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V. Vale’s RE/Search Newsletter #127, June-July 2014

Welcome To V. Vale’s RE/Search Newsletter #127, June-July 2014

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1. MESSAGE FROM YOUR EDITOR: A brief history of RE/Search

2. The Counter Culture Hour: Sat June 14, 6pm

3. Forthcoming events

4. Our past life

5. RECOMMENDED LINKS (send some!)


7. Letters from readers

8. Sponsors (Check ‘em out! – they make this possible!)

1. MESSAGE FROM YOUR EDITOR: A brief history of RE/Search, part one

RE/Search “lives” in a 15-unit apartment building about two hundred feet from its “parent,” City Lights Bookstore-Publishing in North Beach, San Francisco. A million years ago, in 1977, City Lights Bookstore at 261 Columbus Avenue was listed as the address for V. Vale’s “Search & Destroy” magazine, which attempted to both document and catalyze the emerging International Punk Rock Cultural Revolution. What fun that project was: the sky was the limit, almost anything could be tried out, as long as the spirit of Dada-Surrealist-Situationist revolution/rebellion-against-the-status-quo was being honored. What fun to meet people from all over the world seeking/uniting to create the as-yet-undefined/uncliched Punk Rock Cultural Revolution.

San Francisco was particularly fortunate; being the gay capital of the world, naturally there were a lot of LGBT and early-feminist women attracted to the rebellion of Punk Rock. Most of the people I met at the earliest shows were women artists who dared to cut their hair short and be loud, bold and funny—onstage and off. Black Humor was more important than D-I-Y; the funnier and more unexpectedly-insightful you were, the more you were admired. (D-I-Y showed up a couple years later in print, but now’s the time to point out that pioneering artists and scientists have always been D-I-Y since the beginning of time… Socrates, Plato & Aristotle were D-I-Y.) No, BLACK HUMOR was the single signature signifier of Punk Rock, in music, clothes, posters, interviews, performance, street theater, and every form of this “no separation between art and life” new-way-to-live.

Instead of D-I-Y, maybe it’s more accurate to say “Anyone Can Do It”—anyone can make posters, collages, a zine, a publication, play a guitar or bass or drums or synth, write songs, form a band. However, can anyone give a girl with a page-boy hairdo a “Punk” haircut? I thought I could, so I started giving Ruby Ray (when I met her working at Tower Records, she had a shoulder-length pageboy and dressed like “Annie Hall” (if you didn’t see the Woody Allen film, you won’t know what I’m talking about) in khaki pants, white man’s shirt, etc. (The haircut I was giving turned into a slow-motion horror movie, and I gave up, baffled…) Oh, and I insisted anyone working on “Search & Destroy” come up with a “Punk” name (although a few didn’t, like Enrico Chandoha). Take my word for it, “Ruby Ray” is a much more memorable name than Barbara O—– (won’t give that last name away)… and much more appropriate to a photographer, besides. I was a huge fan of “infra-red photography” and
Surrealist photography in general, so Ruby Ray went with the plan and didn’t look back… Doesn’t matter what influence I had on her; she was born with the talent anyway… Same with Kamera Zie; that slightly Germanic “Punk” name is much more compelling than Pamela M—–. She always brought in huge centerfold size prints and thus almost automatically got the big two-page centerfolds, which a lot of “Search & Destroy” fans would tack to their bedroom walls…

I knew that “Punk” was too good to last, so I planned on doing ten issues, and ultimately the eleventh issue I regarded as the all-photo/artwork supplement. It was sad when I ended “Search & Destroy”… hey, I’ve met young people recently who’ve told me that I should start “Search & Destroy” up again! The “Search & Destroy” staffers were all very depressed (and direction-less) for awhile, or so it seemed to me. The main reason I ended “Search & Destroy” was because my assistant-editor, the Surrealist poet-collagist “Ricky Trance” (another “Punk” pseudonym) resigned, and it was his big 4-bedroom flat on Bush Street near Divisadero St where we did the layout… and where visiting bands like DEVO would occasionally crash for the night, sometimes on top of big pallet-stacks of “Search & Destroy” used as mattresses. Ricky remembered that we had originally thought that ten issues would probably be “enough” before the movement began to (is the word “change,” “decline,”
“disintegrate,” “become watered-down,” “become violent,” etc, etc).

It seemed that right away the Punk disaspora began. The people you were used to seeing all the time, or every week, suddenly were absent…forever. A lot of new younger people began showing up, seemingly driving away the older “Punk originals” who… well, what happened to them?! Surely they didn’t all move to the Midwest or where they originally came from… Too bad we didn’t have FaceBook then so everybody could sort of “pseudo-stay in touch.”

In late 1978, issue number ten of Search & Destroy” came out, with William S. Burroughs on the cover, shot in the doorway of City Lights Bookstore with the Bank of America across the street behind him, by Kamera Zie, who also worked at City Lights Bookstore when I did. Finally, I had a sense of completion, in the sense that when “Search & Destroy” first started, it was my dream to get interviews with both William Burroughs and J.G. Ballard, and this finally happened in issue number ten.

But, how did “Search & Destroy” start? It’s been told before, a hundred times. Remember: Allen Ginsberg and then Lawrence Ferlinghetti each gave me a check for $100 to start-up “Search & Destroy.” My old friends the Hambys trumped them both and gave me a $200 check, and another person unnamed gave me a check for $25. These amounts sound like peanuts in today’s inflated-American-dollar economy (the current “billionaire” is the equivalent of the sixties TV program called “The Millionaire”) but they were enough to print thousands of magazines (for those not in the know, you can print 3,000 copies almost as cheaply as 1,000…or that used to be the case…)

For the eleventh issue of Search & Destroy, I had done a number of band interviews such as with “The Middle Class” and “The Subhumans” from Canada, and others. But even starting with interviews done for issue ten, such as with “D.O.A.” from Canada, I was getting the sense that people were reciting words they had read in previous interviews in “Search & Destroy.” I mean: where is the next DEVO?! Or Residents?! Careful readers of “S&D” might have noticed that from the get-go, Marcel Duchamp had been the behind-the-scenes “mentor,” and one of his many aphorisms was “Don’t repeat, despite the encores.” I quashed the less-than-stellarly-original interviews scheduled for print, and made “Search & Destroy No. 11” an all-photo/art issue.

In a different way, things had started to fall apart: Ruby Ray and her old friend {Barbara} Ivey from upstate New York (the musician Dean Santomieri was from their town, too) decided to take a European tour, where they met Mayo Thompson, Prag Vec, Genesis P-Orridge and other musicians in London before decamping for the pyramids of Egypt. Thanks to my Surrealist-Beat mentor Philip Lamantia, previous to Punk, I had become a huge fan of R.A. Schwaller de Lubicz and his wife Isha (French Egyptologists; check out their books—or don’t) and this influence “rubbed off” on Ruby Ray, who on this trip took gorgeous photos of ancient Egypt. Philip also was heavily into “the Occult,” and like Burroughs had even studied Egyptian grammar and hieroglyphs, and I spent hundreds of hours searching for, and reading, so-called Occult books of every variety, epoch and country. More on that later… (aka, To Be Continued)

—V. Vale, your editor. By the way, please buy a book from me to ensure this newsletter’s continuance, or sign up to be a sponsor, or… be a slacker and DO NOTHING…

NOTE: 1. Our latest book is ED HARDY, available from – please buy this compendium of ideas, insights and wisdom spoken by (possibly) the world’s greatest tattoo artist. 2. We are also offering a ValuPak of (3) books by the techno-futuristic Austrian collective monochrom – write us at & in the subject line write “monochrom ValuPak” and we will send you your own secret coded discount offer, just for YOU!

2. Counter Culture Hour – Sat June 14 6pm

Peter Sempel, experimental filmmaker from Hamburg Germany
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 – 6pm Pacific Time, Sat June 14, 2014. See this link at broadcast time:

You need a fairly decent internet connection and computer to “get it.”
USA west coast: 6:00 PM Saturday, June 14, 2014
USA east coast: 9:00 PM Saturday, June 14, 2014
Tokyo: 10:00 AM Sunday, May June 15, 2014
If you cannot get this online email us at

See RE/Search channel on youtube: “researchpubs”
V. Vale interviewing Rudy Rucker is now on Vimeo:

3. FORTHCOMING EVENTS (San Francisco unless otherwise noted)

() FREE Emerald Tablet presents… AND for Emerald Tablet’s schedule of events:

() $ – our favorite local Grand Guignol Theatre Company at the Hypnodrome — now showing: “Pearls over Shanghai” — a hillarious musical, Thursdays through Sundays each week. We saw the new production and it grants renewed amazement, what with the huge cast, elaborate bigger-than-Carmen-Miranda’s headgear, super-detailed costumery, incredibly elaborate make-up, new material, and classic songs that embed themselves deep into your backbrain. We particularly liked the old silent B&W documentary film footage of pre-World War II Shanghai — this is where J.G. Ballard spent his childhood, and it looks like a wild Western urban city, but with Chinese everywhere in the streets. There is so much going on this 2-part production that it makes your head spin… but you almost wanna go LIVE in this stage set. Ben Wa’s preview video

() FREE **LONDON, U.K.** Now through June 27: FAY BALLARD ART SHOW! (J.G. Ballard’s daughter)

() FREE Wed June 4, 8pm: V. Vale plays piano (w/Will Rogers, Dennis Hudson) accompanying vocalist Tina Tarnoff singing a Croatian folk song (key of C) at Fanny Renoir’s “Show within a Show” at Caffe Trieste.

() $ but worth it!! Fri June 6 on, Opera Plaza, Cinemas, SF: Scandinavian Punk Film by Lukas Moodysson: “WE ARE THE BEST! ” It’s the early 1980s in Stockholm and everyone says punk is dead—but that doesn’t stop two rebellious 13-year-old girls from starting a punk band. Tomboyish, bespectacled Bobo (Mira Barkhammar) and brassy Klara (Mira Grosin), who sports a mohawk, are outsiders and best friends. On the spur of the moment, to claim the rehearsal space from an annoying heavy-metal guy band who forgot to sign up for it, they announce that they are forming a punk band. They have no instruments and no musical talent—so what? Attitude is all. Their first song is the heartfelt “Hate the Sport!”—an energetic attack on their school’s P.E. policy, combined with naively expressed Cold War anxiety. Eventually it dawns on them that at least one member of the group should have some musical talent, so they recruit another outsider, shy but talented guitarist and devout Christian Hedwig
(Liv LeMoyne) to join the band. Sweet and appealing, WE ARE THE BEST! earns its exclamation point with a hilarious yet honest and touching portrait of the spirit of youth. Based on a graphic novel, WE ARE THE BEST! is a paean to DIY culture and the power of rebellion.” RE/SEARCH wants to see this PUNK ROCK film!!

The running time is 102 minutes; it is not rated. In Swedish; fully subtitled in English. Digital images are at:
Landmark’s Opera Plaza Cinemas, 601 Van Ness, San Francisco (415)771-0183
Landmark’s Shattuck Cinemas, 2230 Shattuck Avenue, Berkeley (510) 644-2992

() **OAKLAND** $ Fri June 6– The First Church of the Buzzard is Excited to Present:
Post Punk/Industrial Icons- SAVAGE REPUBLIC
And — Bay Area’s Sonic SuperGroup–BURMESE
With– Electro Industrial Duo Spectacular–V.E.X.
Also Featuring Dj JUNKDRAWER!!!
$8-10 door -8:30 bands -9pm
Don’t miss this Special Event! 2601 Adeline st Oakland

() FREE Sat June 7, 5-8pm Catharine Clark Gallery Opening. Another Opening: Sat June 21, 630-830pm.

() FREE w/purchase of book, or $10. Mon June 9, 7pm: JOHN WATERS discusses his new book CARSICK (about hitchhiking across the USA) at Green Arcade Books event at McRoskey Mattress Co, 1687 Market St near/Franklin St. SF. (Did we tell you, we saw John Waters walking down Bryant/20th St Sat nite 930pm, 6-7-2014?!)

() $ Tue June 10, SF DocFest, and it’s Tuesday, June 10 at 7 pm, Roxie Theater, San Francisco. Ticket link is here: (

() $ Commonwealth Club of San Francisco – many events are free for students, or at least half priced.

() FREE Fri June 13, 7pm or 8-10pm “Mission Creek Underpass” So Ex Offshore: Paul Cesewski’s Voyage of the Hurlothrumbo: the world’s first amphibious bicycle-powered Ferris wheel built for three, film footage, live music by brass band … Cyclecide-made ferris wheel on boat, brass band on boat, etc. Mission Creek Park, 451 Berry St, SF

() FREE Wed June 18, 7pm, City Lights Bookstore: Bill Morgan, Joanne Kyger, and Michael McClure celebrate the release of Peter Orlovsky, a Life in Words: Intimate Chronicles of a Beat Writer by Bill Morgan

() FREE Thu June 19, 630pm: 12 German-American Artists Show at Goethe-Institut, 530 Bush St/Grant Ave, SF

() FREE Sat June 21, 2-9pm, Free Music Festival at Alliance Francaise, 1345 Bush St/Polk-Larkin, SF

() $ Sat June 28 DEVO! Fox Theatre, Oakland – Probably the Most Original, Conceptual, Quirky “Punk” band of all time, so… here’s 10-city DEVO TOUR ITINERARY FOR 2014:

June 18 – Baltimore, MD – Rams Head
June 19 – NYC – Best Buy Theatre
June 21 – St. Charles, IL – Arcada Theatre
June 23 – Denver, CO – Summit Music Hall
June 25 – Seattle, WA – Neptune
June 26 – Vancouver, BC – Commodore Ballroom
June 28 – Oakland, CA – Fox Theatre
June 29 – Los Angeles, CA – Wiltern Theatre
June 30 – Solana Beach, CA – Belly Up
July 2 – Austin, TX – ACL/Moody Theatre

() FREE Mon June 30, 7:30pm: filmmaker Doug Wendt film show/Q&A at Canyon Cinema Show, 16 Sherman St, SF.

() $ July 7-8, Warfield, SF: NICK CAVE & The Bad Seeds… ‘Nuff said!

() FREE Fri July 11, 5-11pm iHeartNorthBeach, 641 Green Street/Columbus, SF. Ruby Ray/Winston Smith book signing for new book on Dead Kennedys: Fresh Fruit for Rotting Vegetables, The Early Years, by Alex Ogg.

4. What We’ve Attended or WANTED to Attend / What We’ve Been Reading/Seeing/Listening to / What We’ve Been Sent / Given, or Seen

Stephane von Stephane interviewed Makoto after the Acid Mother’s Temple show at Bottom of the Hill, and so here’s Stephane with this guest column:


RELAX? Nope, no relax.

Makoto Kawabata (guitar player and founder) of Acid Mother’s Temple actually lives in a Buddhist Temple in Asuka part of the year. It is open to the public so he is never completely alone. But, he prefers to be alone. Cooking, listening to troubadour music, reading older Japanese books, watching films. He has a sound proof studio in the temple to work on music. His neighbor’s cat wanders in and out and the neighbor tends the garden. It gets snowy and so cold there at times the water freezes into a pyramid shape coming out of the faucet. He describes looking at the temple on Google Maps and zooming out and out and even further out because there is literally nothing around for miles. He says he has to drive about two hours, very far in order to get guitar strings and beer. His fans include folks as disparate as Genesis P. Orridge and John Fahey. Genesis goes to AMT shows in N.Y. John Fahey asked Makoto to open for his last tour in Japan, a couple of years before he passed away.
This was Fahey’s experimental phase. He told Kawabata that his guitar playing sounded like the ocean to him. Makoto grew up in mountain country, nowhere near the sea, so he can’t figure out why he might sound like the ocean. Besides having played and recorded music for nearly 30 years, he studied but never practiced landscape design, did practice department store window design, practices graphic design (the bands’ t-shirts, etc.). He was also a chef. And he drove a truck delivering fish to sushi bars. He had to drive great distances at breakneck speed so the fish would still be fresh on arrival or he would have to pay for the cargo himself. In the good old tradition of American truckers he took speed in order to drive fast and stay awake.

RELAX? No Relax. No Relax Allowed.

I am listening to ‘Kontakte’ by Karlheinz Stockhausen and imagining a young Makoto Kawabata (10 years old) hearing this for the first time on the radio in Japan and being awestruck, as it was nothing like anything else he was used to hearing. What he was used to hearing was pop music, most of which did not resonate with him. But I can imagine why this particular piece of experimental work (1960) appealed to him as it is nothing if not otherworldly, and that is exactly the way Kawabata ‘receives’ the music he plays today. We spoke after an Acid Mother’s Temple show at the Bottom of the Hill as Makoto was deftly replacing the power cords from the equipment used during the band’s set. He sat on the well-trod rug on stage cross-legged and crouched over reaching for the exact cord that fit the exact well-worn box and expertly packing it into it’s cozy home until the next set at the next stage in the next town the next night. Yes, it is a show every single night if travel allows.
This band doesn’t take time off. At all. Relax? The word ‘relax’ doesn’t exist in the AMT vocabulary. This extends to the output of new material as well. When they are not on the road, they are adding to the already massive amount of musical recording they already have available for us.

VonStephane: What were your earliest musical influences?

Makoto Kawabata: When I was a child I had a ringing in my ears and I believed it was a message from a UFO. So, I would open the door and look for a UFO. I discovered Stockhausens music on the radio and I thought it was the same as the ringing in my ears. Later, I heard a Beatles record and I was not interested. Sooo boring for me. Then I discovered from the radio The Who, Red Sector, Deep Purple, Pink Floyd, King Crimson and fell in love with classical rock.

VS: The more complex rock music?

MK: Yes, The Beatles were just ‘pop’ for me. I liked progressive rock at that time and then we heard Kraut Rock. A Japanese company had heavy distribution for that. There were lots of avant-garde imports.

VS: When you first started to play music with other people was it like A.M.T. is now?

MK: The idea was the same. I thought; If Led Zeppelin or King Crimson or Deep Purple played with Stockhausen, what would happen? I imagined this kind of music in my brain. I tried to find this kind of music, but I couldn’t find it. So, I decided I would start this music. Unfortunately I had no knowledge of this music or money to buy instruments. So, we made our own instruments, from meat packaging and rubber bands and other things we’d find.

VS: How old were you then?

MK: 13. I recently released a box set of early works from 1978/79 on vinyl. We barely knew how to play our instruments.

VS: How does it sound to you today?

MK: For us, the same. We always just improvised. Not like free jazz. For me improvisation means composing, arrangement, playing in the same time. We can play a more complicated piece than a Frank Zappa song. All musicians can understand each other.

VS: I remember asking you before if you guys use a set list and you said you don’t ever.

MK: No, no set list, never.

VS: It’s almost like you can read each others minds.

MK: Always. The music teaches us what to do. We are waiting. Channeling. The music comes to me, I just need to wait. I think anyone can do it.

VS: Just tune in?

MK: I want to be like a good radio tuner! There are some people who have too much ego about music. They want to show THEIR technique. I feel like I only need minimum technique. If I have too much technique the music will be over.

VS: It’ll go the wrong way?

MK: Yes. Most of the music I hear I feel I can play on my guitar, and if it seems like something else, an other instrument; I try to find what it is. I play by ear. I don’t know notes.

VS: You mention on your website Troubadour music. Which kind of troubadour do you mean?

MK: South of France. Troubadour music is sometimes monks, poets. For me troubadour music is before Baroque. To me Baroque killed music. They made rules. Troubadour music is communicating from the heart and the soul.

VS: So, did you ever take psychedelic drugs?

MK: When I was younger, I took everything, many times. They had to call the ambulance many times. I was so interested in rock musicians from the 60’s and 70’s, I had to know what kind of music they could make with the drugs. At first I took mushrooms, then I wanted to know what happens in my ear, so I took mixtures of drugs.

VS: Did you ever listen to Pink Floyd on acid?

MK: Yes. Also, you know, I never understood Grateful Dead music for a long time. People say they took acid to listen to them… I found a bootleg in 1974 of them in Paris, taped from a mixing board, balance was so bad, guitar was so far away, bass was way too loud, but that sounded soooo beautiful on acid!

VS: Did you ever see patterns and colors and all that?

MK: Yeah, yeah, I tried to sleep under a blanket and what I saw kept changing, till it finally became a wall of a thousand Buddhas, a big mandala. There were sooooo many Buddhas! But, the next morning I woke up and I was soooo stupid!

VS: I once saw the Mayan or Aztec calendar mandala.

MK: Maybe each person has different things they are in touch with.

VS: Your music triggers a kind of trance state for me…

MK: Hmmn… (looks puzzled) So, finally I couldn’t understand what kind of music was good for me (on drugs) and one funny experience on too much acid, I took acoustic guitar and just hit 6 strings, the ‘e’, and I hit double strings or triple strings. It sounded like a big drum. So, I tried to play one string over and over and it sounded amazing, beautiful, like a full orchestra! Then I played back the tape the next morning and it just sounded like the ‘e’ string over and over -boom- -boom- -boom- -boom- over and over. (laughs) So, when we started Acid Mother’s – we don’t take drugs before we play.

VS: Do you ever feel like you are in a trance state when you are playing your music?

MK: Yes, sometimes in Japan, we play one song for 4 hours… not so much here, but in Japan we do long sets, one set was for 10 hours. We started at noon and ended at 10 at night. The last 30 minutes we were running out of time and the drummer started playing hardcore, really fast. We had to keep up…

VS: That sounds like a trance.

MK: For 2 hours I played all ‘d’ and then finally, no more music came to me in ‘d’, so I switched to something else.

VS: I notice you often start melodic and then switch to hardcore…

MK: Music teaches. Music is like life, or like a film, or like a journey. It is not strange to us, it is a natural happening to us. We play what comes to us.

VS: I’m a big Hawkwind fan, did you ever see them?

KM: Not Hawkwind, but Nik Turner’s band, without Lemmy or Dave Brock, but they played Hawkwind songs.

VS: I wish I had seen ELP or Yes.

KM: My bassist saw Yes in 1974, when he was a teenager. He saw Frank Zappa in around 1976 or something. I was too young. I saw bands after 1979, like punk or new wave.

VS: Did you like punk music?

MK: Only The Stranglers

VS: Did you like the Sex Pistols?

MK: No, not really.

VS: Too pop?

MK: I do like some pop music. I like Abba a lot. They are the best. No one in the future will be able to play pop music better than Abba. So, I don’t need any more pop music than that.

VS: ABBA is the pinnacle of pop?

MK: Yes, they overdub all the instruments, and overdubbed the vocals and they changed the tape speed a little bit, that’s how they got that amazing sound.

VS: Did you ever see them live?

MK: No, I was too young, only on t.v.

VS: I am really glad I got to see early David Bowie, T-Rex, Mott the Hoople. But I was too young to go see The Doors, or Jimi Hendrix, Janis Joplin.

MK: Everybody has the same problem, you may have missed some legendary rock but you can go see bands now who will be considered great later on. We all have that the same.

VS: I heard that you worked with Bobby Beausoleil? (Charlie Manson cohort) Isn’t he in jail?

KM: I don’t know if he is or isn’t. I didn’t work with him or speak to him directly. A friend of mine got a record of his and had contact with him and asked him to do some artwork for some of my records, so he did.

VS: I don’t know the whole story, but…

KM: I like his music, I don’t care if he is a murderer or not.

VS: Do you believe in karma?

KM: I believe only in destiny.

VS: So, do you think someone who kills somebody was destined to?

KM: Everything is destiny. That is why I am never nervous. Whatever is happening; oh, this is destiny. So, why ever be nervous?

VS: Right.

KM: What ever is happening, this is just one chapter of my life. Then I turn a page.

VS: You have like, 70 recordings of music, that is a lot of chapters of your life!

KM: Always music teaches me what should I do, so when music doesn’t come to me anymore, then I stop. Because this is destiny. Your mission is over. I don’t think musician is my job, it’s just one chapter. So, I am looking for the next chapter. We were calling this the last tour.

VS: I noticed that, is it true?

KM: Well, no, it’s sort of a joke. But, really, everyone in the band has had injuries lately. I was in a car crash. I don’t like to go to the doctor. Finally when I went, they said I would have died by the next day. If I had died, this would have been destiny. Even during this tour we are not sure how long we will go on… my hand is almost dead. [nerve damage].

VS: You seem to go on tour every year, you never take a break.

KM: We need the money, no one has a real job. We’re lazy.

VS: You tour all the time, that’s hard work. That’s the definition of a real musician. That’s not lazy!

KM: It’s destiny.

5. RECOMMENDED LINKS (send some!)

Visit the RE/Search Publications website ( to view our recommended links ( for June 2014.



() “The monsters’ motives cannot be defined logically…they invent many strange diversions for themselves. We know that they are easily bored. Their boredom often leads to strange and cruel rituals that wind up with them killing or maiming each other for fun… The monsters continue to pursue the destruction of the earth mother’s resources in spite of knowing it will kill them too… it is as if the monsters are driven by a WILL TO SUICIDE! He-he-he.”—Flyland, 2011, p. 464.

() “The second-largest magazine wholesaler in the country, Source Interlink Distribution, which employs about 6,000 workers, will soon cease operations.”—NY Times, page B2, 5-31-2014

() “Everyone is responsible for his or her own actions—everything they do.”—William S. Burroughs quoting Mario Puzo, final journals

() “Social media can launch a witch hunt or program just as readily as a ‘progressive’ uprising, and in either instance directs the madness of crowds to unexamined targets of outrage; the technology itself is probably as addictive as heroin, since it acts directly on neural synapses, and its instantaneous transmission eliminates any space for reflection or analysis between emotional impulse and action.”—Gary Indiana, London Review of Books, 8 May 2014, p. 26 (reviewing Barry Miles’s Call Me Burroughs: A Life,” a must-read for Burroughs fans)

() “They’ve been given Sympathetic Blocks [SBs]… Intelligence uses them for espionage agents. Take a certain body of information you don’t want told. Link it with the sympathetic nervous system that controls automatic respiration and heart beat. As soon as the subject tries to reveal that information, the block comes down, the heart and lungs stop, the man dies, your secret’s kept. An agent doesn’t have to worry about killing himself to avoid torture; it’s been done for him.”—Alfred Bester, The Stars My Destination, p. 115

() “Nothing comes even close to human imagination, it can do it all…The human imagination is incapable of nothing, it doesn’t have to fall back on artificial stimulants, on chemicals, to release something that the brain can do even on its own. A fertile imagination is better than any drug.”—J.G. Ballard quoted in Extreme Metaphors: Interviews with J.G. Ballard 1967-2008, p. 145

7. Letters from readers

() “What a wonderful newsletter about filmmaking! Thanks for the great review! And we are in the same newsletter as Jodorowsky, what an honor! 😉 – Johannes G, monochrom”

() “We did go see the El Vez Punk Rock Revue at INdependent 5/4/14. It was great – Diana Death is a real Johnny Thunders fan and we encouraged her to bring her Chinese Rocks full JT band up from San Diego. The Schitzophonics (Pat on Guitar is married to Leti, drums) and they just have that great FUN early manic Punk energy. …and El Vez never disappoints – he is a true showman, and the rap about Glam to Punk was dead on!! I looked for you , but did not see you. FYI: WE met originally at the Hall of Justice on the day we were both there to pay traffic tickets, and we spoke briefly at The Punk Reunion at Verdi club last year. stay well – love your newsletter. keep PUNK alive – phillip”

8. **SPONSORS** (Without them you would NOT be receiving this newsletter – Please go to their websites!)

If you would like to be a part of the R/S newsletter please email or call.

1. DIANE DI PRIMA! The Beat Legend sponsored us for 6 months – THANK YOU, DIANE! [x10/14)

2. 47 Canal Street (Gallery w/events, NYC) – go visit & say RE/Search sent you!

3. Emerald Tablet (Gallery w/events), Fresno Alley (100 feet from RE/Search! in North Beach). Lots of free or low cost local community events; check out their schedule! ( – they’re open during First Fridays North Beach Art Walk…

4. METASONIX: Since 1999, the world’s only maker of vacuum-tube music synthesizers.

5. From our friends Amy and Brian – they have a new software in the works, watch for it!

6. V. Vale’s RE/Search Newsletter is cordially sponsored by “Beyond the Beyond.” Information Wants To Be Free WE MEAN IT MAN! $0$0$0$0$0$0$0$0$0$0

7. “fine art about equal human rights worldwide”

8. Charles H. Kerr Publishing Company – Penelope Rosemont, Chicago Surrealist Group founder.

9. Kevin O’Malley+Christie Dames, the High-Heeled Anarchist: TechTalk/Studio: + Commonwealth Club, San Francisco.

10. Emily Armstrong/Pat Ivers’ pioneering 1st generation NYC 1975-80 punk videos! see ’em yourself @ NYU Fales Library Downtown Collection, debut: Oct 2013

11. The doomfiles:

12. “The FruitGuys loves Re/Search! Eat healthy at work, save family farms., born in North Beach in 1998.”

The end, for now

May 2014 RE/Search Newsletter #127 written by V. Vale & other contributors. RE/Search website powered by Laughing Squid ( .

RE/Search Publications
20 Romolo Pl, Suite B
San Francisco, CA 94133-4041
Tel: (415) 362-1465

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