Tag: songwriting

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.

How we write songs

Chris and I didn’t write songs like other people write songs because we didn’t have access to the language (aka code aka slang) that every other artist has been using, nor knowledge of the framework around which this language hangs – framework in which Chris and I were actually centered. The set up may be depraved but you have to admit it’s clever.

Other artists code things in layers – even coding nonverbal sounds, beats, and chord progressions. Chris and I had no conscious access to any of this and so we wrote in a more straightforward manner. That said, there is still some complexity. For example, Chris wrote the songs on his 1986 album Moving To And Fro generally from the viewpoint of a teenage boy or young adult – but in a song like “Monster” he was actually writing from the viewpoint of a disapproving adult commenting on this teenage boy who spends all his time “drawing weird pictures” and playing electric guitar. Chris felt the phrase “electric guitar” was quaint and old fashioned – like I might think of the word “hyperlink” as quaint and old fashioned. There’s a line in the song about “smoking acid” which is I think an old cliché about people who don’t actually know how LSD is ingested. And the bit about “big red eyes moving to and fro” is about being stoned on marijuana. In coded language, the “red eyes” would indicate surveillance. Chris didn’t have that in mind writing, but others might have it in mind listening, because their background is different.

I think sometimes Chris would put in lines that sounded good, where he liked the rhyme, but in which meaning was secondary. I remember asking him to explain a line from his song “Unworthy” – “Tell me something true, and if it comes from you, I will believe the truth is all you knew” – he tried to explain it, but I think it was hard to explain. I think the sentiment was that – this song being likely directed toward his second wife, Denise – he wanted to believe this idea that she was radically honest and her example could make him a better man. In reality, she was not what he thought she was. Chris tended to self-blame a lot, and to absorb blame from others, and I think part of this was his heavy church upbringing and part of it was his way of being courageous and taking responsibility for everything that went wrong in his life. But part of this line might have just been about the way the words rhymed and flowed together. Chris was very musical.

I wrote the same way as Chris, except that I tended to rewrite and rearrange and try out different words, etc, whereas Chris would write out a song fully formed. Both of us tended to write from personas or different parts of our personality and/or as characters. I have a song called “minivan mom” for example which was about how I was feeling, but not at all about who I was or who I thought I really was. I think the term for this is “implied narrator” – in other words, the narrator of the song is a fictional persona. This I think is pretty standard. Where we differ from other songwriters is that we were unaware of the strange structure that were were born into, the language used to describe it, and the layers of deception within or cloaking around the structure and the language.

It’s weird to have gone through college and gotten a Masters Degree in English, as I did, without having this basic information about the use of coded language in art and music. It’s weird to have slogged through pages of critical theory where all minutae of text is analyzed from every angle, without this ever having been overtly discussed. I imagine if I were to go back to these analytical texts I’d find the coded language in them as well – code language analysis of coded language texts with all these meanings and motifs being analyzed all the while the code itself is never overtly discussed. Trying to comprehend this – what appears to be a fundamental dishonesty in higher learning – is one of the many challenges I’ve faced in recent years. At first I thought that this was the most radical thing about the structure around us – the near complete co-opting of language and it’s deep integration into western art and culture. Now I see that there are bigger issues, like global genocide.

As for the language issue, I eventually concluded that the symbolic coded language must have become ever more deeply engrained because of the nature of the situation. It’s not something that must be the way it is – it’s something that is the way it is because it serves a function. Part of the function is entertainment, but much of the function is secrecy, cover up, or exposure – but coded exposure. Usually a planned (or in progress) crime is exposed too late for it to be stopped.

To a large extent the code is the way it is because of what amounts to violent suppression of free speech and expression, and rewards offered for participation in and cover up of crime. Artists have information about crimes they are not able to share. If they did share this information, nothing would be done to prevent the crime, and the artist might endanger him or herself. This suppression of free speech and the associated patterns of crime should be of great concern.

Coded language – stairs / stares

A realistic view of the situation around Chris Newman and the celebrity system isn’t found in any of the pre-packaged rock ‘n roll myths but more likely in plain-sight coded language. Ambition and mobility are less a matter of gumption, talent, creativity, and hard work (though this is helpful) and more about working a covert system of gears and ratchets. This is described in coded language. I’m guessing that most people are familiar with this language, but it’s hard to know, because neither Chris, nor I, nor my daughter were ever let in on this. I’ve had to try to decipher it on my own.

Maybe the most important symbol of mobility is the stairs. Often you see this visually coded in an indigenous looking design.

The stairs (sometimes further coded into the homophone “stare”) represent advancement – especially professional advancement – though what I saw with Chris was also the use of going downstairs to represent medically ending his life. Chris was linked to the Yurok woman, Burtha Thompson pictured above, including in the ways their lives were ended. These financed medical murders have been going on a very long time, and I am of the opinion that many – especially Black and Indigenous people – continue to be murdered this way. This too is covered up with myths and misdirection.

I don’t know how much of this is focused around Chris and my family lines specifically, and how much is more generally focused, but people seem to be taught that the route to professional advancement is to take part in occult linked crimes. There are a number of reasons for this – one obvious one is opportunism. Wealthy and powerful people are permitted through this system to “get rid” of people they consider to be a threat or a nuisance. The other pretty obvious reason for this is capture and control. If you take part in a crime on behalf of the system, you show your fidelity to the system, and probably more importantly, you are now a compromised person and can be more easily controlled by the string pullers. The bigger the crime, the more compromised and under control a person is, and thus the more juice they earn. This system has allowed the controllers to infiltrate every seat of power on the planet. This – along with bribery, threats, coercion – are why the crimes associated with this group and this system are somehow all at once very large, very obvious, and very effectively covered up. It is both a show of power and a gathering of power. There are other effects these extreme crimes have as well, including creating dissociative personalities. A person may seem to function normally, but with huge chunks of reality missing from their personal narrative. This is no doubt partly the role of the pre-scripted celebrity myths. They fill in some of the blanks, explain things – but falsely.

It appears that there is a “secret” telephone-based system for reporting to the FBI which people use to earn money, gifts and professional advancement, and that this system is and has been the basis for these covert assassinations. This, plainly put, is how people get to make records. They snitch on (and often lie about) their friends, neighbors, and even, sadly, on their own family members. And this isn’t done randomly – as I’ve said before, there are entities who have very effectively weaponized this system, creating prefabricated scripts which are then assigned to people within the community. Thus, it may look like multiple witnesses are reporting the same event, when in fact what is actually going on is multiple people were handed a script. The whole thing is concocted, to create and maintain and reenforce a false profile. This goes on over and over from different angles until the FBI and/or CIA assassinates the person. All of this is apparently highly lucrative.

I will say right now even as I write this I find the whole thing incredibly difficult to believe – not that people would game such a system, but that the system exists at all. It’s a violation of numerous constitutional rights and other laws, for one thing. It’s clear how such a system would be gamed. It’s clear that such a system would be used for control and coercion, not for justice or safety. It’s clear that certain people would be unfairly targeted by such a system – those with unusual ideas, those who refuse to comply with demands of power, and those who are already in weakened social positions.

Chris and I seem to be centered in this, which is why so many of these massive crimes “reference” us or people around us in some way, from the 9/11 attacks to the murder of John Lennon to the forced suicide of Kurt Cobain.