Tag: Sub Pop

Sub Pop, Honeytraps, Minneapolis

Got a uncle name George
Horny motherfucker always down to orge
Freaky motherfucker wanna Georgie Porg’
Treat a big booty like a smorgasbord
Freaks on the floor, freaks on the floor
How many of y’all freaks on the low?
Freaks on the floor, freaks on the floor
How many of y’all freaks on the low?

Ice Cube, New Funkadelic (Everythang’s Corrupt 2018)

Something that is increasingly clear is that a number of people linked to the Sub Pop orbit have been directly involved in obtaining and distributing surveillance footage of a pornographic nature of me, Chris, and my daughter, including when my daughter was a child.

It’s also increasingly clear that Sub Pop’s plans for world domination were well underway by the mid-1980s, and that, true to their name, they included a lot of underground shenanigans. The name Sub Pop evolved from Subterranean Pop. While both “Sub” and “Pop” could have a number of meanings, one meaning of “pop” is a father (dad). So one translation of Sub Pop may be “underground dad.” I believe that “dad” is code for FBI and CIA. (This might help explain “infrared riding hood” Tad?)

Finally, it is clear that ex-honeytrap Mike may be a linking person between my daughter’s family in northwestern California and Sub Pop. It is important to remember that when Mike and I started going out in July 1984 I was barely 16 and he was 21.

So if we rewind back to 1988, that is the year a lot of pieces were falling into place for Sub Pop. Meanwhile, in my world, Mike was in Thailand in February 1988, I think doing deals for a silver jewelry importer he worked for at the time, called Tomás Jewelry. Then Mike returned to the US, and flew to Minnesota where he lived with me. We lived in the St Paul Midway district between June and November 1988 when Mike announced that he was tired of Minnesota and didn’t want to deal with winter, so he would go back to California. I was in college and couldn’t really follow him. We had already had a long distance relationship in the past so it didn’t seem that weird to me to revert back to that.

But something else happened that summer. That was the summer my friend and neighbor, Bret Ellis Bowman was hit by a car. That happened on June 27, 1988. For a number of reasons I believe that situation is also somehow linked to the origin of Sub Pop, something that I expect will come up again.

What I didn’t know is that when Mike Payne left Minneapolis/St Paul in November 1988, is I was about to become the target of a series of set ups involving more honey traps (multiple honey traps it looks like now), and LSD.

The LSD seems to have been connected to San Francisco, and may have even been connected to Courtney Love, or to Courtney Love and Mike Payne. This reminds me also, there are two SF Bay Area linked Mikes in this – Mike Payne and Mike Patton – but as far as I know, Mike Patton wasn’t anywhere around Minneapolis.

Anyway, apparently Courtney Love was in Minneapolis about this time, and that fact seems to be something that was pretty well covered up until recently – specifically, exactly when Courtney Love was in Minneapolis used to be obscured, but it now appears it was 1988.

Another thing about this is Courtney Love, when she was in Minneapolis, was apparently a pal of a person I considered my best friend at the time, Erika Schlaeger. That makes Erika Schlaeger a potential linking person between Mike Payne and Courtney Love, as she knew both of them. In fact, Mike, who had been studying jewelry and metal smithing, had made a silver ring with an onyx stone, square shaped or cabachon style, that in 1988 Erika had purchased from him for $80 – that looked similar to a ring worn by Kurt Cobain in the March 1994 photo session with Youri Lenquette.

So Courtney and Erika were pals, according to Erika, but I never met Courtney.

According to my memory, journals, etc the post 1988 set ups sort of went in this order:

  1. Honeytrap Andrew Lopas “street poet from Los Angeles” – March 1989 set up – The set up with Andrew Lopas I now realize appeared in rather precise detail in dreams going back to early 1988 – in those dreams he was described as being a combination of “Pete Townshend” and a few other people. This is I think because part of his job was to put down my musical ability and psychologically smash my guitar. Erika S introduced me to Andrew L.
  2. Encountering Owsley “Sunshine” blotter-style LSD at a party. The party was held by a girl who knew Andrew Lopas. I remember at this party she was dressed all in metallic silver. Like, wearing a metallic silver dress. Erika introduced me to the guy with the LSD. Before it happened, I had a dream about eating “bubblegum LSD” and asking if it was “diluted” (word play, I think – diluted/deluded – hinting at this plan to frame me as delusional).
  3. Teenage honeytrap “George.” This seems like something I need to address again?

When my relationship with Mike fell apart I went into a spiral of sorts. Conveniently, I had also just turned 21, so I drank a lot and had a couple of gross sexual encounters. They were with guys my age. I also had platonic guy friends who were drinking buddies, including a guy who shows up in my journals as Paul Stein (I guess it’s his real name). On March 13, 1989 – exactly 20 years before I got together with Chris – I recorded a dream.

 13 March 1989 dream page 1

There is a lot going on in this dream. Plus the dream symbols from this time usually seem to have about three different meanings. I’m talking about dreaming in code, not symbols. The looping snake drawing after the dream was just something I did because I was into things like yin/yang and Carl Jung and stuff. Looking at it now, I suppose people who were all up in my business (reading my journals) made it into something sexual, and something racial.

I don’t remember the man from Africa I mention meeting (in real life). The part about the car door among other things is a link to how my future daughter’s paternal grandmother died in 1968 – the story was that she fell out of a moving car, because she leaned up against a door. But this is probably also about all the set ups and planned defamation and the idea of us trying to get out of a trap and people linked to cars (finance) using these stories to try and get us killed by the FBI/CIA – who are the ones who instigated the set ups to begin with.

Regarding “ripped jeans” – I now think anything with the word “rip” is a coded death reference, and I think others know the meaning of jeans better than I – it’s about financing someone, linked to the color blue – so that suggests reporting stories to the FBI for money, and probably specifically manufacturing untrue stories for dirty money. It’s deliberately deadly, illegal, and treated as a game.

I say that in the dream, I had forgotten my fake ID. I had this dream just before my 21st birthday. I had an older girl’s ID that I sometimes used to get into bars. But Chris’ early 1980s band the Untouchables had a song called Fake I.D. (I don’t think I’ve ever heard it) and the idea of Chris being evoked in this dream is really interesting because he had once said that Tim Brook’s of the Blue Gallery put the Satyricon “ripped jeans” crowd down – and they also started calling Chris’ bands “bar bands” as an insult.

The man I’m flirting with in this dream is an adult, probably older than me.

A couple pages later, there’s an entry that looks like it’s the inspiration for Smashing Pumpkins song “Bullet With Butterfly Wings,” and 3-4 pages after that is an entry that looks like an inspiration for Soundgarden’s “Black Hole Sun.” (I’ll post these later.)

During this period of time, my friend Erika Schlaeger was sometimes hanging around with a fifteen year old black boy who I call George in my journals. I don’t remember if that’s his real name. It’s probably made up. By this time I was living with a roommate in Dinkeytown, Minneapolis. There was a neighborhood coffee shop called Gioccos where we would hang out, drinking coffee. That’s where I would see Erika with George. It seems like he was homeless, couch surfing. Maybe she was letting him stay with her.

So he was 15 and I was 20 when I met him, I think, and mostly I just saw him with Erika at Giocco’s. The last time I saw him is the time I wrote about in my journal, when I was 21. From the very beginning, George was overtly flirtatious with me, acting like he was in love with me and wanted to be my boyfriend. I never took it seriously. To me he was a boy (not a grown man).

One day I ran into him at Giocco’s and then we took a walk to the river, and I wrote about it in my journal, as far as I can remember, pretty much exactly like it happened. It was nothing sexual. He kissed me on the cheek and that was the last time I saw him.

It sounds like the way the journal entries stack up, that the black man in the dream from 3/13/1988 was supposed to link to George. Based on some of the references in that dream, it appears that there may be some kind of link between “George” and Sub Pop. With all of his scars, George bore the signs of a “butterfly” – a person who’s trauma is leveraged and weaponized, covertly, via techniques in use by FBI and CIA. The dream that seems to link to George has references that I would now call “smashing guitar” references, which have to do with ways that people tried to sabotage Chris’ and my ability to play music, including by trying to break our spirits. That’s part of the “ripped jeans” reference. There are things about the way this stacks up, also, that suggest links between George and Andrew Lopas – the idea of a person who is a combination of other entities. Andrew Lopas, George, and Courtney Love were all linked to Erika Schlaeger. Erika also knew Kat Bjelland and all the girls in Babes In Toyland. So that means that Erika Schlaeger knew at least two people who had been friends of Chris in Portland – Courtney Love and Kat Bjelland.

With regards to the song references (I’ll put those journals in a subsequent entry) – Black Hole Sun by Soundgarden and Bullet With Butterfly Wings by Smashing Pumpkins – it looks like a reference to Courtney Love (Hole) and maybe that Sunshine LSD. And there’s the word “black” and the word “pain” which I think, at least in this time period, is always a play on Payne. Chris had a heroin dealer named Scotty Payne, who died, I don’t know how, around 2017. A question I have is how does Smashing Pumpkins show up in this part of the tapestry. In fact, a question I have is how and when did Courtney Love meet Billy Corgan? I guess Smashing Pumpkins are from Chicago and there is a lot of interchange between Chicago and Minneapolis so it might have been that.

The Vogue – 1980s Seattle

The Belltown dance-club scene got kick-started in 1977 with the founding of a gay bar called Tugs Belltown at 2207 1st Avenue. It featured a big dance floor, lots of fresh punk and New Wave music, and the occasional live band. Down the street another gay venue, Johnny’s Handlebar, followed Tugs’ lead in 1979 when it reemerged as Wrex, a video dance club that spun alternative and punk records. In 1980 Wrex booked the first of what would be countless live bands — Delta 5, Joan Jett, X, Grace Jones, Hüsker Dü, and Romeo Void all played here. In 1982 Wrex was shuttered and The Vogue opened in its place. Many of the best local bands performed at The Vogue, including Mudhoney and Alice in Chains, and it was the venue for Nirvana’s first well-attended Seattle show, on April 24, 1988.


Visible Targets at Wrex advertisement
Visible Targets at Wrex 1981

I have not been able to figure out what a “video dance club” is. There are a few clubs that have media systems nowadays – for example, Dante’s in Portland gets crowded and has a television system so you can see the band from different corners of the club. And then there’s The Voyeur in Olympia, which apparently makes videos (or at least potentially makes videos, or it did make videos) of any/every band that plays there. Not sure what happens to those videos, because I’ve never seen them appear anywhere online. Evergreen State College in general is media-oriented (as is Portland Community College) and this is a whole bag of worms – because I am by now basically certain that both of these colleges are links between the CIA and the larger entertainment industry, and to this end, a ton of funding is coming in to these places from various sources to literally do surveillance based sex trafficking and brutal mind control forced-cult activities like the ones that led me to file a Title IX complaint in 2017. A complaint that I believe was shut down by Seattle-linked financial sources.

But I digress.

I don’t know what a video dance club. The photo I have of Snow Bud playing at Vogue shows a television set behind them and – is it a screen? with a white pyramid shape above it.

Snow Bud at the Vogue

In Portland the Met (located where Dante’s is now) until 1982, and in Seattle the Wrex until 82 and then the Vogue all seem to have been gay clubs that also attracted the “new wave” or “new music” crowd. The characters from the Vogue who reappeared in Chris’ life in some way after he met me include Claudia Gherkin, the booking agent, and secondarily Dennis White who had been a bartender at both Wrex and Vogue. Chris mentioned to me that White used to tend bar dressed like a woman, whereas Claudia sometimes uses a male name (Claude), at least online.

The Vogue seems to have been an important stepping stone for the bands that would be signed to Sub Pop. Going from the premise that grunge was a manufactured phenomenon largely based on imitating and then burying Chris Newman, and the whole process set up years ahead, it’s worth asking why the name Vogue (or even the name Wrex) was chosen. Wrex has a number of connotations, but one of the things it is are call letters of a TV station in Illinois – WREX channel 13, established 1953 (which was also the year Chris was born). UHF frequencies are used in mind control and to cause cancer via piezo electrical biomedical implants.

I stared into a belly through the eyes of a beast
Made a toast to life and commence the feast
We chewed up mints and creams till our mouths were oozing full
Devoured mounds of meat, sucking marrow from the bone
Washed it down with wine, vintage 1953
Leaned back in our chairs, sucked our gums and picked our teeth

Mudhoney – Final Course 2013
John Sex at Vogue - Seattle Rocket cover
From NYC – John Sex at Vogue (get it?) – Seattle Rocket 1987

A reason why I wonder about the name Vogue is because it’s the name of a premier – maybe the premier – fashion magazine, and grunge was not just music, it became fashion as well. David Bowie, Fashion is a 1980 song that seems in some ways to link the concept of fashion with fascism (goon squad, robotic dancing, etc) and may be related. The “Derelict” fashion show section of the 2000 movie Zoolander is an obvious satire of the concept of grunge fashion. The movie also brings out references to mind control black sites (“You have been in a day spa for a week”) and Manchurian candidate style assassinations. Just because a movie is fiction doesn’t make all parts of it untrue. There was literally a grunge-era Seattle band called The Derelicts, and yes they played at the Vogue and seem to have been close to Mudhoney.

The obvious reference to Vogue Seattle, once you begin to understand what it was, is Madonna’s Vogue (1990) “strike a pose.” In that song she names off a list of classic Hollywood movie stars.

Bowie also lists stars in his 2013 song about entertainment industry linked surveillance The Stars Are Out Tonight (with various meanings for “star” as star-like drones are part of this surveillance and attack network).

One of the things I figured out in 2015 when I was experiencing so much sexual and other harassment at Portland Community College was that there are cameras in bathrooms and dressing rooms all over Portland, and I now know, in Seattle clubs as well. Also, there are hidden cameras broadcasting from doctors exam rooms. The main location of these video surveillance devices seems to be fire sprinklers, so obviously, fire departments are part of the cover up. Also, it’s against the law to cover up a fire sprinkler. All of this footage – photos or video – collected from this hidden camera system seems to be distributed or trafficked to wealthy people (including celebrities and all in that orbit) worldwide. My understanding is this global surveillance, trafficking, and attack system is run by the CIA and FBI.

There are a few reasons why I know for sure that this hidden camera network exists and is being used widely, and the main reason is because things were done deliberately over and over to let me know about it – either via covert communications with me in real time or by mirroring something back through media. For example, something was said or something that happened in a doctor’s exam room when it was just me and the doctor – shows up on a TV show or movie (or several TV shows and movies) or in music videos. Alternative, there have been a lot of real-time coded communications coming from outside the exam rooms, restrooms, and dressing rooms in the form of timed or responsive bumps and thumps on walls and ceilings. (I can still remember several specific examples.) This is why calling me delusional is such an important defense mechanism for those covering this up.

Visible Targets at the Wrex 1982


As I’ve mentioned earlier Bundy Creature was, according to Vogue booking agent Claudia Gherke (aka Mardi Claw, Claude Lemon, etc), a special band put together to celebrate her birthday. There’s a poster online for her 27th birthday on 25 August 1987 at The Vogue, where Napalm Beach headlined, and the 3bands3bucks website shows that Bundy Creature played again (at Squid Row) on Claudia’s 28th birthday in 1988 this time with Snow Bud and Girl Trouble. Those are the only times, so far, I see Bundy Creature appearing on a show listing. However, somewhere in the collection of flyers I’ve downloaded over the past week, on a flyer for one of Chris’ bands, Bundy Creature is listed, but in a way that makes it seem like they’re a booking agent or promoter – something like “Bundy Creature presents.” (If/when I find the flyer I’ll post it here.)

I also mentioned earlier that Bundy creature must have been a reference to serial killer Ted Bundy, but I realize now that Married With Children was on television by early 1987, featuring the anti-hero protagonist shoe salesman Ted Bundy. Meaning the Bundy creature may be a reference to serial killing AND shoe selling.

A question I have is did Bundy Creature ever show up on a bill that did not also involve one of Chris’ bands?

I continue to be a bit fascinated by who in Bundy Creature Claudia chose to name – Jack Endino and Tad Doyle – and who she decided to leave mysterious – “very now famous members of soundgarden… some mudhoney”

It would actually be really easy for me to ask someone who knows who was in this band I guess but I’m not in the mood to put people on the spot right now.

The reason why I’m a bit focused on Bundy Creature is the timing of this August 25, 1987 birthday show with regards to the beginning of the Sub Pop Sundays showcase.

Claudia Facebook post on Aug 25, 1987
Claudia Facebook post on Aug 25, 1987

Grunge and the C.I.A.

As I’ve said elsewhere, it’s been about ten years since I’ve read a book about anything “grunge” related, even though they continue to be published. This is largely because of the frustration in seeing how the focus is controlled, same stories rehashed, and important areas left unexplored.

Part of the mystery for me has been, why some things and people are left out of historical studies (which is basically what books about 1980s and 1990s music are).

Backing up a bit – during 2014, including the week I was abducted and held, and for months afterward, in my medical records, off and on, there is this statement made basically amounting to me alleging that the reason I said I was being stalked and harassed was because “I’d exposed them” with my article (Introducing Napalm Beach). What actually was going on was, occasionally I’d be asked why I thought I was being harassed, and by whom, and I told them that my best guess was it had something to do with the things I’d been writing. In fact I didn’t stop writing after Introducing Napalm Beach, but continued to try to tear down the facade of falsehoods brick by brick with the best information I had available to me at the time, something that is difficult to do when everyone around you is lying and misdirecting. It was in the course of doing that that I received threatening comments on my blog, immediately followed by one thwarted abduction attempt, and the following week, a successful abduction. The January 27, 2014 abduction was successful because unbeknownst to me, people around me, people I’d known my whole life, had all been absorbed into Team Sub Pop going back to the 1980s. So when I began to discover the extent of the crimes that Sub Pop has been involved in – again, with the full support of the larger entertainment industry and possibly the federal government – I sought shelter from one of my oldest and most trusted family friends, and when police arrived at the door, they let them in and allowed them to take custody of me without cause.

In fact, I now think that that whole affair was less about what I’d already published and more about them being concerned that I would discover more of what has been going on. I feel like there’s still a lot to uncover, or at least to support with evidence. What I can see is that there is an occult murder system at work. What’s less clear is how all the parts of it work together, especially with regards to the participation of the FBI/CIA.

The place were I was held in January 2014 was a hospital repurposed into a black site, and set up to be so absurd that for me to tell the story would seem to enforce the idea that I was out of my mind at the time.

So a question one has to ask is, primogeniture aside, was my rinky dink little blog worth all of that? Maybe so, and possibly because what I was really focused on was decoding language. But another thing that was going on, that I recently realized, is the whole revealing thing I was doing was in and of itself a type of set up. What was behind that may have had to do with setting up Chris’ murder (and make no mistake – I and my daughter are also both in the crosshairs). The murders are linked to a system of financial rewards and professional advancement.

Back to grunge.

Grunge seems to have been a manufactured phenomenon, with much of the ingredients coming from Chris’ highly surveilled life and art, but if I think about it – I’d say some of it came from me, too. With Chris, however, it’s easier to prove.

In that it was manufactured, what it looks like to me is that it was planned out in tandem with a control scheme around Chris and me, but again, focused more on Chris, as he is the one who was more of a threat musically, and also because of the nature of the primogeniture at work where the male heir is valued as someone with agency compared to the female, who they seem to see as a sex toy to be used, abused, and discarded. Apparently, by “they” in this case, I’m talking about the FBI and CIA. Both Chris and I (and many others) were/are subjects of medical malfeasance and nonconsensual human subjects research with little concern for our health or quality of life, or simply with the intent to harm us. I wish these things weren’t true, but they are.

Grunge was manufactured according to a recipe that had been perfected over the years with a variety of other organic seeming movements including, I suspect, Beatlemania and the 1960s “flower power” movement. It is linked to CIA mind control research. That the CIA ran (actually, runs) mind control programs is not a baseless conspiracy theory, but established fact, except that even after the programs were exposed in the 1970s, they were still permitted to hide and misdirect about a lot of what they had been doing, and they were also permitted to protect academic institutions and others knowingly involved in the activities, and they were permitted to hide the cash flow, and they were also permitted to continue. They never stopped these programs. Maybe most importantly, they were permitted to hide their use of piezo-electrical biomedical implants and frequency based technologies which are used to control minds directly, and to create diseases like cancer. They do this in part by controlling focus – “yes, we admit, we were involved with L.S.D.”

Back to grunge.

The early Sub Pop bands were connected with certain businesses and establishments. These included college radio stations KAOS at Evergreen State College in Olympia (Pavitt, if not directly, through his connection to Calvin Johnson and K Records), and KCMU (later became KEXP) at University of Washington in Seattle (Poneman). Apparently Pavitt also had opened Fallout Records in 1983, before making Sub Pop his full time gig. Muzak was also a congregation point. Within this network – college radio, cassette zines, K Records, record stores – there was plenty of opportunity to make contact with aspiring young rockers, and to create and distribute media (zines, cassettes, records) – all of which would mesh nicely in the package of a record label.

There is a piece missing here for me, with regards to Chris and me. I know and can show solid evidence that not only have we been under surveillance, but that surveillance materials have been, and continue to be, distributed. Signs also point to packaging and remixing of surveillance data for the purpose of supporting a libelous pre-planned narrative. And signs further point to Sub Pop artists including Tad and Mudhoney being linked to this, and not only to this, but to the January 2014 abduction. I can tell that there is also a link to hospital malfeasance. What I’m missing is specifically how Sub Pop is linked to the FBI, CIA, and all of this medical and financial malfeasance.

Back to grunge.

What I intended to write about was another important center of the grunge narrative, but one of the ones that tends to be buried, presumably because it is too close to Chris, and that is The Vogue.

Did Green River already plan to break up in 1986?

And what else were they planning?

I have spent the last couple of days thinking hard about Chris’ story of meeting Bruce Pavitt and Mark Arm at the Vogue in 1986.

Chris’ memory about things like this was generally really good. There have only been a couple of times where I’ve figured out maybe his memory was off slightly about a gig. Not only does he remember events, but his memory for dates is incredible, considering how many hundreds of shows he’s played and how many albums he put out. But sometimes he’ll be off by a year or so.

Was he off by a year on his memory about playing the Vogue and meeting Bruce Pavitt?

And why does it matter? Do I need to explain why it matters?

The sloppiness (or alternatively, lying) I see around music reporting music history of the this place – the Pacific Northwest, and this era – 1980s-1990s – is astounding. In addition, writers are surprisingly (to me) resistant to correcting “mistakes” even when you can provide a refutation with back up. The reasoning for this varies from “how can you presume to know anything at all when you weren’t physically there”? (It’s called historical research using primary sources) to this idea that it’s just music and musicians and therefore facts don’t actually matter – something which seems both deeply disrespectful as well as disingenuous – if it’s “just” music why are some of these musicians living in mansions while others were living tents? At what point does one’s ability to earn money from one’s own work matter in this country? If you don’t care about art or music, maybe you care about money?

I don’t think I should have to explain why it matters.

Back to the origins of Snow Bud and the Flower People. Now I’ve heard this story several times, asked clarifying questions, etc. It sounds like Snow Bud actually originated during the winter of 1985-86, and that during that time period, the songs were recorded twice. The first session was Chris at home, alone. He picked out some funny sounding song titles, then picked out some drum drops, and using his reel-to-real 4 track, recorded some songs to go with the titles and drum drops. It’s not clear to me whether this first demo was ever distributed on cassette – maybe a little bit among friends. Then, probably in January 1986, Chris got together with his buddies and did a second version, with live drums, and that is what became the original Snow Bud and the Flower People cassette tape. The band was basically imaginary characters, but of course Chris was excited to play the songs live, so he then also put together a live act. The first Snow Bud show was, according to Chris, at Satyricon on the same day as Space Shuttle Challenger disaster, so that would have been January 28, 1986. Chris’ memory is they played Seattle’s Vogue soon after, maybe in the spring. While the 3band3bucks website doesn’t show any Snow Bud shows at the Vogue in 1986, that doesn’t mean Snow Bud didn’t play there – there are many blank spots on their 1986 Vogue calendars. One source I read said Snow Bud played the Vogue “several” times in 1986 but sources aren’t cited and so I don’t have any way to fact check. I do recall Chris telling me that in these early shows, Sam Henry played bass and Andrew Loomis played drums. All three of them – Chris, Sam, and Andrew – were diagnosed, then died of cancer after I wrote that 2014 Introducing Napalm Beach article, and they all died before the age of 70, with Andrew dying first, in 2016, at 54. Compare to the Ramones. Part of the point I’m making is these are assassinations and the elimination of witnesses, and there is an established system involving global finance and US federal government black bag ops – for eliminating them. And furthermore, I’m saying this is is a profound violation of the constitutional right of due process and other constitutional rights, and we need to do something about it.

With regards to the general history, Mark Arm and Steve Turner were involved in the music scene going back to the early 1980s and if their stories are to be believed (this is always a big if), may have even met for the first time at a show where Napalm Beach opened (PiL in 1982) – Chris seems to have been much more aware of Mark than Steve, likely because Mark is a front man, songwriter, more loquacious and commanding of attention.

By the time Snow Bud performed for the first time in Seattle, I suspect Chris had already shared a bill or two with Green River. They were not buddies, but they knew each other by name. Bruce Pavitt, on the other hand, was probably not familiar to Chris in 1986.

So with regards to this story, it seems like basically three things were happening – first, Mark Arm was looking at Chris’ “Snow Bud” hippie costume, and also closely checking out his gear – his Fender Twin amp and pedals. Then, back stage, Bruce Pavitt expressed an interest in signing Chris to their new label. Chris said he Pavitt gave him a business card that said Sub Pop on it. And Chris said he didn’t follow through, explaining that at that time, he was approached this way all the time, and it never amounted to anything. And third – and this is when I really begin to wonder if the date is correct or something very unusual and deliberate was going on – Mark chatted to Chris about the impending break up of Green River, saying that some of the guys wanted to go commercial, while he and Steve wanted to keep their music more underground.

This was Spring of 1986? But Green River didn’t break up until November 1987, more than a year later. And Sub Pop didn’t start releasing records until 1987, either.

So maybe Chris had the whole thing mixed up? Maybe all of this happened in 1987? Maybe, but I’m not convinced, and I’ll explain why.

With regards to Green River breaking up – in normal circumstances, if you’re in a band, and your band decides to break up for whatever reason, you do NOT wait a year or more to actually break up. What would be the point? But maybe these weren’t normal circumstances.

What I am sensing, based on penumbra and patterns, is that between 1985/86 and 1987/88 is, for lack of a better metaphor, something like a chess players on a chess board being set up. Sort of like a pre-war planning process where you plan out a strategy and move your men around to key positions. And that might have been what was going on with Sub Pop and Green River. That Green River was planning ahead of time – not just to break up, but to split into two different bands, traveling two different paths, but with common goals.

With regards to Pavitt dangling out the idea of signing Chris – or specifically Snow Bud which was really a side project that started as a joke – I don’t think that was ever intended to come to fruition and I also now don’t think there was ever any good intent behind this. I think that the goal was if not to destroy, to seriously limit and suppress Napalm Beach, and to that end, a variety of tactics would be employed, including getting some fans to ignore the main band while lavishing attention on the goofy side project. This is not to say people didn’t genuinely like or love Snow Bud. But even if you liked the music, you can’t deny that the subject matter was self-limiting. “Bong Hit” was never going to be played on American Bandstand.

As far as what Mark was doing – it seems like, in the way Chris describes it, it was almost theatrical. He wanted Chris to know that he was studying his clothing, amps, and pedals. When I originally researched the 2013 Napalm Beach article, I did some follow up research, going back and listening to the Green River EP from 1985, and discovered that yes, in fact the sound, amps, and effects were very different than what Mudhoney started using in 1987. Mudhoney used Fender Twins, the wah, and the Big Muff.

So basically, not long after this, Kurt Cobain adapted the effects Napalm Beach used in the early 1980s – heavy distortion (including Big Muff in the studio) with Small Clone chorus – while Mudhoney adapted the early Snow Bud effects. Mudhoney cites 1970s rock as their influence, but that was also what Chris was playing with the band Bodhi in the 1970s. To me it looks like the bands took from Chris in a systematic and almost occult manner. Chris was used by these bands – Mudhoney, Nirvana, Screaming Trees, and others – as a source for ideas, while simultaneously being deliberately held back and not permitted to profit from his own ideas. This may have been framed as a “Game” to the bands, but there was big money flowing in from behind the scenes, and Chris wasn’t aware it was going on, and none of this makes it ok. Also, it seems like set ups were being created over and over again, and salacious gossip deliberately spread. From what I can tell, the ultimate goal seems to have been to incite attack and murder by a federal black bag ops death machine, because it is also a money making machine. There is a lot of money in chronic disease (for example, Kurt Cobain’s mysterious chronic pain syndrome) and cancer – and in addition, it appears that there’s a global finance stream provided to people who are willing to deceive, set up, lie, and throw friends, neighbors, and family members into these flames.

Sub Pop’s pretending they wanted to sign Chris looks like maybe it was a repetition of the 1981 set up with X – one that I don’t think I’ve examined here in detail yet. But what I will say about that is, what it points to is a lot of this possibly being set up by major labels or with major label entertainment industry money. Because Sub Pop wasn’t the only label “harvesting” ideas from Chris (and me) – all the record studios, movie studios – art world in general – have been doing this. And it’s quite possible (even likely) that what they did is set up a series of concentric rings around us – with Sub Pop being an important link between the inner circles (family, band mates, etc) and the outside architects – major labels, movie, studios. Also involved are government entities like police, FBI, and the health care industry. This – police/FBI and hospitals – is who I think is doing the physical attacks (creating sickness, disability) and killing, basically on behalf of these major labels and corporate entities.

One of the things that happens is that when the financial entities behind all of this begin to feel like the system is under threat, floods of money, gifts, and favors start flowing into key places. It’s too big to hide, and why should they hide it if the FBI is involved? One way this is done is through record, television, publishing, entertainment industry deals. Hence, Sub Pop.

There is more support for the idea that the initial Snow Bud/Sub Pop meeting happened in 1986 or at least was planned in 1986, and that is the song called Steve Instant Newman on the Melvin’s Gluey Porch Treatments. Steve Instant Newman, recorded October 1986, is a reworking of a song called Disinvite which was recorded in February 1986. My recollection is that the lyrics to this song were printed on the album.

Steve Instant Newman

Open the pain
To my short glass ear
Infected in
Too much intensive

Dis, Dis-in-vite

When eating alone
They think you’re talking alone

Dis, you Dis-in-vite

Steve Neuman

A few things stand out about these lyrics – “open the pain” – again a possible play on Payne/Pain – link to Mike Payne. Mike Payne said his high school nickname was “Mister Instant.

“Short glass” sounds like shot glass. Short is a reference to piezo biomedical electrical attacks (short circuit). “Infected” and “intensive” suggests hospital involvement.

At the end of the song, Newman is switched to Neuman, the German version of the name. It’s also a type of microphone.

There are a few things that suggest to me – and this may be one – that something was being worked out already with Germans. In 1984 and 85 Mike Payne spent a considerable amount of time in Germany (where I was living, going to high school), so he may also have had something to do with the German set up. It does increasingly look like Mike Payne and others in my orbit were linked, behind the scenes, to the origins of Sub Pop.

Another thing is, as I’ve been going back into Chris’ catalog, trying to chase down masters and so on. On May 26, 1986 Chris recorded the album that would become Moving To And Fro, which would ultimately be put out by a German label, Satyricon Records, in 1988. The Moving To And Fro tapes were recorded by a company that also did cassette duplication for K Records. On those tapes Chris name is misspelled “Neuman.”

So what do I suspect was going on? I suspect that this was a set up situation where three was a fake play made – let’s invite Chris, then we will disinvite him. I further suspect that they would say that Chris was disinvited because of his “behavior” – which is the set up that was pulled by X and/or their big label backers in 1981.

Snow Bud did go on to play shows with Green River and also did an early Sub Pop showcase (Feb 28, 1988) at the Vogue, though I’m not sure Chris had any idea it was a showcase or that the gig was linked to Sub Pop.

As far as Green River, based on how things operate within this system, I think it’s entirely possible they had planned their break up a full year or more ahead of time. Why they would do this would relates to a bigger strategy and how a small set of bands saw (and still see) themselves with regards to their burgeoning label, Sub Pop. This is related to Chris and me being in a unique position because of primogeniture and the “golden opportunities” (for profiteering through crime) that this brings to some people. They decided that they needed to keep Chris under surveillance, under control, and under wraps. To this end, he’d be permitted to play on bills with certain bands, and not with others. The bills that were set up, were set up strategically. Mudhoney was among the bands that could play with Chris’ bands, and they continued to play on bills with him off and on into the 2000s (though probably not during the height of their grunge-induced popularity). Pearl Jam would not be playing on bills with Chris’ bands.

Controlling focus and attention is huge. It is why controlling the press (via finance, threats) is so important. If Chris got too close to a band that blew up really big, it could put focus on Chris, and that’s what they didn’t want. This is also why famous bands or artists never publicly mentioned Chris as an influence, or gave him any help to progress professionally. And it is why writers avoid writing about him.

I believe that the large scale plan, in all its parts, was known early on to bands like Tad, Soundgarden, and Mudhoney. My suspicion is that some of this information was kept from the younger band, Nirvana. Kurt Cobain was another person who received special (not necessarily in a good way) treatment.

Vanishing Point (in reverse)

7 Jan 2014 blog comment "you're insane"
January 7, 2014 Introducing Napalm Beach blog comment

“Stop taking so many drugs and seek therapy to relieve yourself from your poison idea that, somehow, your boyfriend is the subject of some bizarre conspiracy.

No one buried Chris (Newman), except Chris himself. He is a loser and so are you.”
Mudhoney - Vanishing Point - 2013
2 April 2013- Mudhoney – Vanishing Point – released (image on front is Roman Forum?)
Vanishing Point (movie) title screen showing Shell gas station
March 13, 1971 Vanishing Point (the movie)
Vanishing Point (movie) screen reading "Barry Newman"
starring Barry Newman