Skullman Records

Boo Frog, Snow Bud and the Flower People, Divining Rods, Napalm Beach

Napalm Beach at Mayor’s Ball Too 1988, 1989

Napalm Beach played Mayor’s Ball Too 1988 and 1989. I remember someone mentioning that Chris dedicated his Snow Bud song “Killer Bud” to Mayor John Elwood “Bud” Clark (1931-2022). Clark apparently owned the bar where Chris’ bandmate Doug Naish (ex-Crackerbash little brother of former Wipers drummer Brad Naish) works. I met Clark once visiting at Naish’s home when Naish was drumming with Boo Frog.

Related documents (The Oregonian articles) PDFs

 

Untouchables at Long Goodbye – May 18, 1980

I have now found a part of Chris’ draft memoir that claims that The Untouchables did play on the night of the Mt St Helens eruption, at the Long Goodbye. It was possibly their first show in Portland, but it’s hard to tell as Chris was writing stream of consciousness and he would veer off on tangents. So it is possible that May 18, 1980 was the date of The Goners/Untouchables first show with Longview band, ALOST. However, Chris was pretty clear that the show where he met Greg Sage was the following June with Fred and Toody’s The Rats and Tom Roberts’ Imperialist Pigs. (Chris would never call Roberts by the “Pigg” nickname which he found insulting.)

 

Untouchables first show at Long Goodbye – 1980

With regards to the Danielson biography, I’ve realized that what started out as a seemingly minor detail and/or – depending on what you’re willing to see – a red flag – in Chris’ story – deserves a bit more attention. (There are actually a number of these “minor detail red flags” but anyway – this is one.)

This is the issue of the Mt St Helens explosion on May 18, 1980, which, according to Eric Danielson, was the same date that Chris’ band The Untouchables played their first show in Portland (Rocky Road To Recovery, p 13). Unlike the date of Snow Bud’s first performance in 1986 coinciding with the Challenger disaster, I personally don’t recall Chris mentioning this date link (1/27/22 note – see here for update). Eric does not provide the source for this claim, and I can’t find any corroborating data online. This seems to be new information, as it does not appear in Danielson’s 2010 essay.

The more I dig into this assertion, the more threads of all different types seem to begin to untangle, some of these being significant to Chris’ life, others being significant to gaining insight on a number of other issues from the history of northwest music.

So let’s start with the assertion itself – something that, unless there is some other indisputable primary source that Danielson had access too – should ideally have been confirmed with Chris while he was alive. Was the Untouchable’s first gig in Portland on May 18, 1980? And did they play with The Rats at the Long Goodbye, with Greg Sage in the audience?

Based on Chris’ writings, the venue is correct – their first show was at the Long Goodbye – but I can’t confirm the date and the reported line up doesn’t match. Chris wrote in a draft memoir that The Untouchables first show was at the Long Goodbye, and that they opened for a Longview band called ALOST. Further examination, however, shows that in fact, Chris’ band was at that time, indeed called The Goners. However, according to what ALOST reported to Chris, the band was listed on the poster advertising the show as The Untouchables. In other words – for some reason – the club itself changed the band name on the poster, and Chris and the boys just rolled with it. They became The Untouchables.

Could this shine light on the March 31, 1989 poster for Pine Street Theatre swapping the band name Alcoholics Unanimous with Mudhoney? It remains a mystery.

In any case, this incident shows, from my perspective, how suggestible Chris could be, and how casually he could accept some things, like the changing of his band name, that others (such as myself) might take much more seriously.

Other than Chris’ narrative, I am unable to find any additional information on the band that was called ALOST – including when they played at Long Goodbye. If nothing else you can say that ALOST band lived up to their name.

According to Chris’ draft memoir, the show that Danielson is referring to – where The Untouchables played at the Long Goodbye with the Rats, and Greg Sage in the audience, was in June 1980. In his writings, Chris says on that night there were “Four awesome bands” and notes that The Rats were headlining – but he goes on to list only three bands in total. The line up he lists was The Imperialist Pigs – a proto-Poison Idea band fronted by Tom Roberts (who died in 2006, age 47); The Untouchables (specifically, Chris Newman, Mark Nelson, Dave Koenig, Chon Carter); and The Rats – Fred Cole, Toody Cole, and Sam Henry. Sam had recently left the Wipers. This was the show with Greg Sage in the audience.

If I had to guess – I’d suspect that Chris writing “four awesome bands” was an error – that he had the image of Greg Sage in his head which glitched his memory – but the Wipers didn’t actually play that night.

Did Chris know for a fact that this was June 1980 and not May 18? I don’t know, but the sense I get is that not only was this not the first show that he played at the Long Goodbye – that The Untouchables had already played a few shows, mostly at the Long Goodbye, and Chris seems to have felt that Sage may have been there specifically to see The Untouchables perform.

It seems that this given date of May 18, 1980 being a “first” for The Untouchables is not correct, and without any corroborating evidence it’s hard to know if The Untouchables even played on this date. If they did – where’s the source?

Why do I call this detail a “red flag”? For a couple of reasons. First, in terms of the history of the band – if Danielson cannot provide a source or any corroborating evidence for this claim – it means that it’s just something he heard or even something he made up. This, along with a refusal to acknowledge or correct false information when presented with conflicting evidence from primary sources – makes him a profoundly unreliable historian. And this is a bit remarkable, considering that, according to his Amazon author’s bio, he has a journalism degree (B.A. Western Washington University, Bellingham) and two history degrees (B.A. University of Washington, Seattle; M.A. George Washington University, Washington D.C.).

Mind you – this is just one of Danielson’s many problematic or demonstrably false claims. And with so many problems in this document, it’s hard to wonder if there’s a reason why this came after Chris’ death. It’s particularly important because when not much work has been published about an artist, every work that is published has greater weight, and false or misleading information can be carried from one document to the next. And if you don’t cite your sources, it can be near impossible to trace down where anything came from.

This, by the way, has been an ongoing issue between me and other historians of northwest music. Some are more problematic than others, but all seem to be actively hiding or altering certain bits of information.

The other reason I called this detail about the Mt St Helens eruption a “red flag” is that there does in fact seem to be some strange connections to Mt St Helens in terms of dates, names, locations, etc. Whether that’s something I want to get into – or at the risk of sounding a bit paranoid – whether it was a trap Danielson laid for me – I haven’t decided.

painting of post-eruption Mt St Helens from Kurt Cobain's collection
Cross, Charles – Cobain Unseen (2008) – p 98-99
image from Kurt Cobain’s collection described as “landscape painting” is clearly post-eruption Mt St Helens with writing across the top, reading “Frances Farmer will come back as fire to burn all the liars and leave a blanket of ash on the ground”
 

Corrections to Eric Danielson biography of Chris Newman

This is a list of corrections to Eric Danielson biography The Rocky Road to Recovery: The Life of Chris Newman of Napalm Beach and some additional information. I consider this document a work in progress.

p 6 “written more than 1000 songs…”

This statement was actually a point of contention when Danielson first wrote his essay Chris Newman of Napalm Beach: The Road To Recovery

What I think happened was this – in the months before this 2010 essay was published, Danielson conducted a series of interviews with Chris, I believe mostly over the phone. Chris would drink some beers as these interviews were conducted. At some point, Danielson asked Chris how many songs he’d written in his lifetime, and how many were recorded and Chris answered off the cuff – probably saying he’d written around a thousand songs and recorded 400 of them.

I do not believe, first, that Chris really knew how many songs he had written, and I don’t think he sat and thought about what constitues a completed song. He didn’t often exaggerate but this appears to be either exaggeration or an error. Chris was pretty consistent about listing his published works with BMI in hopes that one day they would pay off in terms of licensing, and at the time of his death, he had 371 songs registered.

When Danielson first published his essay, I recall that we caught this error, and Chris informed Danielson that the number was not correct. Eric’s response was to argue with Chris, saying “you clearly said…” – in other words, he did not allow Chris to correct the error. Now Danielson has repeated the error in this book.

As for the number of albums with each specific band, I don’t have enough first hand knowledge to confirm or deny the statements, except for Divining Rods (the number is correct, two albums were released) and Boo Frog. Boo Frog released three – not four – albums. The album which was supposed to be our fourth album, Beachcomber, was not really a Boo Frog album. Chris released it as a solo album. I did not play on it or write any of the songs. There are many other problems with how this recording and release came about, but now is not the time to get into that.

With regard to the list of siblings, Chris’ sister Cindy’s full married name is listed, but not Becky’s married name. Her name is Rebecca Ruth White.

My understanding is that Chris joined Bodhi in 1971 at age 18. What I think is notable about this band is that in addition to being the youngest member, Chris was the singer/frontman, lead guitar player, and as far as I know, was the band’s sole songwriter. I do not recall Chris ever saying that Dave Minick was a member of Bodhi. (The drummer’s nickname was Spyder, however – did that make Bodhi the “spyders from Mars”?)

Danielson mentions a (circa 1972 or 73) band photo of Bodhi – when I first published this photo on my 2013 essay “Introducing Napalm Beach” I cropped the top and bottom to focus on the band. Later on I took a more careful look at the original photo and realized that the original seemed to feature – rather than the band itself – a collection of mountainous mole hills in front of the band.

photo showing Washington state rock band Bodhi standing in a field with mole hills in front, trees in back

With regards to speculating that Minick may have been the bassist in this band – I’m not trying to be surly but this is from my perspective a serious issue – a problem with Danielson’s entire book is that there are passages like this which appear to be pure speculation – speculation which could easily be put to rest with a simple phone call or email to the appropriate party. In this case, Dave Minick himself should have been queried.

This band, Bodhi, by the way, and this time period, was the source of a lot of Chris’ exposure to drug use. I don’t know if this didn’t come up during Chris’ interviews with Danielson – but the influence on Chris in years to come was significant.

“He moved down to Santa Monica, CA…” In 1974 Chris moved to Malibu.

p 7 Chris, for whatever reason, did not consider The Goners to be the same band as The Untouchables or Napalm Beach. It may have been about the music or about the band members. He did consider The Untouchables to be the same band as Napalm Beach. I’ve written more about this here:

Napalm Beach – some corrections and clarifications

Regarding Chris’ bands after 2004, in addition to Divining Rods, Lost Acolytes, Boo Frog, and Deluxe Combo, there was also a short-lived trio called Chris Newman Experiment which released a single album, La Rose Noire, in 2008.

p 10 “Although an amazing guitar player whose style of playing reportedly had an early influence on Mark Arm of Mudhoney…” – there are a whole lot of problems with this phrasing. The way this refers to Mark Arm was another thing that Chris was not comfortable with when the original essay was published, and it was another thing that Danielson pushed back on altering. The relationship between Napalm Beach and Mudhoney seems to have been significant, but Mudhoney was far from the only band to be influenced by Chris – and it wasn’t only his guitar playing that was influential – it was also his songwriting, vocals, artwork, gear, recording and DIY distribution techniques. For a time, Napalm Beach was very closely associated with The Wipers, and Chris, along with his contemporaries, were influence by Greg Sage. Others, in turn, were influenced by Chris. And in terms of Mudhoney’s guitars specifically, it’s arguably Steve Turner who took more influence from Chris. There is even a Melvins song that appeared on their 1986 self-titled EP (and on their LP Gluey Porch Treatments which came out later the same year) called “Disinvite” aka “Steve Instant Newman.” There is likely a very specific reason for the title of this song. This is another topic that needs more careful and accurate attention.

“sign painter… this skill…enabled him to acquire the famous Flying V guitar… indirectly led to the 1984 recording of the Napalm Beach Teen Dream album” – I simply don’t understand this sentence. Possibly Danielson is saying that Chris’ work as a sign painter allowed him to save up enough money to buy the Flying V – but how did it figure into the recording of Napalm Beach’s debut album? It’s not clear from the writing and it’s not something that I know the answer to, either. I suspect that the recording of the album that became known as Teen Dream (but technically was a self-titled album called Napalm Beach) was financed by Doug Reed who is in possession of the master tape.

Speaking of sign painting as a family profession, who remembers The Five Man Electrical Band 1971 song “Signs”? The song starts with a young man hired for a job, then removing his hat to show his new boss his long hair. Chris worked during this era (1970-71) at his dad’s gas station where was asked to keep his long hair up under a hat. This is the kind of “match” that happens all the time.

Who remembers the song “Matchbox”?

This is a digression, but in truth, none of these matches – often with creative material by entities which had no direct contact with Chris or his friends – are incidental to Chris’ story – beginning, middle, and end.

p 12 “Luke Pyro on drums” – who remembers a band called Porno for Pyros?

p 13 a side note about the May 18, 1980 eruption of Mt St Helens that coincided with The Untouchables first show in Portland – this was when Chris began to experience asthma attacks which he attributed to the ash that was in the air from the volcanic eruption. He had asthma for the rest of his life. Somewhere I recall seeing a painting made or owned by Kurt Cobain of Mt St Helens with lyrics from his song “Francis Farmer” written around it. (note: It appears to be page 98-99 of Charles Cross’ 2008 book Cobain Unseen – weirdly, Cross doesn’t identify the “landscape” as Mt St Helens – thought it’s an iconic image – more on this later, perhaps.) As for me, I taken a lot of photos at Mt St Helens around 2011 which went missing, and are still missing today. Not only that, but a high resolution scan of a photo I made at the top of the mountain (basically, the exact view shown in Cross’ book mentioned above) is among the many files that vanished from my hard drive.

“they reportedly once had an offer from A&M records” – This is another unsourced rumor. Who reported this? I never heard about it and it does not appear in Chris’ writings. Same with “several abortive attempts at recording in the studio.” There do seem to have been some unmixed, unreleased Untouchables recordings done at Wave studios and maybe there was another recording session that was unreleased. (Note – Danielson seems to get more specific about this later in the book – in addition to fact checking, the book could really use an editor.)

p 14 “the band’s name was changed” – the name change is also is addressed in my article Napalm Beach: Some corrections and clarifications.

With regards to Mark Nelson not playing on Trap Sampler or Rock n’ Roll Hell, I’ve found it difficult to keep track of when Mark was, and was not, in the Untouchables and Napalm Beach. He seems to have come and gone a lot. Chris seems to have learned to keep moving ahead regardless of obstacles like losing a band member, which happened a lot.

p 15 who said that The Untouchables “blew (Joan Jett) off the stage”? Why the use of passive voice? Usually if it was Chris telling these stories, he would name the person who said something. That way, the source could be contacted for confirmation or additional information. As it is put here, it just comes off as an unsourced rumor or braggadocio.

p 16 “It was so bad that afterward Fred Seegmuller decided to quit the music business…” – I hate to sound like a broken record but who made this claim? I’ve never heard this. It is true that, based on what Chris told me, the clubs where Napalm Beach were accustomed to playing seemed to all close down at once – maybe even simultaneously in Portland and Seattle – resulting in a sort of a dead space around 1982-83 – a vacuum that was then filled by the opening of Club Satyricon (see pages 32-33). But I never heard anything about Urban Noize closing because of the Johnny Thunders show – so I don’t think the information can be considered to be self-evident. It needs a source.

Similarly, there’s more to the May 1981 April Wine show. I recall Chris mentioning that Mark Nelson was really copping an attitude with the audience, apparently in an effort to be extra “punk rock.” Another thing Chris told me is that they opened with the song Angels Ride, which that particular audience loved, but the following songs were too New Wave for them. Also, Dave Koenig did not quit the band, he was fired. Chris didn’t feel he had the right image, and apparently Mark Nelson – who seemed to be a strong influence on Chris at that time – didn’t like him.

p 17 “The Untouchables members attended the legendary U2 show at Astor Park in Seattle on March 23, 1981… afterwards they were so inspired or enraged by it that The Untouchables headed down to the Gorilla Room in Pioneer Square in a sadomasochistic rage, forcibly pushed the off the stage in the middle of their set, and started playing an impromptu set of their own until they collapsed in bloody exhaustion.”

So much to unpack here. The description is so colorful, you’d almost thing that Danielson was either there, or had interviewed numerous sources – except that no sources are cited for this particular passage. The band is “inspired or enraged” and in a “sadomasochistic rage.” I strongly suspect this entire passage is based on Charles Cross’ July 18, 1981 article in the Seattle Post Intelligencer called “Band Drives Stake Through Heart.” Specifically, the following passage – “After seeing the young Irish band U2 earlier this year, the Untouchables invaded the Gorilla Room literally forcing the band that was playing off stage, and proceeded to play until their fingers bled.”

I think it’s useful to compare the two versions, and important, and the reason I believe it is important is what I see happening is a gradual build-up, drip by drip, painting Chris’ bands, and Chris and particular – as being dangerous and out of control. There’s been more to this effort than colorful writing, but that’s a subject for another day.

If Danielson had another source for his description, I don’t know what it is. But if he was in fact basing his description on the writing of Charles Cross, why not cite the original article which had been published on our websiste since 2011 (Skullman Records: Charles Cross on The Untouchables/Napalm Beach – Seattle P.I. July 1981)? My suspicion is, based on the article as a whole, that Cross was already amping up the color in the description. So why did Danielson feel the need to amp it up even more, adding phrases like “sadomasochistic rage” and “collapsed in bloody exhaustion”?

The exact date of the show, by the way – March 23, 1981 – noted by Danielson, but not by Cross – jumps out at me because it is just 8 days before the assassination attempt on Ronald Reagan which was March 31, 1981 (“Honey, I forgot to duck”) – and this in turn seems to be significant because of subsequent events happening on or around the same day including, but not limited to, the death of Jeffrey Lee Pierce by stroke or aneurism on March 31, 1996. Note also the use of the word “duck” in the Otis P Otis quote on page 16 – “opening for April Wine… band ducks flying objects and fist fights.” Over the years I’ve come to understand that “duck” is widely-used code for someone who manipulates another person through covert medical means – including altering their personality, inciting events – including accidents and violent events, and creating disease states, including strokes, heart attacks, cancers. It’s often snuck into phrases and imagery in seemingly innocuous ways which are actually quite meaningful.

There also seem to be ongoing parallels drawn between Napalm Beach and the band U2. For example, the cover for Napalm’s 1991 Thunderlizard album seems to be almost a replica of U2’s 1987 blockbuster album The Joshua Tree. Chris seems to have rarely been asked for input into his own album art. He could not figure out why there was a photo of a Joshua Tree on the album, rather than, say, a dinosaur (thunder lizard). Why this parallel between Napalm Beach and U2 exists is not entirely clear to me, but it seems to come up again and again.

p 18 – Where is page 18? On my copy of the book, there is no page 18.

p 19-20 Here the 1981 Charles Cross article appears – why did Danielson quote from the article here, but not on page 17 where the description appears to be based on the same article?

And I have to ask – why does Danielson end on page 20 with the phrasing “he compared favorably to a combination of Velvet Underground, 999, and U2”? 9 times 3 is 27 – this is a number linked to deaths (two is linked to twins and seven to the chariot in Tarot, which I interpret as speed). And U2 is a rocket made by Lockheed. There is a big black space after this phrase – as if a chapter is ending – but then the narrative simply picks up again on page 21. Is there a reason that it was important for Danielson to do this? Or for that matter, to leave out page 18? Were these glitches in a self-published work or is there a numerology subtext going on here? (Note that the book’s introduction is dated September 12, 2022.) Maybe Danielson was going to create separate chapters but didn’t get around to it? It’s a mystery to me.

p 21 The Untouchables are said blow another band “off the stage” – this time it’s The Cowboys – and the comment is sourced.

p 22 “a hit song called ‘Twinkie Madness'” – how, exactly, was Twinkie Madness a “hit song?” And/or is Danielson insinuating a double meaning in the word “hit”? The song Twinkie Madness was about the Nov 27, 1978 assassination of San Francisco Mayor George Moscone and Supervisor Harvey Milk.

It appears that Twinkies were originally packaged in sets of two (twins). The lyrics to Twinkie Madness are available online.

p 23 “Kurt Cobain’s future wife Courtney Love tagged along with the band from Portland to Seattle” – besides noting that Courtney Love has done more in her life than marry Kurt Cobain – I address the van rumors in
Napalm Beach – some corrections and clarifications
and I published Chris’ words about his friendship with Courtney here.

But to re-iterate – I’ve heard multiple salacious stories about teenage Courtney in the Napalm Beach van and Chris was not able to confirm any of them. From my point of view, it’s unfounded gossip that should not be going into a biography of Chris.

Also, I want to clarify that according to Chris, Courtney Love only lived in the band house for a period of about six months in 1981. She did not live there in 1982. In fact, I suspect she traveled to England and Ireland shortly after that HUB show, returning to Portland again in 1982, which I suspect is when she met Rozz Rezabek (also mentioned by Danielson on page 23).

p 25 Danielson discusses Chris’ work at Wave Studios and avoidance of commercial success. It should be noted that Chris was, at this time, working very closely with Greg Sage of the Wipers. Sage was in fact engineering the Wave sessions. Sage is probably, more than anyone else in the pacific northwest at that time, responsible for the “stay small, don’t sell out” mentality. Sage and many people around Tom Robinson also seem to have been closely linked to Calvin Johnson in Olympia, Washington – who was at this time running a fanzine called Subterranian Pop with Bruce Pavitt, who had recently moved to Olympia from Chicago, Illinois. Beginning in 1982 Pavitt also managed a Portland band called Pell Mell who, along with Untouchables/Napalm Beach, appeared on Sage’s 1981 Trap Sampler.

p 25 just a note that The Wrex was the club that later became The Vogue – known for showcasing the early Sub Pop bands.

p 27 I think that Chris at one time explained to me that he specifically did not want Sam to play drums on Volunteer. It might be that they were not getting along. If you look at the discography you can see that in a lot of ways, 1993’s Curiosities was the band’s Swan Song. I know that Chris really thought Curiosities could do something, and that when he still could not get traction, while all these other northwest bands were rampaging into fame and fortune, he was pretty disheartened.

p 28-29 The story of Napalm Beach, X, and the stolen amplifier is another one to revisit a bit more carefully. I believe that Danielson is basing his writing here on his interview with Chris. There are a few details that seem to be slightly off. I don’t recall Chris saying that he was “mauling” Exene – more that he was putting the moves on her (verbally). The description of X feeling like “they had just barely escaped being raped and pillaged by a gang of wild maniacs” appears to be more colorizing – did Exene and John Doe say this to Danielson – or to someone else? Because I never heard Chris say anything like this. The only ones who know how they felt that night would be Excene and John Doe. And like so many others, they could have been asked (and still could be asked) to share insight on this incident.

Also – Chris told this story to me, and/or in my presence more than once in our first years together – the letter from X’s management, according to Chris, did not use the phrase “violent behavior” but, “unprofessional behavior.”

There is another part to the X incident, something that Chris never seemed to pick up on – which is that it mirrored another pivotal incident earlier in his life, having to do with a stolen amplifier. Chris was in his first or second year of high school when a friend of had an amplifier stolen. Chris found out who stole it, and told his friend, who was able to get his amplifier back, but the incident resulted in Chris being ostracized and harassed for being a “snitch” to the point that he was in fear of his life and ended up being sent to boarding school in Canyonville, Oregon as a means of escape. This in turn mirrors something that happened in my life – it seems that these boarding schools were places to introduce us to people who would become key at later points. In Chris’ case, it was his friend Russ and Ray. In my case, it was Erika Schlaeger.

p 30 Danielson mentions Napalm Beach playing at the Golden Crown in Seattle July 30 and 31, 1982 saying that there is a bootleg that was “made by Mike Refuzor” and uploaded to YouTube in 2013. I am wondering here how Danielson knows that this bootleg was made by Mike Refuzor (Mike Lambert) – and whether Danielson had access to the bootleg before it was put onto YouTube. The YouTube channel where this video appears has the username “imarefuzor” but is run by a photographer named Mike Leach. This is not the same person as Mike Refuzor. Is Danielson confused by the username, or does he have some other knowledge about this bootleg?

Mike (Refuzor) Lambert apparently just dropped of a heart attack, aneurism, or stroke, while walking down a Seattle sidewalk on March 3, 2018. A few things about this stand out for me. It echos sudden drop-dead deaths of other contemporaries from the same scene of Portland and Seattle musicians including (but not limited to) Stephen Spyrit and Steve “Slayer Hippie” Hanford of Portland. It occurred on 3/3 which as to my understanding was also the date of Kurt Cobain’s first 1994 suicide attempt in Rome, Italy. And – and this is grim, but typical of the dark irony around these events – the Refuzor’s best known song was called “Splat Goes The Cat.”

The thing about these 1982 Golden Crown bootlegs is not only do they feature songs that may not be available on any other Napalm Beach recording, but Chris is clearly using a Small Clone/Big Muff fuzz effect combination – the same sound that Nirvana would later become known for. So it would be interesting to learn the real provenance and history of the Golden Crown bootleg, and it would also be interesting to learn what other Napalm Beach bootlegs are out there.

Also – I think it’s worth mentioning – one of the songs from this set, which features the small clone and big muff combination, is called “Into The Sky.” Chris told me specifically that people in Seattle did not seem to like this song, and that was part of the reason why he ultimately dropped it from his repetoire, and never put it on an album. Also kind of ironic, considering what would a few years later would start to be called the “Seattle sound.”

p 32

“It was even said that the band members slept in the basement below the club” – yes, Chris did say that. It sounds like it was something they were permitted to do after a show. The Met also seems to have been a favorite venue of teenage Courtney Love.

By the way – were there two clubs – one in Seattle and one in Portland – called The Metropolis or The Met? (The Portland version later became Dante’s Inferno). Similarly, there was a venue in Seattle and a club in Portland both called the Paramount – and not only that – they both seem to have opened almost exactly the same time – March 1928 – and they had nearly identical, iconic lit signs.

The Wikipedia page on Paramount Seattle claims that “Hollywood-based Paramount Pictures constructed a grand movie palace in practically every major city in the country, many erected between 1926 and 1928” with a footnote linking to a Seattle Times article behind a firewall – but is this true? Are (or were) there Paramount buildings all over America?

Portland also has movie theatre called Hollywood Theatre, which in July 1926, for which the Hollywood district is named.

Regarding Chris and the Cramps – there are a few stories to tell here, but as far as Chris’ sound, the Cramps’ use of the Fender Twin amplifier was an influence on his sound, as I believe he tended to use favor the Marshall before seeing the Cramps. Chris seemed to feel that the Cramps were more of an influence on his Snow Bud sound where he used a Fender Twin, big muff fuzz, and wah pedal. (Chris was very good with a wah and could indeed play a lot like Hendrix.) I guess another thing I’d add is that on this first night when Chris saw the Cramps, Ivy told him she’d heard he was in a band, and asked him how come his band wasn’t playing with them. In fact, Chris seems to have never been asked to open for the Cramps in Portland or Seattle. It seems to have always been Mark Sten’s bands that were chosen.

p 34 “…in January 1983 Napalm Beach briefly tried moving down to San Francisco… this is when both Chris and Sam Henry first started experimenting with heroin. Chris said he only tried it once and didn’t do it again for another two years after that… but Sam Henry immediately became hooked.” This is not correct.

I covered the “who started using heroin when” issue in my earlier article called Napalm Beach – some corrections and clarifications. Briefly, Sam was already involved in heroin when he was still with the Wipers. I don’t know when Minick started, but he was the first to give some to Chris. I don’t know what year it was, only that it was no earlier than 1981 and no later than 1983. And it is true – there is no reason for Chris to lie about this – that Chris did not try it again until two years later.

You don’t immediately become hooked on heroin, generally speaking. It’s a physiological and psychological dependance that requires repeated use. (I myself have never tried heroin, but I’ve studied drugs, addictions, recovery.)

p 36 “fortunately the call was intercepted by Chris…” I believe that actually Greg Sage received the phone call about Catherine’s death which came from Sam’s mother, and it was most likely Sam’s mother who told Sage to tell the band to keep the news from Sam until after the recording session was finished (relayed more accurately on p 40)

p 38-40 It’s possible that Mark Nelson did not play on the Rock n’ Roll Hell studio cuts, though I don’t know for sure. The album itself includes both studio and live tracks.

We were happy at first with Burka for Everybody’s vinyl release, but in fact that label ended up being yet another label that stole from Napalm Beach. They paid a bit of money for one run of 500 records but they seem to have done additional runs without asking permission or paying for them, and then they proceeded to sell the music digitally – both streams and downloads – without permission or payment.

p 41 Regarding the use of a “high pitched voice” on Walkin’ on the Water – it’s true that this was an experimental, Bowie-influenced voice. Chris (or someone) had some kind of joke name for it – a female name I can’t recall right now. But it was Greg Sage’s idea to incorporate this vocal style into the track. From my perspective, I don’t think it sounds good, and could have even been a sabotage. There were a lot of incidents like this, with Chris’ recordings.

p 42 It seems like both Nelson and Minick were in and out of the band a lot in the early years.

p 45 It seems correct that Chris met Valarie in 1983. Chris wrote that he met her at Sam’s Tenderloin apartment about a month after they recorded Rock n’ Roll Hell. Chris and Valarie were friends first, and Valarie, according to Chris “was Sam’s girl for a couple of days.” Valarie already was addicted to speed and/or heroin. At some point, Valarie and Chris started dating. Valarie, to my recollection, eventually started to date a second man simultaneously with Chris, and he was not happy with this arrangement, and asked her to chose between them. Valarie chose the other man, and in fact, she married him. After year or two they divorced and Chris and Valarie were eventually re-united. I’m not clear on when all of that happened, but I suspect that Chris and Valarie were broken up by 1986. I know that Chris and Valarie were not together in 1987 or 1988 – or even, as far as I can tell, most of 1989. They were re-united in San Francisco probably the weekend before the Loma Prieta earthquake which occurred just as Chris was leaving San Francisco by Greyhound bus, October 17, 1989. This was also right before Napalm Beach’s first tour of Europe.

p 53 The album title Liquid Love is taken from the song “Plague” which starts like this “Heroin – deceiver of men – it’s liquid love – when you jab it in – gives forgiveness – for your sins”

p 55 I believe that in 1988 and maybe also 1989 Napalm Beach technically played the “Mayor’s Ball Too” which was the venue for “alternative” or less mainstream acts.

The graphics on Pat Baum’s film read, as I recall “1987” though it may not have come out until 1988. I believe the film was around 30 minutes long.

It is interesting that Danielson would mention this March 31, 1989 show where Mudhoney is allegedly opening for Napalm Beach. Mudhoney was actually touring in Europe on March 31, 1989. However, there was a poster made, circulating on the internet, featuring imagery from Steven King’s The Shining, advertising a bill with Poison Idea headlining, Napalm Beach in the middle, and Mudhoney opening. In fact, the band which played in Mudhoney’s place seems to have been a band called Alcoholics Unanimous, and there is an alternative poster showing this lineup.

There is a whole weird thing with this date, this show. I already mentioned the thing about the date of March 31 – which happens to be two days after my birthday. There was an attempt on the life of President Reagan in 1981. The singer Selena was shot and killed on March 31 1995. Jeffrey Lee Pierce died of an aneurism on March 31 1996. Nipsey Hussle was shot and killed on March 31 2019. It get’s weirder when you start looking at Chris’ 2006 album “Love Letter To The Dead” – track 1 (Mr No Hustle) and track 5 (Jeffrey Lee)

Back to the March 31, 1989 date – I sent an email to the person whom I believe made the poster showing Mudhoney, Steven Birch, who later played as a “touring guitarist” with Everclear, asking about this show, but did not receive a response. What I find interesting is the band that did play, Alcoholics Unanimous, apparently had a member who called himself Baron Von Everclear. Maybe it’s just a coincidence but there’s probably something going on.

p 57 regarding Otis appearing on the cover of an album on which he did not play (Teen Dream) – this seems to be another theme with Napalm Beach. The German release of Moving To And Fro did the same thing with a bassist – I think it was Tim Paul. In fact, Chris played bass on this album – all except for the two Snow Bud tracks that the Germans also insisted on including.

When Chris and I were first together more than a decade ago, these kinds of things just seemed like oddities, inconveniences. Now, as time goes by, they’re becoming increasingly problematic as people are either making false assumptions based on the photos they see on the album covers, or they are using these photos to deliberately misdirect and falsify information. And honestly, it seems a bit odd that this kind of thing would happen again and again – that album covers would regularly be created featuring band members who did not play on the albums.

It is a mystery to me why Chris did not take more interest in, or why he was not more critical of, his album artwork. He seemed to take the attitude that this was someone else’s job, assuming that they had a special expertise he didn’t possess, despite the fact that he had made several of his own cassette covers. However, what I have seen, is in instances where he did ask for something to be changed – done or not done in the album art – his requests were simply ignored. It might be that he just let these things go when they happened, and thought to himself, as he often seemed to do – “I’ll do it differently next time.”

I know Chris didn’t care for the cover photo on Teen Dream – the photo of him was taken at an unflattering angle. He didn’t like the Joshua Trees on Thunder Lizard. There were a number of other album covers he had issues with. One of the last things he said to me was he was sorry that he allowed the skull-and-syringe artwork to be used on his Key of H album. (The “H” in the album title was supposed to be about a key outside the normal musical range and was not actually supposed to be a heroin reference.)

p 60 I don’t think Chris was with Nancy Loeffler in 1984. This seems like the era when he would have been dating Valarie. I think Chris first got together with Nancy until 1987.

The first Snow Bud and the Flower People recordings – the “Drum Drops” recordings – were probably made in December 1985. Snow Bud and the Flower People played their first shows in Portland and Seattle in 1986. Chris only mentioned a single show in Spring of 1986 where Bruce Pavitt gave him his card, saying that he was starting a new record label (Sub Pop). This was the show where Mark Arm (possibly theatrically) examined all of Chris’ gear, including the “love beads” around his neck. Arm was also telling Chris that Green River was “over” – that the other guys in the band wanted to be too commercial. Green River later essentially split into Mudhoney (the less commercial side) and Pearl Jam.

Going to just briefly note here that Mark Arm and Steve Turner do seem to have attended or otherwise been involved with a number of Napalm Beach performances going back to 1981 including the 1981 Johnny Thunders show in Seattle and the KCMU broadcast show at the Rainbow in 1985.

p 62 Jason Moore did not play on any Snow Bud recordings. Danielson seems to have been confused by a tape cover that appeared on Discogs which identifies the bassist, photographer, and typesetter as someone named “Jason” – but the drawing seems to clearly be a caricature of Jan Celt. And in his writings Chris said that Jan “even played some bass” on Green Thing. It is a mystery why that particular hand-drawn cassette identifies Celt as “Jason” but it may be because that particular cassette also features a photo of Chris (as Snow Bud) in a cannabis grow room during an era when growing marijuana was still illegal.

p 65 I feel like this discussion of when “grunge” started misses a lot of stuff. Is grunge really a sound? or is it a fashion? a brand? a place and time?

If you look at it as a sound there are is a lot of music from the early 1970s, when Chris was first playing, that fits the bill. But as far as the Seattle version – I’d recommend listening to the 1982 bootleg of Chris’ performance at the Golden Crown.

A bigger question than “who was first” is, in my opinion, why in all the books that have been written about Seattle music of this era, Chris is never mentioned. Or more precisely, Napalm Beach seems to have been mentioned in exactly one book, called Loser published by Feral Press in 1996 and now out of print. It’s not that Portland bands are never mentioned – they are, though not as often as they should be – but Napalm Beach was not just another band.

I have a lot of thoughts about this, but overall, the narrative seems to have been created specifically to exclude them.

Just to be complete – in addition to Loser (1996) Chris is mentioned – briefly – in maybe two books about Courtney Love – Melissa Rossi’s Queen of Noise (1996) and Poppy Z Brite’s Courtney Love: The Real Story (1997). And as far as I know – other than a few self-published works – that’s it. It’s as if Chris and his music vanished from the face of the earth – and essentially, from history in 1997 – and that they were barely there in the first place.

Chris didn’t like it when I said that his innovations were credited to other artists, because he felt it made it sound like I was claiming they were stealing from him – but the truth is that his innovations were credited to other artists – who never mentioned his name. And it’s taken me years to figure out how this could happen. It’s still a bit confusing, to be honest.

So generally speaking, being as “grunge” has come and gone, it’s not of interest to me to argue about who “invented” it. There are far bigger problems, when it comes to trying to preserve and manage Chris’ legacy.

p 67 Once again, I’ve dealt with the Courtney issue elsewhere. However, this idea that Courtney left letters and diaries behind – did she? If so, I’ve never seen them. Yes, Chris mentioned seeing a diary (possibly left open) on Courtney’s bed mentioning him – but I don’t know if that diary exists today. Chris said that Courtney wrote him letters from England, but they disappeared from his apartment, along with most of his other possessions, in the mid-1990s. In fact, letters and journals of Chris’ have continued to vanish during the time he’s been living with me. We got together in 2009 and he regularly wrote lyrics, and sometimes thoughts, in spiral bound notebooks. He also had a stack of letters from the early 2000s when he was in rehab. But after Chris passed away, I couldn’t find a single notebook from before 2014, and all the letters are gone as well. I have had problems with my own possessions vanishing (especially letters and photos) – but fortunately my journals – when they go missing – and they do – almost always reappear.

And then there’s this business of Napalm’s cover of the Wipers “Potential Suicide” being credited in the film Kurt and Courtney – yes, it’s credited at the end of the film. But I’ve seen the film a few times, and no, the song is not actually used in the film. Why is the song credited? Was it an error? Or is something else going on? The film itself is very weird, starting out as a BBC funded endeavor and then ending up privately funded by unknown donors. Remember how “El Duce” of The Mentors was killed by a train 8 days after doing the interview for that movie? Another question is how Broomfield would have gotten permission to use the song (which he didn’t actually use).

p 67 the description of Chris and Jan’s relationship here is problematic. I’ve written to Danielson about why I think it’s problematic. I believe that Jan was committing fraud with regards to his dealings with Chris.

p 68 I disagree about the assessment of Chris. The primary reason I disagree is because it appears that Chris was being profoundly manipulated. While some of Chris’ business dealings were worse than others, I do not believe that Chris, the Untouchables, or Napalm Beach ever received a truly good-faith offer. There was always some bit of everything Chris tried to do with a label or manager that was sabotaged in some way.

In interviews, and in trying to understand his history – Chris does say that he was worried about being pushed and controlled by the major label music machine. Part of this was because people around him were telling him “you know if you sign to a label, they’re going to make you do x, y, z…. – better to stay underground – don’t sell out” – but in reality, I don’t believe Chris was really going to be given a chance to succeed. I think that people – and even some government agencies – were secretly making money from using Chris in ways he didn’t even understand he was being used.

p 69 Doug Reed seems to have been one of Napalm Beach’s better managers for sure, but even so, there were issues. Also, although Reed has the master tapes, he’s never tried to claim publishing rights, nor has he made it difficult to access the work.

And again, it’s not true that Sub Pop made an offer to Chris.

p 70 “…they never played a show in the U.K. and never released an album there” Chris told me that they had shows booked in London on more than one tour, and that the London shows always got canceled.

p 76 Here is where I discuss the April 1990 “Satyricon Riot”

p 84-85 Unfortunately Valarie was not Chris’ first partner to be unfaithful and/or be involved in the sex industry. Nancy, his girlfriend in 87 and 88 also had been a prostitute – maybe not when she was with Chris – but she was stripping while she was with him, and she was unfaithful. In the 1970s Chris lived with a girlfriend named Kim used to disappear for days, and was also profoundly unfaithful. So it’s not exactly correct to say that these things “had not happened yet.”

p 88 Rumblin’ Thunder is a terrible recording. Chris explained to me that by that point he was so addicted to heroin that he would basically allow anything to be released.

p 89 Chris’ passport with Thunders’ autograph was, I believe, among the many items that vanished from his apartment in 1997

p 95 Denise began to write letters to Chris while he and Valarie were living in San Francisco telling him “you are my Jimi Hendrix.” He divorced Valarie in 2005 and married Denise (who’s real maiden name seems to be Smith – Hackett seems to be an earlier married name) on February 14, 2006. Chris and Denise were divorced around right around Christmas 2008. Chris and Denise never lived together as husband and wife – she stayed in Pasadena and he in Portland, and they would spend a few days at a time together in Portland at a fancy downtown hotel. There is a longer story to be told here, as even though the relationship was brief, it affected Chris profoundly.

p 100 I don’t see Chris and Valarie as being like Sid and Nancy – mainly because I don’t see Chris as being anything like Sid Vicious, who was first of all, NOT a serious musician. Also, some people think that Sid stabbed Nancy to death, another thing that is problematic with this analogy.

When people first began to talk to me about Chris, before I had met him, there seemed to be a script going on in which he was portrayed as a man who had turned his wife out on the street. This wasn’t true. Valarie never to my knowledge made this claim, and Chris always said that she is the one who made the choice to become a prostitue. He protested at first, then finally acquiesced, as he too, was hooked on heroin.

I don’t know that I would personally “blame” Valarie for anything Chris ended up doing – but one thing that I noticed about Chris very early on is that he was a suggestible person. I liked that about him, because it meant that I could influence him in a positive direction. But being suggestible works both ways. A person with ill intent, or headed in a bad direction could easily take him with them. I do not think it’s correct to say Chris corrupted “an innocent and naive young girl who worshipped him like a God.” I never saw a shred of evidence that Valarie ever “worshipped” Chris. On the contrary, throughout their time together, she tended to boss him around. The reality is, I believe that, unbeknownst to Chris, Valarie was “chosen” for him by an outside group. To what extent Valarie herself was aware of the strings being pulled isn’t clear, but I suspect she did know.

In short, Valarie was a honey-trap, and so was Denise. And I think both of them were fully aware of this role. Various honey-traps continued to approach Chris after we were together, amplifying and continuing efforts until he was no longer able to respond to messages and emails.

p 106 This is Chris’ story: Tom “Pig Champion” Roberts of Poison Idea had heard an advanced copy of Curiosities and said to Chris backstage at the No On 9 concert (September 10, 1992) that he thought Curiosities was the best album to come out of Portland.

p 110 let me confirm right here and now – Chris was never a Hells Angel, ffs.

p 114 another thing that apparently disappeared with Meros was the third (unpublished) Snow Bud comic

p 122 I first saw Chris perform in 2006, and I first met Chris in 2007 while he was married to, but apart from, Denise. I had my own band called Serpentone and in 2007 was working on recording an album. At that time Anton Long would drive Chris from place to place, and Anton also would come to my shows. I first played a show with Chris probably late 2007 when I opened for The Chris Newman Experiment at Mt Tabor Theatre. So basically, we developed a collegial relationship between 2007 and 2008. Chris was recording with Lost Acolytes in early 2009 when Lux Interior of The Cramps died suddenly and terribly of an aortic dissection. Chris sent out a message on MySpace – the social network favored by musicians at the time – saying he was looking for other musicians to put together a tribute to The Cramps. I offered to play guitar, and at the same time, asked if he would be open to giving me some lessons. I had seen Chris perform several times by that point, and had bought some of his albums, and was by then aware that Chris was far and away one of the most skilled guitar players and song writers in Portland, and I knew that I could learn from him. Chris agreed to have me play guitar with the tribute band, and also agreed give me guitar lessons after he was done recording the album. He undercharged of course – I believe I paid him $25 for an hour but we weren’t really watching the clock. He showed me guitar parts for the Cramps music, mostly – and we used my Cramps CDs to make a set list for the performance. Chris’ ex-girlfriend Nancy was also part of the group as a singer. By then she was missing an arm. She died, allegedly of an overdose (she had relapsed), a few years later.

One thing I remember from these early days of us working together in 2009 – we were doing lessons with a small practice amp – is how when Chris was talking about getting the set up he wanted for the Cramps, he said that ideally we would have a Fender Twin Reverb amplifier, and a Big Muff fuzz. And I showed him that I had both of those things – a vintage Fender Twin Reverb and a Big Muff Fuzz – and he kind of looked surprised – then nodded, “this is it” – and suddenly this feeling washed over me that Chris was the guy who started all this. Before Mudhoney, before Nirvana, and before everyone who had been inspired by bands like Mudhoney and Nirvana. I felt like with Chris, I had come full circle. In reality, of course, The Cramps were part of that, too – The Cramps always drew from much older music.

Chris and I began working together on the Cramps materials shortly after Lux’s death which was on February 4, 2009 and we became romantically involved the following March. We marked our anniversary somewhere between March 13 and March 14 which was Chris’ mother’s birthday.

When I met Chris, he was not staying with Anton Long, but with Paul Vega, who played drums in the Cramps tribute and then with Boo Frog. At 56 years old, Chris was sleeping on a foam mattress on Paul’s floor in a drafty old house that Paul often heated by turning on the oven and opening the door. Save his black telecaster, all of his belongings – most of which were t-shirts, towels, and a couple pairs of pants – fit into a single suitecase and a backpack (and included letters which later went missing).

p 123 Sage never sent any master tapes for Rock n’ Roll Hell – he sent a CD.

I would not recommend anyone buy anything from Burka For Everybody, being as they were stealing from Chris.

p 130-131 I don’t think Chris thought that Re-Revolution was going to land a major record deal – I think he was just hoping that a legitimate independent label would pick it up. What you really need as an independent artist is promotion and distribution.

“The lack of commercial success for this big final studio project reportedly sent Chris into a depression tailspin that ended up with him being back on methadone for the first time in decades.” This is not true. It is true that Chris was upset that he couldn’t get anyone to pick up the record, but he was used to self-releasing, so that’s what he did. I think it bothered him more to let it sit for three years, hoping, with nothing happening.

Chris was on methadone maintenance for most of the period of time between 2010 and when he died, and there is nothing wrong with that. He did wean himself off methadone sometime around 2015 or 2016, and this left him more vulnerable to a relapse, which began almost simultaneously with his work with Lanegan. There is so much more to this story.

Much earlier in this piece I talk about the word “duck” – as an entity who does medical manipulations to another person, covertly. Another word for such an entity seems to be “bear” – especially when the manipulations are dangerous or deadly. Chris was being manipulated, over and over, to force him to relapse. And this seems to have been widely known around Portland, signaled by people tossing out a variety of symbolic objects including orange syringe caps (or sometimes entire syringes), small wires, and double or triple A batteries. These objects would appear in our pathways either right before Chris relapsed, or right before I experienced attacks of debilitating pain which required me to use prescription opioid medication. Furthermore, there was more than one occasion when Chris was doing ok, then I would have a dream that he had relapse right before, or in some cases almost right as the relapse was occurring. Even though I understood what was going on, there really was nothing I could do to prevent it. Chris might have been able to increase his methadone dosage and protect himself that way, but he disliked being chained to the methadone system which among other things, punished him for using cannabis. I was very proud of Chris, though, because for years he would ride two busses back and forth to the clinic every day, and go to two meetings a week, to get his dose of methadone in an effort to stay off of heroin.

It was, and continued to be a horrible time. I kept trying to get help for the situation, and there seemed to be no help to be found.

p 132 There is a lot to say about Chris’ illnesses, his death, the circumstances around the creation and signing of his will, and so on.

There is also a lot to be said about the circumstances around Chris’ mother’s death, which also appears to have been caused deliberately, something which I simply cannot deny. In any case, the short version is that she was stricken with a debilitating stroke on December 17, 2020 and died three days later, on December 20. Chris became ill right after new years, was hospitalized on January 5, 2021 and died on May 9, 2021. If I tried to begin talking about all the things that happened during that period of time – and since – I’d have a document at least twice this size.

I was not invited, and did not attend the memorial events.

 

Erika Schlaeger Dos Santos

Last night, it is clear that there were frequency-based (radiation) attacks to my brain, and to my lungs. Such attacks have been going on, off and on, for some years, and they were particularly bad last year. It is my understanding – and this is pretty clear – that behind these attacks is the FBI.

The part of this that is a bit confusing is that the FBI seems to work, at least in part, through people whom one would not normally associate with the FBI. They are not, in other words, receiving a paycheck from the FBI. In fact, they may be part of a system that PAYS the FBI, and who, in return are armed with surveillance access and covert weaponry, and are protected when they use these weapons to harm and kill. Who in fact, likely harm and kill at the behest of the FBI. The money for all of this comes from various types of human trafficking and drug trafficking activities, murders and assassinations for hire, and from corporate sources, and even foreign sources. Millionaires, billionaires, foreign governments all pay for a piece. The whole thing is run by the CIA.

One of the individuals who is linked to the FBI/CIA in this way, is the woman I mentioned as being linked to, in the 1980s, at least two underage honey traps, one sent to Chris (Courtney Love) and one sent to me (“George”). That woman is Erika Schlaeger Dos Santos, probably now known as Erika Dos Santos. The Dos Santos part of her name comes from her marriage in the 1990s to an immigrant from Brazil (from whom she later divorced).

I have known Erika Schlaeger – or at least a version of her – since September 1985, when we were both 17 years old. But she usually lived in Minneapolis and I usually lived on the west coast, so our personal contact was limited. Once I understood that Schlaeger was a hostile entity, in spring 2018, I cut off contact with her. But one thing I noticed is that she seemed to be attempting to paint both me and my daughter as “activists” – perhaps with the sense – either covertly or overtly made – that we were dangerous activists. This seems to be something she’s doing on behalf of the FBI. The ironic thing is, though we’ve attended a peaceful demonstration here or there, and in the 1990s I worked for an organization who’s mission was to reduce toxic exposures to humans and the environment – I can’t recall doing anything even remotely activist in the times I had direct contact with Erika Schlaeger. In fact, for the vast majority of that time I was a college student focused on studying, writing, and (what I thought were normal) romantic relationships.

When I knew Schlaeger in the 1980s she lived in a warehouse space in downtown Minneapolis with artists all over the place. She lived in the Berman Buckskin warehouse from about 1985 until late ’88 or early ’89 when, my recollection is, she moved into a warehouse called the California building in northeast Minneapolis. Before I knew her, as a young person, I believe she and her mother lived in the Colonial Warehouse.

Schlaeger has travelled a lot. I knew her to travel, in particular, to Germany (Berlin seemed to be a favorite destination of hers in the 1980s) and South America. To my recollection she can speak at least three languages (English, German, Portugese)- and it’s possible she has proficiency in more. And one thing that’s occurred to me, is when people who I knew back then travelled – and many of them did, often back and forth to the same locations – Mike Payne in Southeast Asia, and other friends to Mexico and South America – it doesn’t necessarily mean they were sharing with me EVERYWHERE they went – much less why they kept going back to the same geographical locations, or how they got the money – while also being college students – to do this again and again.

 

Famous Blue Raincoat

Aunt Marge in in red go go boots and blue raincoat standing before a gold wall and a fireplace
Aunt Marge at Canturbury Inn
Ocean Shores, Washington 1970

I have talked about this image elsewhere, but I’m going to talk about it here in hopes that it will help me illustrate a few points about first, my links to Washington state, Seattle, the music industry, and Nirvana – and second, in hopes that it will help me show a few things about the nature of CIA-driven mind control practices and their links to families, to the entertainment industry, and to the practice of medicine and psychology.

First – just to get this out of the way – the term “mind control” is really not the right term. I’m talking about something that is more like total control – control of business, control of industry, control of human relationships, control of human behavior, and control of human bodies from birth to death – and often the deaths are horrible. Cancer. Car accidents. Drownings. Strokes. Overdoses. Suicides. Shootings. The list goes on and on. I can explain, for all practical purposes, exactly how these things occur. I can provide forensic evidence to support my explanations – at least I could do that, before my equipment was sabotaged. Nonetheless, I made videos.

The only thing I have not done, because I do not personally have access to the technology, is to reconstruct or repeat these things in a laboratory situation. But even if I could – would it matter? How much proof is enough?

Nonetheless, this is too important to simply ignore, and it’s a key part of the story I’m trying to clarify here.

The photo shown here is my father’s sister, my Aunt Marge. She, and my father’s mother, Helen, were nurses at Swedish Hospital, which, according to Wikipedia, is “the largest nonprofit health provider in the Seattle metropolitan area.” Both my aunt and my grandmother worked their entire careers at Swedish Hospital.

The photo was taken, I am almost certain, around Christmas 1970. You can see on the caption that the photo was developed in February 1971. The location of the photo is a room at the Canturbury Inn in Ocean Shores, Washington, a time share that as far as I know, they still own to this day. I visited there in 2006 with my father and my daughter and took some photos and that’s why I recognize the location. Also, I believe I was there when this photo was taken. I was born March 29, 1968. So that means I was VERY young. Do I remember this photo being taken. I’m honestly not sure. What I will say is that I have experienced memories and recollections going back much further than most people do. Sometimes these memories come and go. Often I can remember remembering something, if that makes sense. Maybe that is how memory works anyway – you recall something over and over, and it stays in your memory.

There are other weird things about my memory though, and I could write pages on this so I’ll try to stay focused on what I’m trying to get across.

I’ve been trying to reconstruct the past lately, largely because I was trying to help Chris’ story get out, and get out properly. What I’ve run into again and again is false information thrown out by people who should know better. False dates. False stories. In some cases, the false stories would appear to be corroborated by other people – a false script. And this isn’t just to do with Chris – it’s come up with others as well, including Kurt Cobain, Courtney Love, and possibly Kat Bjelland. Sometimes the false stories – including corroborated false stories – are salacious – meaning – if I repeated them thinking they were true, and lots of people knew they weren’t true, or they were shown to be untrue, it would make me look like a jerk and a liar. So over the years, I’ve learned to, whenever possible, seek corroborating evidence from primary sources like documents or newspaper articles.

There is this whole thing with musicians who fictionalize their backgrounds or turn everything into a joke (Seattle bands of the 1980s and 1990s were particularly known for pulling stunts of various sorts) – and while that may have its place in show business, it’s not the same as reality. That said, I have literally had people say to me – and I’m talking about educated people who should know better – that reality is subjective – like, entirely subjective. And we can just pick our own reality. Those people are linked to the CIA.

The photo shown, of Aunt Marge before a fireplace, wearing a blue raincoat and red go go boots, was for years in a family photo album which also contained a lock of my hair in an envelope marked “Sept 1970.” I have spoken at length about why I believe the photo to be the real inspiration behind the Leonard Cohen song “Famous Blue Raincoat” – and while I won’t get into it here, all one really has to do is to entertain the idea that Cohen saw the photo, knew something about Marge, and her background, knew about the lock of my hair – and then carefully examine the lyrics to Famous Blue Raincoat, a song that takes the form of a letter.

There are a few more things that are likely pertinent here – last time we drove to Ocean Shores I experienced the sensation of having weird flashbacks along the road – like I had been there a lot. But I don’t really remember being there a lot. Also, if you look at a map, Ocean Shores is a pretty isolated area. We would have been going there from Seattle. In order to get to Ocean Shores from Seattle, you drive through Olympia which is the capitol of Washington State and the location of Evergreen State College which I have asserted and shown evidence – is and has been an experimental testing ground for CIA mind control technologies (it’s also where I thought I wanted to go to school in the 1980s). And after Olympia, you drive through Montesano/Aberdeen, where Kurt Cobain grew up.

Up until maybe some time in the 1980s apparently my family also had a time share at the Polynesian Resort next door to the Canterbury – this is where Kurt Cobain worked as a janitor, probably around 1987.

My grandfather was a high school counselor at Garfield High School in Seattle. He was Jimi Hendrix’s high school counselor. He said that he was forced to kick Jimi Hendrix out of high school for truancy. While this was no secret, and he remembered Jimi Hendrix, and had thoughts about his upbringing and so forth no one ever interviewed my grandfather about his links to the Hendrix family. I mention this here because I now know that Hendrix was murdered by the FBI/CIA and that like the death of Kurt Cobain, this murder was something a lot of people knew was going to happen ahead of time, kept quiet, and likely profited from. And I believe this is alluded to in the Leonard Cohen line “I see you there with the rose in your teeth – one more thin gypsy thief” – Hendrix’s last band was called band of gypsies. That said, there may be other – more literal – gypsy (Romani) links. I had a childhood friend named Michele who often dressed as a gypsy for Halloween. She is linked into all of this.

I have memories of what I believe to have been tests given to me as a very young child by adult strangers in what seem to have been hotel rooms. Of course, as a child it all seems like play and games, but there were things about this that made it stand out, and one of the things I’m getting at is that sometimes when things are weird or intense they stand out in your memory. One of the tests was a shell game – where there are three cups or something, and an object beneath the cup, and the cups are shuffled around, and you have to guess where the object is. What I remember about that, was I didn’t pay any attention whatsoever to how the cups or shells were being moved around. I spaced out. And then when I was asked to pick which cup hid the object, I just picked, and I seemed to keep getting it right. And the guy doing the test seemed really amazed about this. So it made me feel special. That was the kind of thing that was going on. Another thing that I remember were these paper cut-outs in box-shapes with animal designs on them like cows and stuff that you were supposed to fold together into 3-D shapes but as I recall at the time I was a bit too young to do those puzzles myself. There were other instances like this off and on through my childhood but these very early ones I thought about a lot because they seemed so detached from anything else that was happening in my life. As a semi-related note, all through my childhood, before the days of caller ID – when the telephone rang, I used to be really good at intuitively guessing who was calling. I was also good at the paper – rock – scissors game.

Ok so there’s that. And then there’s one more memory that I should share here which happened, probably in 1971. What I remember is this – my mom sent me outside to play. I think she may have given me some kind of costumes we had – they were animal costumes. I walked outside. This was on Edgewood Road in Eureka, California. We lived in this house (the address today is 3462 Edgewood Road – was slightly different back then) and behind the house was a copse of trees and I think maybe a dirt driveway or pathway, and it must have recently rained because there were puddles everywhere. As I walked out there, at first I was by myself, and I thought I heard my mother call my name in the distance – but then I thought it must have been the wind. I don’t know how many people experienced this kind of thing as a child (or adult) but I know Chris also experienced it, and I experienced it several times. But what it did here, I think, is alert my attention and heighten my awareness to the events that followed. At some point, another little girl showed up, and then – and I think this was after the girl appeared – a couple of older boys appeared. The girl had a new raincoat that she was proud of. And somehow the boys got the raincoat from her – either they asked to see it, or took it from her. And then they proceeded to defile the raincoat – the only thing I really remember this image of the older boy, who by now had thrown the girls rain coat into a puddle, and was swirling it around in the mud with a stick, saying “there’s the brand new rain coat, all messed up in the mud.”

I would have just thought this was something that just happened, except in 2017 I saw this movie called Colossal which triggered a whole flood of flashback memories to all kinds of time periods of my life, including a lot from the early 1970s, including that incident. Except there was, as there usually is, mergers of different kinds going on, so the raincoat became a diorama of Seoul (this links to a later childhood memory having to do with making models of California missions – and as usual the web starts expanding). Anyway, in Colossal, the protagonist, Gloria, has her diorama crushed by a boy, and this somehow engenders anger which gives her this “power” and so forth. This is part of what’s going on with trauma based mind control, but it’s only a small part. Because it appears that repeated traumas can also cause memory loss, and paralysis as well (aka going to “the sunken place”) So it looks like what was going on in Chris’ life, and in my life, were these two opposing forces deliberately setting up intense or traumatic situations – where there was a questionable boundary between what is real, and what is theatre – trying to achieve opposite goals. One group was trying to put us to sleep, and another group trying to wake us up – or maybe it was just as often the same group, simply being paid or influenced by others farther up in the hierarchy. And of course, the more they stole from us, or intended to steal, the more likely they were to want to put us to sleep, or ultimately, to get us killed. And they finally did kill Chris.

Ultimately, blurring the line between fantasy and reality is extremely dangerous. The psychology of the boy who cried wolf is a big part of this. Everything is ok, until it’s really not ok anymore – but if there has been a lot of play acting and false alarms up to that point, action, when it really needs to be taken, is paralyzed. And if it’s not paralyzed by psychology, it’s paralyzed by threats and/or payoffs.

Cohen’s song may also link to this raincoat incident that happened to me. The idea of a raincoat mushed up in the mud. And for that matter, the imagery of the hat flying into the mud puddle in the heart shaped box video may also be linked.

I am basically certain that Cobain’s stomach problems were the result of covert implants linked to the CIA, and possibly to my own family members (who are linked to the CIA). I also believe that his heroin addiction and his suicide were instigated by the CIA working through medical systems. And Chris’ cancer was also created by the CIA working through medical systems.

Beginning in 2015 I was contacting the FBI asking them for help. In 2019 I told the FBI specifically that our lives were in danger. All this seemed to do was to make things worse. It has since become clear that the CIA is working under the protection of, hand in hand, with the FBI in these things.

One of the last scenes of Colossal shows the main character, Gloria, standing in a blue-tinged rain, wearing an open raincoat.

Colossal – 2016 film