Matches: Live Through This
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
- Chris Newman was already marked by this community and others for destruction and death.
- Kurt Cobain knew this, and was against it. This is clear to me from his lyrics.
- 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.
- 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.
A momentary reflection on the narrative and my research to date
Contrary to the narrative pushed so hard by nearly every medical provider and law enforcement officer I’ve had to interact with over the past decade or more, I don’t possess a set of “fixed beliefs” (delusional or otherwise). In fact, I’ve spent my whole life involved in developing research abilities. It’s the only way I’ve ever managed to achieve anything. I definitely did not have someone telling me what to do and handing out favors as a reward for obedience, not to mention malfeasance, thank God. I would find it very difficult to live with myself, were this true.
I backed off of writing about Chris’ history while he was alive because he was experiencing social and psychological pressure from family members and from trusted members of the community that he believed supported him, and this pressure made him uncomfortable. He didn’t like disapproval. The biomedical mind control technology in use seems to be really good at controlling certain things, and that includes “obsessive” or habitual behaviors (including those linked to addiction – but also things like training, guitar practice, etc) – and it includes pattern recognition. Chris was able to listen to a song once, hear the instrumentation and chords, and instantly play it on guitar – but he was literally unable to recognize what to me were very obvious patterns of unusual phenomena or malfeasance. When we came into conflict over these things he tended to get triggered and to revert to black and white thinking. He couldn’t see the reality of the situation. I don’t think the damage done by so many people promulgating and refusing to let go of a lie of this magnitude can be overstated. It is a big lie made up of millions of “little” lies.
Since I’ve come back to the project, there is a bit more information available, and certain things are coming increasingly into focus, and that includes that not only was I correct about Chris’ music being deliberately buried by what can accurately be called a well-financed global conspiracy – and this is increasingly supported by evidence – but that there were actually a number of people in our orbits who were targeted for destruction, and some of them, like Kurt Cobain, Elliott Smith, and Bret Bowman, were particularly significant.
At this point in the process, I have lots of information about Bret Bowman, and I know that there are links to Sub Pop. I have an increasingly solid grasp about Kurt Cobain, and Elliott Smith is coming into focus. With Kurt Cobain, there also seems to be a solid link to malfeasance by Sub Pop. With Elliott Smith, there may be a malfeasance link to Jackpot and Kill Rock Stars, but there also is a link between Elliott Smith and Sub Pop as well, in the form of a band called Crackerbash, and specifically founding member Sean Croghan.
Boo Frog’s drummer Doug Naish was also an original member of Crackerbash. His brother, Brad Naish, had played drums with the Wipers. Doug played with Chris from 2012 until the pandemic shuttered live music. Chris liked Doug’s reliability, his willingness to follow Chris’ musical direction, that he would help Chris with moving equipment, and the fact that he had a van. But it is clear to me that Doug was always deceptive and his intent was always destructive. He readily took part in a plot to destroy Boo Frog and to set Chris up in a situation where he could be manipulated and controlled.
After Chris died, Doug tried to keep his amplifier.
Spex and Loves Simple Dreams (L.S.D.) Records
from Chris’ draft memoir (1988-1989 time period)
I got a package from Germany. It was a rock magazine, it looked similar to SPIN. It was called SPEX, and inside were three one hundred dollar bills. They told me the reels of master tape Tom Robison had sent were now vinyl albums on L.S.D. – Loves Simple Dreams Records – in Berlin. The music critics voted it into the top ten albums of the year. Napalm Beach – MOVING TO AND FRO.
Wow! Henk Van Drummel had been a door man at Satyricon. He had a visa while doing the forign exchange student thing. I had signed a Teen Dream album for Henk one night at the bar. It mentioned, “I hope we get to Germany someday.” Henk and his girl Heike made that dream come true.
It was so fucking amazing. We were going to tour Europe in Novermber and half of December of 1989. We all three had been dabbling with cocaine and heroin for far too long. We knew we had to prepare for kicking our drug habits.
We had to find a new bass player. Simon (Simoncini) had left for good this time. He left on July 4th, 1989. He is still clean and sober today. I loved playing music with Simon. He was younger and very good looking. A sweet funny guy, that loved to get loaded. We shot so many speedballs. We got scared sometimes doing massive injections of cocaine. We all saw people having coke seziures. They can’t remember their own name. Cocaine was the scary part of the speedball cocktail. It overpowered the heroin at first, but it always won over after the cocaine fades away quickly. That’s part of the reason addicts keep reaching for the coke rush.
Sam and I tried a few bass players out, but they had to have the outlaw image. they had to be able to play good enough to hold down mine and Sam’s on stage onslaught of Rock! There he was, all 6’6″. Too-tall Dave Dillinger. He was pretty new in town. He was from L.A., twenty one, and he knew his music. He played a little drums, and guitar too. Bass was his forté. He had a solid simple style that suited Sam’s busy drumming style, and gave me something solid to build chord structures around. My soloing sounded fuller with solid bass support.
Sam had been getting more and more into his drugs. He was really bummed when his girlfriend Debbie left him. My girl Nancy also left that same weekend. Napalm Beach were booked to play at the Central in Seattle. We had no bass player, so Sam played bass, and this guy Dave Meyers, played drums. Sam and I were so fucked up, shooting speedballs the whole way. Dave Meyers drove his van and the equipment with his buddy Jim Micheals riding up front. Jim was new at it, and kept turning around because he was jonesin’ watching us shoot up the whole three hour ride.
Needless to say, we sucked shit. I can’t believe we called that desecration of music Napalm Beach. Seattle band guys were there, like Mark Arm of Mudhoney and Lee Conner of Screaming Trees.
Sam and I went on the stairwell after a couple of songs and shot more dope. I could not stand up with out holding on to the mic stand. How was I supposed to play guitar? My god that sucked shit!
I wrote,”She Moved Away” after that.
Sam was impossible most of the time at that point. I was hating working with him, and dreaded having to buy any dope from him.
Dave Dillinger’s first gig was a tense one. The Satyricon was packed, we went on last. Sam still is not present. We set up his drums, we are standing on stage waiting, tuning. It’s getting close to 2:00AM and they close at 2:30 in Oregon. Sam walks up and immediately starts complaing about how his drums were set up wrong. I screamed,”YOU’RE AN ASSHOLE!” He threw his beer in my face. I stood there fuming, humiliated, beer dripping down my face on to my guitar. Jan, transfixed on the side of the stage, showed his worry. “Do I have to take this?”, I pleaded. Jan nodded his head.
The crowd watched in awe as we went into a more menacing version of MONSTER than ever before. I improvised the lyrics to fit the impending doom. We made it through the set, and went our seperate ways.
This was too big to fuck up. I had one little side trip to take, before that jet airliner took us to Europe.
March 1989
Bullet with Butterfly Wings / Black Hole Sun
compare to lyrics / video for Smashing Pumpkins 1995 “Bullet with Butterfly Wings”
In the previous entry, I wrote about some of the set ups that were going on in 1989 and I showed a journal entry about a dream from March 13, 1989. I said that I thought these two entries seemed to link to two songs that came out in the 1990s: Bullet With Butterfly Wings by Smashing Pumpkins (October 16, 1995); and Black Hole Sun by Soundgarden (May 13, 1994)
So both of these songs came out shortly after the death of Kurt Cobain, and shortly before Chris Newman ended up living on the streets.
The songs are, I believe, about the desire for truth to be squashed by lies. Specifically, it’s about enacting a strategy of slander, and violent acts to “fix” or get away with other crimes linked to finance and violence, including sex trafficking, nonconsensual human subjects research, murder.
Because Chris and I represent the place of the sun, Black Hole Sun must be specifically about turning the sun into a hole, imagery used to indicate murder. (Often it sounds like the actual lyric is “black old sun.”)
The strategy is to create a false profile via a series of set ups, cover ups, lies, and piles of libelous paperwork inaccessible to us. Some of the paperwork I have been able to access, and that would be the falsified, colorized, and libelous medical records. This is used as justification for covert biomedical torture and murder by the FBI and CIA. This is why there are clusters of premature deaths of certain types in certain communities.
The reason people are dying is because the US government is allowing the FBI and CIA to finance and conduct this activity.
“How would you describe your music?” Nirvana
The rhythm is from the 1979 Knack song “My Sharona,” a song about a 17 year old girl, same girl who appears on the cover of the single. Sharona songwriter, Doug Fieger died 2/14/2010 at age 57 of brain and lung cancer.
RELATED: Signs of surveillance 2009-14 – Claudia Lemon and the Courtyard Apartments
also: Signs of surveillance specific to 2009-14 – Daughter’s bedroom computer
also: What Did I Know And When Did I Know It – Part 3
