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V. Vale’s RE/Search Publications Newsletter #144, November 2015: Punk, Mary Woronov, must-see movies

WELCOME TO V. VALE’s RE/SEARCH NEWSLETTER #144, NOVEMBER  2015 Add Us to Your Address Book! You are Receiving this Email because You or Someone You know Signed Up. Scroll to the Bottom of this Email to UNSUBSCRIBE. Are you receiving this newsletter (annoyingly) TWICE? PLEASE tell us which address to delete.

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1A: EDITORIAL: “What Was ‘Punk’ Before the word was invented?”
1B. Part One of MARY WORONOV Interview by Zora Burden
1C. NEW FROM RE/SEARCH: Diane di Prima zine, LSD MUSEUM Mark McCloud ZINE. Penny Rimbaud book. Monte Cazazza Zine (2nd printing!).
1D. Eleven Must-See Movies (by V. Vale)
2. The Counter Culture Hour: Sat NOV 14, 2015 4:30pm
3. FORTHCOMING EVENTS: Send Us Suggestions!…
4. OUR PAST LIFE: Books we’ve been given, etc.
5. Recommended Links – send us some!
7. Letters from Readers (send some!)
8. Sponsors (Check ’em out! – they make this newsletter possible!)
————–please add 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. “In order to have a different future, you must create a different past.” Why? Because the status-quo educational hierarchy enforces a limited, highly “curated” so-called “history” which severely limits the potential of the most under-used organ in the human body: the IMAGINATION. Make no mistake: the supreme priority in our so-called “education” is: MAINTAIN THE STATUS QUO. Which is: the 1% control the 99%.

This is why we have started the informal project titled THE COUNTERCULTURAL CONTINUUM. Readers are invited to send in suggestions. We are asking a few simple questions: “What was ‘PUNK’ before the word was invented? What is ‘PUNK’ all over the world yet not identified as such?” (We ask the same questions substituting the word ‘SURREALIST’ and ‘NOIR’.)
A word as to our definition of the word “PUNK”: Black Humor Is NUMBER ONE. Personally we try to avoid politics and religions (especially groups and group meetings) because if you dare make fun of any of the “leaders,” then the whole group wants to KILL you!
Of course PUNK lowered the bar to the floor: Anybody Can Do Anything (aka D.I.Y.). But… Don’t Be Boring. Don’t Be Predictable. Don’t Be a Cliche. Don’t Be an Imitator. Don’t Be a Ventriloquist’s Dummy. If you do anything (like write a zine or make a poster) more than once, you try to get “better” or at least “different” if only to keep amusing yourself. In other words, the notion of “craft” (or of gaining more knowledge and skill at what you’re doing) is not necessarily repugnant; au contraire
As longtime “Outsiders”, Our Motto is SILENCE. SOLITUDE. SKEPTICISM. Humor is Top Priority in our Day-to-Day Living. We Search for Weird. We Search for “Incredibly Strange.” We Like the word “FLANEUR”. We say “CURIOSITY and DRIVES/Rule Our Lives.” Be Curious About Everything! However, in a world of corporate disinformation and lies amidst a plague of self-promotion, READ ZINES! (We think that every Search & Destroy and RE/Search publication is a ZINE; don’t be fooled by “form” and “surface”!)
You can’t be friends with Everybody, so Pick Your Friends Carefully! Seek Fellow “Seekers”…
Be Spontaneous, Be Open to Surrealist Chance. Be Suspicious of So-Called ‘LOGIC’ — and Love Your Dreams, Your Subconscious, Your Unconscious and Your Uncensored Desires (well, most of ’em).
AIM FOR: No Separation Between Life and Creativity/Art. Encourage Everybody You Meet—especially fellow rebels…
HAVE FUN… ALWAYS. (Well, try…)
Shun “Reality” in favor of SURreality. Always.
Remember that Language is a Parallel Dimension (including Visual Language), so Don’t Be Fooled... But, Take Risks & Take Chances (occasionally) especially in your “Art”.
And remember that “Friends Are A Parallel Existence”…

1B.  Mary Woronov Interview by Zora Burden, September 2015

Zora Burden: Will you give some insight into what growing up was like for you?
Mary Woronov: My dad was a doctor and my mom was a regular mother. I went to a private girls’ school in Brooklyn called Packer. Believe it or not, in 3rd or 4th grade we had to write a play. No—we did David Copperfield first and I played Uriah Heep. Not only is this character a male, but he’s a really unsavory character…so I had a lot of fun doing him! That was my first acting.
My second role was in a Christmas pageant; I had to be one of the Three Kings. When the two kings behind me bowed and I looked out into the audience, I felt this immense sense of power… which I have never forgotten. The school thought I was talented, so they sent me to the director to be in the next play (they did one play a year). The director cast me as Caliban in Shakespeare’s The Tempest, and I fell in love with the role—I loved being a monster! Well, he was more than a monster: he had words, he talked, he loved the trees and the music… but they took his island away from him. And when he faced destitution and slavery, he could not control himself…
My mother was an artist, but when she married my stepdad, she stopped being that. So she was very “pro-” my art, and so was my school, Packer. I was already doing painting and little pictures—you know, like, of kittens. They published a magazine and I often wrote the short story in the magazine, so that was the beginning of my writing career. It was an all-girls’ school—it was fabulous.
ZB: Were you acting in college?
MW: Yes, in college I was put in several plays. Don’t ask me why—I did not volunteer! One was Ionesco’s The Chairs. They dressed me in a man’s uniform; I had a moustache. Actually, the director was in love with me; he insisted on putting the moustache on me every time I performed—it was really peculiar. I loved being a man. I only came out for five minutes at the end. I kept getting called on to do these roles.
One day I was at a poetry reading where I met Gerard Malanga. He’s responsible for bringing me to Warhol’s studio.
ZB: I read that when you were at Cornell, you were sent to visit artists’ studios and Warhol’s was one of them—
MW: Yes—that’s how I got to Warhol’s studio! I had gotten to know all these poets at Cornell—they were great and Gerard would come read with them. So… the Warhol studio was the opposite of everybody else’s—it was all black and dark. And then out of the shadows comes Gerard—he didn’t know I was going to be there! Almost immediately he said, “Warhol is going to do a screen test, and I want you to do it with me.”
So my class left and I stayed. Gerard’s plan was not to hop in bed with me like most girls he knew (he was very sexy); his plan was that I should be his co-actress. He wanted to act in Warhol’s films, but felt that he would like to be partnered. He’s a very “planning” type of guy, you know—even at Cornell he had planned this—like, he took pictures of me walking across Triphammer Bridge. So all of a sudden I did a screen test and that’s the beginning of my career with Warhol!
ZB: What were your original career aspirations before attending Cornell?
MW: I felt I could not get into Cornell because I didn’t feel that “smart”—well, I was, but you don’t really know it, you know? I felt the only way to get into a school like that was to be an “artist,” because there wouldn’t be that many people…
I knew I was talented as an artist, really early. So I went to Cornell under the art program, not under the acting program. But these people would nab me for acting and pull me out of whatever I was supposed to be doing.
I was good friends with Susan Rothenberg. When I got out of Cornell, she was already ensconced in the The New Image Group in Manhattan, and I met all these people through her. She had a big loft; her daddy was rich. I had no place to paint, so all of a sudden I was relegated to non-painting, and being an actress, and writing. It was kind of annoying for me.
ZB: You had talked about enjoying roles that were powerful—did your dominant roles reflect your sexuality at all? Did you prefer to play masculine roles?
MW: My mother had a vicious temper—she was like an animal. In other words, she was never wrong. If someone hit me, she’d rip their f*cking heart out. I was in love with her.
First of all, I’m built the way I’m built, which is quite powerful for a woman… and I copied my mother. I thought that was an additive, a fabulous thing to be, and I became in love with power. I was taken out of kindergarten because I threw a block at a boy and tried to kill him. I never stopped this feeling I have—I like power. I’m more interested in power than I am in love or in sophistication. Most of my roles are powerful—almost all of them are; I don’t have… no victim roles, unless maybe in Eating Raoul.
In grade school, nobody understood. They didn’t stop me. I used to beat people up—I thought nothing of that. Then what happened is: sports came along, and I put most of that power and emotion into sports. Then, in acting, I let it out. That was the beginning, and I’ve never changed.
As far as my sexuality, I’m sorry to tell you: I’m not queer, and I don’t want to be a man at all—they’re basically driven by their sexuality and they have no mystery. I like men as an object that I’m attracted to—that’s all! On the other hand, I really hate weak women! I think nothing of insulting them; I have very little patience with them. That’s bad—I try and not be like that now. When I was young and not screaming on amphetamines, I had a temper that went along with that drug. Put them together and I was vicious.
ZB: When you beat people up, what age were you? Was it men or women?
MW: I went to an all-girls school—all female, I had no connection with men. You know, they’d have a dance and I would date somebody. I had to go to dancing school. I was forced to join this church and they had a youth group. At first we’d play dodgeball, which I loved. The boys were stronger but I didn’t care; I didn’t care if they slammed me—I’d slam them right back. Afterwards, they’d turn all the lights out—these people are so weird; this is Grace Church, I’m telling you they’re little freaks. They’d put things like Johnny Mathis on—you know: black R & B, slow and sexy, and these boys that you had just finished trying to kill would now dance with you to insanely great music. It was horribly sexy and horribly frustrating because I was so far from being sexual. I mean, my parents—if they ever caught me doing anything—they’d kill me. My mother would kill me. She didn’t want me to get pregnant; it was illegal.
I was very athletic; I swam. My mother saved my life—she was a champion swimmer. We swam into a riptide and I’d be dead right now, but she managed to drag me to shore. At first I didn’t want to swim, because I’d be too much like her. But then I started swimming—I’ve never stopped, but I’m afraid of the ocean. I’m not good with competitive sports, though.
ZB: When you were at Cornell, what was your focus in art?
MW: Sculpture, because I thought that’s how I could get in. Nobody wanted to be a sculptor then—especially a girl sculptor. Susan thought the same thing. There were only two girls there—that’s kind of funny ‘cuz it’s how we met (and she’s a painter, not a sculptor). I’m not a sculptor, but I can be! A friend of mine had my (astrological chart done), and when it came back it said that I’d be a fabulous bookkeeper. [laughs]
ZB: Are you good with math? Usually, creative types aren’t.
MW: No, I’m terrible. [laughs]
ZB: Will you talk about your paintings?
MW: I’m a figurative painter and that’s terribly out of fashion. I’m not conceptual at all. Not only am I a figurative painter (which is very, very low on the want list) but I’m also narrative. Most of my paintings tell a story—it’s so unfashionable, people call it “illustration”—they don’t call it painting. I use oils, sometimes acrylic. It’s always figurative, it always has a story, because the story makes me continue the painting.
I don’t understand the other kinds of painting—I really don’t, from Jackson Pollock on. I love stories. I think up stories in my head all the time—it’s why I write books. I always have.
It’s never abstract, it’s always figurative. I don’t see the point of “abstract.” It just doesn’t relate to me—that’s the way I am. Abstract art is more on a logical level; it has to do with design.
Subconsciously, you always make stories in your head. The subconscious is emotional, and my paintings are about emotions… to make the emotions seen. To make the other person understand the emotion you put into the painting, you make up a story—it’s the easiest way.
When you make up a figure, you have to show her being affected… and the person looking at the picture gets affected the same way. It’s horribly emotional. That’s the reason why people don’t like it—because it’s too emotional. They don’t want to see emotional. I mean I have some very grim paintings about war and things like that. Nobody wants to see that—like Picasso’s Guernica. 
ZB: Have you shown them anywhere, or do you just create them for self-expression?
MW: I’ve always wanted to be shown. I love it when people look at my work, but I just don’t have the patience to do the “book work.” It’s highly political—and I’m not really interested in the politics, I’m interested in the painting.
I’m not interested in what people think of me. In New York when I was with Warhol, I had no place to paint—not until I came to California. When I did put paper on the wall and do drawings in New York, it was always black-and-white. In California, something happened to me—I used insane colors, and “the figure” happened. But I had never really left it.
My early paintings: I had a show and they all sold out. I was terribly annoyed that they did, because I don’t have any left—I didn’t even have photographs of them! Oh yeah, I do have some—in a book called Wait For the Angels. Some of my early art is in that.
ZB: When you left to become part of the Warhol Factory, what happened with Cornell?
MW: I didn’t finish college; I didn’t finish the last two years. College was so f*cking boring—I mean, I liked high school better than college! (I’m simplifying it.) Also, I didn’t like the guys—I really didn’t like being pestered by them. They were mean; they were worried about themselves; they were immature. I really didn’t f*cking like them—they weren’t friendly. It’s a man’s world.
ZB: So much has been covered about that period, I’m not sure what’s left to ask about your experiences with Warhol
MW: Do you know Artillery magazine? It’s California-based. I’ve written four articles on Warhol—they express what I later think of him. My feelings and knowledge of what I did are truly expressed in them.
The articles cover have everything I’ve done. The Theater of the Ridiculous was great—the minute I was working with Warhol, the Theater picked me up. So I was acting along with Warhol and the Theater of Ridiculous. It was Ronald Tavel’s plays, and John Vaccaro was the director. It was very vicious, and about absurdity. I’ve written about that in the Artillery articles. This was the best theater I’ve ever done.
Later, I got the Theater World Award for In the Boom Boom Room by David Rabe. My acting in the Theater of the Ridiculous was sublime—far better than Joseph Papp could ever imagine. Yet Julie Bovasso who directed us was fired—Papp fired her! She is a good director; she’s from Theater of the Ridiculous; she was fabulous and Papp was just jealous of her—that’s all. Madeline Kahn was in it; she played Chrissy, the lead. I played a lesbian—the beginning of my actor-career-as-a-lesbian.
I became famous especially with the gay crowd, in a performance called Kitchenette. I played a woman who was married to a man who was so sexually frustrated with me that he was having affairs in the shower with other men. He was trying to tell me, and throughout the play I completely evade what he’s trying to tell me. Finally, he gets so insane that he kills me and they all sing about “matricide on a mattress.” It was fabulous; it was just really great.
My anger was just insane, it was so intense. What the drag queens did in the Theater of the Ridiculous (and there were a lot of them) was to mock what women thought or did. (I mean completely mock their sexuality.) I also mocked… but I didn’t mock women. I would mock other things in the same fashion. In other words, it’s not just “you act stupid and people laugh at you”—it had nothing to do with the “comedic” thing—it had to do with the morals of the time. It’s satire—it was like the Theater of the Absurd in France—it was ripples of that. Only we were very sexual—I mean sex was a joke, it was insane.
My greatest role was, once again, a man’s role: I played The Conqueror of the Universe. I hated my wife; when she sang I got such a violent headache I would try to kill her. I hated almost everybody; I was vicious. There was one scene where my minions (should we call them that?) all sh*t in a bowl and tried to give it to me for dinner. It was so great, this role—I loved it so much.
Anyway, that was my best role, ever.
[End of Part One. Part Two will appear in the December 2015 Newsletter]

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

() We just made 10 copies of a zine on Diane di Prima (with a xerox of a drawing by Kersey Barrett-Tormey) and they are $10 each plus $5 shipping or $10 overseas shipping. Just PayPal $15 or $20 to: – 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 blotter acid print) plus $5 shipping or $10 overseas shipping. Just PayPal $25 or $30 to: – be sure to include your address! Only (2) left.

() We offer a 2nd printing of the 64-page MONTE CAZAZZA zine. Price just $12 (plus $5 shipping; just PayPal $17 to: 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 $10 SHIPPING (total $22). CALIF residents add 8.75% tax ($2.19 tax, total $19.19).

() 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: – be sure to include your address!

() Three V. VALE PIANO IMPROVISATIONS available for listening on bandcamp NOW. One features amazing guitarist Will Rogers!

() FINALLY: the newest RE/Search Pocketbook is in stock: 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 a RE/Search Pocketbook: ED HARDY. $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:

() One of our “Punk and Tech” volumes is DATING A.I. by a Russian genius (under a pseudonym). It’s easily the best guide to A.I.

1D: 11 Must-See Movies (by V. Vale):

1. Underground
2. The Great Beauty
3. Burnt
4. Eyes Without A Face
5. Judex
6. Fantomas (silent films; saw ’em at PFA long ago)
7. A Very Curious Girl (Nelly Kaplan “rules”)
8. Maya Deren: Everything. Our mentor Philip Lamantia is in one film.
9. Lost Horizon (1937)
10. Beyond The Reef (1980). Maren Jensen is a Pleasure/Treasure.
11. The Razor’s Edge (1946; Tyrone Power)

2. Counter Culture Hour – Sat NOV 14, 2015 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: You need a fairly decent internet connection and computer to “get it.” USA west coast: 4:30 PM Sat NOV 14, 2015 USA; east coast: 7:30 PM Sat NOV 14, 2015. Tokyo: 8:30 AM Sunday, NOV 15, 2015 If you cannot get this online email us at See RE/Search channel on youtube: “researchpubs”

3. FORTHCOMING EVENTS (San Francisco unless Otherwise Noted)

() $ – our favorite local Grand Guignol Theatre Company at the Hypnodrome – support live local theatre!

() Support the Roxie Theater: great programming EVERY NIGHT (our opinion). Thur nites at the Castro Theater feature NOIR films (our favorite) programmed by The Roxie.

() 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. Terminal:

() Oct 31, 4:15pm: Korla Pandit doc (great) at Smith Rafael Film Center

() $ Nov 1, Brick & Mortar Music Hall, SF: TAV FALCO/Panther Burns backed by Mike Watt on bass and Toby Dammit on drums. The 2nd Guitarist & “Killin’ It” Keyboardist reside in Rome. A Must See! 1710 Mission St/Duboce Ave. [Note: this was one amazing performance to satisfy the soul, especially the “Whistleblower” pro-Snowden anti-surveillance song, the prison-ballad song, and the final free-jazz improv, which took us all somewhere we’d never been before… Tonight we heard Mike Watt doing a bass solo?!? It was truly a privilege to have been there; a highlight of our concert-going… Tav Falco also has about 3 photography books coming out soon: one is An Iconography of Chance – haunting Southern Gothic noir B&W and beyond…] Besides his book Ghosts Behind the Sun (Memphis noir-history), he has made a feature film; see a trailer at

Also on the Halloween-visually-inflected bill were Guantanamo Baywatch (Robin & The Hoods/’60s R&B), The Flytraps (Female Hair/Underwear Meta-Metal band), Cumstain (Alien-Planet Trash Trio) and The She Things (Girl Garage).
() FREE **NEW YORK CITY** Wed Nov 4, 7pm – SVA Theatre, 333 W. 23rd St/8th-9th Aves) NYC. Joey Skaggs (featured in our PRANKS book) doc feature ART OF THE PRANK. Live Q&A. Write Joey to free-RSVP (save your seats for free) Joey Skaggs <>

() FREE Nov 6. 6-8pm: Chris Johanson opening at Altman Siegel Gallery. Also, Barry McGee opening at Ratio 3 Gallery. Ultra-Fun! Dinner afterward: Mission Chinese Food, 2234 Mission/18th St – hot & excellent!

() FREE Nov 7, 6-9pm SFAI hosts Leslie Shows’s new works.
() FREE Nov 8, 2:30-7pm PUNK Flea Market at Knockout, 3223 Mission/Valencia Sts, SF. Meet V. VALE – RE/SEARCH table!
() FREE Fri Nov 13, 430pm SFAI: Sarah Thornton (7 Days in the Art World) talks w/Claire Daigle.
() $ Fri Nov 13, 9pm SACRED BLOOD Directed by Christopher Coppola – This visually imaginative, over-the-top vampire film is a love letter of sorts to the darker side of San Francisco. Director Christopher Coppola takes us to some familiar places, yet they somehow seem so unfamiliar – empty and brooding and sinister. New People Cinema in Japantown. Note: EDITOR is Marian Wallace! Beautiful locations. Nice “Georgia” performances! Watch the trailer.
() $ Sat Nov 14, 9pm Never Silent! Volume 2: Vinyl Screams: The Cabinet of Dr. Caligari (1921) Dir by Robert Wiene
This twisted horror silent masterpiece will be shown with a live score performed by local SF musician Tasho Nicolopulos (Its Own Infinite Flower, Hostile Ambient Takeover) From dissonant to demonic synthesizers this one time dark musical journey will … Tickets to this special event are $20. New People Cinema in Japantown
() FREE Sun Nov 15, 10-6pm: Howard Zinn Book Fair, City College Mission Campus, 1125 Valencia/22nd St, SF. Come meet V. VALE – RE/SEARCH Zines Section Table!
() FREE Tue Nov 17, 7pm City Lights Bookstore presents Barry Gifford reading from Writers: 13 Vignettes
() FREE Fri Nov 20, 6:30pm 100 Years of Robot Art and Science with Karen Marcelo, Kal Spelletich, Ken Goldberg, David Pescovitz, Josette Melchor of Gray Area – FUN! Kal will demonstrate two machines. Jenny Odell will provide Internet images.
() $ Sun Nov 22, 8pm The Chapel features Baby Gramps
() $ Fri Nov 27 9pm The Chapel features Public Image Ltd.
() $ Sun Nov 29 7pm A John Waters Christmas with DJ Omar Perez at Great American Music Hall — attendez-vous!
() $12 Sat Dec 12, 9pm Our former intern Rykarda Parasol – new record-release concert-party! Bottom of the Hill, SF

() $ Tue-Wed Dec 15-16, 7:30pm early show INdependent; Mike Watt & the SecondMen open for “X”. BE THERE or…

() $ Tu,Wed,Th Dec 29,30,31: Patti Smith & Band at The Fillmore, SF

() 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 LIFEWhat We’ve Received, Liked, Experienced:

() Oct 29 we saw Kerry Laitala’s “Visible Spectres Soiree” (Exploratorium; participatory fun!) and then Ed Hardy’s new art show at The Midway (glossy resin works; never saw this medium before). Five impressive motorcyles and a gleaming bronze vintage Hudson (?) automobile were parked in front…

() We’ve been waiting decades for G.L.O.S.S. – finally, some intense intelligent incendiary Girls With Guts – will send chills up your spines, if you have any! (What happens if you’ve been Angry All Your Life?! “Listen Up!” ) And, they’re from Olympia, Washington, which makes us wonder about the idea of “concentrated-rebellion- nodes” on Planet Earth…

() 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?

() James Dickinson sent us his gorgeous color small book, The Psycho-Pathologies of MODERNITY: J.G. Ballard’s LAuto (dys)topias. An exercise in “Quotation”. He wrote: “Greetings Vale! Please find Psychopathologies. RivetHead Productions is entirely a vanity undertaking which allows me to ‘create’ things separate from my ‘academic’ work. The address for inquiries is: 744 South Street, PMB 65, Philadelphia PA 19147.” We highly recommend you send him a twenty-dollar bill for a truly rare, stimulating, amusing, gorgeous small-work-of-art.
() Arrington de Dionyso (we like his paintings and visual art) gave us one of his music CDs titled “Old Time Relijun” put out by K Records, Box 7154, Olympia WA 985607. Recomended! Arrington also does amazing live music performances using a saxophone, plastic plumbers’ pipes — whatever may be available…
() Recommended: Defaceman (cassette given to us at Olympia ZineFest a couple weeks ago).
() Recommended by D.Neu: Paul Graham, photographer
() We loved seeing (Fabio) Frizzi to Fulci at The Chapel, Tue Oct 6, 2015 – prog-rock with a vengeance!
() Henning Mankell died Oct 5, 2015, R.I.P. We’ve read most of his books; especially his Kurt Wallander series. Scandinavia: we want to visit now! We’ve also read 10 books by Jo Nesbo starring “Harry Hole”. And of course we’ve read The Girl…
() At Gilman Street Punk Flea Market, we received Arnocorps – The Fantastic EP. This “Mythic Metal” band must surely be fun to watch!
5. LINKS (Send Us Some!)

() Tom Hiddleston reads a section of Search & Destroy #10’s interview with JG Ballard ((1978 –  prophetic!!) which I commissioned.  Note that Search&Destroy#10 is STILL available from me for $20 — please order it, see for yourself, and support RE/Search’s continuance, all at the same time!

() Steve McKay has died 10-11-2015 — We will definitely miss HIM! Like, a long time from now… (William Burroughs said: “Stay out of hospitals!” and we say, “AMEN!”)

() Recent Interview with V. Vale PODCAST done 10-13-15 – Thank You, Ron Placone from Nashville!

() Our adopted son from Japan, YOSHI, has some spectacular street-person photographs in black-and-white, plus an interview (in Japanese):


() “There was a 40th Anniversary of Punk in the San Francisco Bay Area, put on by the Punk Rock Sewing Circle, and the below recorded lecture was part of a week-long series of events … Panel discussion was held in the Koret Auditorium in the San Francisco Public Main Library on September 23, 2015. V. Vale & others discussed their experiences as pioneers in the punk rock scene and examined the pivotal function of fanzines between the years 1975 – 1981. Audio recording of the entire panel discussion:
– Full schedule of events related to the 40th Anniversary of Punk:
…my piece in Wax Poetics about the Controfase LP… please pass on to anybody who might be interested… cheers – ddt

() We Liked this band 11/1/15 at Brick & Mortar:

() V. Vale has a cameo in Industrial Soundtrack for the Urban Decay, a music documentary by Amelie Ravalec & Travis Collins. See it! Amelie visited us (with her father) 11/1/15 at 8am!
() Tav Falco has a feature film looking for cities to premiere in!
() V. Vale interview in PORK magazine; try to find a copy! Photo of V. Vale in Sight & Sound magazine, Nov 2015 issue.
() Jean Sibelius “Never pay any attention to what critics say. Remember, a statue has never been set up in honor of a critic.“ [his Symphony#2 is a V. Vale favorite—the Living Stereo vinyl LP, that is!]
() Words Mean Nothing. Deeds Are Everything.
() Extreme Memes Change The World.
() The word “Museum” is remarkably similar to “Mausoleum”…
() “Punk Is Eternal.” “Noir Is Eternal.” “Surrealism Is Eternal.”
() “Library” = “Lie-brary”… (Not OUR library, we hope!)
() “CONservative” begins with the word “CON”…


() The following letter was not to US, but we liked it so much here it is: “1. Weird synchronicity: driving around both sides of the Bay lately, I’ve seen many Audis abandoned on shoulders and on the backs of tiltbed tow trucks.

“2. The singularity already happened, the machines are self-aware, they have taken over all product-design duties, and they have become insane, as one would expect, secretly serving their tow-truck lobby- and scrap-metal-recycling-lobby masters. The result: a showroom-to-scrapyard car conversion rate at its highest level in history, with Audi leading the pack. In this design, any engine component failure triggers the explosive and lethal totaling of the front half of the car. The bodywork and firewall serve well as shrapnel enhancement.
“Super fun to drive, for a minute. #YOLO – Frank Hausman”
() from Ed Hardy: “Jen and Kerri at Varnish have added a “Soundcloud” audio to the exhibition site, of me talking about the work in the show. Works well with thumbnails of the works attached…about 15 min. long, tried to keep the hot air and rambling to a minimum… this whole podcast idea is pretty great…”

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. 47 Canal Street (Gallery w/events, NYC) – go visit & say RE/Search sent you! **NEW ADDRESS** 291 Grand St, 2nd floor! (x11/30/15)
2. 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!)
3. Kevin O’Malley+Christie Dames, the High-Heeled Anarchist: TechTalk/Studio: + Commonwealth Club, San Francisco. (x4/31/16)
4. $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.” @bruces
Information Wants To Be Free WE MEAN IT MAN!
5. 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: (x7/31/16)
6. THANK YOU, TIJANNA Eaton (x02-28-16)!
NOVEMBER 2015 RE/Search eNewsletter #144 written by V. Vale & other contributors. RE/Search website poweredby  Add us (““) to Your Address Book++++++++++++++++++++++++++++++++++++++++++++++++++++++++Physical Address since May 1979: RE/SEARCH | 20 Romolo #B | San Francisco CA 94133-4041 | 415.362.1465 | |  facebook: “RE/Search Fan Page”    twitter: @valeRESearch

RE/Search Publications
20 Romolo Place #B
San Francisco, CA  94133-4041
(415) 362-1465

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