Tag: San Francisco

Portland-Minneapolis-UK-Germany Connections

Chris Newman hand-painted skull guitar 1987
Chris Newman and his hand-painted guitar 1987 – photo by Denis Jones

As part of an effort to preserve and when appropriate and possible, re-release Napalm Beach albums, I’ve been working on parsing out Napalm Beach’s history 1980-87. There seems to have been a number of turning points in Napalm Beach’s history that, the deeper you get into it, look more and more like pre-planned set ups, secretly spinning the band around like a blindfolded child trying to hit a birthday party piñata. These turning points seem to occur every three years or so (give or take) and often they seemed to involve processes that take about three years to work through. This kind of thing can actually be seen as a repeated motif throughout Chris’ life history, I’d say going back to 1964 and the Beatles appearing on Ed Sullivan. In fact, it would be an interesting experiment to tell Chris’ life story that way – as a series of three-year increments starting with February 1964.

For now, however, I want to explore something I noticed yesterday, while working on the history of Napalm Beach during the period of time they were most closely paired Greg Sage and the Wipers, as well as teenage Courtney Love. I’d been creating a zine-style document to use as an incentive for a fundraising effort, and within this zine, trying to summarize the history around what I consider to be Napalm Beach’s first four albums – Rock & Roll Hell (1984 cassette), Pugsley (1985 cassette), Teen Dream (1985 cassette 1986 LP), and Moving To And Fro (1986 cassette 1988 LP). In doing so, I’ve found myself regularly going back to the draft memoir Chris composed, mostly in 2010, for details. Gradually, things start to come into focus with regards to the clubs Napalm Beach played most frequently, and the band’s professional progress (and lack thereof).

I will say right now that I’ve started writing this blog with only a vague idea of where it’s going to end up. This is a thinking through of patterns and puzzle pieces that seem to fit together.

Portland Met (closed Jan 1, 1983) and Seattle Met (March 1983 – March 6, 1984)

I do not think it is an accident that there was a club in Portland called The Metropolis aka The Met which closed on New Years Day 1983 (Wipers and Napalm Beach having played the last show there together on New Years Eve 1982) – and a club in Seattle that opened under the same name (Metropolis/Met) four months later, then closed after almost exactly one year in March 1984. Nor do I think it’s an accident that the last show at the Seattle Met – a club that featured almost entirely local punk/alternative bands with some punk/alternative touring acts, almost always from the US* – was Alien Sex Fiend, a band from England. Nor do I think that it was an accident that the Seattle Met closed almost exactly the same time Satyricon started up in Portland. Nor do I think it was an accident that I was told by several people in the early 2000s that the “favorite song” on Satyricon juke box was Alien Sex Fiend “I Walk The Line” – a song I would describe as hypnotic, possibly trance-inducing.

Seattle Met was founded by Hughes Piottin, a French immigrant who had moved to Seattle (either from Alaska or after fishing in Alaska) in 1982. In a 2014 article, Countercultural Seattle Remembers: May 13, 1983: The Metropolis, Piottin (Loser 1996) and Bruce Pavitt (in an undated “later” Seattle Post-Intelligencer article) both describe the Settle Met in ways that to me, sounded a lot like how George Touhouliotis described Satyricon. In some ways, the Seattle Met sounds a bit like a combination between all ages community spaces and Satyricon.

Susan Silver helped run and book the Seattle Met.

Marti Wyman, Courtney Love, Ursula Wehr, Robin Barbur (Bradbury)
Marti Wyman, Courtney Love, Ursula Wehr, Robin Barbur (Bradbury) – Satyricon, 1987

One of the things that Chris mentioned in describing the Portland club was that “Courtney Love and her friends Robin and Ursula were the femme fatales of the underage side of the Met.” If you look online, you may find photos of Courtney Love, Robin, and Ursula as early as the Met days, but having been researching this history off and on for a few years now, I’ve noticed these photos often tend to vanish or become difficult to find. I have a photo of the three of them, plus Venarays singer Marti Wyman, at a Napalm Beach show at Satyricon, in 1987, after Courtney had her film roles in Straight To Hell and Sid and Nancy, and probably wasn’t living in Portland.

I find it’s an interesting thing to think about, because the early 1980s was a period of time when it seems Courtney Love was just getting into music on all different levels – writing about music, playing music, becoming romantically involved with musicians – and it’s also a period of time that she was traveling a lot. In 1981, after a stint hanging out in Portland and house-sharing with Napalm Beach – she went to Ireland and the UK – apparently with her dad and Robin. And there are photos that occasionally surface online of Courtney, Robin, and Courtney’s father Hank Harrison at a 1981 photoshoot in San Francisco.

Robin and Chris Newman stayed in touch. Robin has always been friendly to us. Robin is one of the people whom Chris chose to sign as a witness on his will. When that time came, Robin arrived with a plywood cutout of a guitar, that I think she said came from Germany, that she asked Chris to sign.

I’m including this detail only because it suggests there might be a link between Robin Barbur and Germany. There definitely is an ongoing link between Robin and Courtney.

Cutouts, LSD, San Francisco, Minneapolis, New York, Berlin

One of the patterns that I see with Courtney Love is the whole time I have known Chris, she almost never has communicated with him directly – key word being almost. Every so often she would sneak in and make an exception to the rule – but never long enough to establish any kind of relationship or meaningful communication. Meanwhile, it seems like she has proxies everywhere. I doubt that Rozz Rezabek ever lost touch with Courtney Love. And there are things that suggest she’s had links to people I didn’t ever realized she’d really been linked to, like Monica Nelson.

The more I study this time period with Chris, also, the more I realize how important San Francisco and Los Angeles were.

With regards to Minneapolis, I’ve already seen that in 1988, while I was living in St Paul, Minnesota; Courtney Love was in Minneapolis and had contact with Erika Schlaeger, who was close to me. And I have detected a pattern of teenage honey trapping linked to Courtney and/or someone handling her. And I have noticed proximity links to LSD.

Now I’m noticing more things. I’m noticing lots of movement between San Francisco, Portland, and Seattle – with lots of different people. Maybe this isn’t so strange, or maybe there’s something special about San Francisco (and I will say I think there’s something special about San Francisco). San José, Oakland, San Francisco, Marin – are all part of the San Francisco Bay Area. People who seemed to travel frequently to San Francisco included Rozz Rezabek, Courtney Love, Chris Newman and his band mates Sam Henry and Dave Minick, and the guys in Mudhoney (who IIRC had a party pad across the street from Rozz’s) and Melvins (Buzz Osborne and Dale Crover circa 1988). Chris met Valarie through Sam in San Francisco, 1983, a few weeks after recording Rock & Roll Hell.

Back to Minneapolis – I started college in St Paul in late August 1987 – and I already knew Erika Schlaeger going back to 1985 (at that time Schlaeger had already been to Germany and I think England at least once) – so of course when I got to the Twin Cities, she’s one of the first people I contacted. I feel like, one of the first things she did was play me a cassette of Babes In Toyland – but maybe that didn’t happen until later. She talked about them like they were all friends of hers, and I guess she did know everyone in the band. And it’s interesting to speculate how Babes In Toyland got together, because I think that Kat Bjelland had moved to Minneapolis in 1987. Bjelland’s Portland band, The Venarays, seem to have been playing fairly frequently, mostly in Portland, at least at Satyricon, in 1986-87.

I can currently find very little history online about the Venarays, especially as far as dates are concerned. There is no existing Wikipedia page for Venarays. My recollection is there used to be a little more information online about this band, for example, who the other players were, when they started and ended, and any line up changes. Right now I’m finding most searches on the band lead to Kat Bjelland’s Wikipedia page, which I believe is informationally problematic. Did Kat Bjelland move to Minneapolis in 1985? If so, was she traveling back to Portland to play in the Venarays? It’s possible that she was no longer in the Venarays after 1985 – but I don’t think so.

I find it odd that it’s so difficult to find specific information about the Venarays – a band that actually wrote and performed songs – versus a “band” like Pagan Babies (and its previous/subsequent forms) which most of the time wasn’t a band that actually wrote and performed music.

It is possible that Erika Schlaeger, Kat Bjelland, and Courtney Love form a trio of links that extend out into different areas. Courtney Love travelled all over throughout the 1980s. Erika Schlaeger also often travelled to Europe and South America. Of course Bjelland and Love both travelled a lot in the 1990s, as they were both in successful touring bands. In 1988, when I was in St Paul/Minneapolis, and apparently Courtney Love was also traveling the same circles in Minneapolis, Erika Schlaeger travelled to places like New York, Chicago, Berlin. Berlin was her big destination spot at that time.

Leonard Cohen – First We Take Manhattan – written 1987, performed 1988

Chris Newman became linked to Berlin through a very small label called “Love’s Simple Dreams” aka LSD Records. He was put in touch with them through Henk Van Dreumel, a Düsseldorf-based German man who was working the door at Satyricon. Or at least, Chris understood Henk to be German – however his name is Dutch and Düsseldorf is very close to the border with The Netherlands. Henke’s girlfriend at the time was named Heike and I believe she went on to be an international booking agent. I do recall Mark Lanegan having known her. It was Henk and/or Heike who set Chris up with this Berlin label “LSD.” Henk then went on to form his own small label out of Düsseldorf which he ultimately called Satyricon Records. A test pressing of Napalm Beach’s LP Moving To And Fro, was sent to Chris, via Satyricon, with Henk Van Dreumel’s Düsseldorf return address under the name “Positive Sinking Records.”

The Berlin-based Loves Simple Dreams record label, according to Chris’ memoir was run by the owner of the Ecstasy club. Here is what Chris wrote about that club:

The Ecstasy club was a huge building. It housed apartments on top, four bars, and at the least five stages. It was run by Thomas and his beautiful wife Petra. We were extremely excited about playing there. The aprtments were covered in entertaining graffitti. Bands from everywhere had witty scrawlings, and drawings. I had to contribute. I saw a message from Mudhoney. It was a syringe dripping blood, and it said,’Hello Napalm Beach.’

This would most likely have been November 1989. Mudhoney had played the Ecstasy on April 1, 1989, and they had also played there on October 10, 1988. Of the 1988 show, Mudhoney tour book notes “This festival (Berlin Independence Days Music Festival) was sponsored by the former government of East Germany, which also featured a performance by French band, Les Thugs.”  This show stands out for a number of reasons. First – the bizarre mention of the “former government of East Germany.” What does that even mean? The fall of the Berlin Wall didn’t happen until the following year, November 1989 (a month when Tad, Nirvana, and Napalm Beach were all first touring Europe, and playing Berlin) and East Germany was still a nation until October 1990. Another strange thing about this show, is it appear to be the only show Mudhoney played in Europe in 1988. Mudhoney had actually only existed as a band since April 1988, Green River having officially broken up in October 1987, and it appears to me that the 10/10/88 show at the Ecstasy club was their one and only European date that year – and very likely the very first Sub Pop linked European show. Both Bruce Pavitt and Jonathan Poneman were there. This show was followed by Mudhoney’s first US tour. Mudhoney then returned for a European tour the following spring, 1989. You could say they hit the ground running. As for shows played in the first six months of their existence (April – October 1988) , Mudhoney played Seattle’s Vogue five times, Portland’s Satyricon four times, Seattle’s Central Tavern and Squid Row once. The last show they played before flying to Germany was Portland’s Pine Street Theatre, October 2. Ten days after their Berlin gig, on October 20, 1988, they played with a band called Toadstool at Minneapolis’ Uptown Bar – a favorite haunt of Erika Schlaeger. This about a month before Mike Payne left Minneapolis and I essentially never saw him again. Payne would soon end up at Western Washington University in Bellingham and eventually settle in Tacoma, just south of Seattle.

It would be interesting to look further into this and figure out how big this government – or possibly government to government – connection actually is. Mark “Arm” McLaughlin, the lead singer for Mudhoney, is the son of a German-born mother and Air Force veteran father, and he grew up in Bellevue, the same Seattle suburb where my grandparents had lived since the 1960s. Bizarrely, on April 9, 1994, one day after Cobain’s body was “discovered,” Mudhoney and Pearl Jam were both in Washington D.C. with the Pearl Jam meeting and taking a photo with President Clinton.

Everett True links to Olympia and Seattle

It’s worth remembering that June 27, 1988 is the date that Sub Pop Sundays ended and Bret Bowman, while high on LSD, was hit by a car. He would then remain in a coma for about 15 years. The situation with Bret is a link to medical malfeasance and financed FBI files. It’s also worth remembering that Bret was on his way to Oregon meet a mutual classmate of ours – Scott Gear, who at least by the end of 1988, had a job in Seattle with Sub Pop as a driver for the English rock critic Everett True. I do believe Scott ultimately worked for Sub Pop for several years.

The standard story about the global grunge explosion is that it was ignited by a story or a series of stories in the UK music magazine Melody Maker written by Everett True. That Sub Pop had the brilliant idea to finance True’s trip to Seattle to steward around town and show him there was an exciting music scene happening. What is less clear is what the roots of the connection were between Sub Pop (especially Olympia and Portland linked Bruce Pavitt) and Everett True, for example, at his prior job with New Music Express, where he was known as The Legend! – actually an interesting parallel Rozz Rezabek’s self-appointed tile years later “Punk Legend” – a title possibly spun off of one of Rozz’s self released albums “Lover Legend Liar” – which itself is an interesting title when you think about potential links between Rozz Rezabek, Courtney Love, and Everett True.

What I’m trying to say is, I think that Everett True’s links to Olympia, and K Records (from which Sub Pop essentially spawned) goes back years earlier. In his 2006 book Nirvana: The True Story Everett True says that he first became aware of Beat Happening in 1985. He mentioned specifically the cat in a spaceship album cover on the Beat Happening self-titled debut, which was a riff off of Wipers’ Greg Sage’s 1981 Trap Sampler that featured both the Bruce Pavitt managed band Pell Mell, and Napalm Beach. Both Trap Sampler and Beat Happening were recorded by Greg Sage. If True was dialed into Beat Happening, he was likely dialed into the Wipers and Bruce Pavitt as well. Did True have direct contact with Pavitt, Calvin Johnson, Tobi Vail, or others linked to this scene before 1988? I think he did. But again, this is rarely mentioned.

Coming back again to February 1988, that is the postmark on the test pressing of Moving To And Fro.

In other words, Napalm Beach’s fourth album (second album on vinyl), Moving To And Fro, was being pressed as Mudhoney was being formed, and it just so happens that the first European show Mudhoney ever played was at the club owned by the guy who was pressing Napalm Beach’s album, Moving To And Fro. And it also just so happens that this is the same period of time that I was living in the Midway district of St Paul Minnesota, and Courtney Love was about to arrive in Minneapolis to intersect with Erika Schlaeger, who was traveling back and forth from Minneapolis to Berlin. If I recall correctly, Erika S often flew first to New York, and then from New York to Berlin. And it also just so happens that the town where I’d gone to school in Germany 1984-85 (Kamp Lindfort) was about 30 miles from Düsseldorf, where Henk had been centered. These kinds of things are why, even though it would seem that Chris and I had different kinds of lives, we also had a lot in common. It also seems increasingly like these weren’t just non consequential coincidences. There were manipulations happening to me as well as to Chris, including manipulations intended specifically to sabotage my dreams of living in Olympia or Seattle and being in a rock band – both of which I’d wanted to do in the 1980s.

Moving To And Fro test pressing mailed to Chris Newman c/o Club Satyricon – postmarked 23 February 1988

At one point in his memoir, Chris abbreviated the Berlin club name as “XTC.” In fact, this period of time does seem to mark a turning point in an “X” – which the band Napalm Beach was sent down, and other bands like Mudhoney – but especially Nirvana – were sent up (crossing paths about this time – 1989-1991). Generally speaking, it looks to me very much like Napalm Beach and Nirvana were picked out ahead of time to parallel each other in a rise and fall kind of way, but that the intent was always to destroy both bands and their artist bandleaders – Chris Newman and Kurt Cobain.

German labels – L.S.D. and Satyricon Records

It appears that both Love’s Simple Dreams / L.S.D. and Henk Van Dreumel’s Satyricon records released a total of 18 items each, according to current information on discogs.com. LSD records released 18 titles between 1986 and 1990 (Moving To And Fro LP being number 7) – (in fact the number of unique releases seems to be closer to 14, others being the same title in different formats). Satyricon records (1988-94) released five Napalm Beach titles, at least two of which should never have seen light of day for reasons that would be obvious to anyone listening to them or understanding under what conditions they were released, and in fact, being as Napalm Beach’s contracts with Flying Heart were fraudulent, I think could easily be argued that most or all of these releases on Satyricon should have never happened. Chris has said he was reaching a point in the late 1980s and early 1990s when all that mattered to him was survival and drug money – and it’s clear that his choices for publishing were unduly limited – but from my perspective, that doesn’t make it ok to exploit an artist, regardless if you’re the record label or the alleged “manager.” By “exploit” I mean to take advantage of the person in a way that is clearly harmful to that person. I do suspect that a confidence game was being played here. By the time the really ugly recordings came out, Napalm was about to be, or had already been frozen out of touring for good.

In retrospect I think it has to be asked whether either one of these labels ever was truly intended to succeed as a label, or if they were not also constructed as a type of trap. They seemed to have worked out deals with Flying Heart on behalf of Chris – for example the addition of Snow Bud songs – songs to which Jan coercively stolen publishing rights – on Moving To And Fro – without asking Chris first. There were times when Chris could easily be manipulated simply by someone he saw as a person in a position of authority telling him “this is how we’re going to do it.”

All of these things of course were done under the guise of friendly and supportive relationships. The whole thing is complicated by that, and by the fact that Chris was increasingly blacklisted, meaning that by 1988 any record deal looked like a good deal to him. Chris didn’t understand when beginning in 1990, he was having to open for bands like Dead Moon, who had previously opened for him. This is epitomized I think by Nirvana playing Napalm Beach’s usual New Years Eve spot, headlining at Satyricon – while Napalm were in Berlin – at the Ecstasy Club – opening for Dead Moon.

New Zealand 1992
Fred and Toody – probably a photo from around 2010 – found on my hard drive

On most articles I write, I leave the comment fields off, because first of all, no one ever comments on my blogs, and second of all, should someone decide to comment, I don’t want some random Kurt Cobain / Courtney Love conspiracy theories or shaggy dog tales.

I think, however, I will leave the comment field open on this particular article, and here is why – I’ve covered a lot of ground, made a lot of connections, and mentioned a lot of names. I want to give people the opportunity – especially if their name has been mentioned – to explain, clarify, counter, or rebut. My intent is never to shut down dissent, to insulate myself from justifiable criticism, falsely accuse, or twist facts. So if anyone feels I’ve done any of these things, and has a countering viewpoint to offer want to make sure they have that opportunity. I don’t have a problem with debate. I do have a problem with people who object to things I say, but refuse to do so directly to me. How, exactly, is that helpful?

I said at the beginning of this article that I didn’t know where it was going. To me, I feel like where I ended up was at the idea that Napalm Beach (and their mirrors, Nirvana, Mudhoney et al) was at the center of an international conspiracy and confidence game linked not just to different branches of the music business, but possibly to a number of government entities both foreign and domestic. I mean, I feel like that’s basically what I have just described. And that the proto-Satyricon Records name “Positive Sinking Records” – was far more than a German accent joke.

* One of the other few instances of a non-US act playing at Seattle Met was John Cale with a band called Memory, and Napalm Beach on August 6, 1983.

Courtney Love, malfeasance, “Big C Mart”

Lately it seems like whatever I dream at night, I don’t remember much of it, but I’m left with an overall impression in the morning. Last night I was woken up a couple of times by Roxy screaming in pain, and I had the strong sense of Courtney Love being behind it, as I did last night and again this morning. This morning the indication was that Courtney Love is a CIA finance gruber (channel) behind much of the malfeasance in Portland’s government – the cars and construction projects. That this is all linked to FBI files that she scripts. Also, that she’s linked to the implanted devices in my mouth (tooth 14, 15). I normally would hesitate to write this stuff without outside evidence to back it up. But I have been writing about her a lot lately, and I have also taken steps to prevent Chris’ legacy from being wiped away and this seems to have led to retaliation.

Backing up for a moment – years ago, before I knew anything about any of this, I was interested in the music of Courtney Love and Hole. At that time I was going out with this honeytrap named Tom Harrison who I now think almost certainly was linked to her. I remember me saying something about being interested in her work at one point and he responded that he thought I was “obsessed” with her. That struck me as odd. I didn’t think my interest in her as an artist was anything close to obsession. This would have been around 2004 or 2005.

By the way? In spring 2005, the night before one of my cats, Princess, was found dead in a driveway – something that was both a twin event and had also been “predicted” in a dream – Tom and I had been watching The People Vs Larry Flint a movie starring Courtney Love.

I’ve had dreams more recently indicating that all this abuse and killing of pets is Nazi-origin stuff linked to the CIA.

Shortly after Chris died in May 2021, I received a series of anonymous comments on my YouTube channel by a user called “zille1313.” This user obviously had some kind of inside scoop because Chris often used 13 or 1313 in his passwords, and he died at exactly 11:33pm. The user claimed to be a male fan and acquaintance of Chris going back more than 30 years, and challenged me to guess who “he” was. I interacted with this person a little bit, then stopped. The person later deleted their account and all associated comments – I had made a screenshot of the account, but not the comments. Note that the person was following an account called “Huff Paranormal” – my Seattle based grandmother, nurse Helen Meyer’s maiden name was Huff. The account was also following Sam Henry as a topic – Sam was diagnosed with stomach cancer a few months later and died I believe the same month he was diagnosed.

I think I should do a post on the number 13 and what it meant to Chris (and me) versus what it means to probably everyone else.

Courtney Love – Mono – 2005

This account though has all kinds of indications that they are death linked. DiEM25 probably is pointed at me being as my initials are EM and my account is right next to it. The Criterion Collection “C” next to Sam Henry is linked to number 3 and almost certainly stands for “cancer” – and if you watch Courtney Love’s video for “Mono” she and her squad take over the “Big C Mart.”

Who was Zille1313? I don’t know. I have the ability, under certain conditions to receive information telepathically (so does Courtney and a number of other people). It’s not the same as being psychic. It’s more like radio transmission/receiving, and it’s not ever really that weird. It’s totally explainable scientifically and only “strange” because it’s been covered up so persistently.

It was clear that Zille1313 had a fair amount of information about Chris’ background. One thing I’ve felt the whole time is that Zille1313 was not male, as they claimed, but female. My strongest suspicion was that it was Valarie, especially at the end when the person wrote something about my “obsession” with Chris’ ex-wife Valarie, then wrote “I get it” – as if – the person understood why I would be “obsessed” with Valarie. This was just false. Considering how persistent Valarie was in communicating with (and lying to) Chris I probably didn’t think about her enough. Because of that last comment, I figured that this person was Valarie – especially later on when I saw that Valarie was also using the number 13, for example, in her email accounts.

With regards to “The Big C” – Valarie’s father had died of cancer. When he was diagnosed around 2010, Valarie told Chris about it, saying her father called cancer “The Big C.” The phrase “The Big C” also relates to – and may originate from – a literal “big C” in the hills over UC Berkeley (Cal). This literal Big C goes back to the early 1900s, and in fact there are a number of reasons to suspect that UC Berkeley is among the academic institutions linked to covert assassinations and malfeasance going back to their earliest days. (Rush Dolson, electrical engineer, class of 1910.)

I probably mentioned before that when Valarie and Chris were living on the streets of San Francisco, Valarie would dumpster dive for fabric and clothes, her hair dyed pink, teeth missing – the SF police nicknamed her “Courtney.”

Rozz Rezabek / FBI files

The powers behind this crime have been amazing in their capacity to weaponize friends and family – the people you trust the most. In some cases, childhood friends were secretly and perhaps slowly turned against us, though likely they grew up in families who were strategically positioned for this purpose. I’ve been able to see traces of this looking at census data on ancestry.com. Just as, when I was driving to California in January 2014 I was surrounded by a swarm of infrared-equipped weaponized cars and trucks, it seems that my family, Chris’ family, and my daughter’s paternal family were always surrounded by weaponized neighbors; families with a mission.

I recently have been writing quite a bit about Courtney Love, a person who came into Chris Newman’s life around 1980 in the capacity, he thought, as a teenage friend and fan, but who was actually, literally, on a mission of destruction. In 1981 or 82 Courtney started a relationship with a man named Rozz Rezabek, four years her senior.

Over the past three days or so, I’ve had this experience of dreaming about one person every night, with this idea that there is more to say about them, regarding malfeasance. First it was Courtney – and I should go back and examine what I dreamt about, because I see increasingly that there’s an intertwining with Rozz, California – hospitals? bikers? – and then the next night it was Mark Lanegan (another person to revisit), and last night it was Rozz.

I remember dreaming about Rozz, forgetting the dreams, just wanting to sleep, and then I had this dream where I saw a photo of Rozz in large resolution, 1500×1500 pixels, linking it to my discovery of Courtney’s photo on January 6 at Satyricon, and all the questions I starting asking about what was going on at Satyricon in January 1989 and increasing signs of a larger strategy at work aimed at both Chris Newman and Kurt Cobain.

Rozz was born in a small coastal town, Bandon, Oregon. I know that about him, and then everything about his past is a blank to me until the late 1970s when in November 1977 he joined a San Francisco punk band called Negative Trend. According to Wikipedia, Rozz was only in Negative Trend for four months (!) Granted, it seems to have been an action-packed four months, but maybe what is more significant is the positioning of Negative Trend with regards to the punk rock world. Somewhere, several blog posts back, I hypothesized that the entire punk rock movement was basically a CIA op, and that I also suspected the 1960s flower power movement was also basically CIA, especially the parts having to do with dropping out, turning on, acid tests, doing-crazy-stuff-to-your-kids, Timothy Leary, Grateful Dead, etc. I have also mentioned that in this geography of malfeasance, there are certain bands that stand out, and also, that zines, or zine-like publications also seem to come into the fore. I would right now hypothesize that any time you see a zine pop up, especially between the 1960s and 1990s, you might suspect malfeasance links. I say this entirely based on patterns – I can’t yet explain why. Or maybe it’s not only zines but access to DIY media in general – film, video, audio, photography, and print.

I’m thinking of this now because I see that one of the first members of the band that became Negative Trend was V.Vale of Search and Destroy magazine who seems to be a linking person between the 1960s flower power movement and the punk movement of the 1970s and 80s. I am vaguely familiar with Search and Destroy (a fair amount of Rozz’s punk rock fame is from photos published in that magazine) – but I didn’t know that it had been started out of City Lights Bookstore, linked to Allen Ginsberg and Lawrence Ferlinghetti.

Vale was replaced by Will Shatter, and in 1979 Shatter and another member of Negative Trend formed the band Flipper. Flipper has long been on my radar as seeming to have weird links to people around me I’ve never quite been able to figure out.

Anyway, Rozz quit Negative Trend in March 1978 and then there’s a blank spot in his history again before he pops up in Portland, almost exactly the same time as Chris, and forms a band called Theatre of Sheep. At some point in his life, maybe later in the 1990s I believe that Rozz had dual residences, one in San Francisco and one in LA, bringing up the question, how did he afford it? As far as I can tell, he’s spent his life working odd jobs. But he seems to have links to medicine.

I have the strong sense right now that Rozz was linked to an early 1980s San Fransisco punk band called The Cosmetics, which shared a bass player with Napalm Beach, Dave Minick. I have the sense of this, but no direct evidence. But it makes sense, because having been around Rozz a bit, I am aware that the group of San Francisco punks who were in bands performing and making records between 1977 and 1983, say – is a very close group. They all seem to know each other. Minick for his part is not just a link to San Francisco but to Los Angeles as well as he seemed to have girlfriends and eventually a wife who were from Los Angeles, probably Hollywood specifically.

The cosmetic industry keeps popping up as a potential finance connection going back, probably, to the Chuck Berry song, Maybellene. (Cars indicate finance as well – in the Chuck Berry song, Maybellene is driving a fast car.) When Napalm Beach was featured in the June 1989 issue of Seattle’s Backlash, the caption underneath the band read “Yay, Fabergé!”

My own history with Rozz began in late 2007 or early 2008 when I was working on a recording project with Marty Vincelli. In retrospect, what I see are a series of set ups. Every time I think to myself – “Ok, that was a set up” – and I start pulling on the thread, I realize that one set up led to another set up to another, etc. And I can only imagine this was also true in Chris’ life, and in Kurt Cobain’s life, and I very much fear in my daughter’s life as well. Let me pull on this string for a minute.

I was introduced to Rozz by Marty Vincelli. Marty was I think raised in Oregon but his dad was a northern California Biker, not a Hell’s Angel but Hells’ Angel adjacent (Gypsy Joker maybe) – and a drug dealer. Speed, maybe. (I have a sense of FBI connections, in the sense of financing and concocting false reports about me.)

I was introduced to Marty Vincelli by Tom Harrison who was from Springfield, Missouri, but who had lived in the Minneapolis area. Research I’ve done since we broke off contact in 2005 indicates that Harrison has links to a lot of other places he never bothered to mention to me in the 3 years that we were friends, including Hollywood, California and Irving, Texas. Harrison’s history (and even, possibly, his last name) indicate potential links to Courtney Love and Michael Payne.

And how did I meet Tom? I met him on an internet mailing list aimed at Portland musicians. This was probably in early 2003, before the social media era, when people who wanted to interact one-to-one online did it either through chat, bulletin boards, or email listservs. This was a list serv called PPIUM which stood for Portland Punk and Indie Underground Music, and it was an offshoot of an older listserv called OPIUM – for Olympia Punk and Underground Music. Both of these listservs were run by Matthew “Slim” Moon who had founded, and was at the time still running, the independant label Kill Rock Stars. Moon was also in bands like Earth and Nisqually Delta Podunk Nightmare, and thus was in the Nirvana orbit going back to the Skid Row era (1987). Later, he was, for a period of time, a boyfriend of Mary Lou Lord. This means that Moon has links to both Kurt Cobain and Elliott Smith.

At the time PPIUM appeared on the scene a number of Olympia based musicians were moving to or near Portland, almost like a mass exodus or immigration. I found this mailing list because I was already on another mailing list, maybe called pdx-pop or something – and Moon posted a notice to pdx-pop saying he was starting a new mailing list for discussing music, but he didn’t want it to be for promoting shows. (Something like that. Olympia artists are a bit – controlling – sometimes with interesting results.) More stuff happened to me or around me because of PPIUM but I’ll leave that for now.

So what I discern from all of this is I somehow was introduced to Rozz Rezabek by a series of what seems like chance encounters that ultimately can be traced back to someone linked to the Olympia/Portland music scene, Slim Moon – but that within all of this, looms also the shadow of Kurt Cobain and Courtney Love.

At the time I knew Rozz he was often blogging about his early days, including his crazy-making relationship with Courtney, on his MySpace blog. He’d often talked about writing a book but as far as I know when MySpace crumbled, Rozz’s writings went with it. Rozz had a lot of interesting stories – being at Winterland to open for the Sex Pistols and then never getting a chance to do so, and the chaos of that show; meeting Sid Vicious; meeting Billy Idol; meeting Joan Jett; being at a party with Andrew Wood and becoming so jealous of his rising star Rozz decided to walk home from Seattle to Portland; having a 15 year old fan/groupie (not necessarily sexual) named Stefanie Sargent (would later become guitar player for 7 Year Bitch). His stories about Courtney Love were particularly colorful.

I don’t know if or how much of Rozz’s stories about Courtney were true, but from the collection of stories about her from him and other people – but especially from him – you start to realize that she is incredibly crafty, and to me, I can see she’s been trained, as others around us were trained – in mind control tactics. But Courtney is in a class of her own. She seems to be working from a long-term strategy and she also seems to have access to a tremendous amount of finance and connections – almost like she’s amassed a clone army. By “clone army” I mean, legions of people, bands, etc, working from a common script. I’m not saying she’s at the top of this hierarchy, but I think she’s fairly high up, and that her links to the CIA go back at least to her parents generation. In fact, I’d say it’s clear that her parents – both of them – are linked to CIA mind control. This could be its own essay.

So I met Rozz in 2008, via Marty. At this time, Rozz would have parties, inviting various people – other musicians, scenesters from the 80s and 90s, and some younger women (not sure where they came from). Some of these folks were linked to San Franciso as well as Portland. Some of their histories seemed both interesting and somehow random – one woman, for example, had been the “whip girl” for live performances of Velvet Underground’s Venus In Furs – I guess she walked around stage in shiny boots, cracking a whip?

Chris Newman was at one of these gatherings. I think he was brought by Anton Long. This was one of the early times we “met” – I think I’d met him before this, but we didn’t really know each other. He was married to Denise but she lived in Pasadena.

In talking with Chris later, I learned that even though they’d both been in bands in Portland in the early 1980s, he didn’t really know Rozz. Chris was a serious musician in a way that Rozz was not (this is the truth). Rozz is not at home writing playing and writing songs every day as Chris was. Rozz was into a lot of artistic and creative endeavors, but not interested in artistic success in the way that Chris was. But Rozz was entertaining to watch, and he was able to draw a trendy crowd, and that probably made Chris a bit jealous. Chris could also draw a crowd, but by the time I knew Chris, he was really being pushed down. For example, in 2010, Napalm Beach had to open for the Obituaries. Napalm Beach’s history was far more extensive than the Obituaries who had played a few years, disbanded by 1990, then got back together in 2007. Napalm Beach’s performances were still incredibly powerful. This kind of thing was done to Chris over and over and over, going back to 1990. Honestly, his tenacity in the face of what was thrown at him in terms of set ups and humiliations, was astounding.

Anyway, I liked Rozz and Chris grew to like him as well. But it sounds like Rozz was a connection for us to meet people who would set us up or create damaging reports for the FBI. And then there was a drug/medical thing.

When you get to a certain group of people, there are some really weird connections to hospitals. As far as I can tell, all the major hospital networks on the west coast are deeply involved with FBI/CIA mind control. By this I mean, “punishing” people by literally making them sick (or killing them with cancer, heart attacks, strokes, etc), and rewarding people with drugs and/or not making them sick for a little while. It is a horror show. But there are people around us who seem – I guess the only word is complicit – and relatively unbothered. But it’s weird, because some of these people also either have, or pretend to have serious medical conditions. I’m increasingly suspecting that with some people who are closely connected to this system, they literally go to the hospital for conditions they don’t actually have. In other words, their medical histories are strategically falsified.

Because medical histories are supposed to be private, it’s really hard to prove something like this, but I’ve seen signs of this over and over, with people linked to mind control. I don’t mean that their medical histories are falsified as mine are, to be defamatory – but that they are active participants in this particular form of falsifying – and the agenda is manipulation. Again, this is worth an entire essay. There are just so many tactics and strategies around this mind control system, and a lot of it is cover up, deception, misdirection, and control of focus.

Around 2011 I started to suffer severe increases in back pain. At the same time, I was cut off my opioid-based pain plan at Multnomah County Health Clinic after I delayed a urine test. Even though I was still in severe pain, and even though opioids were the only thing that worked, they refused to relent. Now, this severe pain was actually torture, and it was entirely created via biomedical implants – but I didn’t know that at the time – and even though I’ve known it since 2017, so far there’s nothing I’ve been able to do about it. I still need opioid based pain medications.

Rozz at this time was going to a doctor at OHSU Richmond Family Clinic and getting large prescriptions of oxycodone for chronic hip or knee pain, supposedly from a performance-linked injury. I’m not saying that he does or doesn’t have severe chronic pain – he might indeed have it – but he did not take opioids the way I take them. He took them, at least sometimes, to get high. I will say as a chronic pain patient that I don’t know why any chronic pain patient would do this, because it creates tolerance, rendering the medications less effective.

Based on Rozz’s recommendation, I switched to the same clinic he was using, Richmond Family Clinic. But they refused to put me on an opioid based pain plan, suggesting that I instead try medical marijuana, which I did. But in reality, I still needed opioid medications. Rozz had a lot of these, and fairly frequently I’d find myself in severe pain, and he would give me enough medication to get me through.

Now this is a big no-no for doctors. But here’s the thing – they literally forced me into this position. It turns out that 2011 was an absolutely horrific year for me, pain wise – the exact year all the doctors refused to medicate me. And do not forget – this pain is deliberately being caused. The amount of time in my life that has been consumed by suffering in severe pain is staggering. I’ve had Tylenol overdose scares, and other life threatening situations occur because of this severe pain. And it’s entirely medically concocted. I can show evidence of this now.

So Rozz really helped me – but the situation was entirely a set up.

In the background, apparently have been these “FBI files” – maybe the set up was in part to concoct more files on me, though, like I say, the FBI says they have no files on me. But that really doesn’t make sense, when you look at the big picture. They’re hiding something, clearly.

I will say that even if they had a file saying I – I dunno – let’s say they have a file saying I did 9/11. If so, I still deserve a fair trial like everyone else, to determine whether in fact, I did or did not fly a plane into the WTC and Pentagon.

Another thing about Rozz you might not realize if your only knowledge of him is from what’s published online – is his links to Courtney Love didn’t end in the 1980s. His stories about her extended into the 1990s and he also told me that his interview in the Nick Broomfield movie Kurt and Courtney was an act concocted by him and Courtney together. In that interview, he acts like Courtney is this awful woman he can’t stand. He also, as I recall, pulls out her old medicine bottles, maybe for Valium.

That, and similar things I’ve witnessed, suggests to me that a lot of the vitriol from people around Courtney is concocted. But also, I think a lot of the positive portrayals of her are concocted as well. The aim is to confuse.

What the dream from last night suggested to me is Rozz was connected to the set up of Courtney Love with Kurt Cobain – and thus to the demise of Kurt Cobain.

The size of the image in the dream – 1500×1500 – also links Rozz to a Federal Torts Claim Act against the FBI I filed yesterday with the Department of Justice – and the idea that Rozz has something to do with negative reports about me filed with the FBI (Op Anne Boleyn), which presumably the FBI has been using as an excuse to physically harm me.

Special bands, regional scenes

It’s become clear that the music/entertainment business doesn’t work at all like Chris or I thought it worked. The way that we thought it worked was basically the way it has been portrayed in public media, in rock ‘n roll biographies and memoirs, or reflected by by our peers. Basically, you learn to play and to write, you form a band, you book shows, you book a tour, you work hard and contribute to the community, you present your music and your act and try to get support from a label. That is what we thought.

How does it actually work? I’m not sure, but bits and pieces are starting to come through. A lot of it seems to have been centered around keeping Chris and me down. The motivation for that seems to be finance, power, and perversion, and it may be at the behest of FBI/CIA.

It’s looking like a lot of liars, snitches, thieves, rapists, rapist apologists, child molesters, bullies, and hall monitors dressed up in punk rock clothing, feigning rebellion.

As I’ve been looking into this I began to see some unexpected patterns. One of the patterns is what I’d call “special bands.” These are bands that show up in unusual ways or unusual places or involved in unusual activities when compared to their peers. In many cases, I think these bands are finance grubers – in other words, while they tour and perform, they are also hooking people up with cash, instructions from above, connections, etc. At least that’s what I suspect. All I can say for sure is these are bands that are unique in that they are able to go places and do things their peers cannot or do not, and it doesn’t seem to have anything to do with the overall quality of their work.

Black Flag from Los Angeles seems to have been one of these bands.

Another one was Agent 86 from my home town.

I’ve started making a list of “bands referenced by Kurt Cobain without actually being referenced” and I’ve put Agent 86 on that list (“Class of ’86”)

My research on Chris’ music and Seattle clubs in the 1980s shows Agent 86 showing up a few times, at least once with Green River. Green River/Mudhoney are also a linking band.

Agent 86 was basically a project of a guy named Mike Briggs. In the early 1980s he was in his 20s, hanging out with high school kids. He published a punk zine called Counterpeace and other than my parents’ more sophisticated early 1970s Stomatopod, it was the first zine I’d ever encountered. Stomatopod was hand made, but went to a publisher every quarter, while Counterpeace was a classic 1980s zine, xeroxed, with cut out letters and advertisements for upcoming punk shows and reviews of local homemade cassette releases, etc. I had one or two copies that I read over and over.

note from my friend Alicia with lots of punk bands and logos on it
June 1, 1984

My neighbor Michele introduced me to the hardcore scene via her Dead Kennedys and Black Flag records (she also had Blasters, X, Fear – lots of Slash records) and I got into it quickly. I’d been primed for it my whole life, I can now see – again, as things are so closely controlled. I’d been made to feel like an outcast and misfit beginning around fourth grade and through Junior High School. I now realize this was entirely by design. What punk did was help channel feelings of teenage depression or feelings of low self-worth into something activated and intense. I loved slam dancing.

There is a lot in this mind control system related to taking away power and agency from certain strategically placed individuals, and then when they are at a low point, offering or showing an unusual form of power and agency – in my case it was a search for freedom and empowerment through rock n’ roll, and punk rock. In other people’s cases it might be a “privileged” opportunity to harm, control, oppress or exploit another group. In some cases it was probably the ability to traffic illegal drugs like LSD, ecstasy, cannabis, or cocaine without concern for or even under the protection of the law (a protection that only lasts as long as the law lets it). All of this was going on in the realm of rock and roll, probably going back to the very beginning. One of the protection mechanisms for the FBI/CIA is the disparaging of artists, especially rock n’ rollers, as lesser human beings. When you get tired of playing with them, or after they serve their purpose, or when the price is right, they’re just eliminated from the field thanks to piezo-electrical biomedical CGI, plausible deniability, and silenced witnesses.

The Ramones – all of whom eventually died young of cancer – sang about this “Gabba gabba we accept you as one of us” (a “freak” – taken from Eraserhead – “erase her head”). Medically, GABA is a neurotransmitter. Ramone’s “pinhead” is about piezobiomedical implants used to directly control brain waves and/or to attack people in the heads. The Ramones were a special band in that they were able to tour early and widely, and they certainly knew about piezo-electrical biomedical CGI.

The plan was to portray Chris and me as freaks behind our backs while pretending to be our friends, to accept and care for us in the punk/music community. This creates an atmosphere of deception, endless in-jokes, cloak and dagger attitude. To this end, what I think right now is some of these special bands – these bands that toured early when other bands couldn’t book tours – were using the tours as an opportunity to connect with regional scenes and give special instructions to special people. We are talking about layers of handlers and use of cut outs and honey traps. Nasty spy stuff aimed at and involving children and teenagers – with all of it surveilled and manipulated by US government sources, police, hospitals, research institutions, and others. This is where the evidence is pointing.

Where the music industry comes in seems to be in financing record deals and passing out other benefits to those on the “team” suppressing, deceiving, defrauding, exploiting, and trafficking us. To this end, they hide behind, and funnel resources through, shell companies which often look like (and are) regional independant recored labels. Thus we have plethora of creatively named regional/independant labels like Slash (get it?), Death Row (get it?), Kill Rock Stars (get it?), Dirt Nap (get it?), Alternative Tentacles (get it?), Relapse Records (get it?), Cavity Search Records (get it?) – the list goes on and on. What I see is that every time there is a fresh kill and/or the entertainment business gets worried that this exploitation scheme might be in danger, a BUNCH of independent records come out, and/or new labels are formed with lots of money to put out professional sounding recordings on colored vinyl with professionally designed covers and even to make decent music videos. This is along with all the new cars and construction you see. It looks like the money is coming from nothing at all, but what it is, is money being moved around in a massive multi-tentacled criminal network.

Slowing the roll – Portland, Seattle club scene breakdown in 1983 and appearance of Satyricon

I can parse the series of music-related set ups in Chris’ life going back to 1967. However, right now I’m focused on the 1980s, especially the Sub Pop era.

I’ve been trying to think of Pacific northwest punk bands who were touring early before 1987. The only ones I can think of are Wipers, Beat Happening, Go Team, D.O.A. – and Pell Mell? Green River toured beginning in 1985.

Pell Mell with Wipers at Evergreen Experimental Theater 13 July 1984

A lot of times people don’t include D.O.A. with these other bands maybe because they were from Vancouver B.C. or because, generally speaking, artificial divisions are made in the northwest music scene where they shouldn’t be made, almost certainly to misdirect attention.

D.O.A. – like Black Flag, the LA band with whom they shared a member – was a popular hardcore punk band on the move.

Wipers, from Portland, was Greg Sage. Sage was linked to the all ages punk scene, to Pell Mell (Steve Fisk, Bruce Pavitt), and Napalm Beach. I don’t know, but I suspect Sage was linked more generally to K Records, Evergreen State College and the all ages punk scene. Wipers was one of the Portland bands who were liked in Olympia. (Dead Moon was another.)

There are things about Greg Sage that tell you he has some kind of background in, for lack of a better term, mind control activity (hypnosis, covert manipulations, etc). It’s in his sound (hypnotic drum loops, etc) and in the messaging he conveyed. This is true of a lot of people around Chris and me – especially those closest to us. How these people were trained to handle us, and who trained and/or handles them, I don’t know. The mind control activities do seem to be linked to bigger record labels and movie studios (I.E. the Hollywood entertainment business), and financial activity. Part of Greg Sage’s job was trapping Chris (thus the hidden in plain sight name of his first label – Trap Records) in the local scene. To this end, I suspect he coordinated with a number of other people and financial entities.

Beat Happening (Olympia) was of course linked to K Records, KAOS Radio/Evergreen, Pavitt/Sub Pop zine/label, and the all ages scene. Go Team (Olympia) was linked to Beat Happening, K Records, Bikini Kill zine/band, and the all ages scene. Part of the misdirecting used by bands like Beat Happening (and all of these bands, really) was an overt eschewing of anything corporate or “sell out.” That seems to have been a psychological technique to make it seem like being small and unknown and not standing out was “cooler” than being successful and “corporate”, and it was also a form of misdirection. I suspect all of these acts were involved in a number of subterranean financial transactions.

Peter Gabriel - Big Time - 1987

D.O.A. (Vancouver, B.C.) was linked to Black Flag (L.A.), the Dead Kennedys (S.F.) and the Seattle club scene. Chris remembered Joey Keithley from D.O.A. giving him a hard time because Untouchables formed in 1980 and therefore were latecomers to punk (D.O.A. were hardcore punk) – this is part of an ongoing pattern of psychological baiting that dogged Chris his whole life. Again with the arbitrary divisions – are you from Portland or are you from Olympia or are you from Seattle? Did your band form before or after 1979? Are you pre-grunge, proto-grunge, grunge, or post grunge? And so on.

It is not clear to me how Wipers, Beat Happening, etc managed, financially, to tour.

One thing about the situation around Chris and me is that it is highly controlled, and in fact our families have been highly controlled for generations. It’s done in such a way as to give people a modicum of power as long as they provide support to the system overall. The system works by tempting, enticing, entrapping, enslaving, threatening, coercing, baiting, lying, deceiving, changing the rules, etc – whatever it takes. There are layers of power/authority and layers of protection. One of the means of protection is financial connections. Another is getting as many people involved as possible in the various schemes, and then convincing them that the system is their only protection and salvation.

So our lives have been a series of set ups, usually involving lots of people in different roles (cut outs), with a bigger plan (world domination) at work in the background. In the early 1980s Chris was playing a lot in Portland and Seattle.

1983 Rock and Roll Hell cassette
Trap Records

During 1983, when clubs were closing in Portland and Seattle, Sam and Chris moved to the San Francisco Bay Area, but my recollection is that they decided to move back to Portland after Satyricon opened. They’d come up for a visit and had so much fun in Portland Chris said “let’s move back.” I now think this was all set up ahead of time, that they (the architects of his life) wanted to introduce Chris to Valarie who, even though she was much younger, already had a drug habit, and they also were going to introduce him to heroin. Chris met Valerie through his drummer Sam Henry, and he was introduced to heroin by his bassist at the time, a former member of SF band The Cosmetics, who was at that time driving cab in San Francisco. Chris was actually the last member of that lineup of Napalm Beach to try heroin. That was 1983, the same year Napalm Beach made a record with Greg Sage (Rock and Roll Hell), and drummer Sam Henry’s first serious girlfriend died of a heroin overdose.

Valarie must have returned to Portland with Chris and Sam or followed after them.

In Seattle, both Golden Crown and Gorilla Room/Gorilla Gardens seem to have had issues with under age drinking on the premises. A co-owner of Golden Crown, John Loui was killed along with 12 others in the Wah Mee Massacre, February 19, 1983. The 3bands3bucks calendar for Golden Crown ends after December 1982. It’s a bit chilling that one of the last listed shows is Napalm Beach and Next Exit (12/17/82) and currently the last show listed is Visible Targets (12/31/82).

In Portland, The Met, an all-ages club located where Dante’s is now, closed, I think also in 1983.

It sounds like the similarly named Seattle Metropolis (also sometimes called the Met) had been a favorite of Chris’. It was an all ages space run by Gordon Doucette, Hugo Piottin, and Susan Silver. Silver worked with Jonathan Poneman and later went on to manage Soundgarden, Alice in Chains, and Screaming Trees. She became co-owner of The Crocodile. According to 3bands the last show at Seattle’s Metropolis was March 6, 1984 and featured Alien Sex Fiend from London, with Red Masque and 3 Squirrels From Hell.

Violent Femmes at Mediterranean Tavern - May 18, 1983
Violent Femmes 1983

What I find interesting about this is it is just about exactly when Satyricon started. It’s actually not clear to me exactly when Satyricon made it’s debut as a rock club as I’ve heard a couple of different stories, and it probably depends on what you consider the first show to have been. Was it a Violent Femmes show at Mediterranean Tavern in May 1983? Or was it Theatre of Sheep? Or was it The Jackals? If I had to guess based on trying to remember the dates of reunion shows, I’d guess Satyricon marked their birth date as October 1983. Is it possible there was a link between the closing of Seattle’s Metropolis and the opening of Portland’s Satyricon?

In 2002 I made and updated a website for Satyricon and then around 2005 or 2006 I created a MySpace fan page for the club which had shut down after 20 years, in 2003. One of the things that several old-timers mentioned on that MySpace page was the song “I Walk The Line” by Alien Sex Fiend as being “the favorite song” on the Satyricon jukebox. I’d never heard of the band or the song before. In any case Satyricon soon became Chris’ new favorite haunt and place to play, and from what I can tell, for several years he headlined there twice a month, and drew calendars for Satyricon and advertisements for Taki’s Souvlakis next door. Chris played other clubs around Portland and Seattle as well, as well as the occasional festival and/or small town gig, but it looks to me like Chris was playing fewer shows in Seattle after the 1983 transition period, and especially after 1988, especially if you compare to how prolific he was in the early 1980s. Under normal circumstances, someone who was doing what Chris was doing as well as he was doing it would have caught the interest of a label somewhere. But there was already a plan for Chris, as there was for me, and both plans were basically a series of traps, along with, it appears, plans/intents/set ups intended to harm us and endanger our lives. I believe that Sub Pop took advantages of opportunities that presented themself within this context. Specifically, in order for them to be successful with their selected group of artists, they would have to help make sure Chris and I stayed put, stayed on track. In order to do that, it seems that everyone around us – friends, family, etc – was instructed/bribed/coerced to keep us in certain locations, and out of other locations – but not to be obvious about all of this. So there is tempting bait (Satyricon as sort of an ad hoc family and artists playground), enticing us to stay close to home, along with messaging warning us away from moves towards financial/professional success. It was a pattern of luring, honey traps, sabotage, psychological warfare. The idea was to make our failures seem like bad luck or our own fault. Meanwhile, terrible reports are sold in hopes that FBI/CIA black bag ops will retaliate with assassinations, because apparently, that’s what they do. It does seem like there are people in these communities who habitually and maybe even as a tradition pick out people (or offer up people) to be marked for death. Audacity is one way the crime hides – the idea being that the nature of the crime is so audacious, no one will believe your story.

Napalm Beach 1987

So 1983 was a very transitional year, and it was a year in which a number of personalities who would appear later, associated with grunge, were becoming established.

One question would be, did the establishment of Club Satyricon in late 1983 have something to do with the origins of Sub Pop and possibly also K Records? And I think that the answer is yes, especially with regards to Sub Pop. What I think was happening is that Sub Pop was making deals specifically at Chris’ expense, and at my expense as well. And while following the money would be ideal, if you can’t see the money, you can see the flow of wealth in the form of material goods and other benefits, and even more so, you can see the matching of dates and movement of people in key positions at key moments. Generally speaking, I think Satyricon served both as a holding cell for Chris, and a transition point for Seattle bands making their moves down the coast and beyond.

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.