Category: non-lol

Pirating my work while misattributing it to tone-deaf impostors and mocking me in the same breath crosses from irritation into contempt. This is the reality of some of the people I am expected to deal with.

Groups like The Orb Remix Group have been recycling my early mixes for decades, orbiting the same juvenilia as if it were a living culture. They hoard covers, brag about their collections, and post photos of covers arranged like trophies. It’s the gamification of memory — music stripped of sound and turned into merchandise nostalgia.

They’ve distributed hundreds of gigabytes of my work and performances for years while diminishing my authorship at every turn. It’s parasitic: they feed on the attention generated by my sound while denying the source. When I confronted it, they didn’t defend themselves — they just blocked me and anyone who knew me who also ‘might’ report them, thereby circumventing facebook reporting tools and resulting in long time fans complaining directly to me about it. Facebook has ignored the reports so far.

Inside their MegaUpload private archives, they circulate “notes” about my work that are completely fabricated. The psychology is obvious. Once a hobbyist accumulates enough followers, they experience the rush of ownership. The illusion of authority. They’ll cling to it harder than to the truth.

If a group exists solely to circulate my music, the group is about me. Pretending otherwise is delusion. The content defines the authorship, no matter what name they attach to it.

The operators of this group tell me they know all about PDA autism because one of them has a kid, missing the point that autism doesn’t present identically in anyone. The group becomes a miniature economy where attention is currency and authorship is expendable. Every repost feeds the admin’s metrics, not the artist’s legacy. The dopamine isn’t from the music — it’s from the numbers, the photo display of decaying plastic trophies destined for the sea. The illusion of relevance built on someone else’s work. An emotional feedback loop of digital parasitism, a system that rewards possession over creation.

Facebook should either ban this group, or transfer ownership to me.

EVIDENCE

Morris asks me in a personal email “What is immoral about it?” in reference to these contracts:

The Inducement Letter and the Immorality of Orb Music

In October 1993, I signed the inducement letter that bound me to Island Records through Modo. Buried in a few pages of dense paperwork was a reference to Orb Music, the publishing company Adam Morris and Alex Paterson had set up. On the surface, the deal said we were 50/50. In practice, that should have meant I received half the equity in Orb Music, and therefore half the income it collected.

On paper, Orb Music was supposed to be 50/50 between Alex and me. That should have meant an equal share of the company’s income, not a division of authorship. But Alex and Adam treated that 50/50 as if it also meant half the compositions. They later registered Alex as 50% writer on works where he hadn’t written or performed anything.

But that’s not how it played out. Instead, Morris and Paterson treated the “50/50” wording as if it granted Alex authorship of half the compositions. It didn’t. Authorship and equity are different things, but they deliberately blurred the two. Years later, when I finally saw the PRS and PPL registrations, I discovered Alex had listed himself as 50% writer on works where he hadn’t written or performed a single note.

At the time, I was persuaded this was “normal.” They presented 50/50 splits as the industry standard, and as the younger, less experienced one, I accepted their framing. But it wasn’t normal. It was a sleight of hand, using “50/50” as a catch-all to disguise a triple shift of value: equity that should have been mine in Orb Music, publishing income siphoned off under the guise of “admin expenses,” and false registrations that gave Alex ownership he hadn’t earned.

Morris even told me later, without shame, that he considered it “morally OK” to take 20% across the board, including publishing — something no legitimate manager would claim. Managers take commission from artist income, not ownership of rights. By conflating equity, authorship, and management commission, he created a funnel where Orb Music’s money could be diverted into his own record company while Alex enjoyed an invented share of my work.

The result is a classic case of misrepresentation and coercive control. I was a 19-year-old autistic musician who assumed they were acting in my best interests. Instead, I was manipulated into accepting fabricated authorship splits as if they reflected the contract. They didn’t. They reflected a fraud: the concealment of Orb Music’s ownership and the falsification of my creative contributions.

Patterns of Conduct

Several recurring patterns emerge from the way Orb Music and related agreements were handled.

Information asymmetry: Those drafting and managing the contracts understood their structures in detail, while the younger participant did not.

Isolation: Key figures and their associates positioned themselves as the only authorities on how the business worked, limiting access to independent advice.

Gaslighting: When the arrangements were questioned, challenges were dismissed as naïve or reframed as “impossible,” undermining confidence in alternative interpretations.

Control of structures: Company filings and ownership records were kept out of reach, ensuring that Orb Music’s formal control sat with managers rather than the musician whose work generated the value.

Sources of Immorality

From these patterns, several issues stand out:

Coercive control — narratives were reinforced by surrounding voices, creating an environment where questioning the setup felt futile.

Misrepresentation — assurances were given about ownership and protection that were not reflected in the paperwork.

Exploitation of trust — reliance on professional or personal relationships was used to push through agreements that disproportionately benefited management.

Financial abuse — publishing income and settlement funds were diverted into management-controlled entities under the guise of standard commission.

Here Adam is complaining in his diary that I am borrowing money off him. He sunk my merchandise revenue into tour losses that he managed, setup companies I didn’t even know about, and generally helped himself wherever he wanted.

Patterns of Conduct

Several recurring patterns emerge from the way Orb Music and related agreements were handled.

Information asymmetry: Those drafting and managing the contracts understood their structures in detail, while the younger participant did not.

Isolation: Key figures and their associates positioned themselves as the only authorities on how the business worked, limiting access to independent advice.

Gaslighting: When the arrangements were questioned, challenges were dismissed as naïve or reframed as “impossible,” undermining confidence in alternative interpretations.

Control of structures: Company filings and ownership records were kept out of reach, ensuring that Orb Music’s formal control sat with managers rather than the musician whose work generated the value.

Sources of Immorality

From these patterns, several issues stand out:

Coercive control — narratives were reinforced by surrounding voices, creating an environment where questioning the setup felt futile.

Misrepresentation — assurances were given about ownership and protection that were not reflected in the paperwork.

Exploitation of trust — reliance on professional or personal relationships was used to push through agreements that disproportionately benefited management.

Financial abuse — publishing income and settlement funds were diverted into management-controlled entities under the guise of standard commission.

Here Adam is complaining in his diary that I am borrowing money off him. He sunk my merchandise revenue into tour losses that he managed, setup companies I didn’t even know about, and generally helped himself wherever he wanted.

How £250k turned into £12k for me.

Alexis was acting for me, alex, our manager, our label, big life, Adams accountant (his wife) AND i just found out he was a director of Wau/Modo

Dear Kris Weston,

I am writing in response to your 3 emails of the 26^th of August 2015.

First of all let me assure you that I am a solicitor and have a practising certificates continuously since 1971 when I qualified.

Secondly, I must stress that you are not, nor have ever been, a client of mine or of this firm. Alex Patterson was a client and because of client confidentiality, to which I am bound as a solicitor, any information about Alex Patterson’s affairs are confidential and cannot be revealed to you.

I have never previously been aware you were entitled to 50% of any monies that you refer to, and since you are referring to events that took place more than 20 years ago I am not able to confirm the figures that you quote. I need to stress , however, that all monies deposited into our client account are always distributed in strict accordance with the instructions of our clients.

I do not understand your question as to reconciling acting for my record company your musical partner and yourself in the Island Agreement.  I have also never been a director of your record company and I do not follow the relevance of suggesting ‘is it because you are a consultant’.

I do not have any document regarding Wau Recordings Limited/Modo settlement agreement and if I did they would be confidential to Alex Patterson.

I am not aware of your old recordings being exploited recently and I have no knowledge of anyone advising that monies payable from the Chrysalis agreement was not your monies and I do not know who such a person would be.

I am not talking to your ex-associates about any Chrysalis agreement and I do not understand why you are of the view that I am.

I do not really wish to continue with this correspondence any further.  I must again stress you were not a client of this firm.

Yours sincerely,

ALEXIS GROWER

Implications:

The documents contradict Alexis Grower’s own denials. He told me in writing that I was never his client, yet contemporaneous paperwork lists me as one of his clients and shows him acting for multiple parties at once. That alone raises clear issues of conflict of interest. Solicitors are bound by strict professional rules: they cannot act for clients with opposing interests unless all sides give fully informed consent, and even then only under exceptional circumstances.

The problem here is twofold. First, Grower switched sides — acting for Modo, then later for Paterson and myself against Modo — without disclosure or proper safeguards. Second, he positioned himself at the centre of the Chrysalis deal, where money was routed through his account, without transparent accounting back to me. Even if he claimed to be acting as a consultant, the effect is the same: conflicted duties and a lack of fiduciary care.

There is no “expiry date” on conflicts of interest. If a solicitor acted improperly at the time, that remains professional misconduct regardless of how many years have passed. Grower’s shifting roles, his later blanket denials, and the missing funds all point to breaches of duty and potential misrepresentation. Although he is deceased, the record stands: his conduct tainted the business dealings of The Orb, and institutions who benefitted from those arrangements (Paterson, Morris, Chrysalis, UMG, etc) cannot hide behind his absence.
Multiple industry figures told me at the time that Grower had been ‘struck off or suspended’ around the Smiths era; I haven’t found an official record of that, but the paper trail I do have shows him switching sides between conflicting clients while handling my deals—conduct that would breach core SRA conflict rules unless strict consent conditions were met.

£137,000 of my Chrysalis money went directly into Grower’s account. His letter waves it away as ‘distributed in strict accordance with clients’ instructions’—but no record of that distribution to me has ever surfaced. This happens to be around about what I didn’t get.

This entry, coupled with the later sale to Chrysalis, builds a strong argument that they both knew of my entitlement, chose not to execute it, and personally profited instead. It also points to breaches in fiduciary duty, misrepresentation, and unjust enrichment, excluding the coercive control, lies and manipulation. This is just one small example of the fraud. This deal generated £250,000.

Notes about this document:

Context
In 1992, internal notes from Morris’ diary confirm that discussions took place between Morris and Paterson regarding the transfer of a share in Orb Music to Weston (“Thrash”). Despite a contractual commitment to a 50/50 split of revenues after Weston joined The Orb, the transfer of directorship and shareholding in Orb Music was never executed.

Concealment and Exclusion

• The diary shows Morris and Paterson were aware of Weston’s entitlement to a share but withheld both the knowledge and execution of that transfer.
• Orb Music was later sold to Chrysalis without Weston’s knowledge or signature, despite his contributions and entitlement. This constitutes deliberate exclusion and concealment.

Misrepresentation of Orb Music

• Orb Music was originally established and controlled by Morris and his wife, with personal significance (named after their late child).
• Weston was told to sign to Orb Music on the basis it would generate more income for him, without disclosure of the true ownership structure or the extent of Morris’ personal interest.
• Orb Music was also used as a funding vehicle for Morris’ own label, without transparency or consent.

The 20% Claim

• Morris later justified retaining 20% of publishing revenue as an “admin expense.”
• He also told Weston personally that it was “morally OK” for him to take 20% “across the board,” including publishing, as if it were a manager’s commission.
• This is inconsistent: he could not simultaneously claim to act as manager and as a director/shareholder taking administrative expenses. Standard industry practice is that managers do not receive publishing revenue unless contractually agreed; their commission is normally a percentage of artist income, not ownership in publishing rights.
• This shows an opportunistic attempt by Morris to siphon publishing revenues to fund his own record company (shares of which were also never transferred to Weston), outside the scope of normal management duties.

Breach of Duty and Unjust Enrichment

• By failing to assign Weston his share of Orb Music, then selling to Chrysalis without his involvement, Morris and Paterson deprived Weston of rightful ownership and revenue.
• The 20% extraction, justified on contradictory grounds, amounts to unjust enrichment and a breach of fiduciary duty, whether framed as mismanagement or misrepresentation.

Adam sent this to me with the note “I found this entry in diary, it was definitely agreed you were having a share of Orb Music” thereby implicating himself and Paterson.

Transcription:

Thrash contract 19/8/92

Letter from Rage

1. non-exclusive amend Alex/WMM contract not inducement
2. Merchandising 50/50 OK but need discussion on when and how.
3. 2% off top not yet OK’d with lx
4. Orb Music directorship ??? Current directors Orb Music 50/50 lx & Adam. Need to discuss how much is going to thrash
5. Seek thrash/Rage approval happens anyway where humanly possible.
6. WMM will account directly
7. Earth and Towers will be included.
8. Legal Fees. Not decided. We have been advised to say no.
9. WMM did receive 10k on recording deal split 50/50 with band. thrash was held back £1250. Technically we do owe him 1250. He has been subbed at least £900 of this.

Letter of 10th July Wolf Seddon. From Tone of letter David Kent & Alexis do not get on.

1. Inducement letter is fine subject subject to Alex being non-exlusive also.
2. There is an agreement on video. Was it ever finalised & signed? 50/50 split no cross collat to records.
3. Amounts discussed are Orb only. No Blue Pearl money in RT.
4. tbc
5. The monies discussed here are recording monies (£7500) see (9) above. The comments on Orb Music are incorrect.
6. Smashing.
7. Correct. Directors of Orb MU are lx and Modo. The 20% is used for admin expenses. Dividends are to board of directors which will be Modo/lx/Thrash.
8. Thrash is published by Orb Music. Any song he writes be it 1% or 100% on an orb record is published by Orb Music.
9. Once signed we use lawyer only on agreements.
10. Merchandising is included in recording contract. This is why we agreed to split 50/50.
11. Yes rescinded
12. Legal bill TBC.

The Immovable Gatekeepers of Bullshit

Unfortunately, everything has now stopped for legal action, so anything I do in music will literally be therapy to get me through this.

For decades, Discogs.com has been complicit in the unauthorised exploitation, distortion, and abuse of my name, work, and identity. As an autistic artist with a long history of coercion and erasure in the music industry, I am publishing this to document not only their violations of copyright law, but the structural discrimination that underpins their platform.

Discogs bills itself as a user-generated database and marketplace. In reality, it is a parasitic storefront — profiting from the unpaid labour of users while monetising the names and likenesses of artists without their consent. My private, unpublished works protected under copyright — shared temporarily with supporters behind a Bandcamp paywall — were ripped, catalogued as official releases, and used to populate unauthorised derivative works masquerading as a discography. I was neither consulted nor informed. The titles were wrong. The artwork was in progress and is now defunct. The listings included fake “versions” I never published. Some of it was falsely attributed to Greg Hunter, who had no involvement. The entire project was experimental and clearly marked as such. Discogs’ interference destroyed that context, forcing me to reconstruct a safe environment on my own website just to continue creating.

When I objected, they told me I could “join” the site to correct it. This response demonstrates not just bad faith processing but discriminatory platform design. They mock my disability — in direct violation of Article 21 of the EU Charter of Fundamental Rights — fabricate metadata, attach it to commercial products, and then demand I clean it up for them. I am not a user. I am a target. And I will not accept this forced platform participation under discriminatory terms.

But it gets worse.

Discogs users — some still active — created and maintained public threads describing me as a “depressed cunt,” a “paranoid fucker,” a “bitter cunt,” and worse. These remain live over a decade later, despite violating Discogs’ own Community Guidelines. This is not neutral hosting. It is reckless disregard for duty of care, especially toward disabled individuals.

I am autistic. I suffer documented psychological harm from being photographed, from defamation, and from false attribution, all of which violate moral rights law and stem from the original coercive control I experienced in 1994. Discogs’ actions compound that harm. I’ve spent days writing takedown notices instead of making music.

Discogs claims Safe Harbor under the DMCA. But Safe Harbor does not extend to identity misuse, non-consensual identity enclosure, algorithmic amplification of defamatory content, or commercial exploitation of unauthorised metadata and identity likeness. It does not permit them to profit from marketplace listings built on unauthorised personal data.

Their “artist pages” are not neutral indexes. They are market-facing storefronts advertising their shop. And I want it gone.

If you’re reading this as a fellow artist: this is what they do. They take your name, your drafts, your mistakes, your old aliases — and they build a cage out of them. They profit from that cage. And when you ask for help, they tell you to join the jail crew.

I have now escalated to their hosting provider (Amazon/AWS), the U.S. Department of Justice, and European data regulators. I am asserting my rights under GDPR Articles 17 and 21: the right to erasure and the right to object to processing. This is not a “collaborative encyclopedia”. It is a discriminatory commercial operation hiding behind the labour of its users.

This is an extract from Discogs’ own boilerplate response:

“Discogs is a collaborative encyclopedia of music, keeping a historical record of the credits appearing on every music medium published. The information is uploaded by Discogs’ users… Discogs is not responsible for the accuracy of information entered into the database.”

This is clearly written in bad faith and nothing to do with music preservation. It is algorithmic exploitation. Their system is designed to extract value while avoiding liability — shifting responsibility onto unpaid users and refusing to protect those they exploit. This is structural ableism. This is defamation. This is commercial abuse.

This is Music Industry Parasites: Entry 1.

The others are coming.

Thrash was the name given to me, one i was expected to answer to by my abusers. DON’T FUCKING CALL ME IT.

My name is Kristian Weston, you can call my old music The Rob.

UMG are disgusting parasites that are ruining music. They do not own or have any rights over anything I have ever done.

THE END.

Prank or?

The Orb’s group also used to play with my inability to recognise social norms for their amusement — getting me to do things they knew I would do because I was uninhibited and naive. Especially when drunk. Drink was part and parcel of The Orb, something I gave up long ago. I realise now it was for their amusement, but back then I thought it was part of being accepted. I loved the guys in that group. I hero’d some of them too much, clearly. Through the lens of my later diagnosis, it becomes much more disturbing.

One time I was sat around at Alex’s, chatting, smoking weed, barely understanding a word he was saying — which was normal. He put a DJ tape on, said nothing, and went upstairs. Fine. Then it turned into a full-on sex tape, moaning and everything, loud! I shouted upstairs — “Er, Alex? I think you’ve got the wrong tape on?” Nothing. He just stayed up there while I sat there mortified, unable to switch it off, totally freaked.

I think he did it on purpose. But I’ll never know for sure. I mean, he left it on a long time. Now I think of it I cant remember if I found the off switch or it just ran out and I could breathe a sigh of relief. I guess my brain must have blanked that part.

What makes it even weirder is that years later I found a completely different tape — one I never should’ve had — in a box of my own tapes. It was him wanking, talking dirty to someone, clearly meant for a girlfriend. I played it to my mate we were both like, WTF (AGAIN). My mate was just like – throw that away! I’ve no idea how it got there. But the fact I had it at all makes that first incident feel… less accidental. I mean did he put it in my box of tapes on purpose ? Surely not? But how the fuck did it get in there!?!?

Yes — it was an atmosphere of humiliation. What they called “banter” was very fucking hard. I had to adapt to survive and keep making music. That’s all I wanted — to be in the studio. I didn’t even want to go live. I was shit scared every time. We took huge amounts of drugs on tour just to cope. It was a complete mess. Not as bad as Primal Scream though — they were the worst I’ve ever seen.

What you’re describing is a textbook case of coercive culture masked as “banter.”

It’s no surprise I clung to the studio. It was the only place I had any control or clarity. Being forced into touring, surrounded by people who used my vulnerabilities as entertainment — that wasn’t just traumatic. It was cruelty with a grin on it.

The fact I made work that random people still seem to like 35 years later under those conditions?
Just lucky i guess.

During the Adventures sessions, Andy Falconer kicked me so hard in the nuts I couldn’t stand for an hour.
This wasn’t subtle. It happened right in front of people — including Alex Paterson and the studio manager — and left me in serious pain. I’ve only been kicked like that three times in my life, and I remember every one. Falconer later claimed he doesn’t remember doing it. I do. And Alex was standing right there.

It caused a serious disruption. People were coming in and out of the studio, and the situation had to be addressed before I’d even agree to re-enter the room with him. I remember speaking to him on the phone afterward, and he apologised. It came out of nowhere. It was bizarre.

He was desperate to be part of The Orb — pushing his way into the Adventures sessions with the bold suggestion that he had “an idea.” That idea, by the way, was to go to HMV, buy a CD, and stick it on a record. Lol. No — he did create the Fourth Dimension track, and good luck to him with that. But he never worked with us again.

At the time, Alex pulled me aside and said: “I think he’s got a cocaine problem. He keeps going into the toilet. I’m not sure about him.” I remember that conversation clearly — though whether Alex was being sincere or playing games, I’ll never know. He certainly wasn’t a cocaine angel himself but at that point he wasn’t doing it ever during recording sessions.

Falconer later published an article denying the incident, saying it “didn’t sound like something he’d do.” But it did happen. And I wasn’t the only one who saw it. Being kicked in the nuts like that — you don’t forget it. Not ever.

The reality is: he never worked with us again. But he still can’t connect the dots.
Why didn’t they hire me again?
Could it be because I randomly kicked Kris in the nuts in front of everyone?

Falconer’s claim in Juno Daily (Dec 2024) original link (https://www.juno.co.uk/junodaily/2024/12/06/i-was-there-making-the-classic-orb-debut-adventures-beyond-the-ultraworld/) that he was “translating the vision” is revisionist nonsense. The work was already shaped — by several people including myself — before he even arrived. He wasn’t building anything. He was brought in as an engineer during a process already in motion. He wasn’t even present for most of the tracks’ creation — except his “fourth dimension” CD idea. 😀

NOTE: JUNO FAILY IMMEDIATELY DELETED THEIR ARTICLE AS SOON AS I PRESSED PUBLISH ON THIS ARTICLE – THE LINK IS NOW UPDATED TO SHOW A LOCAL VERSION OF WHAT THEY PRINTED

What actually happened is this: I was 18, on the mixing desk, pushing the sound into new territory. He didn’t like that. I wasn’t following clean engineering rules. I was breaking things. That challenged him. What he now frames as “friction” was jealousy — and a violent outburst. He didn’t just “sit out” U.F.Orb — he never worked with us again and Alex was none too pleased about the assault either. To claim otherwise now is ludicrous — but Alex has always been happy to take credit for work that wasn’t his and has a track record of revising things which are demonstrably false.

And let’s be clear: U.F.Orb wasn’t even Alex’s production. It was mine. When he says I wanted full control that’s because we already agreed to do the band together before the Adventures sessions ever started in the little Battersea studio we worked in. And yes, I’m a complete control freak in the studio. Greg did more than Alex. Falconer couldn’t take that, so now he’s rewriting the credits to soothe his ego.

In his article he refers to “Hoping Kris would grow up.”
I was a teenager in a professional studio, producing records that I now consider sub-par — for which they are still desperate to claim credit for in any way they can.
Falconer was a grown man who kicked that teenager in the nuts — in front of witnesses — then decades later claimed not to remember it.
If anyone needed to grow up, it wasn’t me.

Their idea of maturity was obedience. Mine was vision.

That assault was the end of it.
Now he’s back, trying to claw credit and sound he never earned.
You can borrow the name and try to revise what you did.
But you’ll never fake the sound — or the attitude.

Mocking Or Ignoring an Artists Mental Health for Amusement

My name is Kristian Weston. I compose, produce, design sound, program DSP, and play guitar and bass. This is a final, general statement about hostile behaviour around my work. No individuals will be named.

A minority within the audience has normalised harassment for decades. The tactics are familiar: waves of copy-paste pile-ons designed to exhaust; attempts to flatten my role and authorship; tone-policing to avoid the content; and baiting framed as concern. It moves between platforms and into email. It presumes access to my time.

Devaluation shows up in labels that minimise what I do, in revisionist credit talk, and in ableist takes about my autism—claims that I “blame things on autism,” or that disclosure of disability is a trick. It’s used to erase work and to excuse theft.

When I disclosed that I was not in the mental state to keep absorbing this, public replies included encouragement for me to disappear. When I made my distress clear after a criminal offence against me, the response I saw was “lol great.” That is incitement to suicide.

After I closed direct comments, some people bought access purely to post insults on top of my releases. That is pay-to-taunt, not fandom.

I’m not running point-by-point rebuttals anymore. Attention rewards the tactic and drains time from my work. Evidence is archived off-platform for legal and safety reasons.

Boundaries: I block on first offence for slurs, ableism, stalking, or coordinated harassment. I don’t quote-amplify abuse. Comments may be pre-moderated where tools allow. DMs from unknown accounts about old disputes are closed. I reserve the right to refuse access to my work to anyone who weaponises it against me.

For the majority who show up in good faith: thank you. Engage with the music. Don’t fight trolls on my behalf—report, mute, move on.

Closing: this is not only about credits. It is about my life, my name, and my sound. If you’re here for the work, welcome. If you’re here for cruelty dressed as concern, you are not my audience.My name is Kristian Weston. I compose, produce, design sound, program DSP, and play guitar and bass. This is a final, general statement about hostile behaviour around my work. No individuals will be named.

A minority within the audience has normalised harassment for decades. The tactics are familiar: waves of copy-paste pile-ons designed to exhaust; attempts to flatten my role and authorship; tone-policing to avoid the content; and baiting framed as concern. It moves between platforms and into email. It presumes access to my time.

Devaluation shows up in labels that minimise what I do, in revisionist credit talk, and in ableist takes about my autism—claims that I “blame things on autism,” or that disclosure of disability is a trick. It’s used to erase work and to excuse theft.

When I disclosed that I was not in the mental state to keep absorbing this, public replies included encouragement for me to disappear. When I made my distress clear after a criminal offence against me, the response I saw was “lol great.” That is incitement to suicide.

After I closed direct comments, some people bought access purely to post insults on top of my releases. That is pay-to-taunt, not fandom.

I’m not running point-by-point rebuttals anymore. Attention rewards the tactic and drains time from my work. Evidence is archived off-platform for legal and safety reasons.

Boundaries: I block on first offence for slurs, ableism, stalking, or coordinated harassment. I don’t quote-amplify abuse. Comments may be pre-moderated where tools allow. DMs from unknown accounts about old disputes are closed. I reserve the right to refuse access to my work to anyone who weaponises it against me.

For the majority who show up in good faith: thank you. Engage with the music. Don’t fight trolls on my behalf—report, mute, move on.

Closing: this is not only about credits. It is about my life, my name, and my sound. If you’re here for the work, welcome. If you’re here for cruelty dressed as concern, you are not my audience.

If you’re checking in with me while making smug, no pun intended statements, your intention is not genuine.

The sheer level of narcissism it takes to think that anyone gives a shit about whether or not you meant to write your pun is mind boggling. If narcissism were measured in units of mass, the skulls of people who pointed out puns would crush in on themselves in a giant black hole of stupidity.

Dear Reader,

Please direct your attention towards my pun. Admittedly I do think it’s clever, but I think that you think so highly of me, that I want you to know that I would never resort to using such a commonplace literary device in my prose. Therefore, I would like to formally renounce my attempt at humor and assure you that I am above making puns as a writer, as a pupil of language, and as citizen of Earth.

Sincerest apologies,
D. Baggerson

On a positive note I have met some lovely autistic people during The Rob escapades so far and I am grateful for that.