I was remembering, it wasn't Fall 2011. It was Summer. I sang that song, and chanted it, for over an hour, in the Summer of 2011, right after I was back from Tennessee.
She ripped it off.
I sang it, with inserts and commentary about the FBI. She ripped off the method and manner of the song, the chorus harmony and the repetition of the entire song. When I saw her performing it live, I saw she even ripped off how I was moving and what I was doing in my house when I sang it.
The only thing that's different, is she put a spin on it over a romance, and mine was about the FBI.
I don't know when she copyrighted the song, but I can promise it was during or after Summer 2011. If she somehow got a copyright back-dated, it had to have been from a friend, but I don't think so. If the copyright date is "good", it is from Summer 2011 or soon thereafter.
She also used the title of her CD for 2012, after another song I wrote and composed after a verse in the Bible (Ecclessiastes 12:6). I wrote an entire song and harmony from this, mainly using the same words with a little edit, and then adding music. I came up with this back in 2002, around the same time Jewel was stealing my songs outright, full text and music.
I haven't even listened to hardly any of Jewel's "work" or Fiona Apple (I've heard one song by Fiona and maybe 3-4 by Jewel) but I have a feeling I might find out more of my music has been ripped off.
I got back from Tennessee in June (I think it was June, middle of June) 2011.
It's sort of like Fiona Apple wanted to wait until things came "full circle" before she hit back with a CD that was ripped off of me, just like Jewels. After all, wasn't it about 7 years since I had my songs ripped off by Jewel? Oh, I guess it was longer. She recorded my song, without my permission, October 30, 2001. I was performing it at Cafe Lena, in Portland, Oregon before that. Publicly. AND I recorded it on a tape (all of my tapes have been stolen from me).
Both Jewel and Fiona ended up in L.A. Jewel had connections to Utah (where I had surgery done and microchips implanted into my body, and then was forced to work for Del Balzos, who were "intellectual property" top secret lawyers, who were connected to FBI, and Mary went to Cornell University in New York). Fiona was from New York, but I don't think she was ripping my songs off until later. I haven't checked actually, but I know for a fact, she ripped from me in 2011.
It's starting to look like someone in the FBI has been actually helping them out.
Here's the creepy part with Fiona...that song she recorded, Periphery, whenever she actually recorded it, it was after what I was singing in my house (I thought, privately) in Summer 2011. It's the same thing, just different words for the verses specifically. Everything else, including the sound effect at the end, is what I was doing in my house.
THEN, just recently, a few months ago, she dared perform it live in Pittsburg, PA and that's when I saw she was copying my body movements and what I did in my house when I had sung this song, and then she added something at the end that I had only attempted more recently, and that was to test my singing voice with the high notes, bc it was ruined in Seattle and the FBI covered up for the criminals. So it was mainly, right before my birthday, that I was testing my song voice out, or high notes, and going up a scale and she imitates this, exactly, and then added it to the end of her live performance for the song she originally ripped off from me a year and a half earlier.
Why, may I ask, is she ripping off my songs, that I sing privately in my house? and by the way, that song was about the FBI. So isn't it the FBI that gets "surveillance rights" over individuals they hate? I mean, is the FBI surveilling me, and then passing on info to songwriters and artists so they can make a profit? or can the FBI explain this as the result of military or CIA? Which one?
Why did Fiona Apple choose to mock me, the night before my birthday, in Pennsylvania, where Seattle's Supervisory Agent in Charge is Laura Laughlin, who is born and raised in Pennsylvania?
It's starting to look like the FBI was not only trashing me to cover up for things their own employees did, but they were trashing me because some of them were helping music artists out and getting rich from it. They were stealing my song ideas, and the FBI, or some of the agents in the FBI, were making money off of it, and helping those artists.
So "arresting" Fiona makes her "look" like she's not the type to get "assistance" from police or FBI.
Nice cover.
So Jewel put out her copy and theft of my song on October 30, 2001. This is possibly another incentive for Amy Roe and others to want to defame me through The Willamette Week. To cover up serious gold-digging. I was the gold mine, and they think they can exploit me and take advantage of my talent and call it their own. In almost every instance, because of careers that got stale.
The only other thing that I noticed which was a copy from me, around this same time, was a dance move I used all the time, and I didn't care, because I am not a professional dancer and don't make a big deal about dance moves, but it was after I started dancing at clubs and I had my own thing I did then, which no one else did (that I noticed) and I later saw Mariah Carey in a music video doing the exact same move, over and over, but it was after I was doing it, in clubs in Portland, Oregon.
So I remembered this, when I looked up Fiona Apple to find out who her newest producer is. It's a guy who has done work with Mariah Carey. I'll have to look at the date of the video where Carey uses my move, but it was the same approximate time Jewel was stealing entire songs from me.
Basically, I went "public" with some of my music, and people liked it and instead of approaching me with a deal, some of them thought they'd just stalk me and steal it and tape it up onto their paperdoll.
I know the FBI is assisting--some group is, with the FBI. I wouldn't have said that or known for sure with Jewel, but Fiona? definitely. The FBI has not just been allowing torture of me and my son, some of them have been taking pay-offs and doing favors for others. You need to kick someone out of a lawsuit? Call the FBI. You need someone to pass along song material? Call the FBI?
This would explain why maybe there were some people connected to the music industry, in Nashville, TN, who worked with FBI to have me injected with Haldol and to try to punish me, not just for not doing what they wanted, but because they didn't want people to know what Kate Middleton was really up to, and they didn't want anyone to figure out who in the FBI was assisting with intellectual property theft from me.
They've been exploiting me and torturing me over music. That's only part of it, but that's something they've been using to make money for themselves.
It is hate crime and anti-competition.
I mean, start looking at who Fiona Apple and Jewel are connected to, and who knows them with FBI, law enforcement, or military/aerospace industry, and it's going to be figured out.
The other singer whose song I noticed on the radio, after I had to leave my car in Canada, was Tiona Lewis, or whatever her name is, from the UK. She used one of the major ideas to one of my songs that was recorded on a cassette tape that I forced to leave in Canada. I then heard her singing this song with my idea in it, on the radio, when I was in Washington D.C., about 8 months later or so. The first part of one of her songs that made the top charts, to the radio, used an opening section that I had, as an opening section, for one of my songs.
BAM.
I just looked her up. It's Leona Lewis, not Teona. So since I caught her singing part of my song when I was in D.C., she has most recently put out "HeartGlass" or something like that, in 2012. Since she's made "Trouble" a main track, and since this is the title of a song (maybe totally different song but same title) that I was singing in Nashville, in the showers, and then at home here, with my parents listening...I am sure I need to find out what Ms. "Lewis" has been up to.
So far, I can name these women:
Mariah Carey (dance moves throughout an entire music video, in 1999-2001, but haven't found
a song she copied from me...at this point)
Jewel (stole entire songs from me, without changing more than a few words and keeping the melody)
Leona Lewis (stole parts of my song ideas after I was forced to leave my car in Canada, that had
cassette tapes with song ideas on them)
Fiona Apple (2011...stole new ideas from things I created in 2011, "Periphery", and then added, I
think, some of my ideas from 2001 or earlier...)
I've heard others more recently too. One is a British singer who decided to copy me only a year ago, on something old that I had...why she decided to do it late-date is probably because she figured it was "safe now"...as long as I was being tortured, and sounded crazy, these women and their producers (or whoever, bc I can't automatically blame it on a producer when it's the SINGER that is claiming to be the writer)
With Mariah Carey and the dance move, I didn't take that personally, because to me, it's words and music that someone steals. If I'm dancing a certain way in public, all the time, and someone else copies that, that's like telling Barishnikov (or whoever) they "stole" the plie. It's pretty hard to "copyright" a dance move. What it told me, is that I was being watched and I was noticed.
And this was true, because it was at this same time that I was also singing original songs in public and artists were stealing from me.
So when Jewel or someone is bragging about their "song ideas" or the "process"...it's a lie. It's not their "process"...what? stealing is their process? doing nothing and being idle while someone else generates your music for you...that's their "process"? So they go on to list their "influences"...and of course say nothing about their outright theft. It's one thing to be inspired by another person, or to "get an idea" from someone that you incorporate somehow..But taking entire sections of original lyrics or music is not just "plaigerism", it's theft. It's grounds for a lawsuit over "intellectual property", and by the way, how impressed are we with these "artists" now? They must think it's funny to have me as their "ghostwriter" and keep it a secret, and attempt to keep me from knowing too.
Their only alibi is to say I'm crazy. Right after Jewel stole my entire song, I was literally tortured almost to death with my son. The crazy bitch is Jewel. And from what I've found, she's connected to Middletons. So if she is connected to Middletons, what about Fiona? Do Jewel and Fiona know eachother? same people? common friends? because they're both stealing from me, along with Leona Lewis and another UK woman I heard recently.
The FBI is helping these women out. Of course I don't think "all the agents are", but some of them are profiting from this, which is another reason they haven't wanted to "get involved".
It's sort of going back to Del Balzos I think.
My personal songwriting history goes back to Moses Lake, Washington.
I guess that's also where I bought this little stuffed bear that I named "Tubby" and gave it to my brother. I am still trying to recall my exact age but somewhere between 9 and 11 years old for me. My brother was still pretty young and it was for his birthday. I've described how I noticed I was being "watched" then, in that store. It is my earliest memory of being under some kind of surveillance by more than one person. At Berry's. (or Barry's, but I think it was Berry's). You know, later I was being implanted with microchips and then the UK had a group of people who "suddenly" thought to produce a kids show called "Teletubbies" after I was "fitted" for "teletorture" by a hospital which then got money from NASA and other places for "telesurgery" (etc).
My songwriting goes back to before this day in that store, when I bought "Tubby". We had an upright Yamaha piano and before I ever had piano lessons, I used to sit on the bench and create melody ideas. I spent a lot of time doing it and was not too bad at it either. I didn't know how to play, and no one taught me, but I could pick out a melody idea that I liked, with a mood, and remember it and play it repeatedly until it made sense to me and then continue the idea. I was doing this all the time and then we were still at the Presbyterian Church then, or had just left, because the main pianist there had offered to give me lessons. Her name was Harriet West. Harriet was the ONLY piano player for the church. She played piano and organ and had short blond hair. Actually, my Dad played too, I think, but mainly in specials. I sang my first public duet with my Dad at that church.
I can't remember why we didn't have Harriet give the lessons. I think it was that she charged a little bit more, or something, but then I sort of remember her saying if I did some chores for her, she'd give me lessons in exchange. I was about 8 years old or more. I think maybe I was even closer to age 11 possibly. I was a little bit older. Around 4th grade. Katie Fallon had ballet lessons and I was told no dancing, but piano lessons would be okay. I had my first piano lessons after I met Katie Fallon and asked to take ballet.
So there was all of this talk about Harriet West and I know my mother asked me about it and I put it off. It was up to me I think, but I can't remember why Harriet didn't end up being the teacher. She was the one who offered even. So then I had this other piano teacher, who came over and drank hot water. I always offered her tea. She always declined, saying that was okay, she just wanted hot water. I thought it was so strange that she never took my offer for tea and wanted only hot water. I think maybe once or twice I asked her if she wanted lemon with it or she brought this up, and she once or twice had lemon in her hot water. But usually, it was plain hot water. She warmed it up in the microwave. So she sipped her hot water while I went through my lessons. I didn't do much because I think I liked experimenting more and maybe needed more classical or formal instruction bc the books I had were almost too easy and I got bored. But when I had a chance to "write" my own songs, (melodies), I always loved that part. She said I had very good ideas for music. The only compliments she gave me were over the things I wrote myself.
I wasn't like my Dad though, who could sound anything out and just "play" with no instruction at all.
So I was writing melodies on piano since before piano lessons, and I would say since I was 6 or so. Then I saw Will Wagler one day at a piano recital, in jr. high, and HIS teacher was Harriet West. I didn't even know he had piano lessons at all. It was like a 4-H meeting, where one day different piano teachers decided to hold a joint recital, and different kids performed different songs with different instructors. That's when I saw him play and found out Harriet was his teacher. He was later annoyed bc he didn't remember my being there and he kept it private. Will was very private (or tried to be) about almost everything. He said how did I know and I said, "I was there."
I wrote in a diary beginning at age 13, but I was writing poetry by 4th grade, on a regular basis. So I was composing music (even if it was raw) and writing poetry that I was accused of "plaigerizing" (so it might have been pretty good) by 4th grade.
Then, LO! What a great idea. Let's put microchip implants into her as she's just told us she wants to be a singer and was on her way to Nashville, TN. Middleton, Tennessee, to be exact, but I had no idea the county there, was named "Middleton".
I was already recording song ideas on cassette tapes, when I was in high school, in my room. Most of the time, I practiced singing for about 3 hours a day, to different singers whose ranges I thought were challenging and I aimed for clarity and good tone and flexibility with my voice. I didn't have a ton of song ideas, but I had some, and recorded them. Mostly, I recorded songs from the radio, onto tape, and then I would play-stop-sing-and play. And rewind,rewind, rewind. Play. stop. rewind. what was that word? and write down the lyrics and sing the songs. I rewound until I matched every note and inflection. It was one thing I was a perfectionist over. No one told me to do it. I did it, for hours, every single day.
So while I had no idea Will Wagler could play the piano, HE had no idea I could sing. He didn't find out until I was already moving to Oregon, from Moses Lake, Washington. I was practicing even in jr. high, and I didn't tell anyone about it. He had no clue. So one day, when I sang something for school, he looked shocked.
Shocked.
He then decided maybe we had musical interests in common, I guess. But that was when I shocked him with something I didn't tell people about myself. He had his secrets--I had mine. I was 15 years old when he found out.
So then I continued to practice in Oregon. One guy from school, who also had been shocked to hear me sing and who liked music and poetry (like Will) was "Stevie". So Stevie wrote me some letters, and he had the smallest print handwriting. For being such small introverted print, he wrote a lot, like an extrovert. It was Will, and I always liked Will, and then it was Stevie.
I made tape recordings of a few song ideas, just singing. Some of my best ideas were impromtu opera-farce. I was able to come up with on-the-spot crazy-imaginative ideas that rhymed and were funny. I sang them in a faux operatic voice and my best friend Monica always laughed over them. I think I scared her sometimes, because I could come up with entire stories that rhymed, with melody, on the spot.
I was writing songs already and singing along to other stuff too, and I decided to go to Nashville, not for any reason other than that was where I thought musicians went. I wasn't a country singer. I was alternative-folk-pop style. Mainly ballads.
When I was in the car accident, in 1995, from that point on, I was watched, and then some thought it would be a good idea to steal music from me and make sure the original source never surfaced. I sang original songs that I wrote, at 2 different houses where I was a nanny, and sang them to the kids and their parents overheard once, at 2 places: Del Balzos (Carl found me singing to Sarah) and Scott Rose-Lewis. I sang on the East Coast, but mainly along with musicians, because since I was a "live-in" nanny, I never felt I had my own private space to try out ideas. I was too shy to try my ideas out living with other people. If I was singing songs someone else wrote, I wasn't embarrassed. But to work on my own song ideas...I wanted privacy. I thought people would know they were my ideas and think they were crap before I could fix them and make them into the songs I wanted them to be. So I didn't come up with a lot of original ideas then, or practice them, out of being shy.
Once I was back in Oregon, after 1995, I was then at my parent's house and writing song ideas before I ever went to work for the "Intellectual Property" people, Del Balzos. After 1995, I was not just singing song ideas, but I had a guitar and I was coming up with ideas for music by guitar too. I thought some of my ideas were better without trying to use guitar to find the melody though. I liked how some of my songs evolved without an instrument other than my voice. But with guitar, I was able to write down what notes I was using, and repeat the "song" with an instrument backing it up. It was always a backdrop to my writing and voice, never the main thing. I recorded on cassette tapes and the next thing you know, I'm told I have to work for Del Balzos and Del Balzos negotiated over me without even asking me.
I had already written several songs by then, my "Soldier Song" was one of many that I played at their house. Then I wrote more, and had new songs, some which Scott Rose-Lewis heard. He said one of my songs reminded him of Van Morrison. It was a christian song, but with the guitar or way I sang it, he thought of Van Morrison. So I listened to Van Morrison to find out what he was talking about.
All of this was before I was raped at age 24.
Before Scott heard me sing, I was living in St. Johns, writing song after song at my house with my guitar. I sang an original song at New Song, and the reaction one time was like The Beatles. Some people were acting really like they were going to pass out. Some people were jumping up and down and shouting afterwards, screaming. Most looked like they were going to pass out. The Pastor (Pastor Probasco) didn't like it, and tried to cut it off. He looked nervous about something and I still couldn't say what his primary concern was. I wasn't sure why, but the people there ...some, were reaaally revved up. My friend Monica was there and looked like she was about to faint and she said she knew I was supposed to be a singer. She'd heard me practicing all the time, but that time, people had a physical reaction. To me, it was about God and the Holy Spirit. To others though, it was maybe about "market" and "can we make money off of her ideas?" I also remember Matt Hudson approaching me after I sang this song. And then his girlfriend Gail came right up after him, looking jealous because he was talking to me. People telling me to go into music, did I have a CD, would I make a CD? that kind of thing.
The first time there was a massive crowd reaction was at that church. The next time I saw it, was at Cafe Lena, several years later.
After this reaction at New Song Church, this guy Eric said he'd play guitar if I wanted to do the songwriting and sing my songs. He and his Dad were part of the worship team (one of the teams) at the church and I said sure. Then I was introduced to Tim Ellis, who played guitar at White Horse Studio's in Portland, Oregon. I was asked to sing back-up for a CD for Gary Hemingway. That was how I met Tim. They told me to leave my song ideas there and I did and never saw them again. When I had a lesson for guitar with Tim, the main thing he said was that my music sounded Irish, like Irish alternative folk-rock. And he said the "timing" on my songs was unique because I was usual atypical time and also, changing it up at parts. To me, a song didn't have to have perfect 4/4 time and so many verses and a chorus. Even a short song, to me, can have variance like classical music or experimental music. So I might have one time for one section, break to a different timing, and then return to the first time, depending on the mood and what I'm trying to convey with the song.
From here, I put together a "demo" at Eric's house, and then it was the second time I wasn't given a copy of my own work.
First it was Tim Ellis, asking me to send him my music notes and ideas. I gave him a cassette tape and lyrics written out, with some chords. He never called me again. It wasn't like I'd only met him once in my life. I had met Tim and talked with him, many times, because he was also working on Gary's project. And then I had 1 or 2 guitar lessons with him at the studio, which I paid for. After he said my ideas were really original, and to give them to him so he could look them over, I did. Oh! and I also was invited to watch him perform on the bongos at concerts too! So I knew him from the studio, from guitar lessons, and from gigs in town. The minute I turned over some ideas, that was the last I ever heard from him. He didn't return my calls, didn't email. Nothing.
Then this same thing happened again. This time it was with worship leaders I knew from church, who I was with every single week, practicing music for worship, and later, for church services. This time I had this guy Eric helping me with songs to sing at Cafe Lena but then he said, "My Dad said we could make a demo in his studio." I said, "What studio?" he said, "He has a studio in our basement. It's soundproofed, high quality equipment." It was. It was a decent rig for a basement and they did live in a good neighborhood and house, but I had no idea they had a recording studio.
This came up after we were already going to Cafe Lena to play music live. I wanted to perform my original songs to get a feel for which ones people liked, and also for the practice of performing live and getting rid of anxieties.
So after we'd done this several times, and he'd been to my place practicing guitar for back-up, he was the one to bring up his Dad's recording studio. Not me. It was his idea. So we go downstairs and as anyone in music knows, you can a small space, but if the equipment is right, it doesn't matter. Looks are deceiving with studios. So I was going over there, every week, recording some of my original songs. I was a perfectionist so I wanted more practice to go into it and sometimes I tried to show Eric what I had in mind with guitar. Even if I couldn't play guitar well myself, I knew what kind of "feel" I had for a song. So with adjustments, I put down several tracks onto a demo. I heard all of them, played back to me, when I was there. But after we recorded one of the last ones I wanted to put on that demo, they never called me. Refused to take my calls. Refused to meet me. I got no email. I got no copy of my own work.
All of my songs went into a professional demo that expressed my ideas and I wasn't given a copy of my own material.
The only other time someone did this to me was over modeling. However, in that situation, I didn't know the person well enough and I was naive to trust him. It was partly my fault in that regard. I had modeled for painters and artists and then a catalog photographer wanted to update his portfolio and use me for his model.
He wanted me to wear this spaghetti strap tank-top for the entire shoot. It was a tank top like the one Fiona Apple wears while performing "Periphery" live on October 21, 2012 in Pittsburg, PA. A solid color, plain tank-top with spaghetti straps. I remember I felt very shy to wear even just that much, because I usually wore sleeves and long dresses and turtlenecks and covered up. I wore swimsuits of course, but was shy about the tank top. Yet, since it was just a tank top, and not that big of a deal, I wore it. He wanted my hair back into a ponytail so I wore it slicked back into a ponytail. He showed me some of his work with Sears and other fashion catalogs and magazines. When he did this shoot, he went all-out with the lighting and everything. We used Rikers Art Center in Livingston, NJ. It was for hours. He tooks rolls and rolls and rolls and rolls and rolls and rolls and rolls of film. And actually, his results were very good. He did a great job, and I saw the contact sheet. But the deal was that if I modeled for him, he was going to give me copies of photos. He just gave me a contact sheet. A contact sheet has miniatures of the photos and then you look at this to decide which ones you want to enlarge to full size photos. He did some of the photo shoot there at the center and then he wanted to go into Orange County, in New Jersey, to a modern art museum and take more, of me in the museum. When all he gave me was the contact sheet, I circled the photos of the prints I wanted made, and gave it back to him and said I'd like to have copies of those.
I never heard from him again.
So first it was this man from New Jersey, who I met in Livingston, NJ and who had a space (rented) at the art center where I modeled in 1994; having my photo taken there and in Orange County at a Modern Art Museum.
Then, in 1995 I was on my way to Middleton, TN and had someone hijack my car and try to kill me. I was flown to Utah and fitted with microchips and the UK ends up knowing about it (how?).
The second time my material was literally handed over to someone by me, was when I knew this man, Tim, and gave him my ideas. I never heard from him again.
The third time my material was handed over to someone I trusted, who was actually even working with me on a project, was with Eric, and it was an entire demo of several of my songs. I never heard from them again.
Then, I found out my dance moves were being copied (not such a big deal but I noticed) and most importantly, the main thing, was that my songs were being stolen and recorded with someone else lying and claiming THEY were the writer.
I've written about these things and it was around the time I was exposing it more that my son and I were being brutally tortured. So then we tried to leave the country, get hauled back, and I find out MORE of my song ideas gets stolen by the UK when I was forced to leave my car in Canada. I was fired from The Post Pub about the same time I heard the Leona Lewis song played there. It's all jukebox material (how the music is played at the Post Pub), so someone had to order the song to play it.
Then, what have I discovered? It hasn't ended.
I have my songs and creative material still being ripped off and stolen, and now it's looking pretty clear that the FBI is involved in the illegal distribution of my private materials.
From 2008-2010, I had no new material because I was literally being chased all over the place, forced out of employment, out of unemployment monies I was owed, out of housing, and I was being tortured. During this time, some of the artists who got their careers kick-started again, by stealing my material, were still making money from it. It wasn't until 2011, when I had a "private" place to live, that I started singing and thinking of new ideas again and expressed myself this way. So then, what do I find out? 2012 is a whole new year for some of these artists again, and they are not only stealing my song ideas still, they're mocking me.
There is a new neighbor across the way from me. So I could think to myself that this man might be one who could see in my windows or hear me sing or attempt to hit my high notes. That may be, for something I've been singing for the last couple of months. But Fiona was picking up material for "Periphery" before that man ever moved into the neighborhood. I sang my song, as I've said, that was like this one, about the FBI and Alvaro Pardo. But it wasn't a love song or relationship song--it was mainly about the FBI.
Then I FIND OUT this woman is SINGING this and mocking me, in Seattle FBI agent Laura Laughlin's hometown in Pennsylvania?! At least a few hours from her hometown.
Wouldn't someone in the FBI enjoy the idea of taking my song or expression about FBI and Pardo, and hand it over to someone to say, "Here. Work with this." Exactly how did Fiona get this material? Someone had to be recording me to hand it over to her and have her develop the idea and then call it her own.
She then goes on to have a CD cover with one eye popped out, as has been done to me and my son. And she has this quote about the "idler's wheel will serve you more than the driver of the screw and the whipping cords will serve you more than ropes". So I look up idler's wheel and it's a rotating thing, like the one my son and I played with all the time when I saw him at CPS visits with Anne Craine looking in. That was 3 years ago. Not only that, I think she is mocking the idea of another song that I sang, about the "silver cord" and the "wheel" from Eccelessiastes.
If she's stealing song ideas from me from 2011, she's also going backwards to get material from me. What is an idler's wheel? something that transmits energy, a mechanism for shifting things from one source to the next.
Which is, I guess, how the FBI thinks I'm "serving" them...with soundbites from the privacy of my own place, to put it on the plates of artists to sell to the masses.
They're making money off of me. They have been doing this to me since 1995. They have not quit.
What's even better, is that while the FBI was deliberately keeping me out of college, and from having any money at all, to appeal for my son, or do anything, they were allowing people to steal my intellectual property and sell it for millions.
Um, and whoever just helped me to remember the name of the guy who stole my demo, thank you for bringing his last name to my mind, if it wasn't God. (Maybe I can thank you, and thank God too.) I know it wasn't my parents bc they are sleeping at this hour and go to bed early. I had just finished writing this last part, on my blog, at about 12 a.m., and sat down to eat something and it came to my mind.
It was Eric Cederberg. I kept trying to remember what his and his Dad's last names were. It's Cederberg. Here is the link to the church he's now working at:
http://thegroveschurch.com/staff/
(These are "christian" people. This is when you realize, I cannot tell what the difference is anymore, between who were supposed to be friends and who is the enemy. He says here he loves to play some kind of a carcass game).
He is attending a church run by a pastor from Minneapolis, Minnesota, which is where I believe FBI agent Rick Baken (Laura Laughlin's pal) is from. Rick, who lives next-door to my Granny and Grandpa and who has caused problems for me, and knows the Schneiders.
The only other person who stands out, a little, is possibly the pastor's wife, "Sunia". It is not just because she looks Chinese, but it really might be her that I saw next to my mother's offices at work one day, sort of stalking. The reason I think it might not have been her though, is because I think she was possibly with another Asian person. The woman had Sunia's facial features though but possibly slightly younger looking than this photo. Her bio says she's "dropped the perm". The woman who looked like her was in a black SUV and were stalking my mother on a day I went into the offices with her and there was this huge dragonfly inside, flying around. No one expected me to be with my mother that day, but I happened to ask to go along last minute, when I was first in town, in 2011.
Erik Cederberg and his Dad stole my demo. What I find most shocking, is to look him up and see how normal and nice he appears. If I were even trying to "read" his photo, I'd read it wrong. He looks like a nice guy. This is what is seriously sad about what's been happening to my family. People who look totally normal have been basically holding my family hostage.
Yes. These are criminals. And I think the woman I saw was very possibly Sunia. I just checked into the college she and her husband attended. Her husband is the pastor of this church "The Groves". They went to North Central Michigan, which is Assemblies of God and has been run by Gordon Anderson since 1995. An alumni member that is noted is Sara Groves (possibly the pastor's idea for the name of the church in Oregon). She put out a CD in 2009 called "Fireflies and Songs".
On the same day I saw a woman who was Chinese and looked like Sunia, stalking my mother, we were walking into her work office to be greeted by a huge firefly. The Asian people drove off, after seeing me and not realizing I'd be there to catch them laughing and stalking my Mom. She is another person who is connected to Minnesota (where she lives now) but she was born in New Jersey.
New Jersey.
On her own site she's wearing a black tanktop and dark jeans ensemble for a woman connected to those who steal music and harm others, but get away with it bc they're "christians".
She put out "Fireflies" in 2009 and then she decided to go for "Invisible Empires".
The Cederbergs are criminals. Anyone connected to them, is likely to be a fake "christian". Not only that, I recognize her. She was in Tennessee when I was there and she was stalking ME. I had no idea about who she was until I found this site, but then I found it, and I recognize her. She wasn't around me for just a minute, in passing. She talked to me, and she was stalking me for awhile. Check it out. Was she in Nashville, TN or not, in 2010-2011.
This woman is connected to the Middletons and to Rick Baken, and also connected to this church in Oregon that supports music theft.
I think it's her. The woman, Sunia. The woman in the SUV looked like her. And then I see Erik has gone on to produce a CD of his own (not that he needs it after making some money off of me). You can even donate to them, and they meet off of Lincoln Street.
It's like anyone can have a "church" now, and it could be full of criminals that take money for side-schemes, and they're a "christian church" as if this is legitimate. These people are NOT legitimate. They're using a church front to launder money.
When has Erik last been investigated by the FBI.? Ever? or do they just work paw-in-paw. Let's see...they're all from Minnesota. Like Rick Baken. Right about the time Erik was working on songs with me, I quit going to New Song because I was then living in Lake Oswego, which was an hour away. I was going to "Athey Creek", a non-denominational christian church that was community based. And that was when Christa Schneider and her family showed up (they are with the Department of Justice). At the same time, Rick Baken, of the Department of Justice/FBI and from Minnesota, moved in behind my grandparents. What a great arrangment for the Middletons. So the FBI really is stealing from me. And torturing my family.
What a racket it must be, to juggle criminal involvement with the music industry and be in the FBI too!
So what's going on? criminals who claim to be "christians" and sometimes "Mormons" are swapping in their secrets through the FBI, who is acting as the Middle Man, and then passing out information to music industry criminals, military, and CIA? It probably pays better than your standard FBI check. Never hurts to work for the FBI and have a side "hobby" too, that pays dividends on royalties. Do the FBI ever check up on their own people? I mean, aren't you a little curious about all of this?
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