Team Kimberlin Post of the Day

Brett Kimberlin has set up two not-for-profit entities. One is a 501(c)(3) organization called Justice Through Music Project. 501(c)(3) entities are tax exempt and donations to them are tax-deductible. The other was a 501(c)(4) organization originally named Velvet Revolution US. 501(c)(4) entities are also tax exempt themselves, but donations to them are not tax-deductible. Kimberlin changed the name of Velvet Revolution US to Protect Our Elections/EMPR Inc. in 2017, and the IRS revoked its 501(c)(4) status in 2019.

For several years, Protect Our Elections/EMPR Inc. was involved with the operation of an English-language Ukrainian news site call EuroMaidanPR (empr dot media). The empr dot org URL now redirects to ukrainefrontlines dot org, but that site contains much of the earlier version of the site and contains links to the (at)EuromaidanPR account on X (TSMSFKAT).

While wandering through the new site, I found an opinion piece posted on 25 August entitled After Russia’s invasion of Ukraine, most Americans hate Russia, and I understand more about the difference between “dyakuyu” and “spasiba”. It’s bylined Kelsie Kimberlin. The article is a puff piece promoting her latest release, a song called Armageddon. The article quotes her as saying,

I write my songs myself, and often my dad helps me. It was he who helped me write “Armageddon” …

It certainly sounds as if he did.

Team Kimberlin Post of the Day

Eleven years ago today, I posted about #BretKimberlin’s Online Music Reviews.

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If someone goes online to find out about your music, they’ll first find reviews by a blogger who doesn’t have much sympathy for you or your “art,” your PR strategy has failed.

Justice through music blogging.

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This morning, I did the same search using DuckDuckGo.The site has no comments and hasn’t been maintained since 2013. However, I did find the Home page amusing—especially its last sentence.Heh.

Team Kimberlin Post of the Day

There’s good news, and there’s bad news.

First, the bad news. The Justice Through Music Project YouTube channel is still active.Now, the good news. They haven’t bothered to post anything for a decade.

So there may have been at least one good thing to come from Brett Kimberlin’s focus on lawfare since 2012.

Team Kimberlin Post of the Day

It’s the eleventh anniversary of the most popular post ever published on Hogewash!—Review: “Nothing Else” by Epoxy (#BrettKimberlin).

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Back in 2002, Brett Kimberlin fronted a band named Epoxy and released a CD called Nothing Else. The story he spun promoting the album was that it contained songs that he had written while he was being held as a political prisoner in the federal prison system.

The band consisted of Brett Kimberlin on guitar and vocals, Wade Matthews on Bass, and Robbie White on Drums. The genre of the album is someplace between grunge and punk, neither of which are among my favorite musical forms.

Let me first comment on Mr. Kimberlin’s voice. I had heard his speaking voice in court, and I understand why some people refer to it as whinny. His singing voice reminds me of the silly voice that Weird Al uses on tracks such as Eat It. Mrs. Hoge, who listened through the CD with me, said, “Eddie Haskell.” On most of the tracks his voice was off key, usually flat.

Most of the songs could have been filler tracks on a generic grunge album. Some of the alienation in them seems to be more appropriate for a 17 year old, not someone 30 years older. Mr. Kimberlin was in his late 40s when the recording was made. However, three of the songs stood out. Vicegrip was actually interesting musically. Donuts had clever lyrics. It’s about lousy prison food and would probably get a nod of approval from G. Gordon Liddy.

Then there’s the last cut Keyhole. It was outstandingly bad. Mrs. Hoge and I met while we were in the music business, and during her career as a recording engineer, she recorded more gold and platinum records than I did. Her comment was, “If you’re gonna mike a guitar that close, you should use a better guitar and make sure it’s in tune. And get a better guitar player.”

While he didn’t do especially well with the acoustic guitar on Keyhole, Brett Kimberlin is actually a reasonably good guitarist. He probably couldn’t cut it in Nashville or LA, but could make a living in a minor market (such as Seattle) or playing the Holiday Inn circuit. Indeed, the world would be a better place if he did ignore the usual advice and give up his day job.

Nothing Else by Epoxy (Pollen Records, $16.04 from Amazon) is interesting because of who recorded it, but I can’t honestly recommend it for the musical experience it offers.

UPDATE—Instalanche! Thanks again, Prof. Reynolds! And welcome to all you Instapundit readers. Please click on the Home link in the menu bar above and scroll around the site.

UPDATE 2—Aaron Walker’s review of music videos by Mr. Kimberlin’s latest band can be found here.

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As of yesterday evening, the price for a used CD was $13.49 on Amazon.

What’s Confusing You is Just the Nature of It’s Game

American Songwriter asked GhatGPT to rewrite Sympathy for the Devil. The AI came up with this for the chorus—

So won’t you please have empathy for our kind?
Understand the shadows that we bear
We’ve played our role throughout history’s pages
But we’re not solely to blame, I swear

While not on par with the song Jagger and Richards wrote, it’s style does seem to be in line with a bureaucratic, deep state, 21st-century vision of Hell.


Read the whole thing.

Team Kimberlin Post of the Day

Op-Critical was the house band that Brett Kimberlin fronted for Justice Through Music Project. Some time ago, the opcritcal dot com web site went defunct. However, it the domain is now being hosted on the same offshore server as most of the other Kimberlin-related domains, but there’s no public website.

Team Kimberlin Post of the Day

It seems to me there’s a pile of evidence that Brett Kimberlin’s distorted worldview is caused in part by delusions of grandeur. Other bits seem to be caused by delusions of adequacy. The TKPOTD for ten years ago today related to his delusions of competency as a musician.

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In November, 1997, Brett Kimberlin filed a complaint because the Bureau of Prisons would not allow him to play music on an electric guitar. An amendment in the Budget Act had banned the use of electric and electronic instruments in prisons except during worship services. The U. S. District Court in D. C. decided his case (in favor of the BOP) in late May, 2001, just a couple of weeks before his second release. The following is from the court’s decision [Kimberlin and Rice v. U. S. Department of Justice and Bureau of Prisons, 318 F.3d 228 (2003)]:

Plaintiffs assert that an acoustic guitar is not equivalent to an electric guitar. According to plaintiff Kimberlin, it is impossible for him to play his songs on an acoustic guitar. He is not able to make long, sustained notes. Also, he cannot perform a technique called “vibrato” because the strings on an acoustic guitar will not bend or sustain like those on an electric guitar.

Notwithstanding, BOP has not prohibited all musical expression, only the use of electrical instruments. An active music program and other informal means of musical expression still exist. Plaintiffs contend that an electric guitar is essential to their musical expression. Thus, they argue, banning this instrument is an absolute ban on their musical expression. Plaintiffs are incorrect in asserting that music created by an electric instrument is a distinct expression protected by the First Amendment. This Court has not found, and plaintiffs do not cite, any cases addressing this proposition. Accordingly, the issue is whether BOP’s policy impermissibly limits a prisoner’s First Amendment right to express himself through music by banning one of several mediums by which a prisoner can musically express himself.

Plaintiffs argue that to require them to express themselves musically on an acoustic instrument would be akin to requiring rap musicians to sing ballads, or Muslim prisoners to attend Catholic religious services. Plaintiffs insist that they cannot perform their music on acoustic instruments.

Plaintiffs are free to express themselves musically using other instruments, such as an acoustic guitar. Like the prisoners in Amatel, plaintiffs are only limited, not deprived. They can perform music written for an electric guitar on an acoustic guitar. This is not the same as expression on an electric instrument, but it is certainly an alternate to such expression. Moreover, plaintiff Kimberlin has stated that he has written a song which he can hear in his mind, but cannot perform, edit, polish, or get feedback. He may discuss the notes, lyrics, and ideas with others as a means of expressing himself through his music and getting feedback. Again, this is not the same as playing the electric guitar, but it is an alternate that allows him to express himself musically.

Well, like a group of real musicians once said:

No, you can’t always get what you want,
But if you try sometime, you just might find
You get what you need.

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Kimberlin was in prison in 1997 because his parole had been revoked. One of the reasons for the revocation was his failure to make any payments toward the judgment due to the Carl DeLong’s widow for his wrongful death and her own bombing injuries.

He was The Deadbeat Performer Kimberlin long before Hogewash! ever published one word about him.