s possible this section could be lost in the din. But considering it all now years later, I realize it was probably the most consequential and controversial part of the article. So I’m republishing it here as an excerpt, and as a foundation for other information which I’ve gleaned since the publication of the article.

LPB1 precursor to Big Muff

Chris Newman and the northwest fuzz-wah continuum

One of the things that is sometimes exasperating is watching people try to figure out where, when, and how northwest punks began to incorporate elements of 60s and 70s psychedelic rock. Most writers credit Mudhoney (and their generation) for these innovations. That’s because Chris has been left out of the story.

If you look at west coast underground rock as a continuum, as I do, Jimi Hendrix had a tremendous impact. The power trio, the bass and drums holding down a solid groove while the guitar goes crazy with feedback and noise – Jimi was the innovator. Jimi’s main effects were fuzz and wah. However, fuzz tone had fallen out of fashion in rock music by the 70s. The Cramps, and Chris Newman, brought it back.

Here are some things I know about Chris as a musician. He has a sharp memory, an ear for melody, and a natural ability to arrange instruments. In addition, he has a driving need to express himself verbally, and through his guitar, and to embody all that is REAL, and all that is rock’n’roll. Simply put: it is his calling.

He grew up in a tight-knight evangelical Christian family. When he began to play, they told him he was playing the “devil’s music”. And he literally believed he could burn in hell for playing it. And he deliberately, consciously, decided that he loved rock’n’roll music so much that he was willing to burn in hell for it.

And then he did burn in hell for it. When he came out of hell, he was still playing, better than ever.

That’s how seriously he takes his music.

He is foremost a guitarist and songwriter, but he also plays bass, drums, keys, whatever. He got his first acoustic guitar at age 13 and his first electric at 14. He was also 14 when acquired his first effect pedal: a Fender Fuzz-Wah. Because, Jimi Hendrix.

At 17 Chris mowed lawns to save up money for an Electro-Harmonix LPB1 distortion pedal which he purchased from the classifieds in Rolling Stone (Issue #2). That was his introduction to Electro-Harmonix. In 1969, Electro-Harmonix developed the Big Muff π. Supposedly Jimi Hendrix was the first musician to buy a (work in progress) Big Muff – but Chris must not have been far behind, because ever since the early 70s, the Big Muff fuzz and Crybaby wah have been his main – and usually his only – effects.

In the 80s – especially the early 80s – Chris also used an Electro-Harmonix Small Clone chorus pedal. The chorus effect was invented in the late 70s. Chris bought a Small Clone in 1980 (likely about the time it first came out), incorporating it into his sound immediately. (You can hear it, for example, on these albums: Trap SamplerRock & Roll Hell, and Pugsley.)

Years later, these combinations of effects would become associated with Mudhoney (fuzz/wah) and Nirvana (distortion/chorus).

As for guitar and amp, in Napalm Beach, Chris started out playing his pink fender Strat (that matched his pink converse high-tops) through a Marshall stack. Later, and for many years, his main ax was an old Gibson Flying-V bought from Fred and Toody’s Tombstone Music store.

After seeing the Cramps in 1982, and their original two guitar, Fender Twin reverb-and-fuzz attack, Chris added a Twin Reverb amplifier to his setup. He refashioned a headlight dimmer switch to an amp switcher. For his Napalm Beach shows he could now use the switch to select either the Marshall, or the Twin, or both amps together.

Back To Black

The Amy Winehouse song “Back To Black” is pretty clearly about a man who is cheating, but the video shows images of a funeral and cemetery. I think the mound next to the grave was intended to evoke the 1973 press photo of Chris’ first working band, Bodhi. When Back To Black came out in 2006, Chris was married, but in a long distance relationship with his wife Denise. Meanwhile, Chris’ ex-wife Valarie never left him alone, and he continued to struggle to stay off of heroin. I am confident Chris didn’t cheat while married to Denise, but Denise acted insanely jealous, didn’t want him anywhere near Valarie, and took Chris’ relapses incredibly personally. I think Denise – a honeytrap – was among those creating a nasty record with the FBI, on purpose, in order to murder Chris. Meanwhile, Chris was trauma-bonded to Denise and never completely able to release himself from the fantasy she created for him. This situation that Chris, me, and now my innocent daughter are in, is about leveraging financed abuse into more and more abuse and ultimately murder, and it’s all done for GREED.

Amy Winehouse was almost certainly murdered as well. A so-called “27 club” casualty.