This document is a personal reflection on website statistics and criticisms, written by the author in June 2018 and updated through September 2021 and January 2023. The author discusses the growth of their art and science websites, citing data from Similarweb to show increasing rankings in various categories and geographic locations. They attribute the growth, particularly in the science site’s physics category, to a successful Solar Cycle prediction. The author also addresses accusations of being an agent or having a British accent, refuting them with personal history and knowledge of British literature. They express suspicion about Google’s role in suppressing their art site’s visibility and compare their site’s rankings to those of RationalWiki and POM. The author dismisses criticisms from Allan Weisbecker, suggesting he is part of an “anti-Mathis project” and is misinformed about the author’s background. The document concludes with the author stating they have no affiliation with other websites and allow for free dissemination of their work, as long as it’s not maliciously altered.
Here is a list of subjects, names, references, locations, companies, etc., marked with double square brackets:
The author discusses their website statistics, noting significant jumps in rankings for their art site and science site. According to Similarweb, their rank in Arts and Entertainment has risen from 323 to 68, and their US rank has improved from 91,900 to 68,985. Globally, their rank is now 273,800.
Updates in January 2023 indicate that despite perceived suppression from Google, their science site is growing rapidly, possibly due to a successful Solar Cycle prediction. Their physics category ranking has improved from 6500 to 436, and their US ranking has increased to 900,000. In the UK, their country rank is now 415,000, and their rank in the science>physics category is 241. The art/history site’s category ranking in Art and Entertainment is 162, down from 68. The author notes a recent spike in art site traffic, likely due to spillover from the science site and the Solar Cycles prediction, with a 7000 spot increase in country rank in the past month.
The author received an email from Russell Tropinsky (RT) providing Similarweb data from January 2018. This data showed the author’s website as the 323rd most visited in “arts and entertainment,” 91,900 in the United States, and 299,630 globally. RT also noted that with over 1.8 billion websites in existence in January 2018, the author’s site was in the 99.999999997 percentile of global rank. RT suggested that without mainstream support and with active opposition, the author’s site might rank in the top 10 if financial support for artificial ranking was excluded.
The author states they do not follow their stats, as they would continue their work regardless of ranking and do not have advertising revenue. They previously looked at Alexa stats but found them to be behind a paywall. They note that 100% of their site traffic is organic, with 72% direct traffic and only 14% from searches, confirming RT’s point about suppression by search engines. Social media accounts for only 6% of traffic. The author observes that the art site experiences more suppression, with 27% of its traffic coming from searches, compared to the science site. The science site ranks 6,500 in science.
The author mentions that Similarweb stopped ranking their science site in 2021, citing insufficient information, which they find suspicious and indicative of significant growth. They note that their site is still ranked in the top 1000 globally in the “physics” category, now up to 436 as of January 2023. They also point out that while many of their science papers have gone viral on Google, none of their art/history/fake events papers have, suggesting selective suppression.
The author checked POM’s global rank at 1,471,200, noting their art site alone ranks five times higher. They estimate a combined annual visit count of over 2 million for their two sites.
An addendum from June 11 mentions ourssite.com estimating the author’s art site receives almost 28 million unique visitors annually, suggesting the combined total could be 35 million or more. The author believes Similarweb.com and Alexa are suppressing these numbers. Ourssite.com also estimated the art site revenue at nearly $300,000, which the author states is near zero due to the absence of advertising.
In 2021, ourssite.com was taken down, possibly by Google. Even 2019 webcrawls at the Wayback Machine were scrubbed, suggesting continued growth of the author’s numbers after 2018.
The author looked up RationalWiki and found their best ranking to be 292 in Arts and Entertainment>Movies. They believe their site outranks RationalWiki in the broader Arts and Entertainment category. They contrast their status as a “single guy working out of my house” with RationalWiki’s structure as a Foundation with a Board of Trustees, listing names such as David Gerard, FuzzyCatPotato, Reverend Black Percy, Human, Spud, and Tmtoulouse. The author finds these names to be “fake names” and points to a graphic on RationalWiki:RationalMedia_Foundation depicting a jackboot stomping a human face, referencing Orwell’s 1984. The author notes RationalWiki is located in Albuquerque, New Mexico, where they moved in 2007, the same year RatWiki was founded.
The author observes that Rational Wiki gets about 73% of its traffic from web searches, indicating significant promotion by search engines. They also searched for Trent Toulouse, a psychology professor in Albuquerque and the head of “RatDiks.” Google ranks WikipediawehaveaProblem.com second for this search, a site that allegedly exposes the “professional trolls” at RatWiki. The author speculates that the “RatDiks” might originate from Kirtland Air Force Base in Albuquerque, operating as a psychological operations unit. WikipediawehaveaProblem is seen as a counter-operation encouraging users to fight Wikipedia and RatWiki.
The author highlights Rational Wiki’s stated goal of being sued by those they libel, interpreting this as a tactic to waste the time of individuals who might be exposing them or interfering with their projects, a common psychological operations technique.
The author mentions Allan Weisbecker, noting his age (70) and residences in Beverly Hills, Venice, Montauk, East Hampton, and Morehead City, suggesting considerable wealth. Weisbecker’s portrait has been done by Eric Reichbaum, alongside portraits of Elton John, David Byrne, Cheryl Hines, and Katy Perry. Weisbecker was a Hollywood writer for 20 years, working on Miami Vice and other shows. John Cusack and Sean Penn have bought movie rights to two of his books. Weisbecker has a positive page on Wikipedia. The author suspects Weisbecker is an agent involved in an “anti-Mathis project,” citing his website’s global rank of 28,670,143 and Arts and Entertainment rank of 1,910,759.
The author questions why Weisbecker’s open letter appears on the front page of Google searches for “Miles Mathis” when their site outranks Weisbecker’s by almost 6000 times in Arts and Entertainment. This is presented as proof of promotion by search engines and Intel. The author believes Weisbecker is attempting to discredit them because they have exposed Hollywood figures as being related to the peerage. They mention Sean Penn, Katy Perry, and David Byrne in this context.
Weisbecker’s claim that the author has a British accent is addressed, with the author noting their US country ranking on Similarweb.com versus Weisbecker’s UK ranking. The author recounts a phone conversation with Weisbecker around 2015 where they refused him entry to a conference, suggesting this led to Weisbecker’s libelous attempts. The author reiterates they do not have a British accent.
The author dismisses Weisbecker’s claim that they were responding to his papers due to discussing the same topic, stating they have only visited his site once to write this piece and have never read him, considering him an agent. The author questions why a “better agent” would read Weisbecker’s work.
The author notes Weisbecker’s effort to defend the mainstream Kennedy story, which they see as an instruction for agents, similar to Fetzer and others who are allowed to let other events like the Manson event “fall.”
Regarding the “Britishisms” argument, the author explains their knowledge of them through BBC America, Monty Python, reading English literature, and their own writing, including a sequel to The Lord of the Rings which used British vocabulary and spellings.
The author states that any reader who reads their work extensively and still considers them an agent has poor judgment. They express disappointment that Nowick Gray, who wrote a positive review, later linked to Weisbecker’s work.
The author asserts they are a known entity with extensive public records, including high school yearbook photos from Lubbock, Texas, and diplomas from colleges, all of which they believe Intel and Weisbecker have access to. They mention Mechams in Lubbock in relation to preschool records.
The author links Fakeologist to Weisbecker, Flat Earth, and Trannies, describing Fakeologist as an anonymous webtroll with no verifiable identity. They note Fakeologist’s rank in Arts and Entertainment>Music and Audio as 15,137, US as 229,194, and world as 810,348, all significantly lower than their own art site.
The author concludes by stating this will be their last discussion on these subjects for a while, believing they have learned a lot and will be able to move forward at speed.
In a postscript, the author clarifies they have no ties to other websites, including Jeff Rense, Henry Makow, or Chris Spivey. They allow free dissemination of their work but would only pursue copyright for malicious editing. They believe many sites republish their work to “surround it with noise and to discredit it by association” but trust their readers’ discernment. They encourage readers to visit their own site for an unfiltered experience without ads.