This article argues that Kurt Cobain’s death was a staged event, a “hoax” or “con job,” and that he is still alive. The author, Miles Mathis, bases this theory on his interpretation of “evidence” found in Cobain’s suicide note, a perceived pattern of manufactured artists and events in the music industry, and various connections he draws between individuals and organizations.
Mathis focuses on the presence of “CAPT Larry Khan” on Cobain’s suicide note, which he claims was not on the original. He posits that Khan’s name was added later and that Khan is connected to Stephen Bonner (“Kramer”), the son of a publicist and the brother of Larry Khan, a former and current Senior Vice President of Promotion at Jive Records and Interscope Records respectively. Mathis links Interscope Records to DGC Records (Cobain’s label) and to Geffen Records, suggesting a broader intelligence operation. He also connects RCA (formerly owned by General Electric) to German Intelligence and the Mohn family and Bertelsmann.
The author then delves into the backgrounds of various figures associated with the counterculture and music scene, including Stephen Bonner (“Kramer”), Karl Berger, Ingrid Sertso, Ornette Coleman, John Cage, Buckminster Fuller, John Dewey, Merce Cunningham, Alfred Korzybski, Waither Bauerfeld, Ed Sanders, Vincent Bugliosi, Gibby Haynes, Paul Leary, Lee Harvey Oswald, Charles Manson, Jello Biafra, Abbie Hoffman, Paul Krassner, William R. Hitchcock, Jerry Brown, Ronald Reagan, Tom Wolfe, Shepard Fairey, Penn Jillette, Teller, Keith Haring, Madonna, Kenny Scharf, Ann Magnuson, William Peter Blatty, Courtney Love, Eldon Hoke (El Duce), Dave Grohl, James Harper Grohl, Senator Robert A. Taft, Jason Everman, Kim Gordon, Tobi Vail, and Rivers Cuomo. Mathis argues that many of these individuals, often connected to Jewish heritage, Freemasonry, or specific institutions like Milton Academy, The New School, Black Mountain College, UC Santa Cruz, and Columbia University, are either agents or part of a manufactured “spook project” designed to create chaos, destroy the arts, and control public perception. He also implicates organizations like the CIA, FBI, NSA, US Intelligence, Mensa, The Company, and the LA County Coroner’s Office in these operations.
Mathis suggests that Cobain’s marriage to Courtney Love was also staged, and that his daughter was a prop. He believes Cobain was gay and used Love as a “beard.” The author concludes by analyzing the mainstream narrative of Cobain’s death, pointing to anomalies in the suicide note, the shotgun evidence, the lack of a public autopsy, and the alleged development of undeveloped film decades later as further proof of a staged event. He proposes that these various “hoaxes” and “projects” are designed to keep the public in a state of fear and confusion. Mathis also mentions Eddie Vedder of Pearl Jam and the song “Please Don’t Go Out on Me Now” as part of the orchestrated narrative, and criticizes the lyrics of Nirvana’s “Smells Like Teen Spirit” and Dead Kennedys’ “Holiday in Cambodia” as fascist propaganda disguised as progressive art. Finally, Mathis’s addendum details extensive alleged Jewish ancestry for both Cobain and Love, connecting them through historical figures and colonial founders. He also highlights Dave Grohl, Jason Everman, and their connections to military intelligence and elite institutions, further cementing his theory of a manufactured band and event.