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V. Vale’s RE/Search Newsletter #150, May 2016: Charles Gatewood, Europe trip, Ann Magnuson

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TABLE OF CONTENTS:

1A: EDITORIAL: Charles Gatewood Died Fri 4/28/16 12:30am, San Francisco…

RE/SEARCH’s rarest Artists Book Box: BRUCE CONNER (3 copies).
1B. Zora Burden interviews Ann Magnuson
1C. Finally Back in Print: RE/Search T-Shirts: W.S. Burroughs, Mr Death, RE/Search Logo (red on black). New from RE/Search: Charles Gatewood pocket book! Mike Watt Zine! Monte Cazazza Zine (2nd printing!).
1D. TOP 10 RE/Search Horror Movies
2. The Counter Culture Hour: Sat MAY 14, 2016 4:30pm.
2b: RE/Search Conversations Podcast Series: New Podcast!
3. FORTHCOMING EVENTS: Send Us Suggestions!…
4. OUR PAST LIFE: Books we’ve been given, etc.
5. Recommended Links – send us some!
6. QUOTES
7. Letters from Readers (send some!)
8. Sponsors (Check ’em out! – they make this newsletter possible!)
————–please add info@researchpubs.com to your WHITE LIST in your email preferences, or to your ADDRESS BOOK. If you change your email, send it plus your “old” email address to delete. Lastly, forward our newsletter to your friends! If you are on AOL, please make sure you can receive our newsletter—we get the most returns from addresses at AOL, Hotmail, Comcast and Yahoo! ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++1A. CHARLES GATEWOOD died Fri April 29, 2016, 12:30am, in San Francisco. One of RE/Search’s oldest friends is gone forever. The New York Times printed a detailed yet concise obituary revealing exact details of Charles’s past (his middle name: Robert), the full names of schools he attended, and more, all under the title “Photographer of Extremes.” Not a bad adjectival phrase!
Yet Charles described himself as “the family photographer of America’s undergrounds” and we at RE/Search always considered him (and ourselves, for that matter) as a kind of anthropologist outside of academia with the goal: to document creatively, and to inspire. Perhaps the “establishment corporate media” doesn’t truly want to encourage undergrounds…
Like RE/Search, Charles captured visual archetypes as well as unique individuals (like William S. Burroughs and Brion Gysin), most of them trying to carve out a life outside or beyond the bourgeois American societal model. We were both trying to capture and predict the future somehow. And it was Hegel who showed us our futuristic goals: more freedom, more consciousness, more justice for more people—and we added: more eccentricity, more weirdness, more mystery, more black humour. (Maybe black humour should have been first… In early Punk Rock, we did think one of our primary drives was: Search For Weird…)
 
In 1975 at a long-gone bookstore in San Francisco’s Cannery titled The Upstart Crow, we discovered on a “new arrivals” table Charles Gatewood’s book Sidetripping, with text by William S. Burroughs. Immediately that became our favorite photo book; we were already hardcore Burroughs fans, but who was Charles Gatewood?!?
Then, in fall of 1977, Search & Destroy’s  Philadelphia correspondent, Lee Paris, sent us an interview with Helen Wheels accompanied with photographs by—yes—Charles Gatewood! So Search & Destroy #4’s cover featured a Gatewood photograph; more photos (one featuring a large snake) were inside. Shortly thereafter, Charles and his old friend the tattoo artist Spider Webb visited San Francisco. They were doing an on-the-road book project titled Pushing Ink, and they took us out to breakfast. Gatewood and RE/Search remained friends and collaborators ever since.
RE/Search’s most influential book, Modern Primitives, was sparked in 1982 when Charles set up a dinner with Silicon Valley ad executive Fakir Musafar, who appeared wearing a suit and tie. During the dinner Fakir removed his suitcoat and tie, and unbuttoning his shirt, inserted a pair of pearl-handled letter openers into his chest “slots.” Wow! We had been huge “naive art” fans for years, already owning Otto Bihalji-Merin’s 1959 Abrams book Modern Primitives: Masters of Naive Painting, and thought, rather shamelessly, “Let’s do our own book project, and call it ‘Modern Primitives’!”
But we already had projects in the works: Industrial Culture Handbook, J.G. Ballard, Incredibly Strange Films, and Pranks, so it wasn’t until early 1989 that our version of Modern Primitives finally was born—not dealing with paintings, but the human body as an artistic canvas. And many people have said that this book “changed the world.” You had to have been there at that time to notice; probably all the already-existing tattoo artists did. At that time, body piercing did not exist. Modern Primitives “raised the bar” for the concept of Tattoo as an Art Form, and almost single-handedly catalyzed the international body-piercing industry, with its yearly conventions and convocations…
Charles also figured heavily in Modern Pagans, RE/Search’s companion book to Modern Primitives. In Modern Pagans the goal was to document alternative rituals and society-formation with a global perspective. Here there is an interview with Charles Gatewood, who also took the cover photograph and other photographs inside.
Whenever possible Charles would give RE/Search photographs for book projects, including J.G. Ballard Quotes and J.G. Ballard Conversations, and especially the latest RE/Search pocketbook titled Charles Gatewood, which has fifty of his photographs along with the interviews and parts of his autobiography.
In 1989 Charles moved to San Francisco, and began regularly sharing book tables with us at events such as the yearly Anarchist Book Fair, the Alternative Press Expo (APE), and the S.F. Zine Fest. We will miss those lengthy “catch-up” sessions… and no, Charles will never be replaced. To stay rebellious, it is necessary to associate with other “permanent rebels,” but now they are few and far between—not many people have a lengthy, decades-long “track record.”
Happily, we still meet young people brimful of tempered hope and optimism for the future (as well as anger toward the present 1%-dominated society), so… As some poet said long ago, “Hope springs eternal in the human breast.” May that continue! Another poet said, “Without hope we have nothing…” Well, we still have friendship, so let’s value our closest, dearest friends, and vigorously stay in touch—try to be in the same room with them! Because you never know when, like Charles Gatewood, they suddenly die. But at least part of his soul yet lives on—kept alive through his books, photographs, and unique words… a counter-culture historian and artist to the very end.
MEET RE/SEARCH IN EUROPE May 15-27! Here’s our schedule; if you can meet us please email us (info@researchpubs.com) & we will do our best to synch up…
May 15: Arrive Paris 5pm
May 16: Paris – unscheduled
May 17: travel to Frankfurt by train (midday)
May 18: Teach Classes at Stadelschule in Frankfurt..
May 19: travel to London by air (very early morning)
May 19: Horse Hospital event with Penny Rimbaud and Gee Vaucher, 7pm
May 20: London – unscheduled
May 21: travel to Berlin by plane (very early morning)
May 22: Film showing in Berlin
May 23: Teach Classes at JFK University, Berlin
May 24: travel to Paris by plane (afternoon)
May 25: tech meeting at Les Voutes
May 26: Paris – unscheduled
May 27: Film Show at Les Voutes
May 28: travel to San Francisco by plane (early afternoon)
1B. Zora Burden: You have a lot of new projects you’re working on—will you talk about some of them?

Ann Magnuson: I do, but they’ve been in the works for the past two years! I have a new CD I’ve just finished—wait, do people even call them “CDs” anymore? A new download? A new conglomerate of audio musings? Anyway, I will show my age and call it an “album”… I have a new album called Dream Girl which is a collection of original songs and spoken word dreamscapes (and two covers, one of which is “Dreamboat Annie” by HEART). The album is loosely connected to a new web series I’ve been developing called Ann Magnuson’s Dream Puppet Theater. We’ve finished the first episode and hope to stream it in late May, around the time the “album” is released!

ZB: What inspired you to create Dream Puppet Theater? What was the process of creating it?

AM: Ann Magnuson’s Dream Puppet Theater (a.k.a. AMDPT) evolved after L.A.-based filmmaker and musician Jonathon Stearns approached me about providing voices for another web series idea he had. That didn’t end up happening, but it got me to thinking: “Hmm, I have these dreams every night.”

I write most of them down every morning. I have an insane backlog of material, notebooks full of these dream stories (that’s where a lot of the Bongwater material came from, by the way). Also, I had recently found these fantastical and quite strange-looking dolls my Grandma Magnuson had made for her grandchildren in the 1950s and ‘60s back in West Virginia. Some of the first “shows” I put on as a kid (like so many kids) were puppet shows using my stuffed animals to tell my made-up stories. It didn’t take long to connect the two—and voila! Ann Magnuson’s Dream Puppet Theater was born.

The show presents my dream stories using the dolls as puppets, coupled with Jonathon’s unique animation skills. I created the characters and their voices and wrote the script, choosing one of my more archetypical dreams about “The Cosmic Man” to start us off. The Cosmic Man in my dreams bears more than a passing resemblance to Ziggy Stardust, with some Lord Krishna and Vishnu thrown in. He often comes to visit… to take me on wild adventures.

Jonathon and I shot live footage in the studio of myself and the dolls. Then he animated sequences. After a lot of time and work, we are finally ready to stream our pilot. We are still settling on the right “platform” to host that. There is a Facebook page that features a trailer, with updates regarding when it will be available.

The thing is, it seems to be too “out there” for the people who want to finance commercial web series—at least it was too out there for the folks I met at Warner Brothers. But we intend to put out the pilot and see what kind of reaction we get. Hopefully, there will be someone with more adventurous tastes who wants to finance more!

I am really proud of the pilot we made and can’t wait for people to see it. However, I am finding that I have less patience with mediums that require funding. Even though I had a lot of fun making AMDPT and this new CD, it still required writing checks! But it was money well spent. AMDPT was the impetus to get me back in the studio and start recording, since the first song on the new CD was initially recorded for the web series. It’s a folksy psychedelic tune called (appropriately), “We’re All Mad.” (Yes, it was in the dream.) Anyway, I produced the CD very much on my own and it helped me find my original voice again—something I desperately needed to do after being in the acting profession! I got back to the Bongwater-style of storytelling that I think is my strong suit.

I want to keep recording, but must find lower-cost ways of doing it. I think I may focus on writing my early ’80s memoir and—taking a cue from Patti Smith—poetry. Putting pen to paper costs nothing! Speaking of which, I just saw Patti Smith do a very intimate, acoustic show with songs and readings at the Getty Auditorium in connection with the Robert Mapplethorpe exhibit. So inspiring… just like she was back in the mid-1970s. I used to see her walking down St. Mark’s Place when I first moved to NYC, and I felt like I’d died and went to Rock ‘n’ Roll Heaven… which, in 1978, the East Village kind of was. I saw Jerry Nolan and Johnny Thunders of the New York Dolls, and Richard Hell a lot, too. I broke out in a sweat every time I saw Richard Hell. So foxy!

ZB: Do you feel that working without a budget encourages more creativity and freedom for an artist? How does a person fund a project and keep their integrity and creativity intact?

AM: Working with absolutely no funding was my experience back in the day: there was NO money to be found in NYC during the bankrupt Seventies and well into the Eighties. No one I knew had money, until Jean-Michel Basquiat came back from Italy with hundred dollar bills pouring out of his paint-splattered designer suit. Then Keith (Haring) hit it big and the Reagan Eighties was off and running. That was a whole other ball of wax.

Before that, at Club 57 and in the other clubs and downtown spaces, there was nothing… so I think that contributed to the explosion of creativity and ingenuity that occurred then—because it was all we had. We made so much from the trash that was always left out on the street, and there was some excellent trash left out then—and lots of it! There was a moment in time when no one dreamed they could make any money off what they were doing, so it wasn’t even considered… There was an “art for art’s sake” euphoria happening that was very real. I have a fondness for that, but don’t want to romanticize poverty—it was tough and hard, and too often not fun at all. I think that’s why we at Club 57 were so dedicated to creating situations that were fun.

I always used any money I made from club work (some of the bigger clubs that appeared later paid well) and then from mainstream acting work to keep me solvent and finance my most-decidedly uncommercial creative ventures. Today there is such a focus on being a “brand,” but I think that is in direct conflict with the primal creative spirit that comes from somewhere deeper—a place the Surrealists certainly drew from—a subconscious primal state which can’t be accessed through a bank account. In fact, money tends to close off conduits to that well. It can certainly poison it.

ZB: I just finished an article that focuses on Jung, Surrealism, Spiritual Alchemy and Taoism, which all deal with archetypes, the subconscious and the dream state, so your new work is really fascinating to me—

AM: That’s exactly what interests me now, and what the Dream Puppet Theater and the Dream Girl album are all about: the subconscious and the Jungian investigation of it. That’s the territory I want to go deeper into, since I’m deep in it every night of my life!

ZB: Spiritual alchemy is how we can make ourselves “whole” through our subconscious. Have you ever practiced Hypnagogia? Jung and the Surrealists used to do this… kind of like lucid dreaming and meditation.

AM: I’d say I am more a practitioner of hypnopompia! Almost every morning I find myself in that in-between state of waking and dreaming. Sometime it’s not so pleasant, but it’s always interesting, and I can choose to prolong it or guide it. Usually, I just let the subconscious do what it wants. I have learned how to cut back on the nightmares—no documentaries about Nazis or other atrocities before bedtime, is one way!ZB: Will you talk about what some of the episodes are about?

AM: There are so many episodes written for AMDPT, but until we can pay for making them I hesitate to discuss them. Many involve The Cosmic Man. And each doll (or puppet) has their own adventures, their own kind of dreams, and their own separate relationships with The Cosmic Man. There are other “archetype” characters like the Mother Goddess and The Trickster, etc.

The Cosmic Man is a shape shifter and appears in all kinds of guises (Ziggy-era Bowie is one of the most frequent), but also appears as an amalgam of other deities, as well as other entertainers. One episode is called “Ginger Baker is The Cosmic Man”—yes, the drummer from CREAM. I think I had just seen the documentary about him, Beware of Mr. Baker, plus my husband and I saw this Brit TV show about Jack Bruce, with all this incredible footage of CREAM playing at Royal Albert Hall in 1968. Of course all that permeated my dreams—thankfully! In this particular Cosmic Man dream Ginger Baker is a Jesus Christ kind of figure dressed all in white, building this huge art installation that is part shiny white plastic geodesic dome, part jungle gym and part drum kit. I can’t remember the details now, but it’s all written down.

Ginger was very joyful in it. I do recall feeling very healed when I woke up… so Ginger Baker’s Cosmic Man powers were transformative in the extreme! That one in particular would be hard to recreate—I mean, you can never accurately recreate dreams. They use a language from another dimension, a language that can’t cross the interdimensional blood-brain barrier. It’s like trying to explain what the machine elves are! You can use the imagery and language of this dimension, but it doesn’t begin to convey the transcendental nature of the Other Side…

ZB: Will you explain how your dreams play such an important role in your art and performance?

AM: Well, it’s instant material. And it comes from the depths. And it’s often so freaky and sometimes so nutty and hilarious… it’s like they say: you can’t make this stuff up! I don’t always use them, but I write them all down, and they are there if I need them.

I have dreams that fit into all kinds of categories that I’d like to one day assemble into different shows, or in AMDPT, or in recordings, or maybe in books. Self-published books really seem to be the best and most cost-effective way to proceed now… even a zine—how retro is that: The Dream Zine! I like that.
have used the West Virginia dream in shows that are specifically about Appalachia. Several of those shows were commissions for a festival back in my hometown of Charleston. One was Back Home Again: Dreaming of Charleston, which is specifically about my hometown and my continued attachment to the place. However, I will say that having done some of these shows, I feel more freed of old attachments. I increasingly feel that my home is now here in Silver Lake (in spite of the vile gentrification and development)—or at least in our beautiful backyard, which is not unlike being in West Virginia during a perpetual spring!
I also feel that Joshua Tree, where we have a little retreat that continues to preserve what may be left of my sanity, is also my home—maybe because my family furniture is now there. And that the openness of the desert is so mentally liberating! But the pull towards West Virginia returns whenever I see photos of those hills and hollers. It’s often ferocious; I used to break down in tears from the feelings it brought up. But now I am happy to say I simply feel the swell of love.
A lot of the pain came from losing my brother to AIDS in 1998. But now that so many of my New York friends have died, this isn’t so traumatizing on a daily basis as it used to be—the insurmountable sense of loss doesn’t have me in its grip as much. I think that can only come when one fully embraces the “e = mc-squared” side of things.
I put a lot of my West Virginia dreams in An Evening of SurRURALism, a show I did back in Charleston last summer. One involved the Mongol Hordes invading the holler just west of Charleston, up this road past the Glen Ferris Inn where we used to go for special Sunday dinners, then up a windy mountain road to a place called The Mystery Hole—this strange tourist trap, full of weird shit. That place always fascinated my brother and me, but my father would never stop there, in spite of our pleas. Once I got my driver’s license, it was one of the first places we all went to—stoned, of course!

There is a Bongwater song about The Mystery Hole. Actually, most of the Bongwater stuff is about West Virginia. I wrote almost all the stories and poems that would later become lyrics to Bongwater songs there when I was on vacation from the East Village during the ’80s. The LP Too Much Sleep is nearly all West Virginia; the song “No Trespassing” and “Junior” are all West…, by gawd. And I actually had a “Psychedelic Sewing Room” when I was about twelve or thirteen.

ZB: Do you want to say anything about Bowie and Prince passing, and what they meant to you?

AM: I so regret never seeing Prince live. Thankfully, I did get to see James Brown at the Irving Plaza in 1981 or ’82—I got to give him flowers at the end of his show. He gave me a big bear hug and a kiss and covered me with his sweat—it was glorious! But Prince… gosh, why didn’t I make more of an effort? You always think people like that will be around for a while. A major loss for me.

I deeply regret not getting to see Jeff Buckley live. He was one we all thought would be around much longer. Regarding Bowie—I just saw Tony Visconti and Woody Woodmansey on their Holy Holy Tour doing the entire Bowie album The Man Who Sold the World. Incredible—the musicianship was extraordinary! I love seeing people in their older years kicking ass. They’ve honed their skills to a razor-sharp sushi knife that cuts deep and wide!

All my personal David Bowie stories will be going into the memoir—well, maybe not all, but who knows? (Oh yes, there are some good ones!) His death was quite a psychic jolt, but I had heard for years that he was ill, so it wasn’t a complete surprise. And yet, his death hit those of us who are a certain age and sensibility the way the death of a parent affects you. That is no exaggeration. It was the death of our youth in a lot of ways—pretty heavy for the Peter Pan generation. I have to say I felt that years before, when I heard Mick Ronson had died. Certainly, these kinds of passings remind us acutely of our own mortality… and that time is tick, tick, ticking and then it just stops. That’s too freaky for our kinetic minds to handle. He still visits me in my dreams, though not as much as before. When it happens he looks a lot like an Alex Grey DMT painting! Bowie will forever be The Cosmic Man.

ZB: It’s as if Bowie seemed to use his art to explore his own inner realities as The Cosmic Man archetype, and we were just along for the ride—

AM: Yes, absolutely! Which is why he was one of several who defined what an artist can be… who defined what an artist is, for me. I’d like to put together an entire book of all my Bowie Dreams, especially if we can’t get the funding to make more episodes of AMDPT. But honestly, I’ve gotta give the Bowie material a rest. I did a few shows singing his songs, before he released The Next Day (and no one was doing his stuff), which culminated in this show I did at SFMOMA in 2011 about both Bowie and Jobriath subtitled The Rock Star as Shaman, Myth Matker and Ritual Sacrifice. It was to illustrate the ritualistic nature of idols, and how we have to back away from this, or it will kill us…and them.

It was a way to enjoy the Bowie songbook but also tell the story of Jobriath, the first openly gay rocker (glam or otherwise) that suffered a terrible fall from grace due to Hype and the ugliness of the Success/Failure ritual which kills youths as surely as the Aztec high priests killed them at the altar of Chichen Itza. So I kinda got Bowie out of my system, so to speak, in that show—while also eulogizing and celebrating the forgotten music and life of a “failed” artist who deserved better: Jobriath.

That’s what I see theater (and, if we must) “performance art” as: a ritual cleansing; a form of individual and collective therapy… besides an excuse to get out of the house and have some laughs! We first celebrated Bowie as a God, then sacrificed him (whacking a piñata tricked out as Ziggy Stardust, which was enormous fun) to facilitate the resurrection of Jobriath, who could now metaphorically live again, through these surrogate rituals, and overcome the bullshit that destroyed his spirit! There was a lot more to it than that—it was a semi-religious experience. I did a baptism, gave communion to the crowd…gluten-free wafers, by the way—this was San Francisco, after all! The whole thing was a wild ritualistic hoe-down…

ZB: I agree that musicians take on the Cosmic Man or Anti-Hero archetype, who act as a catalyst for us in our attempts to understand each other and ourselves in the collective unconscious. Archetypes are the universal language for “the artist as storyteller,” which you talk about as a big part of your work.

AM: I love the archetypes—they explain everything! Have you seen the documentary The Way of The Dream? It was made by the son of Jungian writer Marion Woodman. He interviews Dr. Marie-Louise von Franz who was a close colleague of Jung himself. Von Franz does incredible dream analysis—there is an analysis of a Marilyn Monroe dream that will blow your mind! I’ve actually flirted with the idea of going to the Jung Institute and taking classes. I’d rather be a Jungian analyst than an actress at this point; a good thing to do in one’s old age—I can wear a caftan and heavy jewelry! Actually, like most people in this Business we call Show, my interest in theater and acting stems from a deeper interest in the psyche and a fascination with human behavior. But only a handful of actresses get to explore the full spectrum of character in movies and TV. Theater offers better choices, but I’d rather create my own.

ZB: I love how you said that in your portrayal of so many female archetypes through your art, it liberates you… and how in society, women tend to be confined to only a few. Will you explain why women are defined by these limiting archetypal roles in society?

AM: Women are absolutely imprisoned by just one or two archetypes. Guess which two? Especially actresses. That’s why you don’t see me act much anymore. Besides the fact that the profession is horrifically competitive and positively Sisyphean in terms of what little return there actually is for your time and investment. Really, except for a few roles that I can count on one hand, most have been as confining as the Spanx they made me wear! Usually I pursue it because I want to stay eligible for the SAG health insurance, where you have to earn a certain amount to be on the plan. But nobody wants to pay anyone anything anymore—in acting or any of the arts—so I’d rather focus on what I do have control of, and be a creative artist on my own terms. That doesn’t mean to say I’m not ready to learn my lines and show up! I just ain’t gonna sit around waiting for the phone to ring…

ZB: Do you see your art and performances as a kind of psychological tool for your own growth? Or as a kind of feminism and activism?

AM: Oh, yes—without a doubt. If I didn’t put on shows I would’ve died from god knows what. While others were getting hooked on heroin back in the day, performance was my drug. Plus, all these performances are a way to make sense out of a shit-ass crazy world! Not to mention the jumble of one’s own psyche. I can only hope anything I’ve done has helped someone else along the line. When I see a performer like Patti Smith or Diamanda Galas or a band like L7 who are on tour again, or gosh—so many people, too many to list—the very act of them being out there and doing it, is a political act. Call it “feminist” or “activist” or whatever, it’s the act of giving everything you got in the act of living life, and it’s all inspiring in that sense!

PART TWO will appear in the June Newsletter…
Here’s the link for her whole website-
https://ann-magnuson-n3jz.squarespace.com/
Here’s the link for the pre-sales of her CD coming out mid May
http://ann-magnuson-n3jz.squarespace.com/#/dream-girl/
Here’s the link for her Puppet Theater trailer
http://annmagnuson.com/dreampuppettrailer.html
Again, PART TWO will appear in the June Newsletter…

1C. BRUCE CONNER Artists Book. (3) RE/Search T-Shirts back!!

“We’ve recently produced our first “Artists Book Box” on BRUCE CONNER: an extremely limited edition of three copies (we’re keeping one copy), entirely handmade, featuring interviews and conversations which V. Vale recorded from 1979 to just before Bruce died in 2008. Also included are original color prints; photos of Bruce Conner by V. Vale. None of this material has ever been seen before; the text runs about a hundred pages. Approximately 350 hours of artist labor were involved in producing this rare ARTIST’S BOOK. Our friend Luis Delgado valued this handmade artist’s book at $4,000 (but, we price it at $2,000!). We know a number of major museums are planning huge Bruce Conner retrospectives soon. So, if anyone knows an institution interested in this handmade production, let us know! Or, support your favorite counter-culture publisher by donating a copy to your local art museum rare books library – maybe they’ll name a new wing after you. (See your accountant for possible tax incentives)! This is likely to be the rarest RE/Search book ever published…” The RE/Search Bruce Conner Box includes ALL the Conner contributions to Search & Destroy and RE/Search: Search&Destroy #6,7,8,9,10,11, the PRANKS hardback, and the new Bruce Conner Artists Book. Price: $2,000 USD. If interested, write: info@researchpubs.com

1D. Letter from Dena Beard, May 2, 2016: Dear V.,
In a recent article for San Francisco Magazine Director of SFMOMA Neal Benezra seems exasperated at the prospect of dealing with the dwindling artist community in San Francisco: “Benezra is only too aware that while museums are feasting, artists are starving. “I wouldn’t want your readers to think that we’re not mindful of the fact that San Francisco needs to be a great place for artists,” he says. “Obviously, there are real challenges there. I wish I could say that I have a solution.”
Well, as a rejoinder to that, I say that The Lab IS offering a solution. Over the past year, we’ve paid out $100K directly to artists, a majority local. Now we are setting up a new economic model to give 3-4 artists a year a living wage [and soon even health benefits].
I believe that we need to change how great art gets funded. Over the past five years, 25% of San Francisco’s nonprofit organizations, along with untold numbers of artists, have been forced to leave the city due to skyrocketing rents. The character of a city is not shaped by its large institutions, but by its artist communities and ours is shrinking by the minute. Our mission at The Lab is to provide real support to artists whose practice is not easily or often monetized, and to cultivate audiences who are looking for a more radical engagement with art’s possibilities.
We chose to do a Kickstarter because we want YOU to be a part of this experiment. Granting organizations respond to the numbers of supporters of an organization, not just the amount of the gift. So, in the next 52 hours when you share on social media or send a few emails, you DRASTICALLY increase the chances of this new arts funding model being a success in the short and long term scheme of things.
Did you know that the US government currently spends only $146 million of its $3.8 trillion budget on culture? By comparison, France’s cultural budget is $4.73 billion, Germany’s is $1.63 billion, China spends $7.8 billion on culture annually, and England $728 million. That’s our collective happiness getting the short shrift, so we ask you to take full advantage of your first amendment rights—and our tax write-off—to let Uncle Sam know that we deserve better. In return, you’ll learn how we’ve gotten here and you’ll see firsthand what makes these projects special, and, of course, you’ll be getting some pretty amazing rewards from us and our exceedingly generous community of artists and friends.
Let’s do this. Let’s change the game.
https://www.kickstarter.com/projects/buildthelab/keep-it-experimental
—Dena Beard

1C. We need YOU to order books direct from us to help us keep going! (www.researchpubs.com)

() Finally back in print: RE/Search T-Shirts! The W.S. Burroughs T-shirt; Mr Death T-shirt; RE/Search LOGO (red on black) T-shirt. Specify size: S,M,L,XL. For Photos Go to: http://www.researchpubs.com/shop/wsb-shirt/
http://www.researchpubs.com/shop/mr-death-t-shirt-2/
http://www.researchpubs.com/shop/hard-to-find-research-logo-t-shirt-red-on-black-2/

() Order the new RE/Search pocketbook on CHARLES GATEWOOD, a pioneer of avant-garde photography. This biography includes an essay by Julia Helaine. Our intern Meg de Recat did much of the editing; Jane Knoll did a final pass..

() Order the new Mike Watt Zine Edition 2 with color-photograph cover: $20 plus $5 shipping (or $10 ship foreign): http://www.researchpubs.com/shop/mike-watt-zine-wcolor-photo-cover-limited/

() On www.researchpubs.com we recently put up a new piano improv by V. Vale, “Song for Esther”: “Old-Timey tune.”

() We offer a 2nd printing of the 64-page MONTE CAZAZZA zine. Price just $12 (plus $5 shipping; just PayPal $17 to: info@researchpubs.com). Monte Cazazza is one of the big mysteries in the RE/Search canon, and we think it is a miracle he has survived to this day, integrity more-or-less intact! NOTE: Overseas orders $15 SHIPPING (total $27). CALIF residents add 8.75% tax ($2.19 tax, total $19.19). Note: USPS just raised foreign shipping rates 50%; yikes!!

() We just made 8 copies of a zine on Diane di Prima – $10 each plus $5 shipping or $10 overseas shipping. Just PayPal $15 or $20 to: info@researchpubs.com – be sure to include your address!

() We made a zine on LSD MUSEUM’s Mark McCloud. We only made 20 copies and they are $20 each (includes handmade blotter acid print) plus $5 shipping or $10 overseas shipping. Just PayPal $25 or $30 to: info@researchpubs.com – be sure to include your address! Only (2) left.

() We offer a 2nd printing of the McKenzie Wark zine with handmade silkscreen suitable for framing. $20 plus $5 shipping or $10 overseas shipping. Just PayPal $25 or $30 to: info@researchpubs.com – be sure to include your address!

() Four V. VALE PIANO IMPROVISATIONS available for listening on bandcamp NOW. One features amazing guitarist Will Rogers! https://researchpubs.bandcamp.com

() FINALLY: the newest RE/Search Pocketbook is in stock: Charles Gatewood! Hot off the press. Includes photos of W.S. Burroughs plus other photos of POI (People of Interest). $20 PayPal to: info@researchpubs.com ($30 overseas).

() PENNY RIMBAUD. CRASS proto-Punk co-founder (with Gee Vaucher), performer-philosopher-poet-writer-bread-maker, Penny has a lot to say about how to navigate through our increasingly-confusing media-sedated and pharmaceutical-sedated world. $14.99 plus $5 ship ($10 overseas). NOTE: We also have other RE/Search Pocketbooks: ED HARDY, Lydia Lunch, Henry Rollins each $14.99 plus $5 ship, etc.

() Volume 4 of our “Punk and Tech” series is “Screw the System” (with a great essay on J.G. Ballard by Jack Sargeant), 300 copies. $30 plus $5 shipping or $25 shipping overseas; PayPal the amount to: info@researchpubs.com

() One of our “Punk and Tech” volumes is DATING A.I. by a Russian genius (under a pseudonym). It’s the funniest (yet “scientific”) guide to A.I. www.researchpubs.com

1D:  TOP 10 RE/Search HORROR FILMS!

1. Inferno

2. Suspiria
3. Eyes Without a Face
4. Dawn of the Dead
5. Night of the Living Dead
6. Texas Chainsaw Massacre
7. All Lucio Fulci films!
8. All Dario Argento films!
9. Last House on the Left
10. The Cat People (both versions)

2. Counter Culture Hour – Sat MAY 14, 2016 4:30pm Pacific Time Watch for it this month as Channel 29 re-airs our shows frequently.The Counter Culture Hour (aka RE/SEARCH TV) is also simulcast ON-LINE as well as on cable access San Francisco Channel 29 — 4:30pm Pacific Time, now EVERY Saturday! – see this link at broadcast time: http://www.bavc.org/channel29 You need a fairly decent internet connection and computer to “get it.” USA west coast: 4:30 PM Sat MAY 14, 2016 USA; east coast: 7:30 PM Sat MAY 14, 2016. Tokyo: 8:30 AM Sun, MAY 15, 2016 If you cannot get this online email us at info@researchpubs.com See RE/Search channel on youtube: “researchpubs”

2b. RE/Search Conversations: podcast series
Most of us are too busy to sit down and watch a “TV show,” so now you can listen to some of the conversations that happen around the table at the RE/Search headquarters. For Daniel Miller Part 1 go to: http://www.researchpubs.com/2016/03/research-conversations-6-daniel-miller-part-1/
For Jarett Kobek’s podcast-visit http://www.researchpubs.com/category/podcast/  as well as at the Apple podcast ‘store’ (they’re free and available to all who can find them). Here’s the link to the offerings to date (Penny Rimbaud, Rudy Rucker, Lyle Tuttle):
https://itunes.apple.com/us/podcast/re-search-conversations/id1071988559

3. FORTHCOMING EVENTS (San Francisco unless Otherwise Noted)

() $ http://www.thrillpeddlers.com – our favorite local Grand Guignol Theatre Company at the Hypnodrome – support live local theatre!

() Support the Roxie Theater: great programming EVERY NIGHT (our opinion). http://www.roxie.com Also support the Castro Theater!

() S.F. EVENTS to Check Out Regularly: Long Now Foundation. Goethe Institute. The List (Punk Rock). Dorkbot. Bottom of the Hill. INdependent. Thee Parkside. The Chapel. Brick & Mortar. ATA Gallery (last “underground” film place?). The Lab. Southern Exposure Gallery under Patricia Maloney. Mule Gallery. Terminal: http://fierysummons.blogspot.com/

() $ Sat April 30 Castro Theatre: HIGH-RISE (SF Film Festival)
() FREE Mon May 2, 7-9pm, 41 Ross Alley: QUIET LIGHTNING quietlightning.org/41-ross

() $ Mon May 2, Gray Area/RML (Naut Humon) present…, 2665 Mission/23rd-22nd St. Touch Conference. grayarea.org/events/touch-conference

() $ Thur May 5, Castro Theatre: Jesse Moss’s Burt Reynolds movie: “The Bandit”   jessemoss.com (Thanks, Nick Moss!)

() FREE Fri May 6, 6-9pm Winston Smith opening at Mule Gallery, 80 Fresno (former Emerald Tablet). mulegallery.com
() FREE Fri May 6, 5-9pm Krowswork, 480 23rd St (Side Door), Oakland 94612 hosts THE FATES: Nicole Shaffer, Kally Williams, Monet Clark. krowswork.com/thefates.html
() $ Sat May 7 Embarcadero Theater: HIGH-RISE (written by JG Ballard) starring Tom Hiddleston. RE/Search will attend! Re-read the book, too!
() FREE Tue May 10, 4-7pm International Hotel Manilatown Center, 868 Kearny/Jackson St, SF PHOTO SHOW!
() FREE Sun May 15, 6pm Panel: Mark Pauline (SRL), Adam Savage, Nico Sell, moderated by Andy Rappaport at Minnesota Street Projects. Inch worm and Pitching Machine on display. http://minnesotastreetproject.com/events/special-event/blow-sht
() MAY 16-MAY 27: RE/SEARCH TOURS EUROPE (Paris, Frankfurt, Berlin, London)
() Fri June 3, 9:15pm ROXIE Theater: Joey Skaggs in person presents Andrea Marini’s doc.  film, Art of the Prank. Film will also show Wed June 8 (but without Joey Skaggs present).

() FREE? Wed Nov 3-Sat Nov 12, 2016 Dada World Fair 2016 at City Lights Bookstore (Plan ahead to come to San Francisco!)4. OUR PAST LIFE: What We’ve Received, Liked, Experienced:

() The most Visually Beautiful Book of 2015! (Also, crammed full of ideas and philosophical provocations.) New JG Ballardiana Book! “DEEP ENDS 2015, Rick McGrath’s 300-page, copiously illustrated in COLOR & B&W, new anthology of criticism, history, interviews, etc., about J. G. Ballard, is now available on eBay…” (said David Pringle). Ana Barrado photos! Google to find? https://www.facebook.com/permalink.php?story_fbid=10153327380963167&id=6940778166
– https://www.facebook.com/theterminalpress

() Zines and other gifts received are listed in links below or the letters section when possible.

() beautiful LP titled Assimilation by UNDERPASS – get it! We love their logo! Play it at 45rpm…
() Beautiful all-color book: Peter Whitehead Journals: Nothing is Lost Nothing is Created Everything is Transformed . There is a lot to study and admire in this visually dense, jam-packed landscape-format art book which is inspirational, funny and provocative. (BTW, Peter Whitehead also does music!) Order from www.whiteheadarts.net, or www.cabezablancablog.wordpress.com, or write us if necessary!
() In 2013 Scott Wilson visited us from New Zealand and gave us his original monograph on David Cronenberg… we could immediately sense he was on our “wavelength”… Recently he sent us his new book, Music at the Extremes: Essays on SOUNDS Outside the MAINSTREAM. Jam-packed with interesting essays on, for example, Bad Brains, Laibach, Scandinavian Heavy Metal, Finnish Folk Metal, GG Allin, Insane Clown Posse, Coil… again, he’s on our “wavelength”… As this is a small printing, we recommend you order it immediately from www.mcfarlandpub.com – before it becomes unavailable!
() We got visited by the instantly likable band #kitebase kiteba.se @AyseHassan also plays in #savages, and both bassists bought our Industrial Culture Handbook—thanks! Check them out! @kendrafrost on Instagram

5. LINKS (Send Us Some!)() fast-forward to find the V. Vale “spoken words” on this Punk Rock “panel”: https://www.youtube.com/watch?v=_EeRAxdDdbE&feature=youtu.be

() from Graham Rae: I just got my copy today of Cult Cinema, a hardback book put out by Arrow Cinema, theNekromantik. No complaints here!  🙂 http://www.amazon.com/Cult-Cinema-Companion-Limited-Hardback/dp/0993306012/ref=sr_1_1?ie=UTF8&qid=1459653320&sr=8-1&keywords=cult+cinema

() photographs: www.danielleneu.com

() from V in London: http://www.electronicbeats.net/feed/browse-830-zines-radical-library/

() from Karen M: “check this out – battling bulldozers in the streets of china – safety fourth! https://www.youtube.com/watch?v=UrtnIImGipg&ab_channel=ShanghaiExpat
() from Tony Gatner: Hi V, Just to let you know there was a very nice reference to your Modern Primitives on this livestream from the fine Rhizome people during this event at around 18:40 pacific time:

http://rhizome.us1.list-manage.com/track/click?u=a1487b13ca8ed17d052f71f12&id=d6c3da961a&e=b7d5566c9d best, tony

() from David Pescovitz: “Hi you guys, Thought you might like to see my brief post about Charles Gatewood:
http://boingboing.net/2016/04/28/charles-gatewood-photographer.html
Vale, I’m grateful that you introduced me to him so many years ago. —dp”
() Charles Gatewood R.I.P. (4-29-16): https://www.facebook.com/events/1097358906974122/
() from Kent B: “Punk downloads” http://www.circulationzero.com/
Kent

6. QUOTATIONS
 
() “Art prices are determined by the meeting of real or induced scarcity with pure, irrational desire—and nothing is more manipulable than desire.”—Robert Hughes, R.I.P. 2012
() “The more we migrate to a technical world, the more sublime nature is to behold.”—Zach Klein, Cabin Porn
() “Time is your most important resource—you can do so much in 10 minutes”—Ingvar Kamprad
() “A book is usually an aspirational purchase, symbolic gift or status marker rather than a consumer item.”—sent to us

() “The power to name poetically endows man with power to create from the old a new universe, adjusted to his needs.”—Malcolm de Chazal, Mauritius

7. LETTERS FROM READERS:

 

“Hi, Vale.

I am going to have a show from next Monday April 10 to Sunday April 17. It’s about Asakusa district in Tokyo. Asakusa is the most traditional district and has the biggest population of foreign tourists. It’s chaos.
Please announce it by FB, Twitter, Newsletter and etc…
Thanks,
Yoshi”

() Dear Vale,” …As you likely know from the Facebook, email, Twitter, etc. inundation, we have a campaign going to help raise unrestricted funds for our crazy commissioning program. Is there any chance that you could help us cross promote via social media, or in whatever makes the most sense? I’ve included some sample language below, but feel free to use whatever makes sense for you: “Our friends at The Lab are building an independent funding source to give three artists – Jacqueline Gordon, Brontez Purnell, and Dora Garcia – a living wage and unrestricted access to their space. It’s a radical experiment that acknowledges that economic models often determine the types of art produced. If the model changes, will the art change with it? New York’s Queen of Transgression, Kembra Pfahler, is joining forces to help them succeed – pledge support and acquire an exclusive lenticular by Pfahler herself, rent the space (and their top of the line Meyer Sound system) for a few hours, or just to join in on party culminating on May 28th: https://www.kickstarter.com/projects/buildthelab/keep-it-experimental” — Dena Beard

() “Hi Vale, I’m sure you remember Tony …his No Exit zine. He named Crime too. -Johnny Strike
N.B.: Tony was VERY EARLY in the Punk Uprising in San Francisco… 1976-1977…
() Jim Hayes wrote: “If anyone would like a copy of my WHITE TRASH CLAN zine, it’s two stamps: jim.hayes@comcast.net
or send (2) stamps to Jim Hayes, POB 1459, Marietta GA 30061
() “Once again the big news is that Big Takeover #78 Spring 2016 issue was completed in Brooklyn, NY, and Oakland, CA, this month! The issue stars female London post-punk stars Savages on the cover, and features an “in memoriam R.I.P.” previously unpublished interview with Lemmy Kilmister from Motörhead plus fabulous history interviews with Dr. Feelgood guitarist/star Wilko Johnson, X and solo great John Doe, and veteran Gun Club, Cramps, and Nick Cave & the Bad Seeds guitarist and solo artist Kid Congo Powers, as well as equally interesting sit-downs with Ben Folds, The Thermals, Yeasayer, and The Sharp Things. And there’re shorter chats with Film School , Tanya Donelly, La Sera, The Furious Seasons, Charlie Hilton of Blouse, Breathless, Great Lakes, Titus Andronicus, The High Violets and reformed late ’70s Texas punk-era greats Mydolls, and more! pre-order it <http://bigtakeover.com/phplist/lt.php?id=ZEpUGV1bGgcOXF0> if you would like to receive it (you can also order any of our back issues at that link!), or subscribe <http://bigtakeover.com/phplist/lt.php?id=ZEpQGV1bGgcOXF0> Any questions, you can write me at Jack Rabid-Big Takeover <jrabid@bigtakeover.com> ” (NOTE: SAVAGES bassist visited RE/Search headquarters & bought Industrial Culture Handbook; so did her pal @kendrafrost  @kiteba.se  #kitebase @aysehassan #savages  THANKS FOR SUPPORT!

8.  **SPONSORS** (Without them you would NOT be receiving this newsletter – Please go to their websites!) Here, a personal thanks to our pal Dave S. And this newsletter would not exist without Andrew B. and Emily.
If you would like to subscribe, we ask for a 6-month minimum of $72. (But, we will take sponsorships @$12/month!)

1. BEYOND BAROQUE: Only bookstore in L.A. with a complete stock of RE/SEARCH BOOKS! Please patronize them… (Also, some RE/Search titles at The Pop-Hop in L.A.; thanks, Rhea Tepp!)
2. Kevin O’Malley+Christie Dames, the High-Heeled Anarchist: TechTalk/Studio: http://techtalkstudio.com + Commonwealth Club, San Francisco. (x4/31/16)
3. $0$0$0$0$0$0$0$0$0$0$0$0$0$0$0$0$0$0$0$0$0$0$0$0$0$0

V. Vale’s RE/Search Newsletter is cordially sponsored by “Beyond the Beyond.” http://archive.wired.com/beyond_the_beyond
Information Wants To Be Free WE MEAN IT MAN!

$0$0$0$0$0$0$0$0$0$0$0$0$0$0$0$0$0$0$0$0$0$0$0$0$0$0$0 (x6/30/16)
4. Beverly Potter sent us her newest ultra-fun memoir, Animal House On Acid which includes tales of Punk Rock in Berkeley, specifically the Barrington Hall co-op. Order from: http://www.animalhouseonacid.com/ (x7/31/16)
5. Reid Mukai (Cascadia Vape) wants you to know e-cigs and vaping aren’t just about nicotine. He carries vape pens for dry herb/oil concentrates and e-liquids containing CBD and Kava. To learn more, visit http://CascadiaVape.net/ (x05/31/16)
6. Flesh and Excess by Jack Sargeant (new book) http://www.amokbooks.com/titles/flesh-and-excess-on-underground-film (x05/31/16)
7. realvalueproductions.com a San Francisco music production company creates innovative/original music for YOUR films/videos: CD’s, mp3 downloads, studio session work, soundtracks by ‘Sound Behavior Troupe’—experienced Bay Area musicians (x1/31/17)

8.  Writer Fiona Helmsley at fionahelmsley.com
9. Try visiting VOYAGER, 365 Valencia/15th St. Not only did they give RE/Search a pop-up store, they are VERY interesting! Like, almost everything we want, under one roof!MAY 2016 RE/Search eNewsletter #150 written by V. Vale & other contributors. RE/Search website poweredbyhttp://www.laughingsquid.com.  Add us (“info@researchpubs.com“) to Your Address Book++++++++++++++++++++++++++++++++++++++++++++++++++++++++Physical Address since May 1979: RE/SEARCH | 20 Romolo #B | San Francisco CA 94133-4041 | 415.362.1465 http://www.researchpubs.com | http://www.myspace.com/researchpubs | info@researchpubs.com  facebook: “RE/Search Fan Page”    twitter: @valeRESearch  Instagram: Vale_Research
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