Tag: Bret Bowman

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.

Sub Pop, Honeytraps, Minneapolis

Got a uncle name George
Horny motherfucker always down to orge
Freaky motherfucker wanna Georgie Porg’
Treat a big booty like a smorgasbord
Freaks on the floor, freaks on the floor
How many of y’all freaks on the low?
Freaks on the floor, freaks on the floor
How many of y’all freaks on the low?

Ice Cube, New Funkadelic (Everythang’s Corrupt 2018)

Something that is increasingly clear is that a number of people linked to the Sub Pop orbit have been directly involved in obtaining and distributing surveillance footage of a pornographic nature of me, Chris, and my daughter, including when my daughter was a child.

It’s also increasingly clear that Sub Pop’s plans for world domination were well underway by the mid-1980s, and that, true to their name, they included a lot of underground shenanigans. The name Sub Pop evolved from Subterranean Pop. While both “Sub” and “Pop” could have a number of meanings, one meaning of “pop” is a father (dad). So one translation of Sub Pop may be “underground dad.” I believe that “dad” is code for FBI and CIA. (This might help explain “infrared riding hood” Tad?)

Finally, it is clear that ex-honeytrap Mike may be a linking person between my daughter’s family in northwestern California and Sub Pop. It is important to remember that when Mike and I started going out in July 1984 I was barely 16 and he was 21.

So if we rewind back to 1988, that is the year a lot of pieces were falling into place for Sub Pop. Meanwhile, in my world, Mike was in Thailand in February 1988, I think doing deals for a silver jewelry importer he worked for at the time, called Tomás Jewelry. Then Mike returned to the US, and flew to Minnesota where he lived with me. We lived in the St Paul Midway district between June and November 1988 when Mike announced that he was tired of Minnesota and didn’t want to deal with winter, so he would go back to California. I was in college and couldn’t really follow him. We had already had a long distance relationship in the past so it didn’t seem that weird to me to revert back to that.

But something else happened that summer. That was the summer my friend and neighbor, Bret Ellis Bowman was hit by a car. That happened on June 27, 1988. For a number of reasons I believe that situation is also somehow linked to the origin of Sub Pop, something that I expect will come up again.

What I didn’t know is that when Mike Payne left Minneapolis/St Paul in November 1988, is I was about to become the target of a series of set ups involving more honey traps (multiple honey traps it looks like now), and LSD.

The LSD seems to have been connected to San Francisco, and may have even been connected to Courtney Love, or to Courtney Love and Mike Payne. This reminds me also, there are two SF Bay Area linked Mikes in this – Mike Payne and Mike Patton – but as far as I know, Mike Patton wasn’t anywhere around Minneapolis.

Anyway, apparently Courtney Love was in Minneapolis about this time, and that fact seems to be something that was pretty well covered up until recently – specifically, exactly when Courtney Love was in Minneapolis used to be obscured, but it now appears it was 1988.

Another thing about this is Courtney Love, when she was in Minneapolis, was apparently a pal of a person I considered my best friend at the time, Erika Schlaeger. That makes Erika Schlaeger a potential linking person between Mike Payne and Courtney Love, as she knew both of them. In fact, Mike, who had been studying jewelry and metal smithing, had made a silver ring with an onyx stone, square shaped or cabachon style, that in 1988 Erika had purchased from him for $80 – that looked similar to a ring worn by Kurt Cobain in the March 1994 photo session with Youri Lenquette.

So Courtney and Erika were pals, according to Erika, but I never met Courtney.

According to my memory, journals, etc the post 1988 set ups sort of went in this order:

  1. Honeytrap Andrew Lopas “street poet from Los Angeles” – March 1989 set up – The set up with Andrew Lopas I now realize appeared in rather precise detail in dreams going back to early 1988 – in those dreams he was described as being a combination of “Pete Townshend” and a few other people. This is I think because part of his job was to put down my musical ability and psychologically smash my guitar. Erika S introduced me to Andrew L.
  2. Encountering Owsley “Sunshine” blotter-style LSD at a party. The party was held by a girl who knew Andrew Lopas. I remember at this party she was dressed all in metallic silver. Like, wearing a metallic silver dress. Erika introduced me to the guy with the LSD. Before it happened, I had a dream about eating “bubblegum LSD” and asking if it was “diluted” (word play, I think – diluted/deluded – hinting at this plan to frame me as delusional).
  3. Teenage honeytrap “George.” This seems like something I need to address again?

When my relationship with Mike fell apart I went into a spiral of sorts. Conveniently, I had also just turned 21, so I drank a lot and had a couple of gross sexual encounters. They were with guys my age. I also had platonic guy friends who were drinking buddies, including a guy who shows up in my journals as Paul Stein (I guess it’s his real name). On March 13, 1989 – exactly 20 years before I got together with Chris – I recorded a dream.

 13 March 1989 dream page 1

There is a lot going on in this dream. Plus the dream symbols from this time usually seem to have about three different meanings. I’m talking about dreaming in code, not symbols. The looping snake drawing after the dream was just something I did because I was into things like yin/yang and Carl Jung and stuff. Looking at it now, I suppose people who were all up in my business (reading my journals) made it into something sexual, and something racial.

I don’t remember the man from Africa I mention meeting (in real life). The part about the car door among other things is a link to how my future daughter’s paternal grandmother died in 1968 – the story was that she fell out of a moving car, because she leaned up against a door. But this is probably also about all the set ups and planned defamation and the idea of us trying to get out of a trap and people linked to cars (finance) using these stories to try and get us killed by the FBI/CIA – who are the ones who instigated the set ups to begin with.

Regarding “ripped jeans” – I now think anything with the word “rip” is a coded death reference, and I think others know the meaning of jeans better than I – it’s about financing someone, linked to the color blue – so that suggests reporting stories to the FBI for money, and probably specifically manufacturing untrue stories for dirty money. It’s deliberately deadly, illegal, and treated as a game.

I say that in the dream, I had forgotten my fake ID. I had this dream just before my 21st birthday. I had an older girl’s ID that I sometimes used to get into bars. But Chris’ early 1980s band the Untouchables had a song called Fake I.D. (I don’t think I’ve ever heard it) and the idea of Chris being evoked in this dream is really interesting because he had once said that Tim Brook’s of the Blue Gallery put the Satyricon “ripped jeans” crowd down – and they also started calling Chris’ bands “bar bands” as an insult.

The man I’m flirting with in this dream is an adult, probably older than me.

A couple pages later, there’s an entry that looks like it’s the inspiration for Smashing Pumpkins song “Bullet With Butterfly Wings,” and 3-4 pages after that is an entry that looks like an inspiration for Soundgarden’s “Black Hole Sun.” (I’ll post these later.)

During this period of time, my friend Erika Schlaeger was sometimes hanging around with a fifteen year old black boy who I call George in my journals. I don’t remember if that’s his real name. It’s probably made up. By this time I was living with a roommate in Dinkeytown, Minneapolis. There was a neighborhood coffee shop called Gioccos where we would hang out, drinking coffee. That’s where I would see Erika with George. It seems like he was homeless, couch surfing. Maybe she was letting him stay with her.

So he was 15 and I was 20 when I met him, I think, and mostly I just saw him with Erika at Giocco’s. The last time I saw him is the time I wrote about in my journal, when I was 21. From the very beginning, George was overtly flirtatious with me, acting like he was in love with me and wanted to be my boyfriend. I never took it seriously. To me he was a boy (not a grown man).

One day I ran into him at Giocco’s and then we took a walk to the river, and I wrote about it in my journal, as far as I can remember, pretty much exactly like it happened. It was nothing sexual. He kissed me on the cheek and that was the last time I saw him.

It sounds like the way the journal entries stack up, that the black man in the dream from 3/13/1988 was supposed to link to George. Based on some of the references in that dream, it appears that there may be some kind of link between “George” and Sub Pop. With all of his scars, George bore the signs of a “butterfly” – a person who’s trauma is leveraged and weaponized, covertly, via techniques in use by FBI and CIA. The dream that seems to link to George has references that I would now call “smashing guitar” references, which have to do with ways that people tried to sabotage Chris’ and my ability to play music, including by trying to break our spirits. That’s part of the “ripped jeans” reference. There are things about the way this stacks up, also, that suggest links between George and Andrew Lopas – the idea of a person who is a combination of other entities. Andrew Lopas, George, and Courtney Love were all linked to Erika Schlaeger. Erika also knew Kat Bjelland and all the girls in Babes In Toyland. So that means that Erika Schlaeger knew at least two people who had been friends of Chris in Portland – Courtney Love and Kat Bjelland.

With regards to the song references (I’ll put those journals in a subsequent entry) – Black Hole Sun by Soundgarden and Bullet With Butterfly Wings by Smashing Pumpkins – it looks like a reference to Courtney Love (Hole) and maybe that Sunshine LSD. And there’s the word “black” and the word “pain” which I think, at least in this time period, is always a play on Payne. Chris had a heroin dealer named Scotty Payne, who died, I don’t know how, around 2017. A question I have is how does Smashing Pumpkins show up in this part of the tapestry. In fact, a question I have is how and when did Courtney Love meet Billy Corgan? I guess Smashing Pumpkins are from Chicago and there is a lot of interchange between Chicago and Minneapolis so it might have been that.

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.