Record industry apocalypse – Land of the Lost

Recently I wrote about my Napalm Beach bandcamp account being accessed, songs going missing from the Rock and Roll Hell album, and the digital distribution through CD Baby having been ended for some reason, it turns out way back in September 2013, shortly after I’d published the Napalm Beach article. Right around that time (Sept 2013-Jan 2014) every single one of my social media sites had been hacked. It might have been done then, and I never noticed because things were never the same after that.

Then I couldn’t find the master CD with my others, and I got pretty upset. Since then I realized there was another potential location, and I found the CD, so that is another crisis averted. I will be able to put the songs back into digital distribution. However there was something a bit odd about this – which is, the CD I needed – an album that was engineered and released by Greg Sage on Zeno Records – was in a binder that was in turn in a tote bag, and shoved into the bag, outside of the binder, was another Greg Sage recording – a CD version of 10-29-79. This is the album with a collage-type cover depicting a city (I’ve always assumed it was Portland, since all the bands were Portland bands) being attacked by a swarm of disc-shaped UFOs – but if you look closer you see that the UFOs are actually vinyl records. And then, if you look even closer, you see that there’s one person in the crowd just smiling, not running a way – and that is Portland car dealer Tom Peterson, the same guy on Kurt Cobain’s watch.

One thing that’s interesting about this album to me is it was recorded just a few months before Chris and his band The Goners moved to Portland.

Originally I thought this was just an entertaining 1950s horror movie cover, but now I see more in it – because now I know that record deals are made based on people willing to file defamatory reports with the FBI, and that people are harmed and killed by radiation weapons on starlike drones in the sky (UFOs, basically) – and all of this is financed – and it’s linked to the recording industry, and it’s linked to cars.

From this perspective, it looks really good for Greg Sage that he released his own music (mostly) on his own label.

One thing that’s kind of interesting about this image is it kind of links to the cover Chris painted six years later for Land Of The Lost in which he imagined Portland as a city ruined by some apocalyptic event, with the streets taken over by jungle plants and brightly colored dinosaurs.

Land of the Lost album cover
Wipers – Land of the Lost (1986) reissue – cover art by Chris Newman

policy of infiltration and subterfuge

The philosophy seems to be if you are playing both sides, you can’t lose. It’s the same reason why wealthy donors fund both Democratic and Republican candidates in the same races. No matter who wins, you’ve already bought influence.

With regards to the music industry, the infiltration is through the underground. The most visible underground acts are industry and/or CIA linked. Punk rock was a vanguard of the music industry. The rebellion was faux. Of course there were those of us who bought what was being sold, to whom these things were meaningful – but all that seems to have done was set us up for a fall as – with a few exceptions – the supportive community we thought we had dissolved with the first influx of corruption cash. Many of them turned out to be completely enmeshed in the occult and much of this community support had always been an illusion. The culture was that of backstabbing – not because people are inherently evil, but because this is how it was set up by the industry who wants to never stop the life of crime.

In our families, infiltration was achieved through intermarriage and multigenerational brainwashing, as well as through financial means.

Thus, again, with a few key exceptions – everything that meant everything to us was coopted and destroyed, including some of the the most fundamental relationships, husband and wife, parent and child. And people are taught to excuse, enjoy, revel in, and even celebrate this predatory behavior.

With a few exceptions.

Every time I reach out for support, I’m reaching for the exceptional.

I know we contributed a lot to our communities in a number of different ways. I saw Chris do a lot of things for people – play benefits, play weddings, play Napalm Beach shows long after he swore he would never do it again, because it was someone’s birthday. And I’ve spent a huge portion of my life volunteering in a number of different capacities. When we were slogging through the club circuit – and yes, beginning around 2011 it started to become a slog from my point of view, because we weren’t progressing as we should have been, all things considered – we thought we were working towards something. In fact, what seems to have been going on was the community was booking us into gigs in order to get us enmeshed in various set ups, and to put us in contact with other bands specifically so they could file false reports with the FBI.

The entire music industry, enmeshed with the FBI and CIA in this way – is a fabrication of a playing field. Everything that is being achieved, it seems, is being achieved via corrupt back room deals, with a performance on the outside, making it look like these scenes are naturally springing up from creative engaged communitites.

What I find really sad is that the city of Portland seems to have essentially agreed to this deal where Seattle would get to have their day in the sun, and Portland would just settle for the dregs and backroom dollar deals. Worse, they decided they’d kill each other off with cancer. “Dialing for dollars.” It’s weird to think this is the only kind of life some people know.

recent retaliations linked to music

It’s really tempting to fall down into one of these endless occult rabbit holes especially when the Grateful Dead (aka Courtney Love, Whitey Bulger, and various motorcycle gangs) gets involved. That’s the tar pit trap, the light falling like sticky honey, the amber (waves of grain) and all that jazz.

The reality is the crime. The occult is part of the confusion, brainwashing, cover up.

I finished writing two blog entries about this, under duress (because while I don’t like giving it attention, ignoring the occult parts of this doesn’t make it go away), and then turned toward the ceaseless business of saving Chris’ music from the relentless wiping machine. Immediately once I started to do that, my cat Roxy began to suffer terribly from directed energy attacks, shaking her head, twitching, screaming in pain. She’s still suffering. Her ears, scabbed over again and again, are freshly bleeding. I’m livid.

The facts really point to the big deal being the theft and destruction wrought by the recording industry (and secondarily other industries) and their weaponization of the forces of state to this end – the FBI and CIA.

This adds more fuel to this scheme built around honeytrap Courtney Love and her involvement in the take down of Kurt Cobain being a sort of insurance policy for the recording industry (and CIA). The reason is that Kurt and Courtney were married when he died, and she inherited the money he made. Yes, she’s since passed most of it on to their daughter, almost certainly as a means to protect it should Courtney be sued for damages for some of the offenses she’s been involved in. A secondary reason for Courtney to hold on to this system of theft and protection is she can avoid facing accountability for her role in these murder for hire schemes.

Courtney positioned herself as a controller in an occult system. In order to do this, it appears that she had to claim some special role regarding Chris Newman, is what I think. Maybe she had to claim some sexual relationship?

The reason I think this is because the honeytraps I dated seem to have gained a lot of power with regards to me, almost like ownership roles. This whole thing is so ridiculous and depraved it almost makes me choke trying to even talk about it. It’s disgusting, frankly. Anyone who truly buys into this is probably basically in a cult and thinking in a cultlike manner, meaning they’ll swallow almost anything. And that is dangerous.

I have decided to put some attention into Napalm Beach’s first four albums – before Chris began to sign – on the advice of “friends” and other around him – horrible, fraudulent deals with Flying Heart Records (a honeytrap label). To this end, I began to create some promotional materials in an attempt to fundraise to get some important work done. I was working on Adobe Creative Cloud, saving files to the cloud. Suddenly everything started to hang, then my computer restarted, seemingly all on its own. After it rebooted – hours of saved work was gone from the cloud accounts.

Also, yesterday, I discovered evidence my bandcamp accounts had been compromised. The album Rock and Roll Hell has two missing songs. I went to CD Baby, where we do digital distribution, and found the album had been cancelled from digital distribution. I did not cancel this album. I then went back to my archives, and found the original CD is also missing. This is evidence of the music industry weaponizing the FBI, because I believe it is the FBI and/or CIA who regularly enters my apartment, hacks my online accounts, harms me physically, and tortures my cat.

Before this, for days on end, this song has been in my head, which turns out to be from Rock n’ Roll Hell, called “Never Forgive.” I’m not sure what the reason is for this song coming to me, but one of the lines that I kept thinking of was “remember down in New Orleans, you ran around with the dogs.” The two songs that were missing from that album were “Down In New Orleans” and “Too Much Fun.”

“Never Forgive” was a song that Chris wrote aimed at his child molesting boy scout leader Uncle Arnold.

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.


Courtney Love, malfeasance, “Big C Mart”

Lately it seems like whatever I dream at night, I don’t remember much of it, but I’m left with an overall impression in the morning. Last night I was woken up a couple of times by Roxy screaming in pain, and I had the strong sense of Courtney Love being behind it, as I did last night and again this morning. This morning the indication was that Courtney Love is a CIA finance gruber (channel) behind much of the malfeasance in Portland’s government – the cars and construction projects. That this is all linked to FBI files that she scripts. Also, that she’s linked to the implanted devices in my mouth (tooth 14, 15). I normally would hesitate to write this stuff without outside evidence to back it up. But I have been writing about her a lot lately, and I have also taken steps to prevent Chris’ legacy from being wiped away and this seems to have led to retaliation.

Backing up for a moment – years ago, before I knew anything about any of this, I was interested in the music of Courtney Love and Hole. At that time I was going out with this honeytrap named Tom Harrison who I now think almost certainly was linked to her. I remember me saying something about being interested in her work at one point and he responded that he thought I was “obsessed” with her. That struck me as odd. I didn’t think my interest in her as an artist was anything close to obsession. This would have been around 2004 or 2005.

By the way? In spring 2005, the night before one of my cats, Princess, was found dead in a driveway – something that was both a twin event and had also been “predicted” in a dream – Tom and I had been watching The People Vs Larry Flint a movie starring Courtney Love.

I’ve had dreams more recently indicating that all this abuse and killing of pets is Nazi-origin stuff linked to the CIA.

Shortly after Chris died in May 2021, I received a series of anonymous comments on my YouTube channel by a user called “zille1313.” This user obviously had some kind of inside scoop because Chris often used 13 or 1313 in his passwords, and he died at exactly 11:33pm. The user claimed to be a male fan and acquaintance of Chris going back more than 30 years, and challenged me to guess who “he” was. I interacted with this person a little bit, then stopped. The person later deleted their account and all associated comments – I had made a screenshot of the account, but not the comments. Note that the person was following an account called “Huff Paranormal” – my Seattle based grandmother, nurse Helen Meyer’s maiden name was Huff. The account was also following Sam Henry as a topic – Sam was diagnosed with stomach cancer a few months later and died I believe the same month he was diagnosed.

I think I should do a post on the number 13 and what it meant to Chris (and me) versus what it means to probably everyone else.

Courtney Love – Mono – 2005

This account though has all kinds of indications that they are death linked. DiEM25 probably is pointed at me being as my initials are EM and my account is right next to it. The Criterion Collection “C” next to Sam Henry is linked to number 3 and almost certainly stands for “cancer” – and if you watch Courtney Love’s video for “Mono” she and her squad take over the “Big C Mart.”

Who was Zille1313? I don’t know. I have the ability, under certain conditions to receive information telepathically (so does Courtney and a number of other people). It’s not the same as being psychic. It’s more like radio transmission/receiving, and it’s not ever really that weird. It’s totally explainable scientifically and only “strange” because it’s been covered up so persistently.

It was clear that Zille1313 had a fair amount of information about Chris’ background. One thing I’ve felt the whole time is that Zille1313 was not male, as they claimed, but female. My strongest suspicion was that it was Valarie, especially at the end when the person wrote something about my “obsession” with Chris’ ex-wife Valarie, then wrote “I get it” – as if – the person understood why I would be “obsessed” with Valarie. This was just false. Considering how persistent Valarie was in communicating with (and lying to) Chris I probably didn’t think about her enough. Because of that last comment, I figured that this person was Valarie – especially later on when I saw that Valarie was also using the number 13, for example, in her email accounts.

With regards to “The Big C” – Valarie’s father had died of cancer. When he was diagnosed around 2010, Valarie told Chris about it, saying her father called cancer “The Big C.” The phrase “The Big C” also relates to – and may originate from – a literal “big C” in the hills over UC Berkeley (Cal). This literal Big C goes back to the early 1900s, and in fact there are a number of reasons to suspect that UC Berkeley is among the academic institutions linked to covert assassinations and malfeasance going back to their earliest days. (Rush Dolson, electrical engineer, class of 1910.)

I probably mentioned before that when Valarie and Chris were living on the streets of San Francisco, Valarie would dumpster dive for fabric and clothes, her hair dyed pink, teeth missing – the SF police nicknamed her “Courtney.”

How Courtney Love writes songs

I increasingly think that Courtney Love writes songs in an intentionally deceptive manner, and that this is especially true of everything she’s done since, and including, Live Through This. The reason is that she’s hiding her involvement with some massive crimes, including the murder of Kurt Cobain and the murder of Chris Newman, and of course, she’s now after me and my daughter.

Courtney constructs elaborate scenes to in which you can drown. She makes you think she’s talking about something, or to someone, when she’s actually talking to someone else, or about something else. She uses a lot of vague “he, she, you” where it’s difficult if not impossible to figure out who she’s talking about. Maybe if you have specialized inside knowledge you can figure it out – I usually can’t figure it out – or I figure it wrong.

I have said that Courtney Love was a honeytrap. As far as I know, Chris Newman was the first person she tried to honeytrap. She was, at the time, only sixteen, so I imagine she had been put up to it, at least in part by her father, who is the person who provided her with the LSD that she came equipped with. He in turn was likely working with another entity which was probably CIA and music business. She later honeytrapped Kurt Cobain.

When I ran into the Hole song “Honey” I didn’t know anything about honeytraps outside of maybe seeing a very superficial version of attempted honeytrapping in James Bond movies. It wasn’t something I would expect would happen to me or anyone around me. In any case, I listened to the album Nobody’s Daughter when it came out in 2010, a year after Chris and I got together, and then moved on – but later, after I began to see the parallel patterns between Nirvana and Napalm Beach, specifically Cobain’s adaptation of Chris’ early 1980s equipment set up and also the way the bands seemed to follow each other’s live performances in Europe (a pattern that I now see also happened in Seattle and Portland) – I started to look more closely at a lot of things, like Cobain’s lyrics “I’m a liar and a thief,” for example – and I started to see evidence that Cobain was extremely troubled by the way that Chris was being cheated, stolen from, and lied to.

Once Chris and I got together, and as we began to recover Chris’ catalog, and especially as Chris worked toward freeing himself from heroin addiction, Courtney Love no doubt knew that one or both of us would eventually detect this pattern, and that it could result in legal actions involving Nirvana.

I’m not sure how long the whole scenario had been planned out, but it seems like Courtney Love had been laying the groundwork for a profound deception going back years. She had Chris believing that she had a huge teenage crush on him, that she wanted him to be “her first” lover. She had written him letters from Europe. She had told him at a party, in front of a number of people “I would have married you Chris Newman!” And after appearing on the cover of Rolling Stone, she greeted him from onstage at La Luna. So Chris had no reason to suspect she held any ill will toward him.

Anyway, after discovering this bizarre pattern with Nirvana and Napalm Beach, I ran into a video of Courtney performing this song “Honey” live on the radio, and I felt that it was a “message to Chris.” What I really felt was that she was drawing a parallel in the song between Kurt Cobain and Chris Newman, and assumed that if Cobain had been troubled by the situation around Chris, she too would have been troubled by it, being as she seemed to care about Chris. And that the reason she didn’t reach out to Chris was because she and everyone was being prevented from speaking freely, or associating freely with Chris and me.

I thought these things because I was missing some key pieces of information.

The first key bit of information I was missing was that Courtney was not an innocent teenager who wandered randomly into a scene and somehow ended up living in the Napalm Beach band house. Courtney Love was actually a honeytrap, both with Newman and Cobain. That fact alone changes everything, especially if you also accept the idea that Courtney Love’s job was to destroy both Cobain and Newman. And that is what I think the truth is.

Once again, at age sixteen, she may not have had full agency – but she continued to make choices along the same lines.

Courtney Love is not just a honey trap but she seems to be a manipulator or “gruber” of finance, meaning she moves money around to get things done, including assassinations. This is achieved by concocting fake files with the FBI and CIA.

The song “honey” was itself a trap.