Two Ways of Saying His Name: The “Dahmer” Track and Its Remix

Everything on this site is written about Jeffrey Dahmer. Third person, past tense, sources at the bottom. That grammar is not incidental — it is the distance that makes the work possible. You can examine a man in the third person. You can hold him at arm’s length and still look closely.

A song does not have to obey that rule, and this one does not.

“Dahmer,” from the forthcoming Shyster, is written in the second person. It talks to him. It exists on the record in two versions: the original, classic hip-hop built on piano and scratches, and a heavier industrial rework by GoH Mr. Whatever, with different words layered around the same core. Together they make an argument with itself, and the disagreement between them is more interesting than either version alone.

The original: a defence

The first version opens on an image of fit:

I got the key, you got the lock

Two objects that are useless apart and mean nothing separately. The verse that follows makes the same claim in a different figure — I’ve got a half, you’ve got the other — and then names it outright: my brother.

Everything else in the track is organised against a “they.” They look through you. They make their voodoo. They lose their minds. They have weapons, and they will abuse you and accuse you. The song’s world contains exactly two parties: a you and an I who fit together, and a hostile everyone-else who understands neither.

And at its centre is the line the whole version turns on:

they call you a monster you’re not

This is a defence. Not an examination, not a reckoning — a defence, delivered directly to him, in the voice of someone who has taken a side.

It is worth being honest about what that means, because this site’s method is to be honest about difficult things rather than to arrange them flatteringly. There are no victims in the original version of this song. Seventeen men and boys do not appear in it. The “they” who accuse and abuse are the press, the public, the machinery of spectacle — and framed that way, the accusation looks like persecution rather than the consequence of what he did.

The track also refuses to promise anything. None of us here is gonna win is not triumphant. It is a song that takes his side and expects nothing to come of it.

The remix: a redistribution

Mr. Whatever’s version keeps the original verses intact and builds new material around them. What that new material does is not soften the song. It complicates it, and in one specific place it contradicts it.

It opens somewhere the original never goes:

Cold room, dead eyes, fluorescent light

An institutional image, and then immediately a psychological one — you wanted a friend, you wanted control — which is a two-clause summary of the whole case, and a fairer one than most books manage. The wanting is real. The method was annihilation.

Then the line that changes the song:

But the monster had a heartbeat just like me

Set that against they call you a monster you’re not and you have two incompatible claims sitting on the same record. The original denies the category. The remix accepts it and then does something much more unsettling with it — it puts the speaker inside it. Not he isn’t a monster, but the monster was a person, and so am I.

That is a harder position to hold, and a more defensible one.

The remix also restores what the original leaves out:

You wanted connection, but you couldn’t stay
So you turned every heartbeat into something to take
A body is a memory, a memory fades

There they are. Not named, but present — heartbeats and bodies, people who were taken rather than an abstraction called accusation. The remix will not let the song be only about him.

And it adds a target the original doesn’t have. The chorus turns outward, at the audience:

Everybody wants to know your name
Everybody wants to watch the flame

That is a different “they” from the original’s. Not persecutors — spectators. The people consuming him. Which is a sharper and more accurate charge, and one that implicates anyone listening, including anyone reading this.

The keyhole

The remix ends by picking up the original’s first image and turning it inside out.

The song began with a key and a lock: fit, belonging, two things made for each other. It closes at the same door from the other side.

Look through the keyhole, what do you see?
A monster in the darkness or a piece of me?

The keyhole is now something you look through — the same verb the original used for the hostile “they,” who look through you. The listener has been moved into that position. And the question it asks is the one the memorial has been circling since it began: whether what you find in him is entirely alien, or partly familiar.

Some names become legends
Some names become stains

Then: Dahmer… 213. The apartment number, which is also the name of the project that made the record. The song signs itself with the address.

Why both versions belong on the album

There is an argument for keeping only the second one. It is the more complete piece of writing, it is the one that acknowledges the dead, and it is the one that can be defended without qualification.

But keeping both is the more honest choice, because the two versions are a record of an actual movement in thinking, and flattening that would be its own kind of dishonesty. The first is what it feels like from the inside — the pull toward defending someone the world has flattened into a symbol, the sense of a fit that nobody else can see. The second is what happens when that impulse is examined rather than simply obeyed.

Neither cancels the other. They sit next to each other on the record and disagree, which is roughly the condition of anyone who has spent serious time with this material.

None of us here is gonna win survives into the second version unchanged. It is still the truest line either version contains.


“Dahmer” and “Dahmer (remix)” appear on Shyster. Original lyrics and vocals by Door213; remix, additional lyrics and production by GoH Mr. Whatever.

Codex Ballads: The New Door213 Album Is Out

Codex Ballads, the new full-length album by Door213, is out now on Enough Records.

The title is the key to the whole record. A codex is a book that must be deciphered — and these are ballads written the same way, songs with a hidden double meaning folded inside them. On the surface, they are love songs. Read again, they are rebellion songs — songs set against a system that is unforgiving, that decides who is beyond saving and closes the book on them. Every track holds both meanings at once, and neither cancels the other.

The album carries an openly Christian tone. Its themes are God, forgiveness, divine presence, and the strength it takes to seek redemption — told through the visual and lyrical language of one specific life: Jeffrey Dahmer, who in his final years repented of his life of crime and violence, delivered his soul to God, was baptised, and did what little a man in his position could to make amends with the past. The album reflects on why that mattered — and extends the same possibility outward, to everyone who has repented of pain they caused and wonders whether the door is still open. The record’s answer is that it is.

The sound is a mix of hip-hop ballad and medieval hints — strong beats underneath, choir-like textures above, deep poetry throughout. The lyrics are God-seeking; to some listeners they may land as prayers. It is music built for the space between the club and the chapel.

Two of the album’s strongest tracks — Don’t Forsake Me (Jeff Version) and Swallow Me Whole (Jeff Version) — were made in collaboration with Jeff Knapp, aka GoH | Mr. Whatever, a German multidisciplinary artist and musician. His voice against Necro’s gives the album’s message its clearest expression, in both sound and visual art. Don’t Forsake Me already has an official video, a prayer crossing time and space:

Alongside the album, the two artists also produced a separate single, Feels Like Coming — a song about love and about arriving where we long to be, with the one we desire to love, no matter the distance, and no matter whether they are living or dead. It belongs to the same universe as Codex Ballads and is best listened to together with it. Its video is also out:

Tracklist:

  1. Heaven Complete
  2. Don’t Forsake Me (Jeff Version)
  3. I’ll Do It All For You
  4. Love Is Eternal
  5. The Beast Is Hiding Among Your Friends
  6. Meat Grinder
  7. Reborn
  8. Don’t Forsake Me
  9. If I Die Before I Wake
  10. A God That IS Good
  11. Swallow Me Whole (Jeff Version)
  12. Swallow Me Whole

Codex Ballads is available now — listen on Spotify, Deezer, Apple Music, Amazon Music, Etc, with wider streaming platforms to follow.

Door213 is the project of Necro (they/them), Portuguese multidisciplinary artist and founder of this memorial. GoH | Mr. Whatever is the project of Jeff Knapp (he/him), German multidisciplinary artist and musician.

Why We Are Here: Voices from the Memorial Community

The jeffreydahmer.memorial was built on a conviction: that Jeffrey Dahmer deserves to be understood as a full human being, not reduced to the worst of what he did. Over time, a community has gathered here — researchers, writers, people with lived experience of loneliness, people with faith questions, people who simply couldn’t stop reading once they started. They come from different countries, different generations, different frameworks entirely.

We asked some of them five questions. What follows are their answers, in their own words.


How did you first hear about Jeffrey?

Some came to his story through the shock of the original news cycle. Others found him decades later, through a film, a novel, or a Netflix series watched during an ordinary evening.

Debbie, 66, found herself watching the news in 1991 by accident, immediately after serving on a jury in an unrelated murder trial — her first experience of the justice system. She came home exhausted from testimony about things she had never wanted to see, turned on the television, and heard a reporter describing body parts and drilled skulls. She lunged for the remote. For decades she kept it that way. Then, last December, recovering from a hip replacement, she flipped through Netflix and saw Dahmer: Monster. “Hey, I remember that dude,” she thought. She watched it. She started researching. “It hit me like a ton of bricks out of left field,” she says. “It’s definitely not something I was looking for or wanted. But here I am.”

Sylli, 46, heard about Jeffrey in 1991 when she was twelve years old and the story made headlines around the world. As a child, she couldn’t fully understand the complexity of what had happened. She only knew it was a story that stayed in her mind long after the news coverage faded. It wasn’t until 2022, when the Netflix series was released, that her interest was truly reignited. What started as renewed curiosity soon became something much deeper.

Gray, 22, came to Jeffrey the way many of her generation did — through the Netflix series, which led her immediately to the real case. “I found that the show does not come close to what actually happened,” she says. She went far past it.

Yarrow, 37, heard about Jeffrey in 2016 and found in his story something that would become personally significant in unexpected ways.

Eden G. encountered the name through a friend who loved film — a passing mention of My Friend Dahmer that lodged and eventually became something much more.

Lucy first came across Jeffrey through Poppy Z. Brite’s novel Exquisite Corpse, which quoted from his 1994 autopsy report. “His feet were still shackled because people were that afraid of him,” she recalls. “I found this to be weird then and even weirder now, especially considering that not only was Jeff deceased but had been rather placid in prison.” Years later, the Netflix series drew her back. She went looking for the real case.

Frisky, 40, saw him for the first time as a teenager, in a television interview. “Something inside me stirred feelings I had never experienced before,” she says. “He felt close and familiar, as if at some point in life I would come across something of his again, or get to know him more deeply.” She has never forgotten the feeling.


What called your attention to his story?

The answers to this question fall into patterns — but the patterns are wider and more varied than one might expect.

For many it was his honesty. Gray was struck by what she describes as the rarity of it: “Other serial killers, like Ted Bundy, don’t even come close to the level of self-reflection Jeffrey had done. He never once tried to lie his way out of the consequences of his actions, he knew what he had done.” She points to something he said in his confessions — that if nobody had caught him, he would have kept going — as evidence of a self-knowledge that moved her. “He knew himself and his compulsions so well that even he agreed that his getting caught was ‘better’ for everybody else and humanity in general.”

Lucy was struck by the same quality. “I think that his openness and honesty about his life and crimes makes it easier to connect with him. If he’d lied constantly or made excuses for his behaviour, this would have been difficult.”

For Sylli, it was the complexity that drew her deeper. “The more I learned, the more I realized that there were no simple answers. I became interested in understanding the person behind the headlines — the loneliness, the isolation, the psychology, and the many contradictions that existed within him. His story challenged me to look beyond black-and-white thinking.”

Frisky was drawn immediately to the human being behind the headlines. “What struck me most about his story was, quite literally, his loneliness and his complete lack of self-worth. I found myself wondering how such a handsome man could be so utterly alone. It was heartbreaking.”


How do you define your connection with him?

This is the hardest question, and the answers here are the most personal. They range widely — and that range is honest.

Gray describes a connection that is grounded in recognition. “Jeff, except of course for the gruesome killings, has a lot in common with me character-wise and mental health-wise. His coping mechanisms reminded me a lot of my own. The fact that he was heavily misunderstood and so extremely lonely that he had difficulties even forming normal human relationships also reminded me a lot of myself.” She is careful to locate the connection precisely: it is not spiritual, but human. It is the experience of seeing something of yourself in someone else’s story.

Sylli describes Jeffrey as “a quiet presence that accompanies me through my thoughts, my writing, and my creative work.” She thinks of him often in terms of nostalgia — not for the events of his life, but for a feeling she cannot easily name. “He is a source of inspiration, curiosity, and imagination.”

Lucy notes that the connection changed her social world as much as her inner one. “I have met quite a few friendly, like-minded people due to our common interest in Jeff. Being part of the online community who study and discuss Dahmer has definitely made a positive impact on my life.”

Yarrow speaks from a different framework entirely. A practicing druid, they describe Jeffrey as a constant presence and an ally — someone who, over time, has become part of their spiritual practice. For them, his story was also the beginning of a journey toward self-understanding: “Jeff having to accept himself as a gay man led me to accept myself as primarily attracted to men.”

Eden G. describes an experience that arrived unbidden and stayed. They see Jeffrey in dreams. Once, when their cat died and they were drifting toward sleep, they heard a voice they recognised as his. “I guess as a guide and a friendly soul that’s just floating around, paying attention to similar energy out and about the world.” For them, the connection is not chosen. It was received.

Frisky describes Jeffrey as her emotional anchor. She is in his presence every day — in her thoughts, in her prayers. Seeing his face, reading about him, learning something new about him lifts her spirits when she is low. She knows how that sounds. She offers it anyway, because it is true.

Debbie describes herself simply as hyperfixated, in the way her neurodivergent autistic brain hyperfixates on things. “It hit me like a ton of bricks out of left field.” She finds him handsome. She is sixty-six years old and completely unashamed. There is something refreshing in that.


Has this connection changed you?

Almost universally: yes.

Sylli describes the most unexpected transformation. Creativity had always been part of her, she says, but it remained in the background. Through her engagement with Jeffrey’s story, something dormant came back to life. She is now writing a novel. “In many ways, studying Jeffrey’s case led me back to myself. It helped me recognize abilities and creative instincts that I had overlooked for years.”

Gray found in his story a mirror for her own mental health experience, and through that mirror, a way to understand herself better. “Something about that honesty made me feel understood.”

Yarrow found self-acceptance. Through Jeffrey’s story — through the difficulty of his own reckoning with his sexuality in a time and place that offered no path forward — Yarrow was able to reckon with their own.

Eden G. says they might have gone down a different, darker path without it. They describe this as a kind of redirection, a steadying presence during difficult moments.

Frisky says simply: she is not the same person she was before. “I see everything differently now, even in my daily life. Something inside me has changed forever, but I can say with certainty that this change has been positive and empowering.”


What would you say to people who refuse to forgive or understand?

The responses to this question are the most carefully worded. All of them, in different ways, resist telling people how to feel.

Gray makes a distinction she considers essential. “Too many people treat forgiveness and forgetting as if they are the same thing, but they are not. Forgiveness does not mean excusing, justifying, or being okay with what someone has done. It means acknowledging the harm for what it is.” She adds: “Whether you choose to forgive is entirely your decision.”

Sylli takes the same position from a different angle. “I understand why many people struggle with forgiveness, and I would never tell anyone how they should feel. Understanding and excusing are two very different things. Seeking to understand someone’s psychology, struggles, or motivations does not mean approving of their actions.”

Lucy directs her response toward the specific problem of misinformation. “It does frustrate me to see people basing their opinions about the Jeffrey Dahmer case on what they’ve seen in the Netflix show when so much of it was fictionalised. I would encourage people to watch Jeff’s interviews, or footage of his father, Pat Kennedy, or Pamela Bass, to get a clearer picture of who he was as a person outside of his criminal activity.”

Frisky draws on her faith. “If the Lord is willing to forgive, then who are we as human beings to judge? In truth, no one has that right, not when compared to the immense love of our Heavenly Father.”

Eden G. is direct: “He did the crimes, and when he was alive he admitted to every single one of them. That alone is rare in serial killer cases. Not boasting — just admitting to it. That’s about as good as a criminal can do when it comes to responsibility.”


A Note from the Memorial

These seven voices represent something the memorial has always believed: that the people drawn to Jeffrey Dahmer’s story are not a monolith. They are researchers and writers, people in recovery and people in grief, people of faith and people of none, people who found self-acceptance here and people who simply couldn’t look away. They come from different countries, different decades of their lives, different ways of understanding the world.

What they share is a refusal to look away — and the conviction that looking away never helped anyone understand anything.

The memorial is grateful to everyone who shared their story here.

Exposing Fake Jeffrey Dahmer Channeling: When the Posts Write Themselves

Remember “Person B” from our recent article about how a rare Jeffrey Dahmer army photo leaked into public circulation?

The one who runs a YouTube channel claiming to channel Jeffrey’s spirit? The one who believes Jeffrey is her biological father? The one the memorial has previously identified as fake spiritual content preying on grief and fascination?

Here’s what she posts. Daily.

We’re not adding much commentary. We’re just presenting it. You can judge for yourself.

The 5D Relationship

Let’s break down what’s being claimed here:

  • Jeffrey Dahmer (who died in 1994) is currently in “the 4d” (fourth dimension)
  • She is in “the 3d” (third dimension)
  • Therefore they are in a “5d relationship” (fifth dimension)
  • When Jeffrey “doubles with her” (whatever that means), they’re both in the 3d
  • They have such strong telepathy that they “don’t need to talk in our minds”
  • They’ve been together “24/7 for over two months now”
  • Jeffrey is “very shy” about manifesting physically in this dimension
  • He’s afraid she won’t like him

She then describes waiting for Jeffrey to “take one step forward” into this dimension so she can “see him and talk to him as if he never left.”

Dimensional Farts and Darth Vader

But wait. It gets better.

She continues:

“In the meantime however since my psychic abilities continue to grow stronger by the hour, I’m now so tuned into Jeff when he is not doubling with me that I have heard him through the other dimension fart twice now, snore, and last night say “sweetie” in some weird sounding Darth Vader voice that startled me so much, that he now thinks that I won’t like him again and it will probably be another week before he takes that step forward.”

Read that again.

She can hear Jeffrey Dahmer:

  • Fart (twice)
  • Snore
  • Say “sweetie” in a Darth Vader voice

All through dimensions. And because the Darth Vader voice startled her, Jeffrey now thinks she won’t like him and it will be “another week” before he manifests physically.

She ends with: “I love you Jeff, your voice just sounded weird because you were coming from another dimension and I was half awake 😂😔💕🤷‍♀️”

The Glasses That Don’t Exist

This same person claims to own several pairs of Jeffrey Dahmer’s glasses.

Jeffrey’s authenticated glasses are worth approximately $100,000 each. They are extremely rare, documented artifacts. There are perhaps a handful in existence, all accounted for in museums, authenticated private collections, or documented sales with provenance.

She does not have them. She cannot provide authentication. She cannot provide provenance. Because they don’t exist.

Why This Matters

This is what fake channeling looks like.

People who are grieving, fascinated, or seeking genuine connection with Jeffrey Dahmer can fall for this content. They might:

  • Give money
  • Give attention and platform
  • Share private material (like the army photo that was leaked from someone’s private collection)
  • Believe they’re participating in something sacred when they’re being manipulated

The memorial does not endorse channeling, mediums, or anyone claiming to speak for the dead. We exist to hold Jeffrey Dahmer’s full humanity — the real person who lived, suffered, hurt others, and died. Not a cartoon spirit who farts through dimensions and speaks in Darth Vader voices while being too shy to manifest.

The Posts Write Themselves

We don’t need to add much to this. The content speaks for itself.

Dimensional relationships. Telepathic conversations. Spiritual farts. Darth Vader voices. Fake glasses collections. Daily updates about why Jeffrey is too shy to step into the 3d.

This is not grief. This is not spiritual connection. This is not channeling.

This is someone making content for attention, claiming impossible things, and deceiving people who genuinely care about understanding Jeffrey Dahmer.

The memorial’s position is clear: this is fake. This is harmful. And we will continue to identify it as such.

If you encounter content like this — on YouTube, TikTok, or anywhere else — please approach it with skepticism. Ask for evidence. Ask for authentication. Ask why Jeffrey would be too shy to manifest but confident enough to fart audibly through dimensions.

And if something sounds ridiculous, trust your instinct. It probably is!


How a Rare Photo of Jeffrey Dahmer Surfaced (And Why Memorial Drama Is Part of the Story)

So here’s a photo of Jeffrey Dahmer you probably haven’t seen before.

He’s in the Army. Early days. Ordinary. Human. The kind of photo that reminds you he was a real person who existed in the world before everything went wrong.

How did we get this photo?

Well. That’s a story about parasocial relationships, community betrayal, leaked private collections, and someone who runs a YouTube channel claiming to channel Jeffrey’s spirit and believes he’s her father.

Welcome to memorial community drama.

Here’s What Happened (No Names, Because We’re Not Monsters)

Someone in the memorial community — let’s call her Person A — had this photo saved privately. Part of her personal collection. Not public. Not shared.

Enter Person B: runs a YouTube channel that the memorial has previously exposed as fake. Claims to communicate with Jeffrey’s spirit. Believes Jeffrey is her biological father. (Yes, really. No, we’re not going to unpack that here.)

Person B wanted the photo. She got it by, shall we say, persistent social networking — annoying people until they gave her what she wanted.

Then Person B leaked it. Posted it on her YouTube channel. Posted it on TikTok. Made it public for everyone to see.

Person A is furious. Her private collection, now everywhere.

But Here’s The Thing

Person A? She’s been spreading some pretty nasty lies about us. Saying mean stuff. And — here’s the karma part — she also allegedly leaked private photos of Lionel Dahmer (Jeffrey’s father) that should never have been made public.

So. Karma showed up. And now we all have this rare photo of Jeffrey in the Army.

Why This Matters

Memorial communities are messy. People form intense parasocial relationships with the dead. They claim spiritual connections. They hoard private material. They betray each other. They leak things out of spite or desperation or because they genuinely believe they’re doing sacred work.

And somehow, through all that chaos, new material emerges.

This photo wouldn’t be public if Person B hadn’t been obsessed enough to hunt it down and Person A hadn’t been careless enough to let it slip. The memorial exists because people care deeply — sometimes too deeply, sometimes in ways that get weird and uncomfortable.

But the photo is real. Jeffrey was real. He stood in that Army uniform, young and ordinary, before everything collapsed.

About That YouTube Channel

We’re not linking to it. We’ve previously exposed “Channeling Jeff” as fake spiritual content that preys on people’s grief and fascination. The memorial does not endorse channeling, mediums, or anyone claiming to speak for Jeffrey’s spirit.

But we’re also not going to pretend the photo doesn’t exist just because of how it surfaced.

The Larger Point

Memorial work is not clean. It’s not academic. It’s not removed from the messiness of human behavior.

It’s people fighting over photos. It’s leaked private collections. It’s spiritual charlatans and ex-friends and karma coming full circle.

And sometimes, through all that chaos, we get a glimpse of Jeffrey as he actually was: a young man in an Army uniform, standing with other soldiers, ordinary and human and real.

That’s the photo. That’s the story. That’s memorial work.