Skullman Records

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

Occult Numerology and FBI/CIA

There is a lot of coded language, names, visual symbols, and and numerology involved in all of these linked events. It took me a while to figure out that most people have been “educated” somehow in all of this – while I had to put it together from media.

I’ve been looking at the whole thing long enough to know that the coded language has dialects that vary based on various factors, and that their has been, I believe, a distinct effort to manipulate the language to be as powerful and as violent as possible. Symbols are deliberately co-opted and used for specific purposes, just as the Nazi party co-opted and essentially ruined an ancient, nearly universal symbol – the swastika. This is part of a bigger mind control system – and the mind control system is really a total control system.

Behind much of this is the CIA, working from a much older occult system or group of systems – encompassing not just espionage and subversion but medicine, psychology (including mass psychology, cults, etc), alchemy, magic, and of course, drug experimentation and trafficking. The whole thing is a system of crime wrapped in a mandatory omerta enforced with mind control, finance, and violence. Murder – mass murder. And I am talking about literally millions of deaths. This much I’ve been able to figure out.

Twins

The idea of “twin” or linked events – not only murders and disasters, but definitely murders and disasters – is central. I often say “linked” rather than “twin” because the thing about these events is they don’t stop at two. They’re linked like spiderwebs – one murder is linked to several others, but from different nodes.

There are links to other secret societies. I was able to figure out a lot about the numerology by using the Rider Waite Tarot Deck like a decoding ring.

With regards to numerology, doubled numbers seem to be special. 11, 33, and 22, in particular seem to stand out. All of this – the covert symbols and numerology – seem to be fully embraced in particular by the FBI/CIA. They use occult numerology in dates, in stories, in descriptions – and in crimes, by which I mean, crimes they are orchestrating via the use of mind control technology. Like, for example, the 9/11 attacks. But you’ll find it in a lot of other instances as well.

This numerology, as I said, is also linked to Freemasonry. I used to think that Masonic groups and police links to Masonic brotherhood were the problem. I now think that’s not exactly what the issue is. The issue is that the most powerful entities in our nation – possibly in the world – the FBI/CIA – are, and have been engaged in a massive, financed, worldwide crime spree.

What is the number 33 about exactly? When did it start becoming a “thing”? Some people say Jesus was 30 or 33 years old when he died. But aside from that – according to my research – 33 degree Masonry didn’t start until the 19th century. 33 1/3 RPM record was invented in the 20th century. Interestingly, both of Chris’ parents were born in 1933.

Over and over, what is most frustrating to me about this whole thing is the power of the omerta. If there is a location where any of this is discussed openly, I don’t know where that is. But a huge part of the power of this system lies in it being protected by silence, and by centralized powers misconstruing, manipulating, and erasing historical information and other data, a machine against which I’m constantly battling. It is only through open discussion, dialectic, scientific method that truth can be understood, and it is only by understanding the world as it is that we can move forward successfully as a people – I’m talking about the future survival of the human race and of planet earth.

This crime involves deliberate wiping away not only of histories, but human lives, and even entire families. The mentality is that of pruning branches off of a family tree.

There is a lot of camouflage, distraction, disinformation, manipulation, meaningless discussion, rabbit holes to fall into. While all that is going on, the murder machine continues along a path which is relentless.

I can prove that this murder machine exists. I shouldn’t have to do so, however, because it’s already widely understood to exist. The problem is that the institutions of our government, private, and non-profit sectors who are charged with protecting the health and well being of human beings seem to have been consumed and co-opted by this system. It’s not hard at all to figure out how that happened. It has to do with what people are expected to do, and who they are expected to protect, in order to rise through the ranks into powerful positions. If you protect the gang, the reasoning is, the gang will protect you. Until they don’t, anymore.

The gang may ask you to throw your brother, sister, mother or child to the machine. And you will be expected to comply. The trauma you experience through acts such as this will make it easier for your to tolerate subsequent acts of violence and betrayal. Rather than moving to action when something horrible happens or is about to happen – your mind will go blank. You’ll think about something else. Maybe you’ll get paid off. Your main task is then to figure out how to live with yourself. I suppose people start to do math in their heads – try to rationalize functioning within this system, and to figure out how to succeed within the system, rather than attempting to dismantle the system, even when opportunities exist for dismantling the system and replacing it with something safer, more honest, more wholesome and more real. I know that change is possible, but it won’t be possible as long as we are forced to keep horrible secrets.

 

Research and Writing – IV – Dates (new information)

In a blog posted just a few hours ago (Research and Writing III – Dates), I discussed issues around dates, including conflicting information about dates, or poorly supported assertions that become part of what I call The Script. The Script is my name for coordinated stories by gatekeepers of stories about pacific northwest music history, especially in those periods that Chris Newman was actively writing and performing. Chris’ career spanned from about 1970-2020 but he was most active and prolific in a careerist sense from 1980-1996.

I have asserted that Chris’ work was deliberately sabotaged and buried while at the same time widely imitated in a number of ways, due mainly to the high level of surveillance around him – that he was trafficked via surveillance by a number of powerful entities, including the FBI/CIA – and I have also asserted that is who murdered him, as a cover for a number of crimes, including large-scale child trafficking activities, torture, covert medical and psychological experimentation and manipulations, and more murder. I don’t expect to simply say these – what some might call outlandish – things – I expect to provide support for these claims, and that is exactly what I have been doing.

With regards to the previous blog, I brought up the Nirvana song “Heart Shaped Box” and specifically the “tar pit trap” line – which I asserted that Cobain deliberately linked to the title and refrain from Chris’ song “Tar Pits.” And I discussed dates – the alleged date that Cobain composed Heart Shaped Box (“early 1992” according to a footnote on Wikipedia. Clearly I’ll have to chase down the original source, if possible, to find out exactly how that date was determined) – and trying to guess when Chris had written Tar Pits. The reason for this is to provide additional support for my assertion that Cobain was deliberately using the refrain from Chris’ song in Heart Shaped Box. (Not the only support for the assertion, mind you – but still important.)

In the blog, I said that Tar Pits was published by Chris on his album Ripped Van Stinkle (which is true) and that the album came out in October 1992. This date was based entirely on Chris’ memories. Chris did not work with professional outfits to record and release music. He worked independently and/or with tiny DIY labels.

I did recall Chris saying that this album had been recorded twice (and that the original title of the album was El Kabong) – because the original masters had burned up in the Dogfish Studio fire. That allowed me to go back into archives and find an article in The Oregonian dating the Dogfish Studios fire to March 24, 1993. That means that the original recording for Ripped Van Stinkle was made before March 24, 1993, and the second recording was made sometime after that. So it’s more likely that Ripped Van Stinkle came out around the same time as Nirvana’s In Utero.

Chris, in case anyone is wondering, paid very little attention – if any – to the music of Nirvana. Why that is, is worth consideration at some point. Even though “Nobody’s Daughter” Courtney Love had been a friend of his, I don’t know of him hearing any of her music prior to 1994’s Live Through This.

Dogfish Studios fire article from Oregonian – April 19, 1993 – PDF format

 

Research and Writing – III – Dates

One of the assertions I’ve been making for years now is that Kurt Cobain coded lots of messages into his music which could be picked up by either Chris or by me. I know it’s not only Cobain who did this, but he was extremely clever at how he went about it, and he was importantly positioned both in time (he was almost exactly one year older than me – shared a birthday with my mother, actually) – and location, and of course by profession as a musical artist.

After going back into my journals at length, which I started to do in 2018, I realized that Cobain in a lot of ways knew my journals better than I did. As for Chris, all of his journals, and all of his letters prior to 2014 have vanished. Some of his letters vanished after he was living with me, so it is not that Chris lost or misplaced them. Someone stole them.

The first Nirvana song that I realized was based on one of my poems was the song called Sappy, based on a poem of mine called Caterpillar Jar and I’ve talked about it at length on videos and so forth. Caterpillar Jar appears in my journal first in March 1988. So, if you look up the history of Sappy, on Wikipedia you learn that it was first relased in October 1993, but the Sappy Wikipedia entry goes on to say “Originally recorded under the working title “Sad”, “Sappy” dates back to at least 1987. The first known version of the song is a solo home demo recorded by Cobain in the late 1980s”

“at least 1987” – really? I still contend that the version that came out in 1993 is based on my poem from March 1988. Where does “at least 1987” come from, and is there evidence to support that claim, the way I have evidence of the date of my poem in my 1988 journal? I don’t know the answer to that, but the source for the claim is a 2006 book called Nirvana: In Utero by a Seattle writer named Gillian Gaar. In order to find out how Gaar established the 1987 date I’d have to track down the book and see what her sources are. The thing about this is, however, in this context – northwest music history in general and Nirvana in particular – you cannot trust what people say, even when there are several people corroborating the same story. Because there is a script.

This came up again with regards to another song from 1993’s In Utero, and that is Heart Shaped Box. While writing about honey traps I started thinking about the “tar pit trap” line. Chris had written a song called Tar Pits which he recorded in 1992 (correction – Tar Pits was more likely recorded, burned up, and re-recorded in Spring 1993 – see “new information” post).

Chris had married Valarie – a heroin-addicted CIA-trauma-trained honey trap – in August 1991. Chris’ first releases were on a label called “Trap” belonging to Greg Sage of the Wipers, and Chris’ drummer, Sam Henry, was the Wipers original drummer. Sam was also a heroin addict, and Sam’s secret job, like the secret job of Valarie, and for that matter, Greg Sage, was to “trap” Chris. Chris was deliberately trapped with distractions, brainwashing, misdirection, psychological manipulation, bad advice, and drugs.

I think Cobain was drawing a parallel between himself and Chris with that line, in a few different ways.

The thing about artists that imitate Chris music – it was possible to imitate Chris musically before Chris performed publicly or recorded because of the surveillance trafficking coming right out of our private residences, and there are times I suspect this may have happened. So I don’t know exactly when Tar Pits was written, and in fact I believe the album on which it appeared, Snow Bud and the Flower People Ripped Van Stinkle was actually recorded twice, because a fire destroyed the master tapes in the period of time after it had been recorded and before it had been mixed (that was the Dogfish Studio Fire). Chris’ memory was generally good about dates, and he gave me the date of October 1992 as the date that Ripped Van Stinkle, and Tar Pits, was released.

In Utero was recorded in February 1993 and released the following September. When was Heart Shaped Box written? According to the current Wikipedia article, it was written in early 1992. What’s the source? Gillian Gaar again. This time it’s not clear from the footnote what publication; possibly it’s the same In Utero book claiming the 1987 date for Sappy.

One other thing I find a bit interesting – Gaar’s twitter bio reads thusly: “Writer and thinker. #binders” -On the album Ripped Van Stinkle, “Tar Pits” is track 11. Track 12, the last song on the album, is called “The Thinker”

 

Research and Writing – II – Gatekeeping and The Script

Our Favorite Performer

Use just once and destroy
Invasion of our piracy
Afterbirth of a nation
Starve without your skeleton key
I love you for what I am not
I do not want what I have got
A blanket acne’ed with cigarette burns
Speak at once while taking turns
– Kurt Cobain “Radio Friendly Unit Shifter” (In Utero 1993)

I have made the claim that archivists, scenesters, and writers writing about the music of the pacific northwest – in particular those writing about the times when Chris was actively playing and recording – recite from a script. And they don’t just recite from a script about Chris, but about all notable artists within his orbit, or shall we say sphere of influence.

In addition to there being a script, there are established gatekeepers of history, especially when it comes to artists around whom there is a lot to hide – and there are a few of those. Chris’ history is hidden mostly by simply being omitted, though it seems that the more is written about him, the more there is to disentangle, because falsehoods are being published, and once they are published, if they aren’t immediately corrected, they’re apt to be republished again and again. The more that is written about Chris, the more likely it is that gatekeepers will appear, and one person who may be positioning herself in that regard is his first wife Valarie. Valarie – another honey trap – has published out and out libelous statements about me – by which I mean demonstrably factually false as well as harmful – and refused to remove the defamatory content when asked, so she may deserve additional attention.

Gatekeeping is particularly systematic when it comes to more well-known artists. The who come most immediately to mind are Kurt Cobain and Elliott Smith, both of whom I believe – or better put – I believe beyond reasonable doubt – were forced to suicide. In other words, like Chris and many others, they were murdered. And not only that, it was widely known that Cobain and Smith were murdered, and that it was widely known ahead of time that they would be murdered. In other words, these are cover-ups that begin while a murder is being planned (and the victim could still potentially be saved) – and they are cover ups involving not just a small group, but large communities, and supported or instigated and covered up, once again, by the FBI/CIA. Under such circumstances, you can understand why there would be gatekeepers, and why any writer who cared about his or her own life and/or the lives of their family members, would not venture beyond the official gatekeepers and the official script.

I mean, I hesitate to support this fear such a system engenders by painting it out to be exactly as corrupt and terrifying as it is, but history teaches us that acquiescing to violent authoritarianism only leads to more violence, and more authoritarianism. So my point of view is that someone has to break the cycle, and that starts with speaking truth.

The gatekeeping is about more than covering up murders. A lot of it is about money, and the murders themselves seem to be linked to financial and material gain (homes, cars, opportunities) by people in the community. Gatekeeping can be as simple as directing attention. “Mark Lanegan is the best singer” is one example of the script. You’ll hear some version of that from lots of different sources. I’m not alleging this part of the script comes from Lanegan – I think it is linked to someone else – but that everyone within a certain community was obligated to go along with it, and certainly not to counter it publicly. This background made it even weirder when Lanegan would say to Chris – more than once, but only in private – “Chris, you are my favorite singer.”

Cobain sort of takes the piss out of the whole thing here, as he introduces “the last song of the night” on MTV Unplugged, which is a Leadbelly* song he recorded as a duet with Lanegan, Leadbelly’s “In The Pines”. The introduction (first minute of the video) is the main part I’m taking about – “this was written by my favorite performer – our favorite performer – all our favorite performer, isn’t it? We like him the best. Oh, and there’s a donation basket…”

Within the full performance are other hints about what’s been going on in the background – like when he says “K” at the end of his intro and at the end when he says “WHOLE (HOLE) night” and instead of saying “cold wind” he pronounces it “CONE wind” – recalling some imagery of a cone-shaped hat blowing off along with some blue butterflies, and switching from white to black in the Heart Shaped Box video.

Nirvana Heart Shaped Box video showing white cone hat blowing off, soaking black ink from puddle


* It is my contention that Chris Newman was murdered by aiming a frequency weapon – possibly a carrier wave with radioactivity – at his internal organs via one or more implants in his gut – aka a link to both the moniker “Leadbelly” and the word “gutter.”

Dulli and Lanegan aka Gutter Twins standing in front of a chain link fence
Gutter Twins – Dulli and Lanegan

Cobain, from my perspective, was uniquely talented at creating art which could potentially catch the attention of either Chris or me. I was listening to and reading about a lot of old folk and blues artists in the 1980s and early 1990s, including Leadbelly. In addition, Leadbelly was known for the song “Goodnight Irene,” which links him to Ken Kesey (via the lyric taken for the book title Sometimes A Great Notion), and to the Oregon Country fair which is where Bret was headed on June 27, 1988 when he was hit by a car. I suspect that the Kesey family is linked to Courtney Love’s family (something to do with dairies and/or Grateful Dead and/or LSD/CIA).

 

Research and Writing – I – Deletions

In order to write a history of someone or something, it is helpful, to say the least, to have documentation from which to draw. These can include official documents of various types, or in the case of an artist or entertainer, dates of shows, publication dates, album release dates, contracts. They can also include newspaper articles, mentions in books, and things of that nature.

This is when it gets really sticky writing about Chris Newman and his bands. Chris, but not only Chris – there are others.

In 2013, when I published the article called “Introducing Napalm Beach” I started with what had ultimately become my conclusion – that the band had been deliberately buried – unpermitted to succeed financially, then written out of history. Most who bothered to respond lept all over this conclusion as being false, and though I thought I had made the case pretty well in the article – and trust me – it is not what I thought until I’d already been working on the article for weeks if not months – maybe I didn’t make the case well enough. Or maybe the problem was putting my conclusion at the beginning of the article. Or maybe all the criticism was just plain disingenuous.

I do seem to run into problems when I made a general statement and then support it with arguments and evidence. Usually the criticism is something along the lines of “that is ridiculous” and/or “you’re crazy and should be institutionalized/medicated/seek therapy.” And while that might not be the most well supported counter-argument a person could make, if enough people get together to form a chorus of this type, and if the chorus includes professional people who ought to know what they’re talking about – then it’s pretty hard to refute, facts and evidence be damned.

Nonetheless, I have to keep trying.

Yes, Napalm Beach was written out of history, and no, it was not an oversight. But rather than make this big claim all at once, maybe a better route is to look at smaller pieces. This is important not just because of the legacy of an artist, but because the CIA-driven machine that was and is behind all of this has is continuing to cause a tremendous amount of harm.

Yes, I now know that it is the CIA/FBI who was behind this, and that labels like Sub Pop and Flying Heart (and others) were (and are) tied into it, and this is why there have been so many premature deaths (including cancer, heart attacks, car crashes, and overdoses) in the San Francisco, Portland, and Seattle music communities. But look at me, there I go, getting ahead of myself again.

Chris isn’t the only person who’s life is being or has been deleted from history. I am on that list, my daughter is certainly on that list, and my childhood friend Bret Bowman is on that list. How should I know that Bret Bowman is on that list being as he was hit by a car while tripping on acid at age 22 while on his way to the Oregon Country Fair and spent more than 10 years in a coma before waking up and then committing suicide on the anniversary of my matriculation date from Humboldt State University? I know because as a child, Bret excelled in two areas – music and shooting.

Bret won several trap shot awards, and he also won awards related to musical performance. These are the kinds of things that would have been written up in local papers. But when I was doing research on Bret, searches in newspaper archives on his name brought up absolutely nothing. His awards did not come up, nor the incident that ultimately took his life.

I found a similar void when searching on my own name in newspaper archives. Even though I didn’t win awards as a child, I was in the local papers once or twice. And I found a similar pattern with Chris, at least in the major newspapers. What I’m saying specifically is that our names would not trigger results in searches of online newspaper archives. Could we be found by browsing specific newspapers page by page? Possibly. But to find information that way you need a lot more information – you need to know when, and in which publication, an article appeared.

There are a lot of other examples I’ve run into of centralized manipulation of data – both personal data – for example – the deletion and manipulation of my images from Google cloud accounts – and public data – manipulation of newspaper archive searches – to control information. The only groups that I know of which could be doing this kind of thing across several different platforms are federal spy agencies. And the data manipulation is sophisticated, by which I mean there’s an understanding of psychology applied here as well. If I were to make a public statement about some specific piece of data that I know should exist in a certain location not being there, or not being found, there’s a significant chance that the following day, said data will suddenly re-appear, thus making me look like I’m misinformed or careless at best, or delusional at worst. In other words, data manipulation is only one part of what is going on – defamation, disinformation, and other psy-ops are also at work here.

“Why should they care so much about you?” is the question that usually comes next – it’s a valid question, though the question always comes from those who already know the answer. Any kind of answer that I give which fits into some kind of soundbite then automatically receives the reply “you should seek therapy/medication, etc.” It’s not that the question can’t be answered – it’s just that the answer is designed – was deliberately designed – to be a bit crazy.

Just to be complete about this – information also has regularly been deleted from my computer hard drives and even from my back-ups. So as I’ve been attempting to collect and archive what I can, following right behind me is this big deletion machine. I can’t trust my computer, I can’t trust back up drives, I can’t trust newspaper archives, I can’t trust my web servers, and I can’t trust any cloud service to keep my data secure. Putting 2 and 2 and 2 together – this is intelligence agency level activity.

There were things written and published about Chris’ bands in various newspapers beginning at least by 1981. There was an article by Charles Cross in the Seattle P.I. published on July 18, 1981. When I tried to find the print version of that article and I was unable to do so not because of deletions, but because the only reasonable way I could find to access that archive required me to have a library card for the Seattle public library.

So there’s the issue of silence (being ignored in music histories), and there’s the issue of data deletion, there’s an issue of some data being unreasonably difficult to find, and there’s another issue – there’s the issue of being written about poorly. I’m not talking about bad reviews, necessarily – there are more insidious ways to sabotage an artist.

 

Napalm Beach at Bumbershoot 1985

black and white photo of Napalm Beach viewed from behind on stage, dancing crowd
Napalm Beach performing at Bumbershoot Seattle 1985 by Steven Horn
print available for purchase from Seattle Office of Arts and Culture