Napalm Beach, Snow Bud and the Flower People, Divining Rods, Boo Frog
The rhythm is from the 1979 Knack song “My Sharona,” a song about a 17 year old girl, same girl who appears on the cover of the single. Sharona songwriter, Doug Fieger died 2/14/2010 at age 57 of brain and lung cancer.
RELATED: Signs of surveillance 2009-14 – Claudia Lemon and the Courtyard Apartments
also: Signs of surveillance specific to 2009-14 – Daughter’s bedroom computer
also: What Did I Know And When Did I Know It – Part 3
What you see throughout the full video are people struggling to capture what their scene and sound is about in a TV soundbite, as well as complaining their music is being ignored by the local music press.
Chris used a lot of fuzz tones. Someone says “chainsaw music” – when Chris is asked “what is chainsaw music?” Chris says “I don’t know, you have to ask these guys.”
Going through images I just found these screenshots I made from viewing a post shared through Chris’ Facebook account back in March of 2019. The original post was made on January 28, 2018. Courtney Love has had a habit of popping into Satyricon related Facebook accounts, leaving a couple comments, then disappearing for a few more years. In this case, she comments about Napalm Beach letting her “sleep on their couch” with what looks like maybe an implied comment to Chuck Arjavac. Reading that, Chris commented to me that actually she lived in the band house and had her own room (1981). I don’t know if I’m reading too much into this but elsewhere I’ve read there was someone in the 1980s Portland punk scene named Eric Couch.
I count three people in this thread who were fine when it was posted and have since died of cancer: Matt Loomis, Chris Newman, Sam Henry.
There are certain bands with a devoted following who put hours into researching and documenting their every move. All it really takes is one dedicated researcher, like whoever runs the Mudhoney tourbook
Black Flag shows are cataloged here https://concerts.fandom.com/wiki/Black_Flag
Agent 86 (basically Mike Briggs and whoever else) is still flying under the radar as an obscure regional punk act, but I’m starting to see more of their flyers and show dates appear online. I actually was a bit surprised at first to find out that Agent 86 played outside of the Humboldt/San Francisco circuit. I had assumed they were like most 1980s Humboldt bands, playing a few house parties, vets halls, maybe opening locally for a couple of regional hardcore bands, and then disappearing into the night.
Agent 86 seems to be a finance gruber. A strong position is achieved, apparently, by a person who manages to even have a casual connection to Chris or to me. This helps explain some of the unusual meetings in Chris’ life and in my life where people appear briefly, then disappear, but continue to wield influence behind the scenes. At some point I was in the same room with Mike Briggs. I may have spoken to him, or not, I don’t know. I think I’ve seen his band play. I remember him as blonde and older.
This is part of the pattern that happened with Sub Pop later in the 1980s. Bands that would one day become grunge superstars all seemed to have some personal contact with Chris between 1985 and 1988. This includes Kurt Cobain who Chris did not share a bill with, but spoke with, briefly, back stage at Satyricon in 1988.
With regards to Black Flag, I started noticing some weird things about their early 1980s shows. One thing I tried to figure out is if Chris had played on a bill with them, and how many times. Chris (who’s memory is good) thought they played together once or twice, but he also said their styles were really different and he wouldn’t expect to be put on bills with a band like Black Flag. And it does look like they played together at least once, but I’m not sure because there are two different flyers saying two different things. And now I’m going to have to get into this whole thing where I have to admit to myself that there was a really nasty thread of racism and sexism running through 1980s hardcore punk that I was in denial about, at least at first.
According to the Black Flag concerts wiki, their first show in Portland was April 21, 1980 at the Long Goodbye. I don’t know when the Untouchable’s first show in Portland was, but I do know it was in 1980, and I know that they played the Long Goodbye the following month, on May 18, 1980. The website shows Black Flag playing four shows in Portland in 1980 alone.
Napalm Beach may have played with Black Flag at the Met in Portland on June 30, 1982, but maybe not. There are several flyers for this show, all showing Poison Idea on the bill, but only one of them showing Napalm Beach. It seems like it’s swapped in some posters with Nig-Heist. I am including this detail because I suspect the racist band name may have inspired another band name that would appear later, linked to Wipers, to Sub Pop, and to Elliott Smith: Crackerbash.
Another screenshot I have from another website – I’m not sure which – shows Black Flag and Napalm Beach both opening for Bad Brains on December 10, 1982, again at the Met.
I can only find a record of Black Flag playing once in Humboldt County, in Arcata at all ages club Mojos May 29, 1983. This is in contrast to X who played in Humboldt quite a bit (though the documentation of this so far isn’t great). It looks like there was a scheduled concert for May 3, 1984 at Mojos with Black Flag opening for Meat Puppets that was cancelled. Some sources indicate Meat Puppets played but Black Flag didn’t.
When I ran across this information online back in December 2020 – specifically the information about Black Flag playing an all ages show in Arcata May 1983 – it sort of threw everything I knew or understood about my high school days into question. How is it that there was a Black Flag show in Arcata in 1983 that I didn’t know about? I am really not sure because I think it was that same month – May 1983 – I went to my first “grown up” concert, which was Jefferson Starship at Redwood Bowl, outdoors at Humboldt State University. I say grown up because I guess my parents dragged me to a hippie concert or two when I was a baby. I saw X at Mojo’s the following fall, and somewhere between 1982 and 1983 it seems like I saw a number of all ages shows – or maybe it wasn’t that many – at the Arcata Vet’s Hall and the Bayside Grange.
But now it looks like there were a number of punk shows at Mojos in 1983, including T.S.O.L (February 15), and Dead Kennedys (April 27). Were these shows deliberately being kept from me? I suspect they may have been, especially the Black Flag show. I just feel like I would have known if Black Flag were playing, and if things were normal. I would have seen it in a zine (why did I only see one or two copies of Counterpeace? I know more must have come out) or my friends would have said something.
Maybe the flyer offers a clue.
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.
There are many nonconsensually placed piezo-electrical biomedical implants in my body. This is true of many people, though I think I have more than most. I believe that they are linked to the US Department of Justice / FBI and to the CIA and/or military sources, and that is the primary reason the situation is not being addressed properly. Furthermore, I believe this, along with financial string pulling and mind control activities (social engineering) is why I have such difficulty obtaining legal counsel, even when I have an excellent case with the potential for millions if not billions in damages because of the pain, suffering, damage to reputation, profiteering, intellectual property theft.
It is not even a slight exaggeration to call this a threat to democracy, not just in the US and worldwide. It also is creating the danger of environmental catastrophe, even a planet shifting catastrophe or series catastrophes, because of the power and reach of these weapons systems, and because biological warfare, including use of pandemics, is also part of this.
It was no accident that the 9/11 attacks were followed by anthrax attacks. It’s all part of the same deadly machine, and the longer it goes unchecked, the worse it gets.
The kangaroo court set up around this is exactly that. I keep feeling pushed to participate in this “court” process even though it’s pretty obviously a ticket to nowhere. Meanwhile, the criminal courts are on the wrong side of the law, and civil courts have statute of limitation issues that are really hard to deal with when you are having a difficult time figuring out what is going on and how to prove it, and attorneys won’t speak with you, or they deliberately mislead you, and also you are suffering from constant physical retaliations through these biomedical implants. This is a crime and it belongs in a criminal court, and I think it belongs in an open court, not hidden. Witnesses need to speak PUBLICALLY and be questioned PUBLICALLY under oath and under (real, not pretend) penalty of pergury, and when that happens I guarantee the entire mess will collapse in minutes.
There are ways that the implant networks are used to transmit information directly to a person, like radio telepathy. I experience this every day. But that also can be misleading, because the information one receives can only be as good as the sender makes it, and there has been a lot of mind control interwoven into this. They want me to play a game I can’t win.
Meanwhile, I’ve been struggling to figure out a system that everyone around me seems to treat as second nature – except it’s clear that people get fooled all the time. We are FAR from the only ones who have been befriended by people with evil intent. In a lot of cases it seems to be about using and then eliminating as many people around you who you might see as a potential threat to you and your goals. This is why, and how, so many people in the Northwest, especially in the music scenes, die young, especially of cancer. I’ve known this for some time, but what has been very frustrating to me is exactly how it works. Because if I can’t prove or show logically at least how it works, then it just feeds into this pre-planned cover up narrative that I’m a crazy person.
For a long time the idea was pushed hard to me that it went like this – I was given a name of a person I knew, and a name of someone in the community who had recently died, and told that person A killed person B – but if person B died of a heart attack, how does that work exactly? I know that the heart attacks are created by biomedical implants – but does that mean the person A had direct access to the technology used to kill person B? For a long time I had no other information to work from and I thought that was what was going on. Then, after Chris got sick, the message came to me very strong that it was the FBI that did this to him. But if so, how, and why?
After that, it became about FBI files and finance run through certain channels (aka “grubers”) connecting entities that you might not otherwise expect to be connected, such as Starbucks and the FBI. Then it started to be pushed that the finance is paying for “FBI files” – set ups and false/salacious/manufactured stories purchased from people who may or may not know us, by global financial sources, and then passed on to the FBI/CIA who would the use these stories as covert justification for black bag ops murder through this piezoelectrical CGI. Hospitals and other institutions are involved in this and collecting lots of money for treating the diseases they help cause, and also they’re negotiating other deals on top of it such as massive donations, new cancer centers, etc.
The FBI and CIA are not comprised of idiots. They know what is in the US constitution and how a justice system is supposed to work, which is one reason why they are so vehemently covering this up, and voicing subtle threats to anyone who threatens to expose this criminal activity – like FBI Director Christopher Wray has done when he describes taking agents to visit the 9/11 memorial and feel it in their “heart” and “gut.” I’m going from memory as this clip is now behind a paywall https://www.cbsnews.com/video/fbi-director-christopher-wray-on-why-agents-in-training-visit-911-memorial/
So imagine me trying to bring cases to civil court with no law degree, no lawyer, no privacy which is necessary for attorney client privilege or to even reasonably put together a case, evidence that requires some careful consideration and pattern recognition, with all of these trusted institutions and professionals having built a – probably decades-long – fake paper trail, and all of them lying through their teeth.
Is this what democracy looks like?
Now the idea is pushed to me that it’s the FBI creating these files, and the people in the community are feeding this stuff to the FBI with the obvious goal of getting away with a big, lucrative, and very damaging crime. The police and FBI are I believe trying to pretend they are acting as objective “referee” types in a legitimate covert “game” but none of this is even close to reality.
Do you know how many people are sitting in US state and federal prisons loaded to the gills with piezeo-electrical biomedical CGI which was used to manipulate them remotely specifically so they would commit a terrible crime or crimes?
I’m guessing you don’t. Neither do I.
Do you know how many people have died of horrible but lucrative diseases because they had been laced up with biomedical CGI? Do you know how many girls and women have been raped and murdered, how many mass shootings have occurred, how many global security incidents, how many wars have been instigated by this technology?
Neither do I.
When this is exposed, and it will be exposed, the Justice Department will have a tremendous reckoning. There is no way they don’t know this, and it appears that their response is to bury their heads in the sand and keep kicking the can down the road, because this is what has worked already for generations.
But when it is publicly exposed, when it is written about in major media outlets, or through some other channel that may not even exist yet, at best, we’ll be forced to rethink the entire prison system. If every inmate is tested for biomedical CGI and many, most, or all of them are found to have implants that can be used to control behaviors – what then?
I really want to know the answer.
I think that how hard the government works to bury this versus whether they try to remedy the problem speaks to how much of a chance our democracy has the chance to survive the next decade or three.