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.

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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.

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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.

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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.

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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).

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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And 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 …