Tag: Courtney Love

Portland-Minneapolis-UK-Germany Connections

Chris Newman hand-painted skull guitar 1987
Chris Newman and his hand-painted guitar 1987 – photo by Denis Jones

As part of an effort to preserve and when appropriate and possible, re-release Napalm Beach albums, I’ve been working on parsing out Napalm Beach’s history 1980-87. There seems to have been a number of turning points in Napalm Beach’s history that, the deeper you get into it, look more and more like pre-planned set ups, secretly spinning the band around like a blindfolded child trying to hit a birthday party piñata. These turning points seem to occur every three years or so (give or take) and often they seemed to involve processes that take about three years to work through. This kind of thing can actually be seen as a repeated motif throughout Chris’ life history, I’d say going back to 1964 and the Beatles appearing on Ed Sullivan. In fact, it would be an interesting experiment to tell Chris’ life story that way – as a series of three-year increments starting with February 1964.

For now, however, I want to explore something I noticed yesterday, while working on the history of Napalm Beach during the period of time they were most closely paired Greg Sage and the Wipers, as well as teenage Courtney Love. I’d been creating a zine-style document to use as an incentive for a fundraising effort, and within this zine, trying to summarize the history around what I consider to be Napalm Beach’s first four albums – Rock & Roll Hell (1984 cassette), Pugsley (1985 cassette), Teen Dream (1985 cassette 1986 LP), and Moving To And Fro (1986 cassette 1988 LP). In doing so, I’ve found myself regularly going back to the draft memoir Chris composed, mostly in 2010, for details. Gradually, things start to come into focus with regards to the clubs Napalm Beach played most frequently, and the band’s professional progress (and lack thereof).

I will say right now that I’ve started writing this blog with only a vague idea of where it’s going to end up. This is a thinking through of patterns and puzzle pieces that seem to fit together.

Portland Met (closed Jan 1, 1983) and Seattle Met (March 1983 – March 6, 1984)

I do not think it is an accident that there was a club in Portland called The Metropolis aka The Met which closed on New Years Day 1983 (Wipers and Napalm Beach having played the last show there together on New Years Eve 1982) – and a club in Seattle that opened under the same name (Metropolis/Met) four months later, then closed after almost exactly one year in March 1984. Nor do I think it’s an accident that the last show at the Seattle Met – a club that featured almost entirely local punk/alternative bands with some punk/alternative touring acts, almost always from the US* – was Alien Sex Fiend, a band from England. Nor do I think that it was an accident that the Seattle Met closed almost exactly the same time Satyricon started up in Portland. Nor do I think it was an accident that I was told by several people in the early 2000s that the “favorite song” on Satyricon juke box was Alien Sex Fiend “I Walk The Line” – a song I would describe as hypnotic, possibly trance-inducing.

Seattle Met was founded by Hughes Piottin, a French immigrant who had moved to Seattle (either from Alaska or after fishing in Alaska) in 1982. In a 2014 article, Countercultural Seattle Remembers: May 13, 1983: The Metropolis, Piottin (Loser 1996) and Bruce Pavitt (in an undated “later” Seattle Post-Intelligencer article) both describe the Settle Met in ways that to me, sounded a lot like how George Touhouliotis described Satyricon. In some ways, the Seattle Met sounds a bit like a combination between all ages community spaces and Satyricon.

Susan Silver helped run and book the Seattle Met.

Marti Wyman, Courtney Love, Ursula Wehr, Robin Barbur (Bradbury)
Marti Wyman, Courtney Love, Ursula Wehr, Robin Barbur (Bradbury) – Satyricon, 1987

One of the things that Chris mentioned in describing the Portland club was that “Courtney Love and her friends Robin and Ursula were the femme fatales of the underage side of the Met.” If you look online, you may find photos of Courtney Love, Robin, and Ursula as early as the Met days, but having been researching this history off and on for a few years now, I’ve noticed these photos often tend to vanish or become difficult to find. I have a photo of the three of them, plus Venarays singer Marti Wyman, at a Napalm Beach show at Satyricon, in 1987, after Courtney had her film roles in Straight To Hell and Sid and Nancy, and probably wasn’t living in Portland.

I find it’s an interesting thing to think about, because the early 1980s was a period of time when it seems Courtney Love was just getting into music on all different levels – writing about music, playing music, becoming romantically involved with musicians – and it’s also a period of time that she was traveling a lot. In 1981, after a stint hanging out in Portland and house-sharing with Napalm Beach – she went to Ireland and the UK – apparently with her dad and Robin. And there are photos that occasionally surface online of Courtney, Robin, and Courtney’s father Hank Harrison at a 1981 photoshoot in San Francisco.

Robin and Chris Newman stayed in touch. Robin has always been friendly to us. Robin is one of the people whom Chris chose to sign as a witness on his will. When that time came, Robin arrived with a plywood cutout of a guitar, that I think she said came from Germany, that she asked Chris to sign.

I’m including this detail only because it suggests there might be a link between Robin Barbur and Germany. There definitely is an ongoing link between Robin and Courtney.

Cutouts, LSD, San Francisco, Minneapolis, New York, Berlin

One of the patterns that I see with Courtney Love is the whole time I have known Chris, she almost never has communicated with him directly – key word being almost. Every so often she would sneak in and make an exception to the rule – but never long enough to establish any kind of relationship or meaningful communication. Meanwhile, it seems like she has proxies everywhere. I doubt that Rozz Rezabek ever lost touch with Courtney Love. And there are things that suggest she’s had links to people I didn’t ever realized she’d really been linked to, like Monica Nelson.

The more I study this time period with Chris, also, the more I realize how important San Francisco and Los Angeles were.

With regards to Minneapolis, I’ve already seen that in 1988, while I was living in St Paul, Minnesota; Courtney Love was in Minneapolis and had contact with Erika Schlaeger, who was close to me. And I have detected a pattern of teenage honey trapping linked to Courtney and/or someone handling her. And I have noticed proximity links to LSD.

Now I’m noticing more things. I’m noticing lots of movement between San Francisco, Portland, and Seattle – with lots of different people. Maybe this isn’t so strange, or maybe there’s something special about San Francisco (and I will say I think there’s something special about San Francisco). San José, Oakland, San Francisco, Marin – are all part of the San Francisco Bay Area. People who seemed to travel frequently to San Francisco included Rozz Rezabek, Courtney Love, Chris Newman and his band mates Sam Henry and Dave Minick, and the guys in Mudhoney (who IIRC had a party pad across the street from Rozz’s) and Melvins (Buzz Osborne and Dale Crover circa 1988). Chris met Valarie through Sam in San Francisco, 1983, a few weeks after recording Rock & Roll Hell.

Back to Minneapolis – I started college in St Paul in late August 1987 – and I already knew Erika Schlaeger going back to 1985 (at that time Schlaeger had already been to Germany and I think England at least once) – so of course when I got to the Twin Cities, she’s one of the first people I contacted. I feel like, one of the first things she did was play me a cassette of Babes In Toyland – but maybe that didn’t happen until later. She talked about them like they were all friends of hers, and I guess she did know everyone in the band. And it’s interesting to speculate how Babes In Toyland got together, because I think that Kat Bjelland had moved to Minneapolis in 1987. Bjelland’s Portland band, The Venarays, seem to have been playing fairly frequently, mostly in Portland, at least at Satyricon, in 1986-87.

I can currently find very little history online about the Venarays, especially as far as dates are concerned. There is no existing Wikipedia page for Venarays. My recollection is there used to be a little more information online about this band, for example, who the other players were, when they started and ended, and any line up changes. Right now I’m finding most searches on the band lead to Kat Bjelland’s Wikipedia page, which I believe is informationally problematic. Did Kat Bjelland move to Minneapolis in 1985? If so, was she traveling back to Portland to play in the Venarays? It’s possible that she was no longer in the Venarays after 1985 – but I don’t think so.

I find it odd that it’s so difficult to find specific information about the Venarays – a band that actually wrote and performed songs – versus a “band” like Pagan Babies (and its previous/subsequent forms) which most of the time wasn’t a band that actually wrote and performed music.

It is possible that Erika Schlaeger, Kat Bjelland, and Courtney Love form a trio of links that extend out into different areas. Courtney Love travelled all over throughout the 1980s. Erika Schlaeger also often travelled to Europe and South America. Of course Bjelland and Love both travelled a lot in the 1990s, as they were both in successful touring bands. In 1988, when I was in St Paul/Minneapolis, and apparently Courtney Love was also traveling the same circles in Minneapolis, Erika Schlaeger travelled to places like New York, Chicago, Berlin. Berlin was her big destination spot at that time.

Leonard Cohen – First We Take Manhattan – written 1987, performed 1988

Chris Newman became linked to Berlin through a very small label called “Love’s Simple Dreams” aka LSD Records. He was put in touch with them through Henk Van Dreumel, a Düsseldorf-based German man who was working the door at Satyricon. Or at least, Chris understood Henk to be German – however his name is Dutch and Düsseldorf is very close to the border with The Netherlands. Henke’s girlfriend at the time was named Heike and I believe she went on to be an international booking agent. I do recall Mark Lanegan having known her. It was Henk and/or Heike who set Chris up with this Berlin label “LSD.” Henk then went on to form his own small label out of Düsseldorf which he ultimately called Satyricon Records. A test pressing of Napalm Beach’s LP Moving To And Fro, was sent to Chris, via Satyricon, with Henk Van Dreumel’s Düsseldorf return address under the name “Positive Sinking Records.”

The Berlin-based Loves Simple Dreams record label, according to Chris’ memoir was run by the owner of the Ecstasy club. Here is what Chris wrote about that club:

The Ecstasy club was a huge building. It housed apartments on top, four bars, and at the least five stages. It was run by Thomas and his beautiful wife Petra. We were extremely excited about playing there. The aprtments were covered in entertaining graffitti. Bands from everywhere had witty scrawlings, and drawings. I had to contribute. I saw a message from Mudhoney. It was a syringe dripping blood, and it said,’Hello Napalm Beach.’

This would most likely have been November 1989. Mudhoney had played the Ecstasy on April 1, 1989, and they had also played there on October 10, 1988. Of the 1988 show, Mudhoney tour book notes “This festival (Berlin Independence Days Music Festival) was sponsored by the former government of East Germany, which also featured a performance by French band, Les Thugs.”  This show stands out for a number of reasons. First – the bizarre mention of the “former government of East Germany.” What does that even mean? The fall of the Berlin Wall didn’t happen until the following year, November 1989 (a month when Tad, Nirvana, and Napalm Beach were all first touring Europe, and playing Berlin) and East Germany was still a nation until October 1990. Another strange thing about this show, is it appear to be the only show Mudhoney played in Europe in 1988. Mudhoney had actually only existed as a band since April 1988, Green River having officially broken up in October 1987, and it appears to me that the 10/10/88 show at the Ecstasy club was their one and only European date that year – and very likely the very first Sub Pop linked European show. Both Bruce Pavitt and Jonathan Poneman were there. This show was followed by Mudhoney’s first US tour. Mudhoney then returned for a European tour the following spring, 1989. You could say they hit the ground running. As for shows played in the first six months of their existence (April – October 1988) , Mudhoney played Seattle’s Vogue five times, Portland’s Satyricon four times, Seattle’s Central Tavern and Squid Row once. The last show they played before flying to Germany was Portland’s Pine Street Theatre, October 2. Ten days after their Berlin gig, on October 20, 1988, they played with a band called Toadstool at Minneapolis’ Uptown Bar – a favorite haunt of Erika Schlaeger. This about a month before Mike Payne left Minneapolis and I essentially never saw him again. Payne would soon end up at Western Washington University in Bellingham and eventually settle in Tacoma, just south of Seattle.

It would be interesting to look further into this and figure out how big this government – or possibly government to government – connection actually is. Mark “Arm” McLaughlin, the lead singer for Mudhoney, is the son of a German-born mother and Air Force veteran father, and he grew up in Bellevue, the same Seattle suburb where my grandparents had lived since the 1960s. Bizarrely, on April 9, 1994, one day after Cobain’s body was “discovered,” Mudhoney and Pearl Jam were both in Washington D.C. with the Pearl Jam meeting and taking a photo with President Clinton.

Everett True links to Olympia and Seattle

It’s worth remembering that June 27, 1988 is the date that Sub Pop Sundays ended and Bret Bowman, while high on LSD, was hit by a car. He would then remain in a coma for about 15 years. The situation with Bret is a link to medical malfeasance and financed FBI files. It’s also worth remembering that Bret was on his way to Oregon meet a mutual classmate of ours – Scott Gear, who at least by the end of 1988, had a job in Seattle with Sub Pop as a driver for the English rock critic Everett True. I do believe Scott ultimately worked for Sub Pop for several years.

The standard story about the global grunge explosion is that it was ignited by a story or a series of stories in the UK music magazine Melody Maker written by Everett True. That Sub Pop had the brilliant idea to finance True’s trip to Seattle to steward around town and show him there was an exciting music scene happening. What is less clear is what the roots of the connection were between Sub Pop (especially Olympia and Portland linked Bruce Pavitt) and Everett True, for example, at his prior job with New Music Express, where he was known as The Legend! – actually an interesting parallel Rozz Rezabek’s self-appointed tile years later “Punk Legend” – a title possibly spun off of one of Rozz’s self released albums “Lover Legend Liar” – which itself is an interesting title when you think about potential links between Rozz Rezabek, Courtney Love, and Everett True.

What I’m trying to say is, I think that Everett True’s links to Olympia, and K Records (from which Sub Pop essentially spawned) goes back years earlier. In his 2006 book Nirvana: The True Story Everett True says that he first became aware of Beat Happening in 1985. He mentioned specifically the cat in a spaceship album cover on the Beat Happening self-titled debut, which was a riff off of Wipers’ Greg Sage’s 1981 Trap Sampler that featured both the Bruce Pavitt managed band Pell Mell, and Napalm Beach. Both Trap Sampler and Beat Happening were recorded by Greg Sage. If True was dialed into Beat Happening, he was likely dialed into the Wipers and Bruce Pavitt as well. Did True have direct contact with Pavitt, Calvin Johnson, Tobi Vail, or others linked to this scene before 1988? I think he did. But again, this is rarely mentioned.

Coming back again to February 1988, that is the postmark on the test pressing of Moving To And Fro.

In other words, Napalm Beach’s fourth album (second album on vinyl), Moving To And Fro, was being pressed as Mudhoney was being formed, and it just so happens that the first European show Mudhoney ever played was at the club owned by the guy who was pressing Napalm Beach’s album, Moving To And Fro. And it also just so happens that this is the same period of time that I was living in the Midway district of St Paul Minnesota, and Courtney Love was about to arrive in Minneapolis to intersect with Erika Schlaeger, who was traveling back and forth from Minneapolis to Berlin. If I recall correctly, Erika S often flew first to New York, and then from New York to Berlin. And it also just so happens that the town where I’d gone to school in Germany 1984-85 (Kamp Lindfort) was about 30 miles from Düsseldorf, where Henk had been centered. These kinds of things are why, even though it would seem that Chris and I had different kinds of lives, we also had a lot in common. It also seems increasingly like these weren’t just non consequential coincidences. There were manipulations happening to me as well as to Chris, including manipulations intended specifically to sabotage my dreams of living in Olympia or Seattle and being in a rock band – both of which I’d wanted to do in the 1980s.

Moving To And Fro test pressing mailed to Chris Newman c/o Club Satyricon – postmarked 23 February 1988

At one point in his memoir, Chris abbreviated the Berlin club name as “XTC.” In fact, this period of time does seem to mark a turning point in an “X” – which the band Napalm Beach was sent down, and other bands like Mudhoney – but especially Nirvana – were sent up (crossing paths about this time – 1989-1991). Generally speaking, it looks to me very much like Napalm Beach and Nirvana were picked out ahead of time to parallel each other in a rise and fall kind of way, but that the intent was always to destroy both bands and their artist bandleaders – Chris Newman and Kurt Cobain.

German labels – L.S.D. and Satyricon Records

It appears that both Love’s Simple Dreams / L.S.D. and Henk Van Dreumel’s Satyricon records released a total of 18 items each, according to current information on discogs.com. LSD records released 18 titles between 1986 and 1990 (Moving To And Fro LP being number 7) – (in fact the number of unique releases seems to be closer to 14, others being the same title in different formats). Satyricon records (1988-94) released five Napalm Beach titles, at least two of which should never have seen light of day for reasons that would be obvious to anyone listening to them or understanding under what conditions they were released, and in fact, being as Napalm Beach’s contracts with Flying Heart were fraudulent, I think could easily be argued that most or all of these releases on Satyricon should have never happened. Chris has said he was reaching a point in the late 1980s and early 1990s when all that mattered to him was survival and drug money – and it’s clear that his choices for publishing were unduly limited – but from my perspective, that doesn’t make it ok to exploit an artist, regardless if you’re the record label or the alleged “manager.” By “exploit” I mean to take advantage of the person in a way that is clearly harmful to that person. I do suspect that a confidence game was being played here. By the time the really ugly recordings came out, Napalm was about to be, or had already been frozen out of touring for good.

In retrospect I think it has to be asked whether either one of these labels ever was truly intended to succeed as a label, or if they were not also constructed as a type of trap. They seemed to have worked out deals with Flying Heart on behalf of Chris – for example the addition of Snow Bud songs – songs to which Jan coercively stolen publishing rights – on Moving To And Fro – without asking Chris first. There were times when Chris could easily be manipulated simply by someone he saw as a person in a position of authority telling him “this is how we’re going to do it.”

All of these things of course were done under the guise of friendly and supportive relationships. The whole thing is complicated by that, and by the fact that Chris was increasingly blacklisted, meaning that by 1988 any record deal looked like a good deal to him. Chris didn’t understand when beginning in 1990, he was having to open for bands like Dead Moon, who had previously opened for him. This is epitomized I think by Nirvana playing Napalm Beach’s usual New Years Eve spot, headlining at Satyricon – while Napalm were in Berlin – at the Ecstasy Club – opening for Dead Moon.

New Zealand 1992
Fred and Toody – probably a photo from around 2010 – found on my hard drive

On most articles I write, I leave the comment fields off, because first of all, no one ever comments on my blogs, and second of all, should someone decide to comment, I don’t want some random Kurt Cobain / Courtney Love conspiracy theories or shaggy dog tales.

I think, however, I will leave the comment field open on this particular article, and here is why – I’ve covered a lot of ground, made a lot of connections, and mentioned a lot of names. I want to give people the opportunity – especially if their name has been mentioned – to explain, clarify, counter, or rebut. My intent is never to shut down dissent, to insulate myself from justifiable criticism, falsely accuse, or twist facts. So if anyone feels I’ve done any of these things, and has a countering viewpoint to offer want to make sure they have that opportunity. I don’t have a problem with debate. I do have a problem with people who object to things I say, but refuse to do so directly to me. How, exactly, is that helpful?

I said at the beginning of this article that I didn’t know where it was going. To me, I feel like where I ended up was at the idea that Napalm Beach (and their mirrors, Nirvana, Mudhoney et al) was at the center of an international conspiracy and confidence game linked not just to different branches of the music business, but possibly to a number of government entities both foreign and domestic. I mean, I feel like that’s basically what I have just described. And that the proto-Satyricon Records name “Positive Sinking Records” – was far more than a German accent joke.

* One of the other few instances of a non-US act playing at Seattle Met was John Cale with a band called Memory, and Napalm Beach on August 6, 1983.

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.

What happened to Courtney Love’s twitter account?

Remember when celebrity twitters were newsworthy? When a single Kanye tweet created fodder for multiple articles?

Does no one but me notice how weird Courtney Love’s Twitter account became last May?

On May 10 I saw that her account design had been changed to a photo of a man in a blue shirt with Babe the Blue Ox on it, and the words “HEY BABE” holding a monster, tornado looking carrot. There was a pinned tweet from May 5 that was nothing but a carrot emoji, and she was no longer following anyone and at first I couldn’t see any tweets, though it said she had 5577 tweets. So I thought her account had been hacked.

It’s now more than four months later and the only thing I can see that has changed is the total number of tweets is 5555. So the carrot tweet appeared on 5/5/22 and the total tweets are 5555.

If you look on the Wayback Machine, the last capture was on March 25, 2022. The view I have doesn’t show the number of tweets in March 2022, but if you look at what’s left on her twitter feed, the most recent original tweet showing is dated May 28, 2013 – nine years ago. The tweet reads “Will you people lay off on giving this girl such grief? Shes a beautiful talented young woman, we all go through our ups and downs. grow up!” – from the replies, it seems to be about Amanda Bynes.

Courtney Love tweet 5/28/13 - Will you people lay off on giving this girl such grief? Shes a beautiful talented young woman, we all go through our ups and downs. grow up!

This is what her twitter looked like in March 2022

Courtney Love twitter March 2022

It seems like her account was hacked, but she hasn’t bothered to restart it. It’s possible she did this herself, making it look like her account was hacked, because she thought there might be tweets she needed to delete.

In January 2014 I was watching a lot of Twitter accounts of people linked to the Portland, Seattle, and Olympia music scenes. I’ve talked about some of the giveaways seen, for example in Tobi Vail’s tweets, and in Tad Doyle’s tweets. They never bothered to delete these tweets.

20 January 2014 tweet by Tobi Vail "Laughing in the face of love"
20 January 2014 tweet by Tobi Vail
December 5 2013 tweet by Tad Doyle reads Everyone can be boyght and has their own price threshold. Mind just happens to be pizza with extra cheese and mushrooms.
5 December 2013 tweet by Tad Doyle

Looking at Tobi’s tweet now, it looks like not just a John Lennon or Karma Café reference, but a Courtney Love reference. There was money everywhere and now, if I go back to Courtney’s twitter from the months leading up to, and right after this event, I can see that she was busy traveling everywhere, meeting with lots of people. Among the places she was, was Las Vegas, and this was also true of Sub Pop who had a convention in Las Vegas, December 2013. There were similar patterns with Mudhoney and K Records who according to a record store employee’s tweet, all showed up (but somehow, separately) in at the same record store in Nashville in November 2013.

I’ve recently looked at Courtney’s tweets around the time of the abduction event via the Wayback Machine and it’s clear that some were deleted before the site was archived. In particular, I recall seeing a tweet appear either on January 25 or 26, 2014 in which Courtney was posing in what looked like a hospital bed with a turtle on her head. (A toy turtle I think.) I found that puzzling, but on the 27th I was abducted and held in a hospital. That tweet is gone. There was another tweet that had been posted earlier that I remember writing an email to Everett True, asking him what he thought it was about, and he said something along the lines of “it’s well known that Courtney and I don’t get along and I can’t be expected to know…” (whatever I was asking him) – that email is now missing, possibly the tweet as well.

What was the turtle about?

It does very much look to me like Courtney had a big hand in setting this scenario up. A question I have been unable to answer is how my mom and Julie Brusca became involved. I suspect that Julie was working with her kids on this. I have reason to believe it was planned out ahead of time to put me into a situation where I would reach out to the Brusca family for help, and that is how the trap was set.

Like Courtney Love, Tony Brusca seems to operate on behalf of the recording industry.

Courtney Love twitter banner 2014

Playing the victim

Sometimes there are “gotcha” moments, but more often, seeing the outlines of the crime is largely about seeing patterns. One of the primary patterns I see is “playing the victim.” This works well when you’ve weaponized and exploited women, children, and Indigenous and black people, as has been done. To be a butterfly is to be exploited. Being exploited makes a person angry. Butterflies are angry, but what I see is they misdirect their anger, probably because it benefits them socially, professionally, and financially. Misdirected revenge becomes a way of life. Also, there is a cultivated culture that elevates deception and opportunism. You are seen as masterful if you can pull the wool over someone’s eyes and take them for all they’ve got, or set wolves after them. Think Harley Quinn.

A huge power move I’ve seen pulled by just about every deceiver in this scenario is playing the victim, and fingering an innocent party as the perpetrator. This is considered a tactic of deception, a legitimate power move.

In those cases where they don’t want to lie directly, they use the power of implication. They don’t say exactly what happened or who was responsible – they let you believe that someone did something – draw your own conclusions and so forth.

I don’t want anything bad to happen to my daughter’s father, but I am aware that in the 1990s he unfairly painted me as unfaithful, or possibly unfaithful. When I was pregnant with our daughter he acted like he didn’t think he was the father, which was completely insane. I’d never given him any reason to think that I’d been unfaithful, and I hadn’t been. I now see that this is part of a bigger pattern. The script came from elsewhere.

Chris’ second wife Denise acted like she thought Chris was being unfaithful because when he was left alone for months at a time he spent time with his ex-wife Valarie, who wouldn’t leave him alone, and/or relapsed on heroin. Chris was never unfaithful to Denise, though she was unfaithful to him, in that she married him fraudulently. She also continually tried to lure him back, even though she really didn’t want him.

Valarie wrote to Chris while he was sick and dying of cancer, “playfully” calling him “pimp daddy” – as if he had pimped her out. Valarie’s life as a prostitute was her doing, not Chris. She dragged Chris into the heroin lifestyle and she dragged him onto the streets. Am I saying Valarie was never exploited? No, I am not saying that. I’m saying Chris did not exploit her. But she never let him forget about their lives in the gutter.

Shortly before Chris died, his sister Becky texted “I forgive you big brother!” – for what, exactly?

I’m not saying that in their time together, Chris had never done anything to hurt Becky – I’m saying that in the entire twelve years I lived with Chris, Becky had never once indicated that she was holding some kind of grudge against him that she’d need to forgive him for, just before his death. To be honest, I think she’s the one who should be asking forgiveness.

I’ve just been reading through Courtney Love’s old tweets. She’s been doing the same thing, indirectly. One of the things she keeps alluding to is being exploited and/or raped in some kind of entertainment industry context – but she has never come out and said what that was. I’ve told the story that Chris told me as completely as I know it, and it is a story of exploitation – but not by Chris. Courtney was a teenager, and she tried to trick Chris into having sex with her. This doesn’t make her “guilty” – but I think that she should come out and say what really happened, and who, EXACTLY was behind it. Stop with the cryptic bullshit.

The Courtney Love problem (butterflies and medical murders)

The Courtney Love problem extends beyond the trap she willingly walked into by fraudulently marrying Kurt Cobain. I say that it was a fraudulent marriage because she was a honey trap who’s job it was to destroy him, just as Chris’ wives were put in place to destroy him. I’m sure there was a cover story about them “taking care” of him (so he could be more easily defrauded out of all his creative works) – but that’s nothing but sugar coating. Dirt and sticks over a booby trap.

The problem is that she also has the FBI and CIA in a bind. The nature of the crime is mutual imprisonment. If Courtney were to testify truthfully under oath about her role, it would likely have a catastrophic effect on the Department of Justice – an effect that I think needs to happen – otherwise nothing will change – but of course they’d rather pretend everything is just fine as it is, and money and murder fixes everything. This is a DELUSION.

Courtney Love has the goods on the butterfly system. I suppose this is not a system the FBI and CIA want to admit they’ve been involved in (especially, I imagine, the FBI). Courtney Love has the goods on the reporting/informant system, the abuse, the medical murders. Perhaps on this account the Justice Department and CIA feel obligated to support her no matter how heinous her crimes.

Also, Courtney is obviously really good at deception, double speaking, and just flat out lies.

I was not the first person she deceived but I hope to be the last.