In a recent entry, as an afterthought, I published a photo from the a copy of Backlash. And then it occurred to me that there is more to see here.
Backlash was a rock-oriented Seattle paper published between 1987 and 1991. According to their Facebook page “Dawn Anderson also published Backfire, 1983-84, and another zine called Backfire in 1997-2003.”
Several years ago, we were gifted an original copy of the June 1989 Backlash. It is yet another possession that seems to have vanished. However, I still had some scans hidden away in nooks and crannies, somehow avoiding the (FBI) wiping machine. I guess now is as good a time as any to publish them – I’m publishing here everything I have left. This copy of Backlash was supposed to be focused entirely on Oregon music, and I think that aside from paid advertisements, the Oregon focus was maintained throughout most of the magazine, with the exception of an review of Nirvana’s first album, Bleach. I noticed this anomaly from the beginning, but now I’m beginning to wonder if there’s something meaningful behind it. Look at which band is on the cover.
“At this point in time, Simon wanted me to mention that all old Napalm Beach bass players move to Seattle and get married.”
To recap – I am alleging that both Kurt Cobain and Chris Newman were murdered via a system of malfeasance that includes set ups, lies, secret FBI files, and biomedical implants used to manipulate behaviors and create diseases including chronic diseases like chronic pain (Kurt) and asthma (Chris) and terminal diseases like cancer as well as terminal behaviors like suicide. And I’m also alleging that these murders are planned out long ahead of time. So therefore, one has to consider whether the choice to put The Obituaries on the newspaper cover was influenced in some way by these advance plans. The tricky thing about this, is the biomedical implants can be used to make people appear to do something deliberate that isn’t deliberate at all – but I suspect putting the Obituaries on the cover was a deliberate death reference. I suspect Dawn Anderson among others knew there was a plan to murder both Chris Newman and Kurt Cobain via the filing of false and defamatory reports to the FBI.
I have never met Backlash editor/publisher Dawn Anderson. My statements are entirely based on observations of patterns and in this case, inductive reasoning. In other words, I’m not just talking about this one edition of this one paper. I’m saying there seems to have been a pattern of implied threats around Kurt Cobain that (unlike Chris) he would have picked up on. I have thoughts and ideas about why this would be going on – basically, at this point I think the issue was something like the following
Chris Newman was already marked by this community and others for destruction and death.
Kurt Cobain knew this, and was against it. This is clear to me from his lyrics.
Kurt Cobain was picked out at some point for rock stardom, where his rise would parallel Chris’ fall. I don’t know if he knew this or not, but I suspect at some point he did.
Kurt Cobain was also marked out for death, but I don’t know when this happened, or what the reasoning was. (Usually there’s something you’re supposed to think, and hidden behind that, the actual reason.)
Likely the plans for murdering these two artists were mostly about control and profiteering – continuing a very destructive and profitable crime. To this end, finance was coming in from around the world. Sub Pop (as well as K Records) seems to have had a particular link to the UK record business.
In April 2019, Mark Lanegan published a song called “stitch it up.” In July 2019, while cleaning his nails Chris dropped his pocket knife onto his bare foot. The blade hit an artery point down, creating a blood fountain, and Chris nearly needed stitches. I knew at the time that this was a mind control incident. To my recollection there were a number of signs.
“Stitch It Up” the first verse:
The hounds are behind me Footsteps following You know you can’t find me I’m miles from the crime scene
the last verse:
The Beast walks next to me Infrared blinding Ropes can’t bind me Knife’s still inside me
This is important because it seems to link between infra red and medical malfeasance, and most interestingly – the music business. The incident with the knife was done with direct control of Chris’ brain and behavior via biomedical implants and frequency based technology. That something of this nature was being planned and was known to be planned by people in the community, and by musicians like Lanegan, is significant. When Chris dropped the knife, it pierced an artery. “The beast walks next to me” would seem to be a reference to a single by Jeffrey Lee Pierce – “Walking With The Beast” – which Chris had displayed near his book shelf. This also supports my statement of surveillance from inside our home being distributed into the world at large, especially the entertainment industry, because Lanegan was never in our home, and very few people were in the tiny studio apartment where we lived since 2014. Jeffery Lee Pierce (Gun Club) died of an aneurism in 1996, as did another contemporary Los Angeles musician, Paula Pierce (Pandoras) in 1991. Kurt Cobain wrote a song called “Aneurism” in 1991. Another likely link to all of this is Pierce County, Washington (Tacoma) just south of King County (Seattle).
One other thing I’ll mention though it’s slightly off topic is that the Nirvana song Aneurism was recorded at Del Mar Fairgrounds in Del Mar, California. My daughter had a cousin named Delmar who died, allegedly, of a heroin overdose 9/21/2002 at age 25, but based on patterns, I know he was murdered – possibly via aneurism. I now understand that lots of people know ahead of time not only who is on a list to be killed, but how they may be harmed or killed. I also now know there is a link between Sub Pop linked Seattle bands and my daughter’s paternal cousins, like Delmar, and his brother Redsky who died in 2006 at age 26, and their sister Stormy who died in a car crash in 2016 at age 33, and their Uncle Timmy who was “randomly” stabbed to death in a bar parking lot in 2017.
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.
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.
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.
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.
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
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.
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.
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.
BONG HIT KILLER BUD MARY JANE BROWN RAT FINK BAD TRIP SPACED OUT PEAKIN’ SEEDS FOR THOUGHT SPACIN’ MASON
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.
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.
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.
