Tag: malfeasance

Grunge and the C.I.A.

As I’ve said elsewhere, it’s been about ten years since I’ve read a book about anything “grunge” related, even though they continue to be published. This is largely because of the frustration in seeing how the focus is controlled, same stories rehashed, and important areas left unexplored.

Part of the mystery for me has been, why some things and people are left out of historical studies (which is basically what books about 1980s and 1990s music are).

Backing up a bit – during 2014, including the week I was abducted and held, and for months afterward, in my medical records, off and on, there is this statement made basically amounting to me alleging that the reason I said I was being stalked and harassed was because “I’d exposed them” with my article (Introducing Napalm Beach). What actually was going on was, occasionally I’d be asked why I thought I was being harassed, and by whom, and I told them that my best guess was it had something to do with the things I’d been writing. In fact I didn’t stop writing after Introducing Napalm Beach, but continued to try to tear down the facade of falsehoods brick by brick with the best information I had available to me at the time, something that is difficult to do when everyone around you is lying and misdirecting. It was in the course of doing that that I received threatening comments on my blog, immediately followed by one thwarted abduction attempt, and the following week, a successful abduction. The January 27, 2014 abduction was successful because unbeknownst to me, people around me, people I’d known my whole life, had all been absorbed into Team Sub Pop going back to the 1980s. So when I began to discover the extent of the crimes that Sub Pop has been involved in – again, with the full support of the larger entertainment industry and possibly the federal government – I sought shelter from one of my oldest and most trusted family friends, and when police arrived at the door, they let them in and allowed them to take custody of me without cause.

In fact, I now think that that whole affair was less about what I’d already published and more about them being concerned that I would discover more of what has been going on. I feel like there’s still a lot to uncover, or at least to support with evidence. What I can see is that there is an occult murder system at work. What’s less clear is how all the parts of it work together, especially with regards to the participation of the FBI/CIA.

The place were I was held in January 2014 was a hospital repurposed into a black site, and set up to be so absurd that for me to tell the story would seem to enforce the idea that I was out of my mind at the time.

So a question one has to ask is, primogeniture aside, was my rinky dink little blog worth all of that? Maybe so, and possibly because what I was really focused on was decoding language. But another thing that was going on, that I recently realized, is the whole revealing thing I was doing was in and of itself a type of set up. What was behind that may have had to do with setting up Chris’ murder (and make no mistake – I and my daughter are also both in the crosshairs). The murders are linked to a system of financial rewards and professional advancement.

Back to grunge.

Grunge seems to have been a manufactured phenomenon, with much of the ingredients coming from Chris’ highly surveilled life and art, but if I think about it – I’d say some of it came from me, too. With Chris, however, it’s easier to prove.

In that it was manufactured, what it looks like to me is that it was planned out in tandem with a control scheme around Chris and me, but again, focused more on Chris, as he is the one who was more of a threat musically, and also because of the nature of the primogeniture at work where the male heir is valued as someone with agency compared to the female, who they seem to see as a sex toy to be used, abused, and discarded. Apparently, by “they” in this case, I’m talking about the FBI and CIA. Both Chris and I (and many others) were/are subjects of medical malfeasance and nonconsensual human subjects research with little concern for our health or quality of life, or simply with the intent to harm us. I wish these things weren’t true, but they are.

Grunge was manufactured according to a recipe that had been perfected over the years with a variety of other organic seeming movements including, I suspect, Beatlemania and the 1960s “flower power” movement. It is linked to CIA mind control research. That the CIA ran (actually, runs) mind control programs is not a baseless conspiracy theory, but established fact, except that even after the programs were exposed in the 1970s, they were still permitted to hide and misdirect about a lot of what they had been doing, and they were also permitted to protect academic institutions and others knowingly involved in the activities, and they were permitted to hide the cash flow, and they were also permitted to continue. They never stopped these programs. Maybe most importantly, they were permitted to hide their use of piezo-electrical biomedical implants and frequency based technologies which are used to control minds directly, and to create diseases like cancer. They do this in part by controlling focus – “yes, we admit, we were involved with L.S.D.”

Back to grunge.

The early Sub Pop bands were connected with certain businesses and establishments. These included college radio stations KAOS at Evergreen State College in Olympia (Pavitt, if not directly, through his connection to Calvin Johnson and K Records), and KCMU (later became KEXP) at University of Washington in Seattle (Poneman). Apparently Pavitt also had opened Fallout Records in 1983, before making Sub Pop his full time gig. Muzak was also a congregation point. Within this network – college radio, cassette zines, K Records, record stores – there was plenty of opportunity to make contact with aspiring young rockers, and to create and distribute media (zines, cassettes, records) – all of which would mesh nicely in the package of a record label.

There is a piece missing here for me, with regards to Chris and me. I know and can show solid evidence that not only have we been under surveillance, but that surveillance materials have been, and continue to be, distributed. Signs also point to packaging and remixing of surveillance data for the purpose of supporting a libelous pre-planned narrative. And signs further point to Sub Pop artists including Tad and Mudhoney being linked to this, and not only to this, but to the January 2014 abduction. I can tell that there is also a link to hospital malfeasance. What I’m missing is specifically how Sub Pop is linked to the FBI, CIA, and all of this medical and financial malfeasance.

Back to grunge.

What I intended to write about was another important center of the grunge narrative, but one of the ones that tends to be buried, presumably because it is too close to Chris, and that is The Vogue.

What Did I Know And When Did I Know It – Part 3

Two similar images shown side by side, one showing a 2011 mirror selfie from my personal collection, the other a Mudhoney poster from 2013 that appears to have been inspired by my photo

The poster is advertising Mudhoney playing at an event called Festsaal in Kreutzberg, Berlin, May 2013. The adjacent image was a photo I took of myself in a mirror backstage at Dante’s in Portland, using an iPhone, probably in 2011. The iPhone was one I’d purchased and used for a short time in 2009, it was offline. I went home after the show and downloaded the photos onto a Mac iBook I’d purchased in 2006. The iBook did have a wireless internet connection, but I never uploaded the photo to the internet before Fall of 2014 when I saw the poster online and recognized a similarity to the photo.

A few things I find a bit remarkable about all of this. First, I had seen other signs, similar to this, that there was unlawful surveillance and distribution of surveillance from private spaces in our homes, and including hijacking of computer systems, back in January 2014. I attempted to report this to Portland Police on January 20, 2014 and it was solely on the basis of this allegation that Portland Police and Adventist Hospital first tried to put me on a 72 hour psychiatric hold. Now, it’s possible that police records say something different, and I know that the associated medical records are complete fiction. However, what the police officer, Zach DeLong, told me at the time, is that any time anyone reports unlawful surveillance involving hidden cameras, they always do a psychiatric assessment first, as a routine matter. I knew I didn’t have any psychiatric issues that would cause a problem, and I had never, up to that point, had a negative experience with a police officer, so this did not raise any red flags with me. Also, when I spoke with the doctor, I answered all questions with the minimal, correct answers “no I am not a danger to myself or others, I simply want to report a crime.” They then asked me for a urine sample and when I refused they began to initiate a psychiatric hold, which I was able to talk them out of. However, one week later, in California, while trying to contact an attorney about fraudulent music contracts, I was handcuffed and dragged out the home of Julie Brusca and taken to a hospital where I was involuntarily held for several days, and given the impression I was lucky I got out at all. This is why I call that event a kidnapping. The hospital where I was held seemed to be cordoned off, and they engaged in some really bizarre activities which is why eventually realized it was actually a US government-linked black site.

What is a bit interesting is that in January 2014, for historical reasons, I was laser focused on the band Mudhoney as being central to the problems we were having. I have since realized that while Mudhoney was involved, they weren’t as central as I’d believed at the time. By the time I found the poster shown here, I’d been successfully subdued by a community-wide system of stalking, harassment, and covert threats. I did feel the poster vindicated my allegations of surveillance. However, I have never found a single person who will openly admit to seeing a similarity between the photo and the poster.

In 2014 when I found the images, I directed a tweet to Sub Pop saying “the similarity is uncanny.” They responded with something along the lines of “I dunno, looks pretty canny to me.” This was rare response, but it went nowhere.

I can’t remember exactly how Chris responded to it – I feel like maybe he saw the similarity, but was unable to intellectually connect it to a larger narrative. My brother, in 2019, said that the only similarity between the two images was that they both contain a female figure. I believe this was gaslighting.

What do I think was going on? I already knew our computers had been compromised, either through an open wireless network or in other ways (probably both). I think files were taken off my computer, distributed globally, and this image eventually became inspiration for the poster which is credited to an Italian art collective called Malleus.

My position is that if police and others were operating in good faith, and in accord with the law, and not engaging in coverups, something like this should have been enough evidence to at least investigate my allegations of surveillance.

I’m aware that this surveillance trafficking has been going on so long, and is been so widespread that people have simply accepted it as normalized, but in fact explicitly establishing that this type of surveillance is going on at all is actually crucial to explaining how a number of other very serious crimes have happened, including financed reports to the FBI including by people with whom we’ve never had any relationship; multimillion dollar intellectual property theft by the top levels of the entertainment, publishing, gaming industries and others; and some of the associated medical malfeasance, some of which is related to sex trafficking, some of which is related to trafficking in manufactured sickness and murder.