Team Kimberlin Post of the Day

The Gentle Reader who has heard any of the alleged music created by Team Kimberlin (Bill Schmalfeldt’s parody songs, Brett Kimberlin’s music videos, or Willam Ferguson’s technocrap) may find it difficult to believe that there have been occasional bits of good music associated with The Saga of Team Kimberlin. Seven years ago today, I ran this post about The Sorcerer’s Apprentice.

* * * * *

Last night, I was running iTunes in random mode when The Sorcerer’s Apprentice by Paul Dukas came up. The first time I can remember hearing that piece was when I saw the movie Fantasia at the Tennessee theater in downtown Nashville back in the ’50s. The work is a symphonic poem that tells the story of Goethe’s poem Der Zauberlehrling. You probably know the story: Rather than do his chores the old fashioned way, a young apprentice tries to use magic. He loses control of his enchanted broom but is saved in the end when his master returns and sets things right. Mickey Mouse plays the apprentice in the Disney version.

But back to my story …

I didn’t initially realize what was playing in the background because I was concentrating on writing today’s Team Kimberlin Post of the Day. When I did notice the music, it struck me as somewhat related to what I was writing. The post was about Bill Schmalfeldt’s bumbling attempts at lawfare. He’s tried to use lawfare as an easy pushback against the various attempts to hold him accountable for his online harassment and cyberthuggery. Yet, each time he tries something, the legal waves break higher and higher against him.

One wonders—will his master save him?

Probably not.

His master has been no more successful in the long run with his lawfare. Team Kimberlin’s performance, by master or apprentice, can’t even be described as “mickey mouse.”

* * * * *

Yeah, Acme isn’t a Disney thing, is it?

Team Kimberlin Post of the Day

Brett Kimberlin wanted to be famous, but his crimes made him infamous. The TKPOTD for seven years ago looked at one his complaints against this blog in the first RICO LOLsuit he filed against me.

* * * * *

The Dread Pro-Se Kimberlin doesn’t like the publicity he has been receiving here at Hogewash! in connection with his ongoing lawfare and shutuppery. This is from one of his filings in the Kimberlin v. The Universe, et al. RICO Madness.ECF 49-1Brett Kimberlin had the opportunity to prove that this blog had defamed him by publishing false information. He was unsuccessful, so that matter is settled. Hogewash! has not defamed him. Rather, this blog has published truthful information about him. Of course, it is possible that TDPK finds the truth intimidating, but that’s not my problem.

I kinda like the “threats of doom” hyperbole. However, Hogewash! has never threatened Brett Kimberlin with doom. I have from time to time offered my opinion that I didn’t expect Kimberlin to be successful in his lawfare, and my batting average isn’t too shabby. The unconstitutional gag order against Aaron Walker was thrown out. The peace order underlying that gag order was overturned on appeal. TDPK’s appeal of another quashed peace order against Aaron was denied. He wound up having drop his peace order against John Norton in order to avoid a perjury trap. The harassment charges he filed against Aaron and me were nolle prosed by the Montgomery County States Attorney before we could even be served. And the Kimberlin v. Walker, et al. nuisance suit was a spectacular failure.

I haven’t done anything to chill Brett Kimberlin’s right to redress through the courts. Yet. However, I believe that he is a vexatious litigant, and I am seeking to have him adjudicated as one. Even then, he won’t lose his right of redress. He will simply have to have a magistrate judge screen his complaints prior to filing.

Brett Kimberlin is a whiny loser.

* * * * *

Describing Kimberlin as whiny is accurate. As I noted in a review of his CD Nothing Else

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.”

Team Kimberlin Post of the Day

Four years ago yesterday, I republished the 2012 review Mrs. Hoge and I did of The Deadbeat Performer Kimberlin’s album Nothing Else. One of the comments really bothered a coupe of members of Team Kimberlin, and their grumbling on Twitter led to the TKPOTD that ran four years ago today.

* * * * *

Yesterday’s TKPOTD must have stoked some envy out in Sutter County, California. Very Ordinary Seaman Ferguson had this exchange with the Cabin Boy™ yesterday—

I’ve never heard lorddewclaw play either live or on a recording, so I can’t comment on what kind of musician he is. However, I have heard recordings that VOSF has posted of his alleged music. Based on what I’ve heard, I doubt that he could have made it as a sideman on any of Brett Kimberlin’s recordings. I’d advise him not to give up his day job, but I’m not sure he has a real one.

* * * * *

Losers.

Team Kimberlin Post of the Day

Although The Dread Deadbeat Performer Kimberlin was never able to use his Justice Through Music Project not-for-profit to launch a music career for himself, he continues to use his Protect Our Elections/EMPR Inc. propaganda website empr dot media in his role as The Dread Deadbeat Promoter Kimberlin. He’s published several puff pieces about music videos by “Ukrainian – American singer Kelsie Kimberlin.”

Here are a couple of snippets from a recent post, Lviv Opera hosted Masterpiece (no, I won’t link to it):

To stress the urgency & importance of acting on our planet’s behalf immediately, Kelsie Kimberlin’s brand-new video supporting “Masterpiece” shows the beauty of our world in full bloom through the spectacular scenery available on location where it was filmed outside in the splendor of Kyiv, Ukraine, and within the artistic walls of its legendary Opera House in Lviv.

… and …

By reminding us all from sight to sound that the true wonders of the world are right there in front of us for all to enjoy, Kelsie has insightfully detailed a thought-provoking experience designed to stimulate discussion, awareness, and create the inspiration required for one & all to genuinely embrace and be proud of their responsibility to protect planet Earth. With wildly cinematic visuals and a full storyline video that has Kimberlin dreaming out loud & sounding as fantastic as ever through her brilliantly crafted lyricism, classic vibes, and remarkably passionate voice – “Masterpiece” is every bit as much of a work of art in what listeners will hear, as what viewers will see.

Both of those paragraphs are lifted from the EINPresswire.com promotional release put out by ActUpPublishing. Yesterday afternoon, the State of Maryland’s business entity search website showed this—At the end of an earlier post about the use of empr dot media to promote Miss Kimberlin career, I wrote the following:

In the past, I have avoided referring to Miss Kimberlin by name when she was a part the narrative in a post because she was a minor child. However, she is now 21 and promoting herself as a performer. I now feel free to write about her to the extent that she makes herself a public person. She has had a rough start in life as a child. I wish her well and hope that she finds a happy, rewarding, and productive future as an adult.

Team Kimberlin Post of the Day

Today is the the ninth anniversary of the most popular post ever published at Hogewash!— Review: “Nothing Else” by Epoxy (Brett Kimberlin).

* * * * *

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.

* * * * *

There are still some Amazon sellers offering “used” and “collectible” CDs.

Team Kimberlin Post of the Day

While tidying up some loose ends, I took an inventory of the Kimberlin-related websites that are still running. The following sites are no longer accessible.

op-critical dot com
indictbreitbart dot org
alightymedia dot org
occupyforaccountibility dot org
americancrossroadswatch dot org

The apparent reason is that there is no hardware connected to their IP address. These sites first went dark several months ago when their name sever was taken down. Now the server hosting them is gone.

Op-Critical’s account on MySpace (yes, MySpace still exists) appears unused and doesn’t seem to have links to any of the band’s music. At least some of their videos are still on YouTube.

Team Kimberlin Post of the Day

One of the ways that I’ve ridiculed Brett Kimberlin was to begin referring to him as The Dread Pirate Kimberlin after he put up a pirate-themed website called the Bloggers Offense Fund. As time went by, I also tagged him with other The Dread P_____ Kimberlin nicknames where P_____ might be  something likePerjurer or Pro-Se or Performer. Because he has yet to pay sanctions and court costs taxed against him, Dread has been changed to Deadbeat.

The TKPOTD for five years ago today was about The Dread Deadbeat Performer Kimberlin.

* * * * *

Here’s another silly claim that keeps reappearing in The Dread Pro-Se Kimberlin’s LOLsuits.ECF 135-147

That’s from his second amended complaint in the Kimberlin v. The Universe, et al. RICO Madness LOLsuit. It’s repeated word-for-word as paragraph 122 in the complaint in his Kimberlin v. Most of the Universe, et al. RICO Retread LOLsuit.

Ear-plugs“… in order to interfere with Plaintiff’s business relationships and his prospective advantage … as a musician.” Oh, please! Now, I will admit that I have published a review of one of his CDs and that it was unfavorable, i.e., honest. The Dread Performer Kimberlin’s lack of talent is the most significant impediment to his music career. This is not to say that I think he should abandon his attempt at a career in music. This is from my earlier review—

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.

‘Nuff said.

* * * * *

Yeah, Seattle might be just the place for Kimberlin.

Team Kimberlin Post of the Day

Past performance is no guarantee of future results, but it’s the way to bet—

Dope Smuggling—caught, pleaded guilty

Serial Bombing—caught, convicted, paroled, sentence expires in 2030

Pro-Se Lawfare—four state defamation LOLsuits, one fraudulent default judgment, one directed verdict for defendants, two dismissals

Pro-Se Lawfare—six peace order petitions, all denied

Pro-Se Lawfare—five false criminal complaints, all dropped for lack of evidence

Pro-Se Lawfare—five federal LOLsuits, all dismissed

Music Career—neither of the bands Epoxy nor Op-Critical was successful

Election Protection 2016—Trump won

Dirt Digging 2017—got scammed by fake financial records

Election Protection 2020—as of 10:05 pm ET yesterday @ItsTime_2020 still didn’t have a single follower.

Team Kimberlin Post of the Day

The Dread Deadbeat Pro-Se Kimberlin has failed at a great many more things than his attempts to use lawfare to silence people who have written truthful things about him and his activities. He’s tried to make a go of using music as a tool for left-wing activism, and failed as The Dread Deadbeat Performer/Producer/Promoter/Protester Kimberlin as well. Consider this post from seven years ago today titled Justice Through Music Project, Soooper Promoters.

* * * * *

Gentle Reader, I’ll bet you didn’t know how critical having their music on the Justice Through Music Project has been for so many recording artists. What follows is from a press release dated in 2006. The subject of Craig Gillette’s PR release was the work JTMP was doing to promote a Neal Young album. I really liked this bit:

Justice Through Music has been a pioneer for the past five years in using famous bands and artists to promote civil rights. More and more artists are coming to JTM to get out their political message, including recently, Pink, Eminem, the Dixie Chicks, and many others.

JTMP’s incorporation papers show a start up date in 2003 but I suppose that Brett Kimberlin could have be operating the organization as an unincorporated entity for a couple of years. He was released from prison in 2001.

And I’m gratified to know how JTMP was so helpful to struggling acts like Pink, Eminem, the Dixie Chicks. Who knows? Maybe one day Brett Kimberlin will put that same powerful soooper promotion behind his own musical career.

* * * * *

It’s been over a year and a half since there has been any new material posted to the Justice Through Music Project website. Indeed, when Kimberlin put up a post promotion the most recent music project he’d been associated with, he published it on his Ukrainian site empr dot media.

Perhaps Justice Through Music and the band Op-Critical are now abandoned failures.

Team Kimberlin Post of the Day

Today is the eight anniversary of the most popular post I’ve published—Review: “Nothing Else” by Epoxy (#BrettKimberlin).

* * * * *

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.

* * * * *

There’s good news, and there’s bad news. First, the bad news: Nothing Else is still available at Amazon. Now, the good news: As of 9 pm ET last night, the price had dropped to $5.64.

Team Kimberlin Post of the Day

Last week, this site had a post about a music video which employed Brett Kimberlin as one of its producers and as rhythm guitar player. It turns out that Hogewash! in not the only website to take notice. This was published at empr dot media on 3 June.The Gentle Reader may remember that Protect Our Elections/EMPR Inc. is The Dread Deadbeat Performer/Protector Kimberlin’s organization which was formerly known as Velvet Revolution US. The IRS has revoked its 501(c)(4) not-for-profit status.

Note: In the past, I have avoided referring to Miss Kimberlin by name when she was a part the narrative in a post because she was a minor child. However, she is now 21 and promoting herself as a performer. I now feel free to write about her to the extent that she makes herself a public person. She has had a rough start in life as a child. I wish her well and hope that she finds a happy, rewarding, and productive future as an adult.

Team Kimberlin Post of the Day

A commenter to yesterday’s TKPOTD asks if Lobotomy, the song in the music video referenced in the post, is a recycled Op-Critical tune. I believe so. Here’s a song list from op-critical dot com, the website for what used to be the house band for The Dread Deadbeat Performer Kimberlin’s not-for-profit Justice Through Music Project. Lobotomy is one of the titles listed.That website doesn’t appear to have had any maintenance for several years. All of the links are broken.

Team Kimberlin Post of the Day

I stumbled upon a link to a music video posted on YouTube last week that had the following information included in the credits—

I’ll make a couple of comments.

First, this explains what The Dread Deadbeat Protector Kimberlin has been doing instead of focusing on his Protect Our Elections/EMRP Inc. not-for-profit.

Second, I once remarked that while I would normally advise someone with The Dread Deadbeat Performer musical talent not to give up his day job, I was willing to make an exception in Kimberlin’s case. I’ll stand by that exception for Kimberlin.

Team Kimberlin Post of the Day

Anyone who has had the misfortune of listening to one of Brett Kimberlin’s music videos will understand why it is so easy to make fun of them. The TKPOTD from five years ago today did just that.

* * * * *

One of The Dread Pro-Se Kimberlin’s complaints in his Kimberlin v. The Universe, et al. RICO Madness is that telling the truth about him has hurt his efforts in the music business. OTOH, it has come to my attention that the publicity has suggested another possible market for his music videos.MST3K_BK

* * * * *

I suppose another possible use for The Dread Deadbeat Performer Kimberlin’s music would be in Room 101.

Team Kimberlin Post of the Day

The Dread Deadbeat Pro-Se Kimberlin included me as a defendant in four of the many LOLsuits he filed over the past few years. The third suit that included me was his RICO Retread LOLsuit which tried to revive the state law claims from his first RICO case. The TKPOTD from four years ago was one of the early reports on the process of defeating that third lawsuit.

* * * * *

During the motions hearing last week in the Kimberlin v. Most of the Universe, et al. RICO Retread LOLsuit, Judge Mason was well prepared. He said this to The Dread Pro-Se Kimberlin while dealing with my motion to dismiss for improper venue.

THE COURT: And I’ve looked through your 52-page complaint a couple of times and again just this morning before coming out on the bench because I wanted to make sure that I understood precisely what is being alleged here.

The judge then proceeded to explain to TDPK some of the deficiencies in his pleading concerning me. I’d share some of that with you, but I don’t want to refresh the midget’s memory. TDPK has this to say to the judge:

MR. KIMBERLIN: I wanted to limit this case to the swatting. That’s what I’ve done. You know, if I have to refile against Mr. Hoge in Carroll County or in this county, you know, it would be another massive lawsuit. I would like to keep him in this case, whether through an amendment or whatever and let a jury decide, you know, what he’s done with regard to the swatting. You know, part of what the whole Everybody Blog About Brett Kimberlin Day was to portray me as a criminal swatter to silence conservative bloggers, you know, which was not the case. I have nothing at all to do with any swattings at all.

movie popcornAnother massive LOLsuit? Really? I suppose that means that TDPK has not yet figured out that there are some people who aren’t soft targets for lawfare. If he has learned anything about tangling with me, he’ll wise up and fail to amend his LOLsuit by the 18th, or, if he really comes to his senses, he’ll dismiss the entire LOLsuit for all the remaining defendants.

I wouldn’t bet on his acting wisely, so the Gentle Reader may want to lay in a good stock of popcorn. Here’s a deal from Amazon.

Stay tuned.

* * * * *

The Gentle Readers will note that I often suggest that they stay tuned. I’d offer the same suggestion to The Dread Deadbeat Performer Kimberlin’s guitar, but …

Team Kimberlin Post of the Day

Today is the fifth anniversary of the start of the Kimberlin v. Walker, et al. trial, the first of four LOLsuits the Dread Deadbeat Pro-Se Kimberlin lost against me. My publication of the graphic shown in the TKPOTD from six years ago today was part of the bases for his claim that I had defamed him.

* * * * *

DredPedoKmbrlnHere’s how Brett Kimberlin described his musical ambitions to his biographer Mark Singer as Kimberlin was being release from prison in 1994 (Citizen K, p. 354).

I’m doing this for the money. I’m doing it for fun and creativity too, but it’s mainly for the money. It’s like vengeance. I can go out there and say things and reach a huge audience, and it’s a kind of revenge on all the people who hate me. Can you imagine if I have a number-one hit and I’m all over the radio—every time [former U. S. Attorney] Jack Thar turns on the radio, there’s Brett Kimberlin? Success is the best revenge. These people who wished me ill, who lied about me, made up these stories, turned me into this monster, will just turn green with envy. Every quote from Thar over the years has been “God! How can you believe this guy!” All this publicity I’ve gotten will now be working for me. My lyrics are very potent, and they’ll touch a lot of people. I see myself as being in the Phil Collins mold more than, say, in the Michael Jackson mold. I can’t be fake that way. I have to be real.

Uh, huh.

It may be that more and more people are beginning to see a certain similarity to Michael Jackson after all.

* * * * *

TDPK lost that LOLsuit because he presented no evidence (“Not one scintilla,” was the phrase Judge Johnson used.) that any thing I had said or written about him was false.

Team Kimberlin Post of the Day

One of the most persistent wastes of Internet bandwidth inflicted on the Universe by Team Kimberlin is the op-critical dot com website that allegedly promotes The Dread Deadbeat Performer Kimberlin’s band Op-Critical. Seven years ago, I posted #BrettKimberlin and Op-Critical which noted … oh, I’ll let it speak for itself.

* * * * *

Tuesday night, I posted a review of the CD released by Brett Kimberlin’s previous band Epoxy. His most recent music group is called Op-Critical. The band has a website, a rather stale one that doesn’t appear to have been updated for several years.

While nosing about the site, I found these lyrics as part of a song called Fork

I am losing all control and I just don’t know what to do …

Yep, we are controlling transmission. If we wish to make it louder, we will bring up the volume. If we wish to make it softer, we will tune it to a whisper. We will control the horizontal. We will control the vertical. We can roll the image, make it flutter. We can change the focus to a soft blur or sharpen it to crystal clarity.

You have gone past the outer limit of what you might have been able to control, but the truth will bring clarity. But clarity may not be your friend.

* * * * *

Yep. The result of The Dread Deadbeat Pro-Se Kimberli’s lawfare campaign of brass knuckles reputation management was that he lost control of his public persona.

Oh, and as for the op-critical dot com website, it doesn’t seem to have been updated since my post was published in 2012. Here’s a snapshot of it from yesterday evening.

Team Kimberlin Post of the Day

It’s the seventh anniversary of the post that’s had the most hits here at Hogewash!Review: “Nothing Else” by Epoxy (#BrettKimberlin).

* * * * *

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.

* * * * *

This exchange from a somewhat delayed comment is a favorite of mine—

In one of his multitude of LOLsuits, The Dread Deadbeat Performer Kimberlin complained that the reporting here at Hogewash! was interfering with his business as a musician and composer. Certainly, the review above could be characterized as adverse. OTOH, the Gentle Reader can check out the Op-Critical and Justice Through Music video still lurking on YouTube and form his own opinion concerning TDPK’s talent and commercial viability as a musician.

In another of his LOLsuits, The Dread Deadbeat Pro-Se Kimberlin claimed that part of his job description at Justice Through Music Project included filing lawsuits “seeking redress in federal court for violations of his civil and statutory rights.” Considering his track record, it may be that his day job has given up on him.

Team Kimberlin Post of the Day

This appeared in my Twitter Notifications yesterday—I went over to MySpace (yes, it’s still on the web) and checked out the Op-Critical (Brett’s most recent band) songs posted there. While I was able to see the web pages for them, I couldn’t get any of them to play. All were posted during the 2003 to 2012 period supposed to be affected.

BTW, the times played listed for every one other of the songs I checked were all the same. Karma seems to be catching up with The Dread Deadbeat Performer Kimberlin.

Team Kimberlin Post of the Day

Lying liars gotta lie, and that explains the bulk of the nonsense that The Dread Deadbeat Pro-Se Kimberlin has put out in support of his lawfare. The TDPOTD from four years ago today cataloged this set of lies.

* * * * *

Here’s an interesting claim from one of Exhibit 7 of The Dread Pro-Se Kimberlin’s omnibus opposition to the motions to dismiss his Kimberlin v. The Universe, et al. RICO Madness. ECF 231 EX7-9The SAC (that’s the second amended complaint) alleges that the mythical RICO enterprise began picking on Brett in August, 2010, although it doesn’t mention any specific acts occurring until October. So what sort of “social causes” was The Dread Performer Kimberlin “highlighting” before August, 2010? Well, in March of that year he was promoting teenage love with werewolves.Op-Crit Tweets

As for TDPK’s claim that he was unable to produce songs and videos after August, 2010, Freakin Frackin was posted to YouTube on 12 January, 2011; Occupy Music Video: Anonymous was posted to YouTube on 17 June, 2011; Coal Miner’s Family was posted to YoutTube on 5 December, 2012; and that’s not a complete list of TDPK’s work published online since 2010.

The most amazing things about Brett’s lying is how clumsy he is with it. You’d think that after all those years of practice, … oh, never mind.

* * * * *

The Twilight Angel video is still up on YouTube. I don’t recommend listening to it unless you have a large quantity of industrial-strength weapons-grade ear bleach available.

The Gentle Reader who is familiar with The Dread Deadbeat Performer Kimberlin’s background may draw his own conclusions about why Op-Critical might put out a music video related to a movie targeted at underage girls.

Team Kimberlin Post of the Day

Brett Kimberlin’s 501(c)3 not-for-profit, Justice Through Music Project, and his 501(4), VelvetRevoliution dot US Protect Our Elections/EMPR Inc., are among the least transparent “charities” when it come to their finances. The following is part of a post called Dread Pirate #BrettKimberlin Sells DVDs that ran six years ago today. The reference to discovery relates to the first round of lawsuits between the Dread Deadbeat Pro-Se Kimberlin and Aaron Walker.

* * * * *

Among the information sought from TDPK in the discovery process of the Virginia Walker v. Kimberlin, et al. civil suit are the financial records of his 501(c)(3), Justice Through Music Project, and his 501(c)(4), Velvet Revolution US.

TDPK asserted that he is immune from discovery, citing the Fifth Amendment among other reasons. Judge Potter’s response boils down to No, now get on with answering the questions put to you and produce the documents called for.

What is it about JTMP’s books, for instance, that TDPK wants to keep hidden? Does he have some trade secret for raising money for his “charities”? Or could it be that he really has a reasonable apprehension of criminal liability based on what those records would reveal?

Consider this: The IRS Form 990s filed by JTMP for 2005 through 2008 show revenue of $1,364,443 and total expenditures of $610,460 for “Printing and publication.” The JTMP website says that they produce DVDs and that they give ten away for each one that they sell.

However, none of the Form 990s for 2005 through 2008 show any income for the sale of DVDs or anything else. Neither does the Form 990 for 2010. Where are the records of the sales?

For that matter, are there any records to audit? JTMP has chronically asked for extensions of time to file with the IRS because “Taxpayer needs more time to gather records.” Really? Is the operation that lax? After all, the Executive Director is a lawyer and the returns have been prepared by an accountant.

* * * * *

I’ve never seen one of the Dread Deadbeat Performer Kimberlin’s JTMP DVDs. I’m not really sure they ever existed. I’d like to get may hands on one, so I’m offering a $100 credit for merchandise at The Hogewash Store to the first person who sends me a Rock Your Rights DVD that can be authenticated.

Team Kimberlin Post of the Day

Back in 2012, a legal fund called the Bloggers Defense Fund was set up to support Aaron Walker in his court cases involving Brett Kimberlin. Kimberlin responded by setting up the Bloggers Offense Fund with a pirate-themed website. It’s because of that fund and website that he became laughingly referred to as The Dread Pirate Kimberlin. This post from six years ago today contrasted Kimberlin with Dread Pirate Roberts.

* * * * *

The Dread Pirate Roberts, so the story goes, is a pirate of near-mythical reputation, someone feared across the seven seas for his ruthlessness and swordfighting prowess, and who is well known for taking no prisoners. Ships immediately surrender and give up their cargos rather than be captured, a fate they imagine to be certain death.

The Dread Pirate Kimberlin is more like a legend in his own mind, a pretender who wishes to be feared for his ruthlessness and legal ability and to be known for vanquishing all comers in court. Critics, he thinks, should immediately stop telling the truth about him and give up their First Amendment rights at his command.

It turns out that Dread Pirate Kimberlin’s legal acumen seems to be as fictional as Dread Pirate Roberts’ existence. And no one will surrender to Dread Pirate Kimberlin.

* * * * *

And no defendant loses to The Dread Deadbeat Pro-Se Kimberlin. And no one listens to The Dread Deadbeat Performer Kimberlin, And no one reads the websites fo the Dread Deadbeat Publisher Kimberlin. And no one …

Team Kimberlin Post of the Day

From time to time, I repost information about how Brett Kimberlin came to be known as The Dread Deadbeat Pro-Se Kimberlin. This is what I posted on the subject four years ago today.

* * * * *

bot_logoSome of the newer followers of The Saga of The Dread Pro-Se Kimberlin may wonder why he is called that. The nickname descends from an earlier one—The Dread Pirate Kimberlin. That came about after he put up a spectacularly unsuccessful pirate-theme fundraising website called Bloggers Offense Team. I found Kimberlin’s choice of the pirate-related logo at left is interesting. Pirates aren’t semi-sympathetic, comedic characters from a Johnny Depp movie. They are criminals. Was the mask slipping?

That got me to thinking … While Brett Kimberlin’s unconstitutional peace order prohibiting Aaron Walker from blogging about him was in place, I had taken to referring to Kimberlin as Lord Voldemort (“He who must not be named”). Why not a piracy themed nickname? The Dread Pirate Kimberlin. I used it, and it stuck—not only with my readers, but other bloggers began using it occasionally too.

As fans of The Princess Bride know, The Dread Pirate Roberts is a pirate of near-mythical reputation, someone feared across the seven seas for his ruthlessness and swordfighting prowess and who is well known for taking no prisoners. Ships immediately surrender and give up their cargos rather than be captured, a fate they imagine to be certain death.

TDPKThe Dread Pirate Kimberlin is more like a legend in his own mind, a pretender who wishes to be feared for his ruthlessness and legal ability and to be known for vanquishing all comers in court. Critics, he thinks, should immediately stop telling the truth about him and give up their First Amendment rights at his command.

It turns out that The Dread Pirate Kimberlin’s legal acumen seems to be as fictional as The Dread Pirate Roberts’ existence. And no one is willing to surrender to The Dread Pirate Kimberlin.

* * * * *

Kimberlin’s repeated failure to pay the judgments and sanctions he owes have led to Dread being struck through and replaced with Deadbeat. His failures at almost everything he’s tried have led to other words being used in place of Pirate and Pro-Se. As a musician, he’s The Dread Deadbeat Performer Kimberlin. Given his string of unread websites, he’s The Dread Deadbeat Publisher Kimberlin. As a result of all the false narratives he’s tired to spin against his enemies, he’s The Dread Deadbeat Prevaricator Kimberlin. And so it goes.

Failing failures gotta fail.

Team Kimberlin Post of the Day

One common characteristic among the members of Team Kimberlin is a lack of musical talent. Rather than admit his inadequacy, The Dread Deadbeat Performer Kimberlin has tried to sue some of us who have commented on his musicianship. The TKPOTD from four years ago today dealt with his claim in his RICO Madness LOLsuit that my codefendants and I had tried to ruin his career.

* * * * *

The Dread Pro-Se Kimberlin tries to claim that my 21 codefendants and I did all sorts of mean things to him to ruin his business. This is from paragraph 265 of his second amended complaint in the Kimberlin v. The Universe, et al. RICO Madness.ECF 135-265Now, it is true that I have written a negative review of his musicianship.

Review: “Nothing Else” by Epoxy (#BrettKimberlin)

Originally posted on 17 July, 2012

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.

The CD is no longer reliably available on Amazon

.* * * * *

The original publication of that review resulted in Hogewash!‘s first Instalanche. There were probably more hits on that review over the next couple of days than on the jtmp dot org website for the next year.

The Dread Deadbeat Pro-Se Kimberlin’s plan for brass knuckles reputation management wasn’t any better than his music.

Team Kimberlin Post of the Day

Failing musicianship is a common characteristic among many members of Team Kimberlin. Very Ordinary Seaman Ferguson has never had much success peddling his sub-aetha schtick. Cabin Boy Bill Schmalfeldt’s song parodies are usually the low point of his podcast demo du jour. And, as the TKPOTD from four years ago today noted, The Dread Deadbeat Performer Kimberlin’s lack of talent has stunted his musical ambitions.

* * * * *

Brett Kimberlin has wanted a successful music career for decades. The Gentle Reader can find his music videos lurking on YouTube and see why success has eluded him. On page 354 of Citizen K: The Deeply Weird American Journey of Brett Kimberlin, Mark Singer quotes Brett Kimberlin as saying:

My lyrics are very potent, and they’ll touch a lot of people. I see myself as being in the Phil Collins mold more than, say, in the Michael Jackson mold. I can’t be fake that way. I have to be real.

Certainly, Kimberlin does not rise to Michael Jackson’s stature …

* * * * *

Also, none of them seem to have had much success with a day job either.

Hmmmm.