Special bands, regional scenes
It’s become clear that the music/entertainment business doesn’t work at all like Chris or I thought it worked. The way that we thought it worked was basically the way it has been portrayed in public media, in rock ‘n roll biographies and memoirs, or reflected by by our peers. Basically, you learn to play and to write, you form a band, you book shows, you book a tour, you work hard and contribute to the community, you present your music and your act and try to get support from a label. That is what we thought.
How does it actually work? I’m not sure, but bits and pieces are starting to come through. A lot of it seems to have been centered around keeping Chris and me down. The motivation for that seems to be finance, power, and perversion, and it may be at the behest of FBI/CIA.
It’s looking like a lot of liars, snitches, thieves, rapists, rapist apologists, child molesters, bullies, and hall monitors dressed up in punk rock clothing, feigning rebellion.
As I’ve been looking into this I began to see some unexpected patterns. One of the patterns is what I’d call “special bands.” These are bands that show up in unusual ways or unusual places or involved in unusual activities when compared to their peers. In many cases, I think these bands are finance grubers – in other words, while they tour and perform, they are also hooking people up with cash, instructions from above, connections, etc. At least that’s what I suspect. All I can say for sure is these are bands that are unique in that they are able to go places and do things their peers cannot or do not, and it doesn’t seem to have anything to do with the overall quality of their work.
Black Flag from Los Angeles seems to have been one of these bands.
Another one was Agent 86 from my home town.
I’ve started making a list of “bands referenced by Kurt Cobain without actually being referenced” and I’ve put Agent 86 on that list (“Class of ’86”)
My research on Chris’ music and Seattle clubs in the 1980s shows Agent 86 showing up a few times, at least once with Green River. Green River/Mudhoney are also a linking band.
Agent 86 was basically a project of a guy named Mike Briggs. In the early 1980s he was in his 20s, hanging out with high school kids. He published a punk zine called Counterpeace and other than my parents’ more sophisticated early 1970s Stomatopod, it was the first zine I’d ever encountered. Stomatopod was hand made, but went to a publisher every quarter, while Counterpeace was a classic 1980s zine, xeroxed, with cut out letters and advertisements for upcoming punk shows and reviews of local homemade cassette releases, etc. I had one or two copies that I read over and over.
My neighbor Michele introduced me to the hardcore scene via her Dead Kennedys and Black Flag records (she also had Blasters, X, Fear – lots of Slash records) and I got into it quickly. I’d been primed for it my whole life, I can now see – again, as things are so closely controlled. I’d been made to feel like an outcast and misfit beginning around fourth grade and through Junior High School. I now realize this was entirely by design. What punk did was help channel feelings of teenage depression or feelings of low self-worth into something activated and intense. I loved slam dancing.
There is a lot in this mind control system related to taking away power and agency from certain strategically placed individuals, and then when they are at a low point, offering or showing an unusual form of power and agency – in my case it was a search for freedom and empowerment through rock n’ roll, and punk rock. In other people’s cases it might be a “privileged” opportunity to harm, control, oppress or exploit another group. In some cases it was probably the ability to traffic illegal drugs like LSD, ecstasy, cannabis, or cocaine without concern for or even under the protection of the law (a protection that only lasts as long as the law lets it). All of this was going on in the realm of rock and roll, probably going back to the very beginning. One of the protection mechanisms for the FBI/CIA is the disparaging of artists, especially rock n’ rollers, as lesser human beings. When you get tired of playing with them, or after they serve their purpose, or when the price is right, they’re just eliminated from the field thanks to piezo-electrical biomedical CGI, plausible deniability, and silenced witnesses.
The Ramones – all of whom eventually died young of cancer – sang about this “Gabba gabba we accept you as one of us” (a “freak” – taken from Eraserhead – “erase her head”). Medically, GABA is a neurotransmitter. Ramone’s “pinhead” is about piezobiomedical implants used to directly control brain waves and/or to attack people in the heads. The Ramones were a special band in that they were able to tour early and widely, and they certainly knew about piezo-electrical biomedical CGI.
The plan was to portray Chris and me as freaks behind our backs while pretending to be our friends, to accept and care for us in the punk/music community. This creates an atmosphere of deception, endless in-jokes, cloak and dagger attitude. To this end, what I think right now is some of these special bands – these bands that toured early when other bands couldn’t book tours – were using the tours as an opportunity to connect with regional scenes and give special instructions to special people. We are talking about layers of handlers and use of cut outs and honey traps. Nasty spy stuff aimed at and involving children and teenagers – with all of it surveilled and manipulated by US government sources, police, hospitals, research institutions, and others. This is where the evidence is pointing.
Where the music industry comes in seems to be in financing record deals and passing out other benefits to those on the “team” suppressing, deceiving, defrauding, exploiting, and trafficking us. To this end, they hide behind, and funnel resources through, shell companies which often look like (and are) regional independant recored labels. Thus we have plethora of creatively named regional/independant labels like Slash (get it?), Death Row (get it?), Kill Rock Stars (get it?), Dirt Nap (get it?), Alternative Tentacles (get it?), Relapse Records (get it?), Cavity Search Records (get it?) – the list goes on and on. What I see is that every time there is a fresh kill and/or the entertainment business gets worried that this exploitation scheme might be in danger, a BUNCH of independent records come out, and/or new labels are formed with lots of money to put out professional sounding recordings on colored vinyl with professionally designed covers and even to make decent music videos. This is along with all the new cars and construction you see. It looks like the money is coming from nothing at all, but what it is, is money being moved around in a massive multi-tentacled criminal network.
