RE/SEARCH, 20 Romolo #B, San Francisco CA 94133 | Call 415.362.1465 |

V. VALE’s RE/SEARCH NEWSLETTER #56, January 2007



1.   Sat JAN 13, 2007, 6:30pm: RE/SEARCH presents the COUNTER CULTURE HOUR featuring CRAIG POP ARTIST, and a 10-minute experimental film by Rock Ross. Channel 29 (S.F. only), 6:30pm(RE/Search’s Counter Culture Hour airs 2nd Sat of month, 6:30pm; set your “VCR”!)

2.   Sun Feb 11, 2007: RE/SEARCH Presents a Talk Show Filming/Party on MONOCHROM (from Vienna) at Exploratorium, San Francisco, 7pm. A Roving Camera will take questions from Audience; here’s your chance to appear on Vienna TV! Featured: Monochrom AllStars Band!

3.   RE/Search Book Distributor declares bankruptcy! Yikes! Please help keep us alive; order a book!

3A. Other forthcoming events in January/February!

4.   What We’ve Attended: JONAH SHARPE by Stephane von Stephane.

5.   What We’ve Been Reading, Listening To, etc: MAL SHARPE’s PRANKISH CD, Howlin’ Wolf

6.   Recommended Links – thanks to: You Know Who You Are


8.   PRANKS 2, Industrial Culture Handbook reviews

9.   Feedback from Readers


OUR “AD” here: RE/Search’s INDUSTRIAL CULTURE HANDBOOK is back! limited edition hardback (RE/Search’s edition 1000 copies – V. Vale will autograph on request), gorgeous, $40. On glossy paper. Special exclusive price to our newsletter readers only: $25 (plus $4 shipping U.S.; $15 Air Overseas). To order:, call 415-362-1465, or try our order blank atwww. Be sure to write “eNews Special” on your order blank – next to your name or “anywhere” it will be noticed.

**RE/Search is on MySpace: If you would like to be “our friend” – receive bulletins, etc, please Join Us!  – thanks, v. vale & cohorts



1.   Sat JAN 13, 2007, 6:30pm: RE/SEARCH presents the COUNTER CULTURE HOUR featuring CRAIG POP ARTIST, and a 10-minute experimental film by Rock Ross. Channel 29 (S.F. only), 6:30pm(RE/Search’s Counter Culture Hour, filmed and edited by Marian Wallace, airs 2nd Sat of month, 6:30pm; set your “VCR”!)  CRAIG POP ARTIST has created a lot of work, met quite a few “celebrities,” and learned a lot – all of which he just begins to share with us in this brief documentary featuring his paintings, textiles, graphics and blues guitar music. Followed by a 10-minute movie: Rock Ross has created a beautiful, classic, independent/experimental film on the themes of Death, Justice, and Liberty… Please send us your comments!

2.   Sun Feb 11, 2007, 7pm: RE/Search Presents Monochrom from Vienna, Austria at the S.F. Exploratorium – party & live ironic “talk-show” videotaping featuring the MONOCHROM ALLSTAR BAND. There will be a roving video camera/microphone to film anyone from the audience with a question! (So here’s your chance to be on Vienna TV!) MONOCHROM is featured in RE/Search’s new PRANKS 2 book; they executed one of the most complicated international art pranks ever.


Monochrom is an art-technology-politics collective. In their own words: “Monochrom produce a regular TV talkshow for a Viennese community TV station and put it online on their page under a Creative Commons license. Taugshow is referring to the Viennese slang term ‘taugen’ (to dig something, to adore something). We produce a TAUGSHOW! Our guests are geeks, heretics, and other coevals. A joyful bucket full of good clean fanaticism, crisis, language, culture, self-content, identity, utopia, mania and despair, condensed into the well-known cultural technique of a prime time TV show.”

V. Vale was a “guest” on their TAUGSHOW #9 and it was very funny (at least, Vale thought so). Monochrom’s Taugshow #9 is online for download. Taugshow #9 (Roboexotica Special) was recorded at dietheater/Konzerthaus, Lothrinerstrasse, Vienna / Friday, December 8, 2006 / 8:00 PM.

Newsletter readers are invited to come support a RE/Search event and meet the monochrom folk – they’ve come 6,000 miles! The hard-to-find RE/Search backlist of books will be available at discounted prices (including the NEW Industrial Culture Handbook limited-edition Hardback for show-special price of $25, not $40), and beer/wine will be on hand to soothe the stressful spirit. Our thanks to Liz Keim of the Exploratorium, plus everyone who helps RE/Search put on events.

Monochrom graciously hosted V. Vale, Marian Wallace (the RE/Search clan also included Valentine, Judy & Margaret Wallace), Eddie Codel, Simone Davalos, David Calkins, Kal Spelletich, Violet Blue, Jonathan Moore, and Jacob Appelbaum at the hyper-fun, fabulous, December 2006 sixth Roboexotica Exhibition and Conference in Vienna. Go to for schedules, maps, photos, etc. Also check out and Google for blogs, photos, short videos, etc from the above-listed participants. Check RE/Search’s MySpace for videos, too.

3A. Mayday! AMS, the mega-corporation who owns RE/Search’s distributor PGW (who also distributes Soft Skull, Henry Rollins’ 2.13.61, etc) just declared bankruptcy – meaning, we may not get paid for fall season sales, our biggest quarter … dire implications. Here’s a brief bulletin:

The Latest at PGW (Fri Jan 12, 2007)

In a conference call yesterday, PGW clients were explained the details of the offer being formulated by Perseus Books Group [to buy PGW]. According to people familiar with the call, the rough outline of the Perseus plan includes an offer to pay 70 cents on the dollar of what clients are owed up to the date of the bankruptcy filing. PGW would continue operating as is for the next six months before clients accepting the Perseus offer would move over to their distribution facility.

One person familiar with industry bankruptcy proceedings explains that this scenario would both take the PGW debts out of the larger AMS creditor pool and potentially contribute some post-petition profits back to that pool as well. From everyone we’ve spoken to thus far, 70 cents on the dollar–particularly if it’s paid out anytime soon–is more than most clients could have hoped for given the circumstances. But other [worse??] offers could still be made.

There was no discussion of what would become of the PGW staff if this scenario is tendered formally and approved by the court and creditors. Perseus declined to comment on both thedetails of the offer and the staff issue. Today the bankruptcy court will hear arguments on whether publishers can reclaim inventory they shipped to AMS anywhere from 45 days prior to the bankruptcy.

PGW has told RE/Search that all accounts are frozen, presumably meaning: 1) no payments for that fall quarter (yet), 2) our books cannot be returned to us from PGW warehouse, 3) we can’t get out of our contract and seek distribution elsewhere (yet). Hmmm…

3A. SAT JAN 13, 2007 LOS ANGELES: DIY FESTIVAL From 1pm – 6pm. $3 Donation ( no one turned away for lack of funds) Southern California Library for Social Studies & Research, 6120 South Vermont Avenue, Los Angeles, Ca. 90044 (Between Slauson & Gage Ave – off the 110 Freeway) Tel (323)759-6063 – Check out the Event Website for more info, updates, and other workshops – Thanks to Richard Modiano

() Thur Feb 1, 2007 – 7 PM

Free PARTY/Celebration of RE/Search’s new book, PRANKS 2

Bluestockings Bookstore/Cafe, 172 Allen St, New York NY 10002, 212-777-6028,

PARTY, PANEL and VIDEO SHOWING of excerpts from Ron English‘s “Popaganda,” the “Yes Men” Film and Scott Beale‘s “You’d Better Watch Out” documenting the Cacophony Society’s wild “Santarchy” escapade in Portland. (For the past ten years, groups of folks dressed up as Santa Claus have invaded department stores, hotel parties and other events, causing ideological havoc and consumer confusion–anarchic fun! Over the years, the Santas have spread to major cities over the planet.)

Far more than a video show, the Feb 1 evening will encompass a Panel (taking audience Q&A’s) with local New York artists who appear in RE/Search’s newest book, PRANKS 2: Ron English, Julia Solis, the YES MEN (tentative) and JOHN LAW from San Francisco. All interested in RE/Search’s 30 year history, pranks, and cultural subversion in general are urged to attend and meet-and-greet featured pranksters both before and after the show. This is a rare opportunity to engage with prankster pioneers, while supporting the counterculture RE/Search publishing enterprise.

() THUR JAN 18, 8pm, LUGGAGE STORE, 1007 Market/6th St, San Francisco. $6-10. Flaming Horse – Alwyn Quebido – guitar, Tony Dryer – bass, Jacob Felix Heule – drums/sax. Dubmarronics – guitar & drum/electronics (Japan). Mason Jones – solo guitar. Marron, Dubmarronics leader, has been here before performing solo as well as with the legendary Datetenryu, but this is the first time he’s bringing his trio over. Locals Flaming Horse will be headlining the night. Please come and give Dubmarronics a great audience for their first SF show!

More information about Dubmarronics: The guitarist known as Marron (aka Yasuhiko Tanaka), hailing from Kyoto, Japan, is a major player in that country’s avant-garde scene, collaborating with other heavy-hitters like Eye Yamatsuka of the Boredoms; Yamamoto Seiichi of the Boredoms and Rovo; Yoshida Tatsuya of Ruins; and Uchihashi Kazuhisa of Altered States.

Marron’s guitar work has led him to be one of Kyoto’s most active underground musicians, as well as recently a member of the legendary psych-rock band Datetenryu. That band, formed in the 70s, regrouped in the late 90s, and Marron joined as the youngest member, playing with them during their American tour a few years ago.

Marron has received several awards, including the Dokkebi Award at the Chunchoen International Mime Festival for his work as guitarist with the butoh group P.A.N.; and an award from AAC as the music director and guitarist with the modern dance group Holon.

It’s Marron’s project Dubmarronics that will visit the U.S. in January 2007, playing select West Coast appearances in San Francisco, Portland, and Seattle. As a trio, for these shows Marron’s guitar will be augmented by Izumi Ota’s “pico drum”, a children’s drum specially outfitted with numerous effects. Ota is also drummer with the band Suzmenba. In addition, Mu-ton will add flute and violin. Dubmarronics’ music, as documented on the Melts Slowly CD (2005, Cafe Independants

Label, Kyoto), is mysterious and initially puzzling. Sometimes it’s reminiscent of early synth-scapes a la Cluster and Tangerine Dream (“Melts Slowly”); at other times it can reveal dubby clicktronics and beat-driven songs (song 2), reverbed noise-scapes (“Pattern 5”), and tweaked avant-pop songs (“Bossa Nowave”).

Following previous appearances stateside by Marron performing solo and with Datetenryu, these shows are the first visit by Dubmarronics, and a rare opportunity to see one of Japan’s up-and-coming young artists. Visit for further information.

() WED JAN 31, 9PM: We’re fans of THE BARBARY COASTERS, and they’re playing with The Struts and The Boars at The Rickshaw Stop (155 Fell at Van Ness; doors open 8PM). More info: or

() FEB 23-25, 2007: Would you like to spend a WEEKEND, hanging out and writing, with living legend, Beatnik Poet/Artist/Scholar Diane Di Prima? (I would!) Call Geri DiGiorno (707) 763-4271. $300 includes accommodations; $75 deposit required by Feb 1. Sorry, women only. This is a writing workshop with time set aside for one-on-one conversations with Diane Di Prima, herself.


4.   What We’ve Attended: JONAH SHARPE by Stephane von Stephane.

Jonah Sharp (SpaceTime Continuum) was one of the first ‘Ambient’ electronica musicians in the London/S.F. rave scene, along with Mixmaster Morris who lives in London and who he is currently collaborating with. Jonah could be found in the ‘Chill’ room, as opposed to the main dance floor. That would be the area I would naturally gravitate toward, and I have found the Ambient or Trance sound to be what I like best in electronic music. I was happy to find that Jonah lives in San Francisco and paid him a visit recently. I had to admit I didn’t know the entire history of Rave music or his own history, so we went back in time a bit.

J.S.:  Initially there wasn’t a ‘Chillout’ room; it was just a place where people were a bit more experimental and doing different things than on the main dance floor. There were just different people who fitted into that. I didn’t want to be in the main dance floor. People like Mixmaster Morris kind of invented that. When I first met Morris he would have people at his house in South London and hold court. He was obsessed with music–that was his whole thing. He was the guy who’d put a record on that you’d never heard before. He was the guy who first played me Aphex Twin.

S.v.S.:  And you were wondering, “How does he know about this stuff?”

J.S.:  Well, when you’re a dj you make it your business the find out who is doing the most exciting music. And it’s still the same today – it’s a hell of a lot easier today to find information out with the Internet. It was harder then, you’d go down High Street to the record store. That’s where I first found out about Carl Craig, Detroit…

S.v.S.:  I don’t know about him. I knew about you and Mixmaster Morris, Peter Namlook…

J.S.; I did a record with him (Namlook) in ’93. He’d heard about me and came to San Francisco and we sat down and talked about it for an hour and then made a record in one take!

S.v.S.:  Kind of the punk D.I.Y. thing…

J.S.:  We were the crop of new musicians who knew how to work our machines, we didn’t need a big traditional recording studio, hiring a producer and engineer. We just sat down and used our machines and recorded it at home. Now I have a computer and it’s even easier. So, there were all these musicians from around the world who sort of formed an alliance… including Bill Laswell, who had a band called Material in the 80’s in N.Y. He’s worked with everyone! But the point is: we all collaborated with each other in our different studios round the world and put out each other’s music on our various labels. I have a label called Reflective Records. Morris was sort of the ringleader, getting us all together.

S.v.S.:  I keep looking for new material from him; was ‘It’s Tomorrow Already’ the last thing he put out?

J.S.: Yes, it was and it’s been far too long since he put out anything new, and that’s what we are working on now — it’s right here!

S.v.S:  Well, good I’m glad of that. I am also interested in your earliest influences? What was the first music you listened to?

J.S.:  My mum and dad were both architects, and they kind of really lived it up in the 70’s…(in Scotland) they had this massive high-end stereo system with full range broadcast monitors in the front room, and I’d wake up early sunday morning and mum would be blasting Mahler. She was also into Bob Dylan and she took me to see Santana when I was 12, when he was doing the “Black Magic Woman” thing. And it’s funny because I’ve actually met people who played that show, now, I’ve been working with Mickey Hart, and I said “Wow, I saw you guys when I was 12!” And I can remember when she bought the Bowie album Aladdin Sane; she’d play it really loud…

S.v.S.:  So instead of rebelling against your parents like a lot of kids, you were able to appreciate your parents and learn things from them…

J.S.:  Yeah, they even bought me a drum kit, eventually…they made me sell my train set to get it.  So, I’d play the drums along to whatever was blasting out on the Hi-Fi. My dad was really into jazz. He used to travel into London to see Ornette Coleman, John Coltrane. He took me to see Duke Ellington in this huge

concert hall in Edinburgh. I was sitting right behind the drummer! Subsequently I started playing jazz in London in the mid 80’s. I was a session

drummer, on the London jazz circuit. I played with some really good people and some not so good. I had a cabaret residency with this French singer who did Charles Aznevour covers — good paying gig. Then Acid Jazz came along (the label) and they were looking for drummers who played James Brown funky jazz drums, which I did. I was like 26. That was sort of short-lived, then Trip-hop came along. Everybody was into Sampling all sorts of things. I was never really into Sampling, but I’m getting  into it now.

S.v.S.:  What caused the leap from drummer to electronica?

J.S.:  Coming to America. I guess I got bored with the people in the Acid Jazz scene. I became a raver. I was going to raves while I was a jazz drummer. I can remember the people from the jazz scene teasing me for going to raves. There’s a kind of a code: rules, conformity. It’s like that in Hip-hop too, now…I went to a 50 cent show at the Shoreline and it was brought to you by ROCA wear and they had all the advertising on the stage! And everyone in the audience was dressed alike, it’s worrying kind of, it’s brainwashing. The individuality that I remember as a kid, punk rock, the ‘make up your own rules’ thing isn’t there anymore. But the electronic music, in the early 90’s had that same feeling: kind of make your own rules, it hadn’t been done before. But really it had, I was drawing on Kraftwerk, Caberet Voltaire, Human League, and Material. Z records in N.Y. and the gay club music, there were some extraordinary things happening in production in the 80’s with club music. Like Depeche Mode, I wasn’t really into them, but they were doing some great things with their machines. Drum machines are really hard to program to make them sound good. I’m collaborating with a girl now who just started playing drums, she has a very naive sound, like the Velvet Underground, I really like it.

S.v.S.:  So, you are doing a lot of production for other people these days? Do you like that role?

J.S.:  Yeah, I guess I am, but I really do need to get my own material out soon, too. I have been working with Zakhir Hussein, the tabla player. He’s amazing, not just ’cause he’s brilliant, but because he has a spiritual connection with his instrument — he really respects it, like he kicks his shoes off around it. He has a very disciplined approach to music making, which I find inspiring. The process that I make noises is traditionally chaotic and random and often involves me sitting in a room and just going crazy for days and days and a lot of experimentation and a lot of happy accidents. Now, I’m trying to focus in on what I do beforehand; it should be interesting to pre-conceive ideas before I do them. Just something a little more disciplined. There are so many decisions to make with all these machines, endless possiblities, limited only by your imagination. I used to have one machine, now there are computers and many machines.

S.vS.:  So, how did you start making recordings? Did someone approach you?

J.S.:  Before I made any records, when I first came here, Richard left the Shamen and moved here. He met his boyfriend here and decided to stay here. Spacetime was a clothing company founded by Richard, run by Mia and Richard. I was doing drums, working in London musically, started doing their parties. When Richard joined the Shamen the music and clothing got rolled into one. This was back in ’89, ’90; he was making holographic clothing for Bono and other pop stars. Bono had a holographic cowboy hat and waistcoat by him. Richard brought me out here to work with him and we took the name of his clothing company (SpaceTime) and got the music thing going and called it  SpaceTime Continuum. I was 28 and the S.F. rave scene seemed really fresh.

S.v.S.:  You guys kinda started it. It didn’t really exist here before you got here.

JS:  Well the club scene has really been here the since the 70’s with gay parties at the End Up and so on…

S.v.S.:  Yes I remember taking MDA and dancing to Donna Summer at small clubs..

JS.:  Yeah, to Sylvester…

S.v.S.: Oh yeah! He was great, I remember seeing him at the Stud…

JS.: The irony is, the stuff that really got me into the Rave Scene was KLF, 808 State, & Detroit techno & Chicago House, Larry Heard, Jeff Mills, Derrick May, Kevin Saunderson. The Midwest stuff was getting played in England in ’87, ’88. The stuff that caught my imagination was American music, Acid House. We adopted that. We found that S.F. was a good place to come to realize our creative dreams because there was so little competition. Some might argue that it all started in Ibizia, parties in ’87. Lots of dj’s gravitated to parties there in summer and came back to London and continued the party. It was really a balearic beat, Italian. ‘Strings of Life’ by Derrick May was the song that, when I heard that that turned everything around for me.

S.v.S.:  For me it was ‘Pacific State’ by 808 state. When I heard that I felt stoned without being stoned! I loved it.

JS.:  Me, too! I went into the record store and said, “There’s this record with parrots at the beginning” (laughs) Anyway, here’s ‘Strings of Life’ [we listen for a bit with reverence to the classic house sound]

S.v.S.:  Did it seem to you like in the late 80’s the sound was really positive, uplifting and soaring and then in the 90’s it switched to a more darker, dangerous sound?

JS.:  Evil. Yeah, everything got kind of evil and dark. That’s part of the reason you have to have another room. People get attracted to a ‘scene’ and people come in and try to have their own take on things and things get out of control. And that’s what happened on the main dance floor in the early 90’s, it got faster and faster, and when Hardcore got invented it was really fast. It was an annoying thing, but good things came out of it, like Drum n’ Bass; Jungle came out of that.  It got so fast people just said “fuck, let’s just make it REALLY fast!” The West Indian influence, dub reggae, really big in London, the Jamaican

influence in London, this new thing came out of it.

Things always start off really cool when the innovators start something, then there’s always people who copy it and it’s gets watered down till it ceases to be interesting. It reaches the masses, everyone starts doing it and then you start finding it in all the software pre-sets, making those rhythms available — then you know there’s no point in doing it! You’ve got to always be creative. – Stephane von Stephane


5.   What We’ve Been Listening To, Reading, Wearing, etc…


() Unconsciously Conscious, 87 minute film by Gary Chong.  “Peter Mallinder is a scientist who extracts nightmares, memory loss and trauma from the subconscious thoughts of his patients as well as his own. Peter comes in contact with his subconscious self, blurring the line between dreams, nightmares, reality, absurdity and daydreams. He constantly questions the people who enter his life: are they real, or are they figments of his subconscious mind?…” This film proves, yet again, that it does not take a large budget to make a very professional-looking, well-recorded, high-quality creative video project. Very smart to use a British accent, too. Is this entire film downloadable yet?

() TRUTH, ETC – Beyond Baroque Vol 28, No. 2. Produced by Fred Dewey, Pablo Capra, et al. The very first essay, “The Poet & Artist In A Time of Lies,” immediately captures the dilemma of the contemporary creative rebel. Excerpt: “Nothing lasts, and it’s on to the next viral cliche, word, image, or object. Such a dictatorship is new, full of pleasing fictions, generating destruction to every horizon… When the political system has so failed us, we the people must recompose ourselves, rediscover a meaning, language, and imagery dedicated enough to truth to revive the memory that we… are entitled not merely to freedom but to full possession of the world we are actually in. The author of the celebrated phrase “the society of the spectacle,” French Situationist Guy Debord, seemingly putting into words one truth, may have spoken for Americanized ruling orders everywhere when he stated early on, that “in a world that is really upside down, the true is a moment of the false.” Nothing could be more facilie and more descriptive of the new dictatorship’s method…” If you like the above, you will want to read more… Order from or email us at RE/

() Legendary Bay Area “Godfather of Pranks” MAL SHARPE’s new 3-CD Box (also includes 1 DVD of Rare Pranks video footage). Title: “These 2 Men Are Impostors.” This limited edition, “indie” production is so classic that we’ll just quote from the box: “Jim Coyle and Mal Sharpe met in a boarding house in San Francisco in 1959. Coyle was a benign con man who had talked his way into 119 jobs by the age of 25. Sharpe had just graduated from college and had drifted out to the West Coast to check out the Beatnik scene. The pair found they had a mutually sick sense of humor and decided to see if they could avoid taking real jobs and make a living pulling Pranks or “Terrorizations,” as they then called them. Using one of the first miniature tape recorders, the Mohawk, which they hid in a briefcase, they roamed the streets of San Francisco capturing their bizarre encounters with unsuspecting citizens. After surviving for two years on peanut butter sandwiches, they released an LP on Warner Brothers Records and then were hired by KGO to do a nightly radio show in San Francisco. Most of the audio on this release was recorded during this period. In 1964 they went to Hollywood, along with their optimistic spouses, Sandra and Naomi, to hit the jackpot. They did a television pilot, THE IMPOSTORS, which didn’t sell…This package, edited and compiled by Mal Sharpe, contains most of their best work, including some long lost, unedited tapes from their early ramblings through the neighborhoods of San Francisco. Were they ever arrested? Listen …” Order from – ’nuff said!

() Our Seiko watchband broke and around the same time JOEY SKAGGS sent us his new, “collectible” “Universal BS Detector Watch (It flashes, it moos, it poops… it also tells time… Had enough of obnoxious, self-indulgent, pompous, pretentious, duplicitous, hypocritical, phony, delusional, illogical, insincere, patronizing people? Then let it be known – from boardrooms to backrooms, barrooms to bedrooms, courtrooms to classrooms, the Universal BS Detector Watch� will give you the ability to comment with humor anywhere, any time. This product is non-partisan and non-sectarian, and in any language it sounds the same. Let the moo’s begin… It’s available exclusively from Irreverently Yours, LLC at for $49.95 plus shipping and handling. In addition to being endlessly useful, the Universal BS Detector Watch� is also a precision quartz time-piece. It has two replaceable batteries, one for the watch and one for the light and sound effect.” You know, Support your Favorite Pranksters and own something actually very rare at the same time…


6.   Recommended Links:


() convert vaults:

() best remembered for one thing…well, two:

() birth control device:

An extremely rare Spermatorrhoea ring fastened with a screw. With provenance from the original German catalogue dating from 1894. Spermatorrhoea means involuntary loss of semen, although the rings were also intended to prevent voluntary discharges from masturbation or Onanism (Originating from Onan who originally “spilt his seed on the ground” Genesis 38:7-9). The ring was placed at the base of the penis and fasted with a screw such that any engorgement of the organ would meet with the teeth of the ring and arrest the process.

() Chet Zar’s artwork is probably why some people are afraid of clowns:

() DMV pranks:


() “It is very bad Orson Welles, in very poor taste.”,,13509-2505108,00.html

() Meet Marian Crane: Psycho as a fluffy romantic comedy

() Meet Marian Crane again: There were actually 3 “real” trailers for Psycho. The first two were pretty standard and short. This one is over six minutes and gets very surreal (Vera Miles in a blond wig at the end): No scenes from the movie, but creepy and funny.

() Devil’s Dictionary:

() Simpsonzu:  click on “full view”

() My kind of Florence Nightengale:

lots of cool stuff on this site:

rip Lily Munster:

xray lab:

() this entire site is a parody of wikipedia:

“Snakes On A Plane is a famous documentary that was filmed during Samuel L. Jackson’s desperate battle with the entire population of snakes in the world all crammed onto a plane. Based on a relatively obscure Dr. Seuss book.” The title, “Snakes on a Plane,” clearly makes reference to Ezekiel 25:17 in the Bible, which describes that “In the last days, the Earth will be overrun with snakes on planes.”



“The function of poetry…is to destroy conventional and limiting [word] associations and all the decrepit, stifling myths of capitalist civilization by liberating images of desire… [poems extol] the severity of love, the purity of dreams, and the simplicity and anger of a midnight walk through the zoo… armed with the sensibility of revolt [and a refusal] to compromise with the cause of freedom.” – Franklin Rosemont, preface to Morning of the Machine Gun

“Implying… a REVALUATION OF ALL VALUES … through the progressive unfettering of the imagination and the reintegration of dream and action, Surrealism is not only the most ruthless and profound critique of everyday life, but also an impassioned call to arms for the REINVENTION OF EVERYDAY LIFE in festive conditions of freedom, abundance and play. We unhesitatingly insist that the revolution is for PLEASURE!” – ibid.

“We must become x-ray visionaries.” – ibid?

“Surrealism alone has recognized the historical mission of LAZINESS.” – Franklin Rosemont

“Against patriotism, Surrealism attacks with the most sublimely demoralizing anti-patriotic INTERNATIONALISM which, in uniting Hegel and the wood-carvers of New Guinea, Paracelsus and Marx, the early English Gothic novelists and Lenin, Han Shan and Krazy Kat, Heraclitus and Memphis Minnie, Gerard de Nerval and Lewis Carroll, Black Hawk and Buster Keaton, Mayakovsky and Lumumba, Meister Eckhart and Flora Tristan, Hieronymus Bosch and Charles Fourier, William Blake and Louis Lingg, Pauline Leon and Ambrose Bierce, the Brotherhood of the Free Spirit and the Durutti Column, Amos Tutuola and Basho, Nat Turner and Albert Ryder, Nicolas Flamel and Freud, etc, undermines the traditional NATIONAL boundaries of human thought and thus takes us further along on the path of human emancipation.” – ibid.

“The present will never seem as picturesque and affecting as the past.” – J.L. Borges (“Borges In/And/On Film”)

“Sightseeing is the art of disappointment.” – Stevenson

“Works denouncing the indignities or the horrors of war always run the risk of seeming to be a vindication of war. In fact, the more horrible the war, the greater its satanic prestige… Mere pacifism is not enough. War is an ancient passion that tempts men with ascetic and mortal charms. In order to abolish it, you have to confront it with ANOTHER PASSION.” – J.L. Borges

“…the idea of a God about whom H.G. Wells said that he cannot act because he is all-powerful and eternal, cannot think because he is omniscient, cannot move because he is ubiquitous and is already everywhere.” – ibid.

“When I look at things, I always see the space they occupy. I always want the space to reappear, to make a comeback, because it’s lost space when there’s something in it.” – Andy Warhol

8.   PRANKS 2, Industrial Culture Handbook reviews


[Re: Industrial Culture Handbook] “This book was an inspiration not only to subsequent “Industrial” musicians but to the “Goth” movement as well. The early Industrial Culture Movement involved far more than just making “noise music,” but sought to infuse subliminals, cut-ups, randomness and enlightening memes into all cultural production. With its focus on little-known amazing books, films and magazines, this guide is designed to tell you everything you need to know to experience the full range of delight derived from forbidden knowledge and its sources. You will learn many fascinating histories and ideas, the distinct differences by which concepts are evaluated, the standards by which life can be re-evaluated, how and where “black” knowledge can be obtained, and the secrets of how to live a creative life which minimizes bourgeois restraints stifling authentic and original creativity. Far more than a “book,” the Industrial Culture Handbook is one total guide to the exploration of a truly exciting area of expertise and enjoyment involving discernment possessed by very few. This is a handbook for those rare select individuals who seek total knowledge and connoisseurship, regardless of danger…” order from www., or call 415-362-1465.

PRANKS 2: “San Francisco’s RE/Search Publications is back with Pranks 2, a new volume of anti-corporate and anti-stupidity shenanigans meant to teach a little and laugh a lot between the lines of social protest. Two rockers find their way inside: Entertaining malcontent and spoken-word sage Jello Biafra hacks off about hacking scenarios, and Ministry’s Al Jourgensen shares tales of subversive resistance within his major-record-label deal. Other political artists turning everything sideways include the Yes Men, John Waters, painter Ron English, comedian Margaret Cho, master satirist Paul Krassner, and those brilliant modifiers of the advertising landscape, the Billboard Liberation Front. Highly recommended, this is smart stuff for those witty enough to throw ideas instead of bombs.” – John J. James, Positively Yeah Yeah Yeah,

“For a good time, order PRANKS 2 from” www. or call 415-362-1465.


9.   Feedback from Readers:


() The Ramones did play the Mab in January or February of 1977, before punk really broke in S.F. I was there. Afterwards they played bigger venues, and I don’t think Iggy Pop ever played there–that year or the year after he did a four nights or so of two-shows-per-night at the nightclub (Old Waldorf) in the Embarcadero. – Rebecca Solnit

() HI. The Ramones did play the Mab. It was their second gig in SF. I was outside because the door was extra-tight so we were unable to sneak in. Iggy didn’t play there, but made an appearance when he was here with Bowie. Later that night there was a party on Howard St/3rd St at Superjoel’s loft – Blondie threw a chair through the front door because they were not allowed inside. Ciao, James

() Hi Vale, Just got your new newsletter, thanks as always! Have you had a Lewis Carroll quote in it lately?  There are so many good ones:  “I knew who I was when I got up this morning, but I must have changed several times since then.” (Alice in Wonderland)  And “Sometimes I’ve believed as many as six impossible things before breakfast.” (This was the Queen’s response to a character saying to her, “One can’t believe impossible things.”) … I’m sure you know this one by J.G. Ballard, regarding the controversy about his novel “Crash” – “I’ve been in a car crash, and I assure you it did nothing for my libido.”  Some people were taking the themes in the book literally: of car crashes being sexy, when he was only implying that there was a connection between sex and death, that was mostly unconscious. – Sharon Yablon

() “They say this is a collection of actual English subtitles to Hong Kong films.  You decide!

1.   I am damn unsatisfied to be killed in this way.

2.   Fatty, you with your thick face have hurt my instep.

3.   Gun wounds again?

4.   Same old rules: no eyes, no groin.

5.   A normal person wouldn’t steal pituitaries.

6.   Damn, I’ll burn you into a BBQ chicken!

7.   Take my advice, or I’ll spank you without pants.

8.   Who gave you the nerve to get killed here?

9.   Quiet or I’ll blow your throat up.

10. You always use violence. I should’ve ordered glutinous rice chicken.

11. I’ll fire aimlessly if you don’t come out!

12. You daring lousy guy.

13. Beat him out of recognizable shape!

14. I have been scared shitless too much lately.

15. I got knife scars more than the number of your leg’s hair!

16. Beware! Your bones are going to be disconnected.

17. The bullets inside are very hot. Why do I feel so cold?

18. How can you use my intestines as a gift?

19. This will be of fine service for you, you bag of the scum. I am sure you will not mind that I remove your manhoods and leave them out on the dessert flour for your aunts to eat. [sic, of course]

20. Yah-hah, evil spider woman! I have captured you by the short rabbits and can now deliver you violently to your gynecologist for a thorough examination.

21. Greetings, large black person. Let us not forget to form a team up together and go into the country to inflict the pain of our karate feets on some ass of the giant lizard person.” – Jason S.


() Howdy! 1. The first Pranks changed my life for the better, and I still dip into it for a recharge every so often. Thank you.

2. In the Rev. Al interview, there’s a bit about putting up a missing animal notice with an old photo of a large primate on it. In the interview, the Reverend describes the brute as an ‘dead orangutan.’ The real story behind the photo is far more interesting, and very likely involves a prank! Here’s a nice brief overview.

And if you’re wondering about the fact that the animal in question is specified as female, many New World monkeys are descended from ancestors whose social structure was dominated by males who determined their place in the hierarchy through penis displays. The female dominant species grew enlarged clitorises, and engage in the same display rituals. (!) Spotted hyenas have a similar heritage, and those poor mamas give birth “through” the enlarged clitoris, typically rupturing it. (!) Look it up.

Oh, and the book where as a child I first read about Loy’s Ape was On The Track Of Unknown Animals, which a record collector mentioned in an interview in RE/Search’s Incredibly Strange Music [still available from www.]…Yours, Sean Craven

() Vale – something for your newsletter: Tsurisaki Kiyotaka travels the world photographing the dead. His work exposes the viewer to something even more terrifying than the corpses he documents: The blase expression on the faces of children in countries where death is an all-too-common reality. His documentary “Orozco El Embalsamodor” shot in Columbia is a touching and gruesome investigation into the process of embalming. As a hardcore art journalist Tsurisaki forces the viewer to enter Death’s Kingdom and come to grips to the cruel fate which eventually awaits us all. – Lydia Lunch

() Hi Vale – – A clip of Real Pornography and photos from the recent Paris show – maybe you can pimp it in the newsletter – Lydia

() This is video footage from the “Golden Age” of television, and it’s something of which I was previously COMPLETELY UNAWARE. Even if you don’t know who the tall gentleman with the waxed moustache is you’ll love this. If you DO know – well – prepare for pure and unmitigated PLEASURE…… – – charlie cockey

JANUARY 2007 RE/Search eNewsletter written by V. Vale & contributors. Newsletter and website powered by

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