Tag: Vogue

Sub Pop Sundays

Untouchables/Napalm Beach played shows at Wrex going back to at least March 1981. Wrex closed in March 1982 and Vogue opened in the same location January 1983. (source: https://threebandsthreebucks.blogspot.com/2018/02/wrex-1980-81.html )

Claudia Gehrke aka Claudia Lemon was the booking agent, and invited Chris and Napalm Beach to play her 27th birthday party on August 25, 1987. Supporting Napalm Beach was H-Hour who must have just arrived from Idaho. Tad Doyle who later fronted TAD, played drums. And then there was Bundy Creature. The following year, August 26, 1988 Chris’ side project Snow Bud and the Flower People headlined again for Claudia’s 28th birthday, this time at Squid Row.

Sub Pop Sundays seems to have begun on September 13, 1987 – 19 days after Claudia’s 27th birthday. According to something she wrote on Facebook, she let the Sub Pop guys (presumably Bruce and/or Jonathan) book whom ever they wanted on those nights. Sub Pop Sundays seem to have been once a month, ending on June 27, 1988. This, again, is according to the 3band3bucks website. But June 27, 1988 was a Monday, not a Sunday, and 3bands3bucks does not show a band for that date, just “Sub Pop Monday.” I have tried to figure out who, if anyone, played on this date, so far without success.

For context, here is the full calendar as listed on 3bands3bucks from June 1988

Vogue – June 1988
1 – The Beatnigs (SF), Skin Yard
6 – Jayne County (NY), Fastbacks
7 – Pop Defect (LA), Kristen Barry
8 – Feast, Lethal Gospel
13 – The Pink Slips
14 – Accused, Derelicts
15 – Bundle Of Hiss, Nirvana
20 – Ash
21 – The Option, The Groove
22 – Catbutt, Babyteeth
27 – Sub Pop Monday w/….
28 – Action Buddie, URU
29 – Napalm Beach (PDX), Coffin Break

And here are all the listed Sub Pop Sundays bands

Sub Pop Sundays 1987
September 13 – Sub Pop Sunday w/Swallow
October 25 – Sub Pop Sunday w/Chemistry Set
December 27 – Sub Pop Sunday w/Dead Moon

1988 Rocket advertisement for Vogue

Sub Pop Sundays 1988
January 31 – Sub Pop Sunday w/ My Beerdrunk Soul Is Sadder Than All The Dead Christmas Trees In The World
February 28 – Sub Pop Sunday w/ Snow Bud & The Flower People
March 27 – Sub Pop Sunday w/Doll Squad
April 24 – Sub Pop Sunday w/Nirvana
May 28 – Subpop Sunday w/The Derelicts
June 27 – Sub Pop Monday w/…

Aside from June, the only month missing is November 1987. Maybe it’s missing or maybe it didn’t happen. Of the nine Sub Pop Sundays listed, two are headlined by Portland bands – Dead Moon and Snow Bud and the Flower People. Both those bands were three-piece bands. There was a common member in both of those bands, drummer Andrew Loomis. Of those two bands (five people), only one person survives today, and that’s Toody from Dead Moon. Everyone else has died of cancer. None of them lived to see their 70th birthday. Andrew didn’t live to see his 60th. He died in 2016 at age 54, with his brother Matt dying four years later at age 55. Chris and Sam died less than a year apart. All of cancer.

It’s hard, at least for me, not to look at all these Sub Pop Sundays band line ups and see something like a storyline. Because there’s another thing about the calendar and that’s that last date, June 27, 1988. That’s the date that Bret Bowman was hit by a car.

Bret was my neighbor. He was about 2 1/2 years older than me. I’d known him since we were both young children. In June 1988 I was living in St Paul, Minnesota and it seems like Mike Payne was back and forth between Humboldt County (where we had lived) and St Paul. Bret had been hit while walking along Highway 101 in Crescent City, California. He was with a schoolmate of ours named Jimmy Shaw. They were high on L.S.D. They were on their way to Oregon Country Fair (aka “the hippie fair”) where they had planned to meet up with another classmate of ours named Scott Gear. Bret struggled to survive, and ended up in a coma for more than a decade. This is where it gets very confusing to me because no one has ever been fully honest with me about any of this. Bret’s obituary states that he was in a coma for 16 1/2 years. I had heard rumors that he came out of the coma and died by suicide. I tried to get more information but people would at first seem receptive, then suddenly not want to talk about it. Also, while Bret was alive, in this long term coma – something that is very unusual, by the way – I never could get good information about where he was, nor did I understand his condition. I thought he was brain dead. A “vegetable” they sometimes called it back then. Everyone around me who had known Bret pushed that idea, that he was “gone” – but I now think they knew better and were working from a script or an agenda.

I had a dream relating to Bret exactly one year before he was hit, and I had ominous dreams about Bret in weeks and months before he was hit, and I dreamt about Bret the night before he was hit. Being as I was in Minnesota, I didn’t find out about the incident until later – maybe a couple of weeks later.

Last time I spoke with Jimmy via Facebook, he was living in Washington State and I asked him what kind of acid did they do and he said “please don’t ask me anymore questions about Bret.”

Jimmy and Scott might be one year older than me. It seems like Jimmy befriended me first, then Bret later. I never really was friends with Scott, but I knew who he was. He seems to have gotten a job with Sub Pop sometime that same year, 1988.

The Oregon Country Fair is potentially linked to Courtney Love’s family, or family connections.

1986 – Snow Bud and the Flower People – Uppers Downers Inners Outers
Snow Bud Sub Pop Sunday at Vogue

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

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.

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

by Chris Newman

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

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

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

What I did was write down some silly song titles.


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

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

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

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

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

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

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

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

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

Snow Bud cassette side A

That first cassette became an underground regional hit.

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

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

Pearl Jam became that band.

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

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

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

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

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

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

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

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

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

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

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

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

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