Tag: Portland

Rozz Rezabek / FBI files

The powers behind this crime have been amazing in their capacity to weaponize friends and family – the people you trust the most. In some cases, childhood friends were secretly and perhaps slowly turned against us, though likely they grew up in families who were strategically positioned for this purpose. I’ve been able to see traces of this looking at census data on ancestry.com. Just as, when I was driving to California in January 2014 I was surrounded by a swarm of infrared-equipped weaponized cars and trucks, it seems that my family, Chris’ family, and my daughter’s paternal family were always surrounded by weaponized neighbors; families with a mission.

I recently have been writing quite a bit about Courtney Love, a person who came into Chris Newman’s life around 1980 in the capacity, he thought, as a teenage friend and fan, but who was actually, literally, on a mission of destruction. In 1981 or 82 Courtney started a relationship with a man named Rozz Rezabek, four years her senior.

Over the past three days or so, I’ve had this experience of dreaming about one person every night, with this idea that there is more to say about them, regarding malfeasance. First it was Courtney – and I should go back and examine what I dreamt about, because I see increasingly that there’s an intertwining with Rozz, California – hospitals? bikers? – and then the next night it was Mark Lanegan (another person to revisit), and last night it was Rozz.

I remember dreaming about Rozz, forgetting the dreams, just wanting to sleep, and then I had this dream where I saw a photo of Rozz in large resolution, 1500×1500 pixels, linking it to my discovery of Courtney’s photo on January 6 at Satyricon, and all the questions I starting asking about what was going on at Satyricon in January 1989 and increasing signs of a larger strategy at work aimed at both Chris Newman and Kurt Cobain.

Rozz was born in a small coastal town, Bandon, Oregon. I know that about him, and then everything about his past is a blank to me until the late 1970s when in November 1977 he joined a San Francisco punk band called Negative Trend. According to Wikipedia, Rozz was only in Negative Trend for four months (!) Granted, it seems to have been an action-packed four months, but maybe what is more significant is the positioning of Negative Trend with regards to the punk rock world. Somewhere, several blog posts back, I hypothesized that the entire punk rock movement was basically a CIA op, and that I also suspected the 1960s flower power movement was also basically CIA, especially the parts having to do with dropping out, turning on, acid tests, doing-crazy-stuff-to-your-kids, Timothy Leary, Grateful Dead, etc. I have also mentioned that in this geography of malfeasance, there are certain bands that stand out, and also, that zines, or zine-like publications also seem to come into the fore. I would right now hypothesize that any time you see a zine pop up, especially between the 1960s and 1990s, you might suspect malfeasance links. I say this entirely based on patterns – I can’t yet explain why. Or maybe it’s not only zines but access to DIY media in general – film, video, audio, photography, and print.

I’m thinking of this now because I see that one of the first members of the band that became Negative Trend was V.Vale of Search and Destroy magazine who seems to be a linking person between the 1960s flower power movement and the punk movement of the 1970s and 80s. I am vaguely familiar with Search and Destroy (a fair amount of Rozz’s punk rock fame is from photos published in that magazine) – but I didn’t know that it had been started out of City Lights Bookstore, linked to Allen Ginsberg and Lawrence Ferlinghetti.

Vale was replaced by Will Shatter, and in 1979 Shatter and another member of Negative Trend formed the band Flipper. Flipper has long been on my radar as seeming to have weird links to people around me I’ve never quite been able to figure out.

Anyway, Rozz quit Negative Trend in March 1978 and then there’s a blank spot in his history again before he pops up in Portland, almost exactly the same time as Chris, and forms a band called Theatre of Sheep. At some point in his life, maybe later in the 1990s I believe that Rozz had dual residences, one in San Francisco and one in LA, bringing up the question, how did he afford it? As far as I can tell, he’s spent his life working odd jobs. But he seems to have links to medicine.

I have the strong sense right now that Rozz was linked to an early 1980s San Fransisco punk band called The Cosmetics, which shared a bass player with Napalm Beach, Dave Minick. I have the sense of this, but no direct evidence. But it makes sense, because having been around Rozz a bit, I am aware that the group of San Francisco punks who were in bands performing and making records between 1977 and 1983, say – is a very close group. They all seem to know each other. Minick for his part is not just a link to San Francisco but to Los Angeles as well as he seemed to have girlfriends and eventually a wife who were from Los Angeles, probably Hollywood specifically.

The cosmetic industry keeps popping up as a potential finance connection going back, probably, to the Chuck Berry song, Maybellene. (Cars indicate finance as well – in the Chuck Berry song, Maybellene is driving a fast car.) When Napalm Beach was featured in the June 1989 issue of Seattle’s Backlash, the caption underneath the band read “Yay, Fabergé!”

My own history with Rozz began in late 2007 or early 2008 when I was working on a recording project with Marty Vincelli. In retrospect, what I see are a series of set ups. Every time I think to myself – “Ok, that was a set up” – and I start pulling on the thread, I realize that one set up led to another set up to another, etc. And I can only imagine this was also true in Chris’ life, and in Kurt Cobain’s life, and I very much fear in my daughter’s life as well. Let me pull on this string for a minute.

I was introduced to Rozz by Marty Vincelli. Marty was I think raised in Oregon but his dad was a northern California Biker, not a Hell’s Angel but Hells’ Angel adjacent (Gypsy Joker maybe) – and a drug dealer. Speed, maybe. (I have a sense of FBI connections, in the sense of financing and concocting false reports about me.)

I was introduced to Marty Vincelli by Tom Harrison who was from Springfield, Missouri, but who had lived in the Minneapolis area. Research I’ve done since we broke off contact in 2005 indicates that Harrison has links to a lot of other places he never bothered to mention to me in the 3 years that we were friends, including Hollywood, California and Irving, Texas. Harrison’s history (and even, possibly, his last name) indicate potential links to Courtney Love and Michael Payne.

And how did I meet Tom? I met him on an internet mailing list aimed at Portland musicians. This was probably in early 2003, before the social media era, when people who wanted to interact one-to-one online did it either through chat, bulletin boards, or email listservs. This was a list serv called PPIUM which stood for Portland Punk and Indie Underground Music, and it was an offshoot of an older listserv called OPIUM – for Olympia Punk and Underground Music. Both of these listservs were run by Matthew “Slim” Moon who had founded, and was at the time still running, the independant label Kill Rock Stars. Moon was also in bands like Earth and Nisqually Delta Podunk Nightmare, and thus was in the Nirvana orbit going back to the Skid Row era (1987). Later, he was, for a period of time, a boyfriend of Mary Lou Lord. This means that Moon has links to both Kurt Cobain and Elliott Smith.

At the time PPIUM appeared on the scene a number of Olympia based musicians were moving to or near Portland, almost like a mass exodus or immigration. I found this mailing list because I was already on another mailing list, maybe called pdx-pop or something – and Moon posted a notice to pdx-pop saying he was starting a new mailing list for discussing music, but he didn’t want it to be for promoting shows. (Something like that. Olympia artists are a bit – controlling – sometimes with interesting results.) More stuff happened to me or around me because of PPIUM but I’ll leave that for now.

So what I discern from all of this is I somehow was introduced to Rozz Rezabek by a series of what seems like chance encounters that ultimately can be traced back to someone linked to the Olympia/Portland music scene, Slim Moon – but that within all of this, looms also the shadow of Kurt Cobain and Courtney Love.

At the time I knew Rozz he was often blogging about his early days, including his crazy-making relationship with Courtney, on his MySpace blog. He’d often talked about writing a book but as far as I know when MySpace crumbled, Rozz’s writings went with it. Rozz had a lot of interesting stories – being at Winterland to open for the Sex Pistols and then never getting a chance to do so, and the chaos of that show; meeting Sid Vicious; meeting Billy Idol; meeting Joan Jett; being at a party with Andrew Wood and becoming so jealous of his rising star Rozz decided to walk home from Seattle to Portland; having a 15 year old fan/groupie (not necessarily sexual) named Stefanie Sargent (would later become guitar player for 7 Year Bitch). His stories about Courtney Love were particularly colorful.

I don’t know if or how much of Rozz’s stories about Courtney were true, but from the collection of stories about her from him and other people – but especially from him – you start to realize that she is incredibly crafty, and to me, I can see she’s been trained, as others around us were trained – in mind control tactics. But Courtney is in a class of her own. She seems to be working from a long-term strategy and she also seems to have access to a tremendous amount of finance and connections – almost like she’s amassed a clone army. By “clone army” I mean, legions of people, bands, etc, working from a common script. I’m not saying she’s at the top of this hierarchy, but I think she’s fairly high up, and that her links to the CIA go back at least to her parents generation. In fact, I’d say it’s clear that her parents – both of them – are linked to CIA mind control. This could be its own essay.

So I met Rozz in 2008, via Marty. At this time, Rozz would have parties, inviting various people – other musicians, scenesters from the 80s and 90s, and some younger women (not sure where they came from). Some of these folks were linked to San Franciso as well as Portland. Some of their histories seemed both interesting and somehow random – one woman, for example, had been the “whip girl” for live performances of Velvet Underground’s Venus In Furs – I guess she walked around stage in shiny boots, cracking a whip?

Chris Newman was at one of these gatherings. I think he was brought by Anton Long. This was one of the early times we “met” – I think I’d met him before this, but we didn’t really know each other. He was married to Denise but she lived in Pasadena.

In talking with Chris later, I learned that even though they’d both been in bands in Portland in the early 1980s, he didn’t really know Rozz. Chris was a serious musician in a way that Rozz was not (this is the truth). Rozz is not at home writing playing and writing songs every day as Chris was. Rozz was into a lot of artistic and creative endeavors, but not interested in artistic success in the way that Chris was. But Rozz was entertaining to watch, and he was able to draw a trendy crowd, and that probably made Chris a bit jealous. Chris could also draw a crowd, but by the time I knew Chris, he was really being pushed down. For example, in 2010, Napalm Beach had to open for the Obituaries. Napalm Beach’s history was far more extensive than the Obituaries who had played a few years, disbanded by 1990, then got back together in 2007. Napalm Beach’s performances were still incredibly powerful. This kind of thing was done to Chris over and over and over, going back to 1990. Honestly, his tenacity in the face of what was thrown at him in terms of set ups and humiliations, was astounding.

Anyway, I liked Rozz and Chris grew to like him as well. But it sounds like Rozz was a connection for us to meet people who would set us up or create damaging reports for the FBI. And then there was a drug/medical thing.

When you get to a certain group of people, there are some really weird connections to hospitals. As far as I can tell, all the major hospital networks on the west coast are deeply involved with FBI/CIA mind control. By this I mean, “punishing” people by literally making them sick (or killing them with cancer, heart attacks, strokes, etc), and rewarding people with drugs and/or not making them sick for a little while. It is a horror show. But there are people around us who seem – I guess the only word is complicit – and relatively unbothered. But it’s weird, because some of these people also either have, or pretend to have serious medical conditions. I’m increasingly suspecting that with some people who are closely connected to this system, they literally go to the hospital for conditions they don’t actually have. In other words, their medical histories are strategically falsified.

Because medical histories are supposed to be private, it’s really hard to prove something like this, but I’ve seen signs of this over and over, with people linked to mind control. I don’t mean that their medical histories are falsified as mine are, to be defamatory – but that they are active participants in this particular form of falsifying – and the agenda is manipulation. Again, this is worth an entire essay. There are just so many tactics and strategies around this mind control system, and a lot of it is cover up, deception, misdirection, and control of focus.

Around 2011 I started to suffer severe increases in back pain. At the same time, I was cut off my opioid-based pain plan at Multnomah County Health Clinic after I delayed a urine test. Even though I was still in severe pain, and even though opioids were the only thing that worked, they refused to relent. Now, this severe pain was actually torture, and it was entirely created via biomedical implants – but I didn’t know that at the time – and even though I’ve known it since 2017, so far there’s nothing I’ve been able to do about it. I still need opioid based pain medications.

Rozz at this time was going to a doctor at OHSU Richmond Family Clinic and getting large prescriptions of oxycodone for chronic hip or knee pain, supposedly from a performance-linked injury. I’m not saying that he does or doesn’t have severe chronic pain – he might indeed have it – but he did not take opioids the way I take them. He took them, at least sometimes, to get high. I will say as a chronic pain patient that I don’t know why any chronic pain patient would do this, because it creates tolerance, rendering the medications less effective.

Based on Rozz’s recommendation, I switched to the same clinic he was using, Richmond Family Clinic. But they refused to put me on an opioid based pain plan, suggesting that I instead try medical marijuana, which I did. But in reality, I still needed opioid medications. Rozz had a lot of these, and fairly frequently I’d find myself in severe pain, and he would give me enough medication to get me through.

Now this is a big no-no for doctors. But here’s the thing – they literally forced me into this position. It turns out that 2011 was an absolutely horrific year for me, pain wise – the exact year all the doctors refused to medicate me. And do not forget – this pain is deliberately being caused. The amount of time in my life that has been consumed by suffering in severe pain is staggering. I’ve had Tylenol overdose scares, and other life threatening situations occur because of this severe pain. And it’s entirely medically concocted. I can show evidence of this now.

So Rozz really helped me – but the situation was entirely a set up.

In the background, apparently have been these “FBI files” – maybe the set up was in part to concoct more files on me, though, like I say, the FBI says they have no files on me. But that really doesn’t make sense, when you look at the big picture. They’re hiding something, clearly.

I will say that even if they had a file saying I – I dunno – let’s say they have a file saying I did 9/11. If so, I still deserve a fair trial like everyone else, to determine whether in fact, I did or did not fly a plane into the WTC and Pentagon.

Another thing about Rozz you might not realize if your only knowledge of him is from what’s published online – is his links to Courtney Love didn’t end in the 1980s. His stories about her extended into the 1990s and he also told me that his interview in the Nick Broomfield movie Kurt and Courtney was an act concocted by him and Courtney together. In that interview, he acts like Courtney is this awful woman he can’t stand. He also, as I recall, pulls out her old medicine bottles, maybe for Valium.

That, and similar things I’ve witnessed, suggests to me that a lot of the vitriol from people around Courtney is concocted. But also, I think a lot of the positive portrayals of her are concocted as well. The aim is to confuse.

What the dream from last night suggested to me is Rozz was connected to the set up of Courtney Love with Kurt Cobain – and thus to the demise of Kurt Cobain.

The size of the image in the dream – 1500×1500 – also links Rozz to a Federal Torts Claim Act against the FBI I filed yesterday with the Department of Justice – and the idea that Rozz has something to do with negative reports about me filed with the FBI (Op Anne Boleyn), which presumably the FBI has been using as an excuse to physically harm me.

What’s in a name? (part 1) Goners/Untouchables/Napalm Beach

What is in the name of a rock and roll band? Nothing and everything.

I want to start by talking about Napalm Beach, with the idea that I’m now moving toward the idea of Nirvana and Napalm Beach as mirrors of each other, because that seem to have been an intent. “One above, one below.” I believe this is what you see indicated on Tarot Card number 1, the Magician, with the double edged wand that looks like it has a candle flame at each end, one arm pointing up, one down. What is magic but a potent type of mind control? That’s how I see it, anyway. Obviously there’s a lot more at work (global finance), but it’s really clear beyond clear there is an occult element to this running all down the west coast – Los Angeles, San Francisco (Monterey, Marin, Sonoma), Portland, Seattle.

With regards to Chris’ history in Portland, he seems to have formed this band called The Goners while living in San Jose, where his family had relocated in the 1970s. After trying and failing to get traction with his first all-originals band in Los Angeles in 1974, he’d spent a few years working as a sign painter. His family was going to a Pentecostal mega church in San Jose, where his two sisters would meet their husbands and marry young. His sister Becky’s husband (the one who in 1996 helped dump all of Chris’ belongings) had a father who worked for Boeing in San Jose, and I think that’s significant for a number of reasons. For one thing, that particular Boeing plant is closely linked to Stanford University. Both my parents have their PhD’s from Stanford. There is also a link to directed energy weapons.

So in that world, Chris formed this band called the Goners. Then Chris and his band relocated back to Longview. When and why Chris moved back and forth between San Jose and Longview is a bit murky to me, but I think there were tensions between him wanting to pursue rock n’ roll and trying out other more conventional ways to make a living. He had been in a covers band called Bodhi 1971-74 which had done pretty well, but he’d always been trying to transition to a band that did all or mostly originals and could still work regularly, progress, make records, etc. There was a whole thing going on at that time period with regard to managing the expectations of small town wanna be rock n’ rollers which is worth another entire essay (I swear I could write a thousand page book) – but I’ll leave that for now, except to say, things that Chris and I thought were just reasonable life-advice in the 1970s and 1980s often were in fact calculated, top-down, control and expectation-management programs. (My working theory right now, fwiw is that the punk movement was a CIA op.)

So the Goners, which I believe was basically Chris, maybe Dave Minick, and probably shifting drummers at first – moved to Longview, and then, because Longview was a small town, to Portland, which to them, was the big city. Chris had lived in Seattle in the past so I’m not sure why they chose Portland rather than Seattle, but they did. It may have been influence of people around Chris, like the band they first played with in Portland, another Longview band called Alost. What Chris wrote was that it was Alost who told the first club they played the band name was “Untouchables” and then the name stuck. As I said earlier, it shows how suggestible Chris could be. Where I would spend months trying to come up with a band name, or tweaking lyrics, Chris tended to go with first thoughts. He often wrote out songs fully formed. No draft one, draft two, crossouts, etc. If he was drafting and editing, it was all in his head.

Under the name Untouchables, between spring of 1980 and summer of 1981, the band blazed a trail through Portland and Seattle. They were playing constantly at Portland clubs like Urban Noize, The Met, 13th Precinct, The Long Goodbye, Euphoria; and in Seattle at The Wrex, Gorilla Room, and Metropolis. They opened for Joan Jett in Portland, Johnny Thunders in both Portland and Seattle. They were given a spot opening for a band called April Wine at the Paramount Theatre (not the best fit for them as it turned out). Then, in the summer of 1981, an LA ska band wrote a letter about the name Untouchables. Chris has described this in diffrent ways. At first it sounded like a cease and desist letter, but in his biography he indicates something subtler – that the band asked if he “owned” the name Untouchables. And Chris responded that they did not own the name, and the ska band thanked them, and began to use the name. What Chris wrote in his biography is this: “When we played our showcase gig at the Paramount a few months later, Double T productions changed our legal name to Napalm Beach.” Honestly, it boggles my mind, that as late as when he was writing these memoirs, 2010, Chris thought that a promoter could change his band’s “legal” name. As for how that name was developed – my understanding is it was Mark Nelson’s idea. Chris was obviously ok with it, and again, how he was thinking at the time, and the different influence pushing and pulling on him are worth examining in part because it speaks to where music was at that time, but also, what kinds of influences were beginning to surround Chris, and how they were – I think the word is manipulating – him. Mark Nelson was one of those influences.

The reason why I bring all of this up is, it seems to be part of a pattern. I wrote earlier about how the band was forced to slow down when in 1983 all of the clubs suddenly closed in Portland and Seattle. In this case, before that even happened, they’d spent a year creating buzz under the name Untouchables, only to get pushed from at least two different angles to change their band name. A name change is not the best move when you’ve already established recognition and momentum.

The reason why I started thinking about all of this right now is, as I’ve said, I’m now looking at Napalm Beach as the other side of the Nirvana coin. Nirvana’s show dates are, for the most part, all archived online now, and in taking a look at them, I realized something that wasn’t really clear from the biographies I was reading prior to 2010, which is that Nirvana also went through several name changes early on. Yes, this gets mentioned – but I never realized that, for example, Nirvana was actually playing shows under names like Pen Cap Chew or, more notably to me now – Skid Row.

A brief history of me getting run out of online communities dedicated to discussing regional music history

In all honesty, outside of the MySpace Satyricon fan page I ran 2006-2009ish, I really haven’t been super active in online communities, but there have been a couple exceptions. I tried to get involved in a “portland punk” oriented community at one point and quickly ran into trouble with a guy named Mark Baar, an old associate of Courtney Love that Chris described as being kind of a thuggish street punk, who didn’t just lie to me, he was abusive, sort of like “who the f are you???” kind of thing. And there was a pile on, with this guy named xj elliot telling me that I was everyone could tell I am just a crazy lady and so of course they all ignore and avoid me. I think that maybe what set this mess off was the perennial “when Kurt met Courtney” discussion, where I chimed in. (Another whole topic.) Several of Courtney’s old school friends were in this group including Robin (Barbur) Bradbury who tried to stand up for me a little bit. But the whole discussion was shut down very quickly with a finalizing decree of We Do Not Speak About Music After 1984. Because in this group, punk ended in 1984. There is another group online, I think it’s called The Rise and Fall of Portland Punk, which declared punk as “over” as of 1981. So if you get into the latter 80s in these groups, you’re off topic and out of line. Perhaps in danger of having the cops called on you. (It seems like I’m exaggerating, but barely. They take this stuff seriously.)


It’s not like I’m in danger of making any enemies at this point that I don’t already have. But what I will say about this here, that I didn’t say there, I find it pretty transparent. In other words, it’s very clear who they are excluding, and it’s Chris Newman. Yes, the group for which punk ended in 1984 can give him a nod, but he’s really not worthy of the group for whom “punk” ended in 1981. In fact, perhaps it is him who is responsible for the “fall” of Portland punk, though they’d never give him that much attention or credit. The thing that is significant to me about 1981 is that is when Sam Henry (of the Wipers and then the Rats) joined forces with Chris and they became Napalm Beach. (It’s also when Poison Idea formed.) The thing that is significant to me about 1984 is that is when Satyricon opened.

These groups include, but are not focused around hardcore punk which got going in the early 1980s but more the open, arty first wave of punk. The concept of punk in the 1980s and 1990s was pretty malleable, from my perspective. But there was often this thing about “I was here first.”

In 2014 was told by an owner/booker of an early club that booked Chris bands a lot that “the Untouchables were not cool” – as if it was self-evident. It was her way of explaining what I saw as writing Chris out of his own history. In other words, only “cool” bands make history. And I’m thinking – wait – you booked them all the time back then, and they were drawing crowds – and now you’re announcing that they were never “cool”? And for that reason, they deserve to be omitted? This too was a script that by that point I’d already heard from a number of people who consider themselves regional arbiters of taste and coolness. But who the arbiters of cool are appears to have been manufactured, too. Young people tend to be impressionable. If a crowd all says “wow this guy is so cool” and you’re just getting started going out to shows, who are you to disagree?

I’ve spoken with Chris a number of times about his early experiences playing in Portland, and what it was like meeting Greg Sage. Chris already knew that Sage was a revered musical genius type. So in 1980, when Sage appeared in front of the stage, studying Chris in action, Chris was excited. They soon developed a working relationship that lasted into the mid 1980s.

Sometimes I get chastised for having the audacity to speak about things when I wasn’t there. In other words, I’ve looked into something as historical research, rather than a personal memory. It’s a useful stance for gatekeepers, because if I were to accept it as a premise – that an event can only be discussed, or issues around it debated, by those who were physically present at a given event – that would shut me out of all of this. Chris never took this kind of stance, and it’s honesty incredibly disingenuous. But then it is not about history anymore, but a social bonding thing “this is our little group and we all knew each other back in 19XX and we are here to personally reminisce.”

People can do this with their own Facebook groups. What it does, is throw obstacles in my path, as I try to get to the truth of one story or another, and that is by design. It’s pretty clear that aside from Chris, most bands linked to the Portland punk or underground scenes had no expectation or intention of progressing professionally. The only explanation I can think of for this, is they had made some other kind of deal, and Chris’ ambitions, and my ambitions and investigations, are in danger of messing that up for them. And that’s the real reason that my inquiries bother them so tremendously.

What deal do I think Portland made? I think that it wasn’t just Portland but that it includes Seattle, San Francisco, and Los Angeles. I think the deal was that it was their job – a globally-financed team effort – to control, stifle, set up and slander Chris and me. I think it’s understood that’s how to get paid and maybe some minor recognition and rewards. This is why it was so important to keep Chris out of Los Angeles. Because people in Los Angeles want and expect to succeed in music. Eventually they figured out how to make it so some Seattle acts could sneak through (while also preventing Chris from success and inflicting maximum damage on his sense of self-worth). So yeah, every once in a while, someone is let through professionally, to make the stifling not so obvious, but those who are let through are forced to make compromises and are very closely followed, and are in danger of elimination.

Elliott Smith – Miss Misery

Touch not a cat but a trap (Cat Butt and the Obituaries)

I recently posted an inquiry on a Facebook page for NW music. Basically, I was trying to fact check a statement published in Everett True’s 2006 book on Nirvana, made by James Burdyshaw, best known for the 1980s band Catbutt. He had mentioned, and True had published, that he had seen Nirvana perform during a certain time period (“Summer of 88”) at a certain venue (Squid Row, Seattle) opening for a certain band (The Obituaries). I had run across this in the book as I was also working on putting together as much information as I could about Napalm Beach’s live history in Portland and Seattle, and I knew, based on what I’d come across already, that there was no listing for the Obituaries playing with Nirvana at Squid Row in June of 1988, or ever.

In my research, however, I ran into another article, this time in Willamette Week, around the time of the Obituaries reuniting, where writer Jason Sims stated matter of factly, that “both Soundgarden and Nirvana” had opened for the Obituaries ( The Obituaries: 1 am, Ash Street Saloon. August 28, 2007). The statement is also still on the Obituaries Wikipedia page, and to my recollection, it’s been there since 2007 when the band first came to my attention (though bizarrely, the bit about the bands they’ve played with is uncited).

The Obituaries Wikipedia page
The Obituaries on Wikipedia 9 Sept 2022

Because I’ve seen problems with regards to Chris’ history where false things are published and then promulgated through subsequent publications, I suspected this was what might be going on here – and so I decided to double check via the aforementioned Facebook post.

Now I’m going to stop the tape for a moment – picture a train about to run off a cliff – the train is the Official Story of Everything Seattle Music – and it’s full of people in a state of panic, doing everything they can – including setting people on fire – to keep this train on track, because it’s generating a lot of money for people, and it’s also preventing light from showing the ugly cracks in a very old facade of lies and injustice.

This train, when it crashes, is not as far as I know, going to kill anyone – but as long as it keeps running, people keep dying. So maybe the train metaphor isn’t apt –

What I want to say is it looks like this is a very small fact or mistake. But in reality – let’s try another metaphor – it’s more like a loose thread in a sweater, that, if you pull on it, begins to unravel the sweater. And there are a lot of loose threads in this sweater. So when people try to stop me from pulling the threads, as they inevitably do, what they’re actually doing is promulgating lies and cover ups and crime. I’m not sure there’s a nicer way to put this while still being accurate.

That’s why, even this is a very small fact – it’s important. It links to other things that deserve light.

So allow me to explore this small seeming issue a bit more deeply.

A family from Newman ancestry

The first thing I want to mention is, band names, especially “punk rock” band names – often seem creepy/weird/bizarre – to the point that you might just ignore them. But they have meaning, and in some cases, band names interact with other band names and/or songs. I won’t do a deep dive into that here, but say that the names of these bands shouldn’t be ignored or considered meaningless.

The other thing I want to mention is that I’ve noted before that these “scenes” – the 1980s-90s music scenes in Portland and Seattle – have historical gatekeepers, and Burdyshaw is a gatekeeper. This actually may be something that goes on all the way to the top in the music business, I don’t know. What I do know is it goes on here. So if you are a writer and you want to write a book about Elliott Smith, Kurt Cobain, or someone in that immediate orbit, there are people you are permitted to interview, and there are people you are not permitted to interview. And I know this because I’ve been involved in this whole thing for some time now. It has to do, I gather, with whether you want your book to be published and/or stay in print, which most writers do.

James Burdyshaw responded to my Facebook post, and it was determined that it was an error. I thought I made it clear that I wasn’t intending to play “gotcha” with him – of course people can make mistakes, and it is the job of the author and/or publisher to fact check and correct the errors. But I was troubled, because I’ve found quite a few errors in True’s book – and I speculated that perhaps the book was poorly fact-checked because the book itself was linked to the music publishing industry, at which point a number of people felt they needed to explain that I was reading too much into this, it’s a simple mistake, not a global music industry conspiracy.

Burdyshaw in particular kept coming back and harping on this. Sometimes when people are busy trying to mislead me or shame me for asking follow up questions, they also sneak in other information, like the sentence “It’s not a big deal.

Then I posted a couple things that suggested that there might be something else to all of this – and that indirectly implicated Monica Nelson and The Obituaries in a bigger – the only way to describe it is as a conspiracy.

I also asked if the folks on the site had discussed yet, why so many musicians from this scene are dying young of cancer, heart attacks, suicides. (I should note here, though I didn’t include this – that strokes, aneurisms, and car crashes are also a risk.) At which point a moderator, Matthew B Ward, deleted – it looks like three of my comments, including

  • a clarifying response as to why I referred to a certain writer as a journalist, rather than, as Mr Ward had suggested, an “attempted journalist” (it is because, I said, this writer literally has a Masters Degree in Journalism). In the same response, I had also clarified my own background level of expertise with regards to research ability, fact checking, citing sources – and what is and is not appropriate.
  • A comment implying that Monica Nelson and the Obituaries are part of a bigger conspiracy
  • The comment asking if they’ve all had a discussion about the premature deaths of musicians from 1980s scenes in Seattle, Portland, San Francisco, and New York City.

All of that was deleted, and the whole post shut down thusly:

I’m closing down comments on this post, as the issue has been cleared up. Thanks in particular to James Burdyshaw for clearing up an interesting mystery. Also, one thing that this group has taught me is about the fallibility of memory, particularly about our misspent youth in the 80’s-in a way it’s amazing that we remember anything at all. Writers should strive towards the truth, but we should not read too much into the fact that aspects of the past will probably never be established for sure, especially when taking about murky, alcohol-fueled adventures that happened over 30 decades ago.

Matthew B Ward, Pacific Northwest Music Archives

So basically, information I gave establishing my own credibility was deleted. Information supporting the idea that there might in fact be a bigger story behind this was also deleted. And information suggesting that people are being harmed or even killed because of this bigger story – well that too, was deleted. Nothing to see here, folks.

I will be honest. Based on how the discussion unfolded, I think this thing about Nirvana opening for the Obituaries was a planned lie, and maybe even a clue about the aforementioned premature deaths. I’ve already seen this (calculated) lying going on, and written about it here (famous blue raincoat) and here (Satyricon riot) and probably elsewhere. I can’t yet quite figure out why they would lie about this, but a separate path of inquiry is leading me to see ongoing parallels between Nirvana and Napalm Beach as far as show dates, so it may have been an attempt to muddy that water. Also, I think that a trap was being set for me.

To be continued.

Pacific NW Music archives post series on Facebook

9 years since Introducing Napalm Beach

We are now approaching the ninth anniversary of the publication of my article Introducing Napalm Beach. In these years it’s become really clear that the sit back and wait, be cooperative, don’t rock the boat strategy has been a sheer and utter failure. I can’t fault Chris for the choices he made because the situation he was put into was completely impossible. I can’t believe what he managed to pull off in terms of an artistic career and legacy under the circumstances.

As I sat back and tried to untangle whatever mysteries I was supposed to untangle with very little to work with, we were bulldozed by the wiping/destruction/death machine, and so were a lot of others.

Casualties included our band, Boo Frog and all the associated dreams we had (putting out records, touring, etc), as well as my Boo Frog YouTube page, my Skullman Records YouTube page, several loved ones, and 9 years of my life. Chris and Sam.

After Chris died, I no longer had to worry about him worrying about the disapproval of his community. I don’t know why people disapprove of artists who want to make a living off their art – or just this artist I guess, and I guess I don’t really care.

I know people are talking dirt behind our backs, behind my back, and I don’t care. It’s garbage talk. I know who I am and who I am not.

I also know something else now, because I was able to move forward a little bit – under the circumstances, from what I see of the structure built up around us, there is no way in the world that The Music Industry or The Pacific Northwest Music Community writ large will gracefully accept an unburied Chris Newman, and I know why. It’s nothing to do with Chris, and it’s everything to do with Kurt Cobain, Elliott Smith, Bret Bowman.

That said, there is no legitimate reason that Chris’ music should continue to be blacklisted, and I feel absolutely no obligation to protect those that led little lambs to slaughter, especially those who also profited, and continue to profit financially from the crimes and cover-ups (which include additional crimes). So I’m going to continue doing what I’m doing, and if you are out there trying to stop me, well I guess that says a lot more about you than it says about me.

It is incredibly frustrating to have been going through what we have been going through and I can’t even imagine what Chris went through after 1983 and especially into the 1990s.

I don’t know exactly why Kurt Cobain was taken down, but it increasingly looks like it was part of some bizarre set up planned out long ahead of time, same as Bret Bowman. I consider the entity behind all of this Satanic, because they seem to take pleasure in doing the biggest most heinous crimes to the most innocent people.

That cat is out of the bag. It’s out, everybody and it is NOT going back in.