Tag: Sam Henry

Misery Men, Cat With Nine Lives

Somehow I ran into a band called “Dudes of Misery” which featured Snow Bud bassist Nathan Jorg. Nathan is among Chris’ backstabbing friends, sad to say, being as they have played together since the early 1990s. I saw that Dudes of Misery – sounds like a play on “Turds of Misery” – had done a memorial tribute to drummer Sam Henry. I saw they were a spin off of another band called Misery Men. I saw some of Misery Men’s videos. I spent a bit of time thinking about this one

By way of background, I had a dream in 2020 that Sam Henry was in danger from the cancer causing radiation beams that are killing so many musicians, and others. The day after I had the dream, Sam called for Chris and for some reason I picked it up – maybe Chris asked me to answer. I spoke to Sam for a moment and he said goodbye to me in this weird final way that people sometimes do, like they expect me to die. I have been fully aware that there have been murder plots against us, I just didn’t know until after Chris was already gone that the process involved (somehow, I still don’t know the details) reporting to the FBI, but that these reports are financed, and people say and do what financiers want them to say or do. They twist truth, make ups salacious stories, etc. The ultimate goal is to get people killed. And the FBI/CIA goes along with this, probably because it’s their idea in the first place, and/or because they too are getting paid for taking out certain people and not others.

This is a crime covered up in no small part by its audacity. If you don’t already know this is going on, you probably wouldn’t believe it. And even if you do know it’s going on, you are unlikely to draw attention to it, because of the nature of it (retaliatory lies leading to cancer) and who is involved (the Justice Department and the entire health care system).

When I watch the video above, I feel pretty certain that the guys making the video – everyone but Sam – knew Sam was on his way out. One of the things going on in the video is they seem to be pointing to the structure of the crime, giving hints about the system that is being protected through these covert cancer murders.

This video came out Sept 10, 2021. Chris had died four months earlier, on May 9, and to my understanding, Sam did not yet know he had cancer. He would die in February, five months later.

I didn’t see the video until about a week ago, after Sam was already gone, but I could tell from the first frame, this was about murdering Sam. “Out front, let’s get Sam!” in front of a big eye (surveillance symbol). This imagery also seems to link to imagry in the 1992 Pearl Jam video “Jeremy” about a boy who shoots up his school

Next you see this guy who seems to be in the back room of a home or record store, listening to this Napalm Beach album, Fire, Air, and Water (where the song was originally published). Beneath his stereo are two boxes that say RUSH on them.

Flash to this image of their band with Chris and Sam in the middle. One photo has a pot plant in it. Although the song is a Napalm Beach song, it’s increasingly clear that the band Snow Bud was/is especially fetishized. Much of the video takes place at the grave of Andrew Loomis who played drums with Snow Bud as well as with Dead Moon who are also heavily referenced in this video. The bassist of this band, Kelly Halliburton, essentially became Andrew Loomis’ replacement when Dead Moon became Pierced Arrows, and Sam played drums for Halliburton’s other band, Don’t. All of the guys in this band, Misery Men, have been playing music in Portland since the 1990s I think.

There’s a focus on this poster, maybe in part because of the red and white colors which seem to be linked to assassinations, but the way the camera moves, seems to be about to focus in on the name Mudhoney.

The poster is from 1989 and Mudhoney didn’t actually play on this bill …

Camera moves from the poster to this stack of cassette tapes

A view of the posters on the wall – Bad Religion (over Hitler’s face) at La Luna, Black Flag at Starry Night, Devo, Faith No More, Alice In Chains, Tad… Motörhead and Megadeath – Dead Moon on the door. The Napalm Beach album he’s listening to is linked to Flying Heart Records. My contention is all the contracts with this label are fraudulent, because they were made on behalf of outside interests specifically in order to bury the band. Obviously Chris didn’t know this.

This is part of the reason why Chris and Sam were murdered. The desire to get away with, and continue, a global crime and to maintain a global crime network.

A poster for Napalm Beach at the Met, probably from 1981 or 82. Dante’s appears later in the video, it is the same building as the Met. The Met was an all ages club, and in those years it was Courtney Love’s stomping ground.

You see a lot of these mirror reflections which I think refers to presenting or showing someone backwards, or even as the opposite of what they are. False portrayals linked to occult “twin” assassinations by FBI/CIA.


The cat is shown. I think that part of the reason for choosing the song (and showing the cat) has to do with how my cat Roxy is being tortured as a means to punish and traumatize me. And that too is linked to these false stories.

He’s wearing a t-shirt featuring a design taken from Snow Bud and the Flower People original 1986 cassette. (I scanned the cassette cover to make the design for these shirts back in 2010.) The names here are real guys but it also seems to refer to the crime structure – a vortex conductor might be the person who arranges set ups and scripts, creating a vortex to drop people into. If everyone reports that one of their community members is doing terrible things, it must be true, right? Why would so many people (driving new cars and building new homes) lie?

The vinyl dictator probably has to do with how people “sell their souls” to make a record. If you want a record deal or music video, you just need to file some nasty reports with the FBI.

As he walks out, you see a bunch of cars and a brand new wooden fence next door, all of which are rewards people get for filling nasty files with the FBI.

The next scene is at the Candlelight, a bar and Chinese restaurant in our neighborhood. This is where they find Sam. Two masked men walk into the bar and say “come on, let’s get out of here.”

It’s a death symbol. Doubles, twins, the masks.

Death is minimized by this occult group as something like going to another location.

From this point, there’s all these quick cuts of locations cycling between Dante’s Inferno, a bar and music venue; Mary’s Club, a stripper bar (Courtney Love worked there), and Andrew Loomis’ gravesite

Mastered by Tad Doyle. The crow is drinking from a Benson bubbler. This is Dante’s.

Surveillance sign on door, cut to Mary’s Club

Music Millennium Record store

At the end of the video, Sam helps to steal his own record.

Part of what’s going on, possibly, is Flying Heart Records says they don’t make any money, so there are no royalties being paid. But I think that people have simply been trained not to take Chris’ music or rights or professional aspirations seriously. His music is listened to in back rooms, like some kind of private ritual.

I have said before that the same community who helps get people killed are the ones creating memorial shows.

But what puzzled me most about this video was Chris’ little brother Jeremy commented on it.

I don’t understand any of this.

Sam was still alive when he made this comment. One thing I do know is Chris did not like the way Andrew’s gravesite was being treated like a party site.

I guess my first thought was “did you even know your brother?”

And after that I feel like I don’t believe a word he says. I don’t think he cares what Chris felt or thought. And I don’t think he believes in heaven, either.

Spex and Loves Simple Dreams (L.S.D.) Records

from Chris’ draft memoir (1988-1989 time period)

Napalm Beach - Liquid Love - Backlash 1989
June 1989 Backlash showing Napalm Beach with Simon Simoncini

I got a package from Germany. It was a rock magazine, it looked similar to SPIN. It was called SPEX, and inside were three one hundred dollar bills. They told me the reels of master tape Tom Robison had sent were now vinyl albums on L.S.D. – Loves Simple Dreams Records – in Berlin. The music critics voted it into the top ten albums of the year. Napalm Beach – MOVING TO AND FRO.

Wow! Henk Van Drummel had been a door man at Satyricon. He had a visa while doing the forign exchange student thing. I had signed a Teen Dream album for Henk one night at the bar. It mentioned, “I hope we get to Germany someday.” Henk and his girl Heike made that dream come true.

It was so fucking amazing. We were going to tour Europe in Novermber and half of December of 1989. We all three had been dabbling with cocaine and heroin for far too long. We knew we had to prepare for kicking our drug habits.

We had to find a new bass player. Simon (Simoncini) had left for good this time. He left on July 4th, 1989. He is still clean and sober today. I loved playing music with Simon. He was younger and very good looking. A sweet funny guy, that loved to get loaded. We shot so many speedballs. We got scared sometimes doing massive injections of cocaine. We all saw people having coke seziures. They can’t remember their own name. Cocaine was the scary part of the speedball cocktail. It overpowered the heroin at first, but it always won over after the cocaine fades away quickly. That’s part of the reason addicts keep reaching for the coke rush.

Sam and I tried a few bass players out, but they had to have the outlaw image. they had to be able to play good enough to hold down mine and Sam’s on stage onslaught of Rock! There he was, all 6’6″. Too-tall Dave Dillinger. He was pretty new in town. He was from L.A., twenty one, and he knew his music. He played a little drums, and guitar too. Bass was his forté. He had a solid simple style that suited Sam’s busy drumming style, and gave me something solid to build chord structures around. My soloing sounded fuller with solid bass support.

Sam had been getting more and more into his drugs. He was really bummed when his girlfriend Debbie left him. My girl Nancy also left that same weekend. Napalm Beach were booked to play at the Central in Seattle. We had no bass player, so Sam played bass, and this guy Dave Meyers, played drums. Sam and I were so fucked up, shooting speedballs the whole way. Dave Meyers drove his van and the equipment with his buddy Jim Micheals riding up front. Jim was new at it, and kept turning around because he was jonesin’ watching us shoot up the whole three hour ride.

Needless to say, we sucked shit. I can’t believe we called that desecration of music Napalm Beach. Seattle band guys were there, like Mark Arm of Mudhoney and Lee Conner of Screaming Trees.

Sam and I went on the stairwell after a couple of songs and shot more dope. I could not stand up with out holding on to the mic stand. How was I supposed to play guitar? My god that sucked shit!

I wrote,”She Moved Away” after that.

Sam was impossible most of the time at that point. I was hating working with him, and dreaded having to buy any dope from him.

Dave Dillinger’s first gig was a tense one. The Satyricon was packed, we went on last. Sam still is not present. We set up his drums, we are standing on stage waiting, tuning. It’s getting close to 2:00AM and they close at 2:30 in Oregon. Sam walks up and immediately starts complaing about how his drums were set up wrong. I screamed,”YOU’RE AN ASSHOLE!” He threw his beer in my face. I stood there fuming, humiliated, beer dripping down my face on to my guitar. Jan, transfixed on the side of the stage, showed his worry. “Do I have to take this?”, I pleaded. Jan nodded his head.

The crowd watched in awe as we went into a more menacing version of MONSTER than ever before. I improvised the lyrics to fit the impending doom. We made it through the set, and went our seperate ways.

This was too big to fuck up. I had one little side trip to take, before that jet airliner took us to Europe.

Satyricon 1984

Going through images I just found these screenshots I made from viewing a post shared through Chris’ Facebook account back in March of 2019. The original post was made on January 28, 2018. Courtney Love has had a habit of popping into Satyricon related Facebook accounts, leaving a couple comments, then disappearing for a few more years. In this case, she comments about Napalm Beach letting her “sleep on their couch” with what looks like maybe an implied comment to Chuck Arjavac. Reading that, Chris commented to me that actually she lived in the band house and had her own room (1981). I don’t know if I’m reading too much into this but elsewhere I’ve read there was someone in the 1980s Portland punk scene named Eric Couch.

I count three people in this thread who were fine when it was posted and have since died of cancer: Matt Loomis, Chris Newman, Sam Henry.

The Beginning of Snow Bud and The Flower People 1985-86

by Chris Newman

When I used to work part time at the sign shop, I would take an hour lunch at my buds house, Greg Slyter. Slyter was a real character. He reminded me of Dennis Hopper or Ed Norton the goofy neighbor on the Honeymooners. Slyter was a jazz nut, and a Hendrix buff. He played guitar and he always had the best pot in town. He wasn’t a dealer, but he would help out close friends. We got to be close. He didn’t hang with the chicks, ever. He camped, jet skied, and did moto cross racing, until he busted his jaw.

We had the Jam for Lunch Bunch, and others would join us too. We even became room mates for a while, but Kim couldn’t be trusted. The first week she was fucking my drummer Tim Pederson.

One Christmas vacation, I believe it was 1985, I decided to record a tape to amuse Slyter when he returned from his ski trip. I had a record called Drum Drops, it had studio recorded drum parts with fills running the average length of a typical song. They had Hard Rock, British Rock, Blues, Punk Rock. It had a lot of beats with fills and endings.

What I did was write down some silly song titles.


I then played bass along with the desired drum drop beat, and hit the record button. What ever came out was the basic track for the song. Then I had three more tracks open for guitars and vocals.

When I finished that night, after about six or seven hours straight, I listened. I got scared. What I heard happened so effortlessly and naturally, I felt like it was guided by the hand of the Devil himself. Of course i was stoned out of my gourd, and exhausted from working straight through the night without a break. Nothing fries the brain like recording, overdubbing, and mixing.

This of course was me still dealing with the remains of my religeous upbringing, which someone like me can take a lifetime to re-adjust to a normal mode of thinking. Even now at almost 60, I sometimes feel traces of guilt over my silly outdated childhood beliefs.

Needless to say, my tribute to Marijuana, and the music I grew up smoking it to, turned out to be a big hit with a lot of local kids.

Matt Loomis nabbed a cassette of the original recording. I called it SNOW BUD AND THE FLOWER PEOPLE, referencing a note I had left on Slyters door a few weeks before this recording. I had been wanting to obtain one quarter ounce of the new frosty white pot he had acquired called Snow Bud. My note was cryptic, so as to throw off any law enforcement officer happening to stroll by and read the note’s contents.

I need the new quarter inch tape of Snow Bud and the Flower People

That was where I came up with the goofy name. Matt told me all his friends and their friends want a cassette of Snow Bud and the Flower People. It was music styled from the mid 60’s early psychedelia we both grew up on. A naive time. The world belonged to the youth, and we were going to change some things. Slyter and Roth joined me in Gregs living room. We set up the oversized blue vista lite Ludwig drums, on loan from Tim, my sisters husband. Me and my Teac A-2340 4 Track and Roth’s keyboard, Twin Reverb amp, Fender Stratocaster, and my 1980 Gibson custom white Flying V. The Mig Muff Fuzztone, and Cry Baby Wah-wah pedal, and a MXR stereo Flanger, Boss echo pedal. That’s all I needed.

Jeff Roth was originally the drummer, and he could play the best fake jazz ever. He can play some cool Latin type beats too. I would play the caveman pounding drum parts,like on Bonghit and Killer Bud. I called myself TUMBA on drums. I was also FUZZ ROCKMAN on guitar and SNOW BUD on vocals and Ukelele.

When Roth heard the bizzare noisy sped up vocals and backwards masking on BAD TRIP he really freaked out. He was scared, and said “This is wrong, we can’t do this!” It was worse than my initial reaction.

Snow Bud cassette side A

That first cassette became an underground regional hit.

My friend Hippy Brad bought over one hundred cassettes from me and distributed them and sold some to kids on Haight Street in San Fransisco. He travelled there a lot. He owned the Pied Cow, a cool coffee shop on Belmont Avenue in Portland. He said kids were wearing jackets with Snow Bud and the Flower People on their backs. It was so great. I had complete control of this product. I would put together cassettes outside of 2nd Ave. records, and sell the owner twenty cassettes at $60.00, and they would double their money and sell for $6.00.

We hit Seattles Vogue nightclub. Mark Arm of Green River was there. He was digging the wah-wah and Big Muff fuzz pedals. He seemed to like the goofy retro buttons I had made and the beaded peace sign. Arm talked about Green River splitting up. He claimed some of the guys wanted to go the MTV route and the big bucks.

Pearl Jam became that band.

I told Mark Arm I admired him for sticking with his initial desire to play music he loved first and secondly for the fans, and hopefully some money.

The first couple of Mudhoney records were exciting and edgey. They were channeling Iggy Pop from the Rolling Stones inluenced RAW POWER stage in the Ig’s carrer.

When Napalm Beach was touring Europe it was the same club circuit that Mudhoney, Tad, Hole and Nirvana worked. I saw some cute graffiti left behind on the dressing room in a Hamburg venue. Courtney Love had left a message for Jerry A of Poison Idea, reminiscing about their practice space parties with 40 ouncers of Old English 800. I was a little hurt she never mentioned me on the walls. I did see the message from Mudhoney on the dressing room table in Stuttgart I believe. It said “HELLO NAPALM BEACH – Greetings from MUDHONEY!” with a drawing of a dripping syringe carved below.

Sub Pop was a new label. They started out as a fanzine and developed while Bruce Pavitt, Mark Arm, and Poneman worked at Muzac. Some other future label mates worked their too. That night at the Vogue in the Spring of 1986, Pavitt approached me in the backstage area. He was excited about the show and the cassette. He expressed interest in Snow Bud. I loved the Snow Bud music, but dreaded the thought of forever playing the cartoonish character the rest of my days. The music was inspired by the Cramps, Jimi Hendrix, the Stooges, Velvet Undergriund, and Gun Club. This was the music I was engrossed in and studying at that time.

As usual, I didn’t follow through. I wasn’t paying attention. I heard promising talk all the time. I didn’t realize these Seattle dudes were actually onto something. I could have grown with the SUB POP label, or possibly been buried by the label. They went on to become huge in the music industry, changing the whole playing field, and some of the the rules.

Music is competetive. They have the sleazy underhanded stuff going on. People ripping off ideas, and squelching and dousing the flame of their rivals.

Mother Love Bone was the first spin off of Green River. Andrew Wood was a little gypsy Steven Tyler type rock star in the making. I met him at the Satyricon the one night they headlined. He was friendly and respectful to me. He made me feel important, and that always endears a person to another. I was waiting outside the stall in the Satyricon Men’s room. Wood was on the single toilet, obscured by a crude curtain since the door had long been broken off. I was waiting to fix myself. I realized as I saw him stick the needle in his arm through the shabby curtain’s gaps.

Andrew Wood went on stage before a packed house and you could see him pointing to the bleachers at the top back row of the Kingdome in his mind. He was going to be the old school rockstar reborn.

It was sad when he overdosed a few months later, right on the verge of stardom. Eddie Vedder took his place as the Pearl Jam frontman. He is the “Every Man” frontman ala Bono.

I felt that these Seattle bands were getting every kind of break a band could wish for as far as exposure and good press. The trouble was 90% of it was mediocre bullshit.
There are potential Kurt Cobains and Elliot Smiths out there even now, but they will go unnoticed with the distractions and slight of hand drawing any attention away from the true and the beautiful. The bottom line is party bands and hate fuckers get on your nerves after a few listens, but a well crafted beautifully delivered song will tame the savage beast and make the little girls cry everytime.

Snow Bud Sub Pop single 1993
1993 Snow Bud Sub Pop single

Snow Bud did eventually get a Sub Pop release with the Single of the Month club series.

It was Killer Bud, (4 track version) and side two was “Third Shelf” from Green Thing, 24 track and Drew Canulette produced. It included a twelve panel cartoon, “Snow Bud in Hell” 1,000 in print. It was an honor and a delight to be on the label at the time. I recieved a few copies, and got paid a few hundred dollars, which I generously split with Jan Celt.

Untimely Deaths

Below is embedded a long thread I started in July 2020, trying to call attention to what I consider to be an unreasonably large number of untimely deaths of musicians in the Seattle, Portland, and San Francisco music scenes (of the 1980s, 1990s, mostly). I was trying to pound the alarm, basically, and put a stop to what I knew were not random events.

Little did I know that less than a year later, Chris would be gone, and less than two years later, Sam Henry would also be gone. These deaths, even though they are from cancers, heart attacks, car crashes – are murders.

Since Chris died, I see that misinformation has come out about, not just his death, but about his life. Reviewing his Wikipedia page the other day, I felt that I shouldn’t just let what I knew to be either false information, or gaping holes in the true information (he died of cancer, but it was still murder) – stand completely unchallenged.

In June 2021 I spent about two days straight attempting to report Chris’ death to Portland Police as a murder, and they spent two days avoiding and/or discounting me, refusing to even take a report, much less open an investigation. In fact, I have a lot of information supporting the fact that Chris was murdered, and that many people were involved.

Nonetheless, as time goes by, and people continue to die from these same kinds of financed, slander-instigated, wireless attacks, I think it is actually important that the true story is supported and brought forward until it at the very least becomes part of the narrative.