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RE/SEARCH #1-2-3 The Shocking Tabloids

$40.00

We did a LIMITED XEROX REPRINT (12 copies) of RE/Search #1,2,3 magazines in tabloid format. Rarer even than SEARCH & DESTROY, these contain prophetic, “fabulous” & “edgy” content by the likes of J.G. Ballard, Throbbing Gristle, SRL (Survival Research Laboratories), Julio Cortazar, Monte Cazazza, Octavio Paz, Flipper, SPK, etc. Actually, #2 is an ORIGINAL from 1981, perfectly preserved – looks like it was printed yesterday!

84 in stock

Product Description

RE/SEARCH #1 Xerox Reprint 36 pages: Non. Throbbing Gristle. J.G. Ballard. The Slits. Cabaret Voltaire. Julio Cortazar. Young Marble Giants. Sun Ra. Octavio Paz. Soldier of Fortune Magazine Editor. Factrix. Article on Japan. Rhythm & Noise. Conspiracies.

RE/SEARCH #2 Tabloid format, 36 pages. DNA (band). Surveillance Techniques. James Blood Ulmer. Monte Cazazza. Diane Di Prima Intv. The Bachelors, Even (Christian Marclay). Eve’s African Diary. Z’ev. Seda. Mark Pauline on Self-Defense. Iban tattoos. German electronic music chart. West African music. Hostage questionnaire. Situationism. Mexican mummies.

RE/SEARCH #3 Xerox Reprint 36 pages: Female Modification. Fela Anikulapo Kuti. Kathy Acker. Flipper. S&M Lesbian Sex. SPK. Sordide Sentimental. Crypto-Fascists. The Rattlesnake Man. Cannibalism. Pirate Fashion. World Dictatorship Map. Phoebe Gloeckner Full Page Cartoon. Terre Richards cartoon. The Feelies. Circus Mort. Article on New Guinea. New Brain Research.
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RE/SEARCH #2 Excerpt: “Surveillance Techniques”

RE/Search interviewed an electronic technician employed by an unidentified Federal Agency. His duties have included the design, engineering and operation of many electronic devices and communication systems that are employed in the surveillance of individuals and their contracts with others.

R/S: Though we agreed not to mention the actual agency you work for, can you mention anything about your employer?

A: I can’t and won’t. Let’s just say it’s a very large organization—you would recognize it as a household word.

R/S: In the course of your work do you ever publicly identify yourself as an employee of such-and-such an agency? Do you ever have to?

A: We try not to. In a pinch I sometimes have to “pull rank” on someone like a Telco (Telephone Company) rep. This is something that happens very rarely. There are people here and there who are kind of accustomed to working with us, and know what’s going on. In the specific instance of placing an electronic interception (tap) on a private residence, one could identify oneself as a private detective, or carry local law enforcement credentials, or think fast when the neighbors give you the wrong look. Or (and this gets done all the time) just run in there, do your business, and run right out. I remember back in the sixties when the operational load was very heavy we used to have someone hanging out at Radio (San Francisco police radio room) screening all calls that might bring a car around to the address where we were working. The neighbors called and called, but the slips never got out over the air.

R/S: Interception is an expensive business, isn’t it?

A: I’d refer you to that very interesting book you just showed me (Study of Vulnerability of Electronic Communication Systems to Electronic Interception) which presents some facts and figures. You can add them up yourself. The little trick devices you hear about cost a lot of money, but most of the time we stay away from those. The main expense turns out to be the manpower to run a bug and keep on top of it.

Over the past few years the office here has had a harder and harder time justifying spending that kind of money. It runs in a fashionable way. One year it’s the SLA and we’ll bug them and their people, people suspected to be their contacts. If narcotics are a political problem and heads might roll in certain places we’ll put a lot of equipment and time into narcotics enforcement instead of, say, organized crime, Italian-style. But if you read the papers you can see that’s been getting some play out here lately, as has the union area, also.

R/S: How close an eye does Washington keep on this sort of thing?

A: For intercepts, you have to get court orders, and in many cases clear specific operations (that might or might not be subject to court orders) with Washington. The orders are usually a snap-there are AUSA’s (Assistant US Attorneys) who specialize in drafting them. Most of the time they read pretty much the same, except for names and dates. There’s also an Inventory of “specialized devices,” which could include your mikes, miniature transmitters, scanners, hot little receivers for sensitive work, and the rest. This inventory is supposed to be maintained locally and Washington gets a copy, and the Inspector Generals come around to check this stuff out every year on their annual tours.”

tab_diprimaRE/SEARCH #1 Excerpt: “Cool” by Diane DiPrima

Diane has been “cool” since the 1950’s. Her first book of poems, This Kind of Bird Flies Backwards, was published in 1958. Her association with her peers, the ‘Beats’ and later key figures of the 60s and 70s have resulted in a varied volume of work reflecting her individual experiences. The following is based on an interview of Diane by artist and poet Raul Santiago Sebazco (San Francisco 1980).

Somewhere along the line I made an important decision. I decided to have a baby. I didn’t want to live with any man, I didn’t want a one-to-one relationship…but my body wanted a baby–he didn’t. He was my first choice. I had 6 or 7 lovers and what happened then was I made a semi-conscious choice. The man I chose was a man I had been in love with 6 years before. He was in town only occasionally and studying at Johns Hopkins at the time. He was still an exciting person to me. I didn’t intend to get pregnant that day but I did. I didn’t tell him I was pregnant until the baby was 3 months old-then I wrote him a Christmas card that said, “By the way, you have a daughter in New York, come see us sometime.” We were all into being very cool back then, you know…

Cool was when you understated your feelings. You had a lot of feeling but you just didn’t state it…and nobody stated theirs. Thus you built up this tension of all the unstated. It wasn’t anger, but a web of interplay; things that you would say full out now, would then be stated in a small gesture-a little phrase or act would say the whole thing.

Why did Cool come about? I don’t know–I guess it was the fashion. It was maybe a reaction to the oversentimentality of our parents’ generation–the soap operas, Frank Sinatra…So the jazz was cool, we were cool, everybody was cool, and if you were cool that meant that you gave everybody more space, sort of. But come to think of it, you didn’t really…because no one knew for sure where they stood, so finally, they didn’t have any space at all. We just thought we were giving each other more space. For example, LeRoi (Amiri Baraka) and I were together for three years and I think we used the word “love” only once or twice. You see there was a depth of passion to the NOT stating it that was very intense…

RE/SEARCH #1 Excerpt: Octavio Paz


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RE/Search: What is the relationship between dissidence and the role of the writer?

Octavio Paz: When I was young I took as my own a motto of Andre Gide: The writer must know how to swim against the current. This motto is valid for every person.

R/S: Do you think THE REBEL (by Albert Camus) has retained its force?

OP: I met Camus when he was writing ‘L’Homme Revolte.’ Actually, to translate ‘revolte’ as ‘rebel’ is not entirely exact. In the word ‘revolt’ there are shades and meanings that don’t appear in ‘rebellion.’ In ALTERNATING CURRENT I tried to show the different senses of rebellion, revolt, and revolution. Rebellion is a term of military origin and has an individualist cast; Revolution and Revolt are sister terms but Revolution is more intellectual, a philosophical term, while Revolt is older and more spontaneous. Revolution is revolt converted into theory and system. Camus’ book would have meant much more if he had made a more precise distinction between the ancient and healthy revolt and the modern revolution. It was not the rebel but the revolutionary who, after the 18th century, made revolt into a system and the system into tyranny.

R/S: Could you tell us something about the last years of Breton?

OP: Breton was not only incorruptible but lucid. But in those days his lucidity appeared, to the ‘right-thinking left,’ an idealist confusion. Those were years of solitude and isolation. Breton seemed like a poor deluded man alongside the philosophical realist that was Jean Paul Sartre. Time has passed and now we understand that the true realist, he who was closer to reality and history, was Breton, the poet of delirium…

R/S: As a way of concluding these reflections, what, for you, is the basis of a new form of critical thinking?

OP: There are 2 obstacles which oppose the elaboration of a new idea of society. The first is the identification of social progress with industrial development—an error into which Marxism has fallen. There is one great precursor who can help us out of this bind—FOURIER. With an extraordinary ability to anticipate the future, Fourier understood that industrial development is not something desirable in itself. Many times Fourier affirms that the person who works in a factory is necessarily unfortunate or, as we would say today, alienated. For this reason he proposed a society with a minimum of industries and gave agricultural a fundamental role.

RE/SEARCH #1 Excerpt: Cabaret Voltaire

tab_cabvolRE/Search: How do you assure yourselves of new/stimulating information?

MAL: I think…when you are isolated to a certain extent, the information that you receive may not be as often…may not come in so thick and fast, but it tends to be more important—you can put more emphasis on it and maybe make more objective criticism rather than being in the middle—

CHRIS: If the source of these data is not readily available, then it’s up to you to go out and actually find it…and I think that essentially makes you more selective in what you use and what you do not use. Because you’re actually making the selection, you’re not having it presented to you…in London the flow of information is so great that it just swamps a lot of people…so I think we’re in somewhat of a fortunate position in being able to select what we use.

R/S: Well, you’ve seen a lot of interesting films that have come out—the Cronenbergs, Romeros, THE CRAZIES…

MAL: Films are quite an important input that we feed off…we have to go out of our way to see them.

CHRIS: Actually a lot of my inspiration comes through literature. One of the really great things that Burroughs has said is—The only true creative writing comes from technical journals and treatises—and that, no matter how glib it may sound, is very true in a lot of senses. Access to technical information is one of the most important things, to me. And in England, the BBC are responsible for much of the technical investigation that goes on, on a pure science level.

RE/SEARCH#3 Excerpt: Sordide Sentimental

Sordide Sentimental Records is a unique concept in record production and distribution from Rouen, France. The records are produced in limited editions of 2000, and are packaged in magazine type folders, along with photographs, bilingual texts, excellent illustration, and a warning…Below is a short interview with Jean-Pierre Turmel, who along with Yves Von Bontee are the founders of Sordide Sentimental.

R/S: When and how and with whom did you start Sordide Sentimental, and what was the main objective behind it?

SS: Sordide Sentimental began as a magazine project in May 1977 in Boston during a concert by a band called T.V. Toy. I was ill, the music was bright and white as the light. This concert gave me some ideas about “how to write” rock reviews…Before that I had wanted to do a magazine (there were so many excellent and unknown bands). I had done a second issue of my fanzine ONESHOT (mainly a sci-fi zine) but the information was not enough, and I wanted to also change the style of the articles.

During that concert it appeared that the only way for me was the way of subjectivity, of philosophy and speculation: to explain what I feel, to explain what I think, and to explain what I imagine.

So I did Sordide Sentimental: we began during the summer of 77. I first found the title (the title is always important in everything we publish). It sums up a large part of my philosophy relative to the human race.

Sordide Sentimental was also a sociological experience: I personally think that theory is the most important aspect of our civilization—everything every moment in our life is only theory people don’t really live, they first need a reason, an explanation to hate or to like.

Theory is Publicity…and vice versa—if you explain to people why a band is interesting, they will like it…if they haven’t a theory already people will simply ignore them, because for most people, a thing without theory does not even exist.

So our purpose was to give them some elaborated concepts, so that people would like such bands as Throbbing Gristle, The Residents, Chrome, John Cooper Clarke, Debris and so on…

R/S: Why have you decided to press only limited editions of each record?

SS: There are two problems:

  1. a limited edition because it’s too much work (it’s more complicated than an ordinary record)…because we don’t want to be obliged to think if the record we press will have good sales or not, because we had (and still have) little money.
  2. a numbered edition, because it looks elitist (we hate the masses) and so it’s a good provocation, because also it’s a help to sell the record quickly (we need the money for doing the next one). At the same time we encourage the band to press a reissue if they want.

RE/SEARCH #3 Excerpt: Phoebe Gloeckner
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