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V. Vale’s RE/SEARCH Newsletter #145:, Did Punk Come ‘True’?!?, Mary Woronov Pt 2 by Zora Burden, Recommended Philosophy Books

Welcome to V. Vale’s RE/Search Newsletter #145, December 2015

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Welcome to V. Vale’s RE/Search Newsletter #145, December 2015

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Table of contents
1A: EDITORIAL: Holidaze Special
1B: Part Two of MARY WORONOV Interview by Zora Burden
1C: NEW FROM RE/SEARCH: Charles Gatewood pocket book now in stock!
1D: Ten Must-Read Philosophy Books (by V. Vale)
2: The Counter Culture Hour: Sat DEC 12, 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!)

1A: Editorial: Holidaze Special
Holidaze Special: Get ’em all for your xmas list: give as gifts or read ’em first and… Our 6 RE/Search pocketbooks for $60 (plus $10 shipping; PayPal $70 USD to: – if you’re overseas, pay $85 USD for airmail shipping worldwide). Titles: Henry Rollins, George Kuchar, Lydia Lunch, Ed Hardy, Penny Rimbaud, Charles Gatewood (advance proof; book not officially released yet). But… if you’re not gonna order from us, at least shop locally!

We notice that our esteemed colleague Henry Rollins is offering 15% off on his whole website, and we are tempted to do the same, just to spur holiday sales. So… If you read this and want this discount, write us at: and tell us what you want to give as gifts (or gifts for your self and your personal library/archive). We’ll personally write you back!

At our North Beach Trader Joe’s we ran into our neighbor Caleb who told us he recently had a record release party (was it at The Chapel?) for his 2nd vinyl LP and it was almost a non-event. We both had thought that in the future, everyone would be an artist, and that maybe the Punk Do-It-Yourself utopia might have actually “come true”—but with unforeseen consequences. Yes, today zillions more people are putting out records (and, for that matter, books, films, et al) and nobody can find out what’s truly GREAT and no single person seems to be a reliable mentor NOW. We recalled the days when EVERYBODY knew about the latest Beatles or Rolling Stones recordings… but what is truly great being released now? Adele?
Patti Smith has a new book (M Train) out and we saw it last night in a bookstore after seeing Peggy Guggenheim: Art Addict at the Clay Theater in San Francisco (only about thirty people were in the audience). This documentary film had amazing live footage of Paul Bowles typing (yes, she slept with him, once, apparently); Samuel Beckett talking (what a face, like a bird of prey), Marcel Duchamp speaking in English; dozens of wooden crates of art rejected by The Louvre being lifted into a cargo ship bound for America (labeled “household goods” to get out of the country), plus lotsa living New York talking heads (like Carlo McCormick and Diego Cortez) telling us how great “Peggy” was. Well, she did change the world by having all this great Surrealist art (at least 326 works) preserved (and not, say, fallen into the hands of the Nazis) and she also materially helped Surrealists like Max Ernst flee to America and thus survive and create more stimulation-of-the-senses-and-imagination. BTW, we’ve always wanted to visit Venice and 1st on our list has been the Peggy Guggenheim “Museum”. Plus, other locales suggested by Donna Leon, Andrea Camilleri, Michael Dibdin (R.I.P.), and others.

Our forthcoming RE/Search pocketbook, Charles Gatewood, attempts to sketch his biography and give him respect as an avant-garde photographer who has chronicled important underground-turned-overground luminaries such as William S. Burroughs, Brion Gysin, Larry Clark, Allen Ginsberg, Diane di Prima, Luis Bunuel, and others. Order it now and be the first to get it when it arrives! There’s at least a dozen W.S. Burroughs images.

1B: Mary Woronov Interview Part 2 by Zora Burden (done September 2015)
Zora Burden: Did you prefer stage work to film?
Mary Woronov: Yes—only with the Theater of the Ridiculous. I was the mocking answer to a “queen”.
ZB: You’ve talked about the East Coast vs. the West Coast… that the East was more “intellectual” and “angry”. You didn’t see the anger manifest in the West Coast until the Punk scene happened: you thought it was ironic that it was “straight white males from suburban neighborhoods”. Then you moved out here—
MW: That’s because I did this movie and… then I did three more on the East coast and they were nothing like what I wanted. Then I met this guy Paul Bartel—he did a movie called Secret Cinema that blew my mind, it was so vicious. He called me up (because he had seen me in Theater of the Ridiculous) and said, “I am going to do Death Race 2000. Please come out here; I know Roger Corman will hire you.” So I divorced my husband and came out!
ZB: What did you think of working with producer Roger Corman?
MW: I thought he was the Warhol of the West. I really liked him; communication with him was just as difficult as it was with Warhol! He had a certain idea—in other words, sex was not like with Warhol where it was scary because you saw “gay”; sex [with Corman] was very cute—you know, all tits-and-ass.
Then these movies became icons—people loved ’em. It was like “B movies”. It’s like: “Forget intellectual art, let’s just look at a Corman movie!” He was brilliant at it—he really was. Also, he did things that were so absurd—and his absurdity is what I loved.
The directors were so young and they were so self-conscious; they didn’t dare tell you what to do! So you could do whatever you wanted.
Death Race 2000 was political—it doesn’t say such great things about America—it’s really loved in Europe. I don’t think Corman had that as an objective; he wanted to make movies that were not “offensive” yet had plenty of violence and humor. In Death Race 2000  he didn’t want to spend much money for the cars—that’s another thing, Corman was cheaper than Warhol… and that’s hard to do! But he’s so American, he’s so friendly: it’s just tits-and-ass… not there to make you paranoid or turn you on in some weird way that you don’t want.
Some of Corman’s space movies are just absolutely not good—but they’re watchable because they’re so f*cking dumb. But, also he brought in movies from Europe that were brilliant—he brought in Fellini! I mean, he’s a smart man. Also, he hired people and gave beginners their very first break. Nobody wants to do that now; they want to only hire “the best.”
ZB: I’ve read that you ad-libbed a lot… and that were allowed to do whatever you wanted. How much was ad-libbed in your films?
MW: Paul allowed me to do anything I wanted—that’s why Eating Raoul works. When I was on the set of Rock ‘n’ Roll High School, I told Allan Arkush, “Look, Allan, I really need to be an Our Miss Brooks—I need a TV series, because I really need the money.” He said, “Fine, you can play the head [Miss Togar] of Rock ‘n’ Roll High School.” What happened to me is: I didn’t play Our Miss Brooks, but this absurdity that mocked everything anybody ever thought about teaching… and it was great because they let me do it!
ZB: What about in Death Race 2000?
MW: I was very self-conscious, mostly because I couldn’t drive! I tried to imagine what they wanted and then do it for them, but quickly learned that they really weren’t paying attention to me at all—it was “Just drive this car and leave us alone.” That’s the last time I tried.
You know, in Rock ‘n’ Roll High School I had wanted to be Our Miss Brooks, but when I hit the set and saw those screaming kids, I just changed into a Mothra character! In Eating Raoul, I had Paul Bartel to play with—a master. He would set up the shot—yes—but I didn’t think about it until I was on the set and walking into the camera range…
There’s another really good one called Hollywood Boulevard. In that one, nobody knew what they were doing! Paul Bartel and I just ad-libbed—every time we were together we did massive ad-libbing. You cannot do this in Hollywood, though—it’s too restrictive. Movies don’t want you ad-libbing unless you’re a Jack Nicholson.
ZB: Did you write the dialogue before you shoot up and commit suicide in Night of the Comet?
MW: Yes, I wrote it. I loved that scene. The guy behind the camera was very vicious towards the director. The director was this sweet man and he did not take it well. I said, “Look, just let me write this scene—this Christmas scene.” I liked him—he’s a good director, but when you have somebody pounding on you like that, you stutter. He let me do that ad-lib; I couldn’t believe it.
ZB: Do you think low-budget cinema has a way of creating a more genuine or honest work?
MW: The reason why I did all these low, low-budget movies is because I have never again had the Theater of the Ridiculous. I could excel in that—the lower the budget, the more I could do what I wanted! So I would actually seek these f**king movies out. Or they would call me because their friend had told them I would f**king work for nothing. I mean, I’ve done some really low-budget movies—you have no idea: sometimes they didn’t even have a camera… I mean, what?! And I would do them because I was in love with that kind of acting.
The only time you get to do that kind of acting is when you’re on a low-budget movie. Or, the director doesn’t care… and that’s very rare. Every time I got an upper-scale movie, I felt that I was stiff, that I was doing what they wanted, or that I didn’t agree with it. I just really longed for the other and I didn’t have it.
I did do several films with artists, mainly the Yonemoto Brothers—there I could do whatever I wanted. They had me onstage once and I played Godzilla and I loved it. They made me plastic Godzilla feet, big rubber claw hands, I wore sunglasses, a bikini, and they gave me a tail. A tail! I was in love. I had to stay under the stage until it was my turn to come on, and when I came onstage, the audience threw ping pong balls at me! It was such a great play, but of course there’s no recording of it. I loved that; it was great.
I did something with Michael Kelley that was fabulous. I almost started doing art performance stuff. But the Michael Kelley movie, Kappa, that I loved, was great—it was absurd. Michael Kelley is a really good actor.
I have to tell you something else: one of the main reasons I stayed with Warhol was not because I understood the movies he was doing. I mean, I physically understood them… and I understood what he wanted from me: this mannish kind of… what I do… but I didn’t understand what impact they were having, and how important they were. The reason I stayed is because I fell in love with Ondine! I loved this man—he was f**king great. This is a man who is beyond me in acting, and his anger level was insane. He was fabulous. He did plays with me… that S/M play (I forgot the name). He was incredible.
ZB: Do you think that anger or low-tolerance issues has anything to do with high IQs?
MW: No, I don’t. I’ve seen some really awful people who were angry [and not bright]—it was a waste. I was in love with power, but in a certain way—not transformative. Power that destroys itself. Definitely cathartic; just extremely destructive.
Death is a big part; you have to deal with death. You have to deal with it in any role you get. That’s all people are interested in.
Confrontation can be very boring, you know—two people screaming at each other. I like it when the soul of the person onstage is the thing that he’s afraid of. I don’t really believe in a “soul” or “God.” Or maybe it’s always behind him and he can’t see it. So it’s this battle of right-and-wrong or black-and-white—this battle of opposites where sometimes he succeeds… but if he succeeds too much, he murders himself. He fails—it’s just human nature. That’s what I like. It’s hard to explain; I would have to write a play that would explain it like that—
ZB: Have you written plays?
MW: Not really. I don’t want to do that. I don’t want to deal with actors!
ZB: I read that you had made pornography at some point?
MW: No, that was my husband. I’ve been married twice. In my first marriage, I thought this guy was going to have a good directing career. I did a movie for him in Italy and the movie was brilliant. It was very stiff and dated, but nevertheless that fascinated me.
The next movie he got was a horror movie where I had to play a victim, and I was really not cool with that.
The first one was called Panic—you can never find it. Some people bought that movie and made it into something else—they turned it into scrap. I hate them.
After the horror movie, he did a sex movie. By this time we were not having fun. He dressed me up as a lesbian but it wasn’t my doing—it was something I was asked to do, and it became odd and stiff. I’ll never forget there was a bathtub scene and he said, “Okay, you lie in the bathtub and wear a panama hat.” He was a big Godard fan; there was a scene [in the Godard film Le Mépris] about a guy in a bathtub with a panama hat on. I said, “You know, that’s a good idea.” Then he hands me an S/M magazine and says, “You’re reading this.” I thought, “What’s next—a dildo and I’m sucking on that?” That really pissed me off. So I divorced him. That film was called Sugar Cookies.
ZB: Have you ever been offered a role that you turned down—wished you had done, or didn’t actively pursue?
MW: I didn’t really actively pursue anything. I wasn’t that interested in my acting career here (on the West Coast). I needed money. And when I no longer needed money I stopped; I didn’t have to do it anymore. I was very happy to just paint and write.
ZB: When you were doing Roger Corman movies, what were some of the elements you enjoyed most?
MW: Corman I loved! I didn’t care if they didn’t pay me. It was f**king great. The really low-budget movies that I did, I didn’t do them for money, because I missed the Theater of the Ridiculous. I thought I could recreate it in this movie where they’re not paying me because I could do what I liked. I mean, I actually took a role called “She Bitch Slut Face”! I thought it was funny. Nobody else thought it was funny, but I did.
ZB: The roles you play are always strong, dominating female roles; people are really impacted by your presence—
MW: Look, I go to the coffee shop and they’re impacted by my presence! [laughs] I was just built like that.
ZB: Do you think your beauty helped you to manipulate… or empower yourself? Do you consider the characters you portrayed as “feminist”?
MW: I’ve never been terribly interested in the fact that I’m beautiful. Most of the time I don’t feel like it. Doesn’t have anything to do with it (feminism). Politics were a part of my performance in the fact that I’ve never understood why I can’t say cunt or fuck or for that matter why I can’t say fag. I mean, the people I knew, the people I was in love with—they were not “gay”—they were f**king fags, man, and they were vicious and unhappy—and they were wonderful!
I just don’t understood this stoppage of language. I look at a girl and she’s talking about her hair and I say, “You know, any cunt in the world would—” and she goes, “What! What?!” I almost do it because I just want to see the reaction. What is wrong with the word “cunt”—I mean, it’s a word! It has nothing to do with having fabulous manners, because nobody has manners anymore. It’s women that don’t want women to say “cunt”—not men. The men just sit there and smile at me. Actually, I think it turns them on. [laughs] The English say it all the time, but they mean a man, not a woman.
ZB: Some people have issues with the way Warhol portrayed women—that they were caricatured. What do you think about this?
MW: Warhol loved women. Most fags love women, they don’t hate them. Just because they don’t want to f*ck them doesn’t mean they hate them. Warhol loved Edie Sedgwick; he was in love with her—not in a sexual way. (This crowd, they did not think “love” meant “sex”. They were very advanced. You could love something and not want to fuck it to death. You could also hate something and really want to fuck it to death.) He even hired a girl who looked sort of like her but was a cheaper version!
Warhol loved beautiful girls; he loved Nico because she was beautiful and she was a real cunt. He loved drag queens: they did nothing but mock women, but they loved women, they’re about women, they overdo women, they under-do women. It’s all about women. Warhol didn’t have anything but love for women. Granted, he didn’t feel sexual towards them.
ZB: What do you think he loved about Edie so much?
MW: Number one, she almost looked like him. She was vibrant and rich—that was important to him. She was from a very, very good family, which was important to him. She would take everybody to dinner and pay the bill (nobody did that). She was great.
The thing I’ve come to realize is the reason why I stayed in The Factory so long was because of Ondine. I really had trauma separating from him. He was wonderful, he had anger that far surpassed mine. He was beautiful. He was also very smart, very clever—he introduced me to Theosophy and to the Book of the Dead. He had morals; morals that were very strange but always correct: if somebody was hypocritical he would nail them. When people were corrected by him they responded by anger and then suddenly when he didn’t let up, fear. Which is nice.
ZB: Will you talk about Swimming Underground?
MW: I think the book is very fair and a good assessment of what I did. It’s also told in a fictional way, so that what happens in the book gets the emotion across. That’s how I tell it; the fiction gets the real emotion across, and that’s what they must feel about this because if they were stuck in that scene, they would feel that way. These fags, as I like to call them, were angry. They were not considered people; they saw no hope. They turned gay at really young ages out of desperation and fear. You get a bunch of people like that together and they do go artistic. They also go insane. The whole scene was hyper-sexual—I don’t care if it was “gay” or “straight” because these people were illegal. They were just great… plus it was all amphetamines.
ZB: What’s going on with the documentary about your life?
MW: I already wrote the script for it. I might put it into a book called Cult Queen. I have a new book coming out that will be called What Really Happened. Cult Queen will be autobiographical but it will be done as a joke. I see no other way to face my career. I’m quite sure that when I do finish Cult Queen—if I ever do finish it—I will have said “stuff” that isn’t true, but it’s stuff that affects you in the way I would like you to think about.
People are so interested in “reality” it’s kind of boring. Another thing you can create without reality, is to form an emotion in someone that he should explore, in the context that you put it in. And it will tell him more about living with the Mole People than I ever could.
My intention is to make people feel. I want them to feel.
ZB: You got into “Punk” bands after you moved to L.A. Which bands did you like?
MW: I loved it! Anger. The band that I liked the best was X. There’s a reason they were so popular: she has the voice of Los Angeles; it’s just a wailing, fucking, fucked-up cry. L.A. was a very freaky place. I like it, I can just be alone—and you can just disappear here. It’s wonderful; it’s hot but I like it. I like it much more than New York—there used to be great slums there; now everything is really rich and very boring.
ZB: Do you have any particular memories of the Punk scene?
MW: The Starwood, man—that place was gorgeous, it was hideous but it was the greatest. It was gigantic, scary, it was wonderful. It just went on forever into the night. There was a club called the Zero Zero, Zero One—they named it a whole bunch of things. Madame Wong’s, all that kind of shit. Zero One was the best. Some of these clubs were merciless. You could meet anybody there, it was so bizarre.
I like FEAR, the Melvins and the Mau Maus.
I loved the energy—it was fabulous. [end]
NOTE: The film documentary on Susan Sontag will have a special showing at the San Francisco Jewish Film Festival in December with the director speaking; google to find when. An interview with the director by Zora Burden is scheduled for the January RE/Search newsletter.
1C: We need YOU to order books direct from us to help us keep going!

() Order in advance the new RE/Search pocketbook on CHARLES GATEWOOD, a pioneer of avant-garde photography. This biography includes an essay by Julia Helaine. Our intern Meg de Recat helped copy-edit.

() 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 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: 10 Must-Read Philosophy Books (by V. Vale)
1. Tao Te Ching (various translations) by Lao-Tzu
2. The Book of Lieh-Tzu
3. Ancilla to the Pre-Socratic Philosophers
4. The Story of Philosophy by Will Durant
5. Great Dialogues of Plato
6. Chinese Proverbs (Peter Pauper Press)
7. Japanese Proverbs (Peter Pauper Press)
8. Manifestoes of Surrealism by Andre Breton
9. Conversations with Andre Breton
10. Dialogues with Duchamp by Pierre Cabanne
2: Counter Culture Hour – Sat Dec 12, 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 Dec 12, 2015 USA; east coast: 7:30 PM Sat Dec 12, 2015. Tokyo: 8:30 AM Sun, Dec 13, 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:

() **BERKELEY** FREE – NOW thru Dec 31, 2015: Guy Colwell paintings at East Bay Media Center, 1939 Addison St, Berkeley, CA

() **LONDON** Free Thur Dec 3, 7-10pm xero, kline & coma, 258 Hackney Rd, London Ew 7SJ. Exhibition Opening.

() FREE Thur Dec 3, 6-10pm. “Art’s Not Dead SF” show at The Convent Arts Collective, 660 Oak St/Webster-Fillmore Sts, SF. 415-430-7700. Lapo (Emerald Tablet) is involved!

() $ Fri Dec 4, Clay Theatre presents Paolo Sorrentino’s YOUTH. By the creator of The Great Beauty—’nuff said! 2 hrs 4 mins.

() ? Fri Dec 4, 7:30pm/8pm sharp ATA, Valencia/21st St: Doug Katelus plays SOLO ORGAN (Hammond) – Atom Heart LP release party!,

() $ Sat Dec 5, 7pm Jello Biafra & the Guantanamo School of Medicine, ArnoCorps (Mythic Metal), Fleshies, Death Hymn Number 9 – Slim’s – BE THERE OR…

() FREE **HOUSTON,TX** Sat Dec 5, time? Bobby Neel Adams Photo Show at Gspot Gallery, 310 E. 9th St, Houston TX 77007

() $ Sun Dec 6 Jonathan Richman at GAMH (Great American Music Hall, S.F.)

() FREE **STANFORD, CA** Mon Dec 7, 7pm Aldona Watts film “Land of Songs” premieres! 6pm Reception, 7-8pm film, 8-8:30 Q&A w/Director Aldona Watts, editor Nicholas Berger, Cinematographer James Kennard. Stanford University: Bishop Auditorium/Lathrop Library, 518 Memorial Way, Stanford CA 94305. campus parking free after 4pm! Margaret Mead Filmmaker Award Honorable Mention

() FREE Tue Dec 8, 630pm CCA Wattis presents Ellen Cantor and Carissa Rodriguez  (RE/Search will attend),275,269

() $ **LOS ANGELES** Sun Nov 8 – Savage Republic is playing with Fourwaycross and Faun Fables at the Echo in Los Angeles, California

() $ Wed Dec 9, Agnostic Front at Thee Parkside, SF

() $ Thu Dec 10, 730pm and Sun Dec 13, 2pm: YBCA presents “Industrial Soundtrack for the Urban Decay” – V. Vale in person for Q&A etc. (V. Vale RE/Search has a cameo in it! Also: Throb.Gristle, Cab.Voltaire, SPK, more!)

() $ Thu Dec 10, 7pm: Rick Prelinger’s “Lost Landscapes of San Francisco” benefit for Internet Archive, 300 Funston Ave, SF.

() $ Fri Dec 11, Nick Lowe at GAMH (Great American Music Hall), SF

() FREE Sat Dec 12, 10-5pm. EBABZine Fest (East Bay Alternative Book and Zine Fest; meet V. Vale there!),  Berkeley City College, 2050 Center St/Shattuck-Milvia Sts near University St downtown. Please post to your website and social media the attached flier image and invite your folks to the following links:
EBABZ FB Like Page:
EBABZ 2015 FB Event Page:
EBABZ Website:
-For more hype, social media tag @ebabzfest #ebabz2015

() $12 Sat Dec 12, 9pm Our former intern Rykarda Parasol – new record-release concert-party! Bottom of the Hill, SF

() $ Sun Dec 13, 2pm: “Industrial Soundtrack for the Urban Decay”- V. Vale In Person for Q&A afterwards. See Thu Dec 10 above!

() $ 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 LIFE: What We’ve Received, Liked, Experienced

() Ruby Yang (SFAI graduate, Academy Award winner) was in town from Hong Kong with her newest documentary, “My Voice, My Life,” an uplifting film about the power of singing to change the lives of at-risk and other mis-fit youth.

() 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 Auto (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.

() NEW BOOK! “Jack Sargeant‘s Flesh and Excess: On Underground Film, an obsessive examination of the visceral in underground film, punctuated with dissident Surrealism, Beat culture, wounds, riots and butoh, and much more. “Quote TK”—Ron Athey.
“Flesh and Excess is a work of passionate scholarship. More than a history of transgressive cinema, Sargent examines the persistence of underground art across generations, and the particular appeal of cinema that enfolds physical pleasures and horrors. It’s a clear-eyed and fascinating book.” — Chris Kraus [Semiotexte, L.A.]

() Edith Crash: Partir. Vinyl LP. Beautiful French songs.

() The Beat Museum was visited by both Patti Smith and Jimmy Page recently!” ?>” ?>  <?dada redirect url=” ?>

() Loved the Tav Falco (w/Mike Watt, Toby Dammit) concert Nov 1 at Brick and Mortar, SF and the Memphis book reading (from his 99-photo hardback) the next day Nov 2 at the Octopus Literary Salon, 2101 Webster St/22nd St, Oakland. Tav is seeking a Bay Area venue to debut his first feature film titled “Urania Descending”… contact:
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!

() from Gloria K:
– Interesting!!
“”Reading surrealist works Creates new brain patterns that make us more intelligent” – Hehe!

() from Miss Susie:

() from V in London: “The Revelation of Philip K. Dick: Exegesis & Event on Vimeo – Erik Davis:”

() Dec 1, 2015: Industrial Soundtrack For The Urban Decay (V. Vale has a cameo in it) will be released on DVD & Blu-Ray). – Note: this film documentary will also be shown on a big screen at Yerba Buena Center Dec 10 and Dec 13 – see above “Forthcoming Events” for details. V. Vale will appear at both screenings at the end, for a Q&A etc…

() – Emily Armstrong/Pat Ivers –

() fast-forward to find the V. Vale “spoken words” on this Punk Rock “panel”:
6: Quotations
Translated from Marcel Duchamp:

() I have forced myself to contradict myself in order to avoid conforming to my own “taste”.

() I don’t “believe” in art. I “believe” in artists.

() The spectator “completes” the work of “art”.

() Destruction can also be creation. Destruction can lead to creation.

() There is no “problem”, because there is no “solution”.

() Since a 3-dimensional object casts a 2-dimensional shadow, we “should” be able to imagine the unknown 4-dimensional object whose shadow we may be.
7: Letters from readers
() Meri St. Mary Dec 2015 News: “December 2015 I’m engineering/producing/hosting 3 radio shows on KVMR.ORG (worldwide):
12/6/15 Hallalujah  Hollaback 12noon-1pm an hour of inspirational old timey Gospel music.
12/13/15 & 12/27/15 The Underground Sound 10pm -Midnight 2 hour show celebrating counter culture sub culture & outsider artists: Monte Cazazza in studio guest!

() “V. Vale, I recently saw a couple documentaries I thought you might find interesting if you hadn’t seen them already. One was “Call Me Lucky”, about comedian/activist Barry Crimmins and the other was “Dark Web”, about cryptocurrency, Silk Road and the arrest of its founder Ross Ulbricht.” —Reid M.

() “Please order THE BIG TAKEOVER #77! Interviews: Ride (cover) * Dr. Demento * Royal Headache * The Damned pt. 2 * Mercury Rev * Sloan pt. 2 * Low * The Flesh Eaters’ Chris D. pt. 2 * Dar Williams * Paul Weller * Tamaryn * Hinds * Martin Newell (Cleaners From Venus) * Pugwash * Insect Ark * Shopping * Desert Stars * Sweet Madness
“Editorials: Rabid: “ Indie Music: From Dearth to Downpour to Deluge” * Sommer: “Re-Assessing The Legacy of The Clash…or Not.” * Kelson: “Still Falling and Laughing—Tracing the Birth of Indie Pop”
“Live Reviews: Bad Religion * Belle & Sebastian (+ Real Estate) * Buzzcocks * The Decemberists (+ Alvvays) * Ride * Royal Headache * The Spits * Swervedriver * The Thermals (+ La Luz) * The Weirdos (+ The Adolescents and Electric Frankenstein) * The Who
“CD Reviews: Able Tasmans * Mike Adams at His Honest Weight * Ash * Lou Barlow * Courtney Barnett * Beach House * Jello Biafra & the New Orleans Raunch and Soul All-Stars * Black Watch * Cheatahs * The Chills * Leonard Cohen * Co-pilgrim * Day Ravies * D.O.A. * Donovan’s Brain * Duke Ellington * EZTV * Flyying Colours * Robert Forster * Robin Gibb * John Howard & the Night Mail * Jenny Hval * Idaho * Isley Brothers * Michael Head & the Strands * Killing Joke * Lilys * Motörhead * Nada Surf * Nap Eyes * Willie Nelson & Merle Haggard * Newtown Neurotics * The Nils * Only Ones * Elvis Presley * Roger Lion * Persian Leaps * Pins * Pointed Sticks * Miranda Lee Richards * Salad Boys * Secret Shine * Shifting Sands * Shondikes * Paul Smith & the Imitations * Staple Singers * Stay * Tame Impala * Three Hour Tour * Johnny Thunders’ Heartbreakers * Peter Tosh * Totally Mild * Triptides * Conway Twitty * Ultimate Painting * Muddy Waters * Astrid Williamson
Hope you all pre-order it, or buy it when it’s out! And/or hope you subscribe, as that is still by far the best way to support the print magazines you love if you want them to keep going. It means a lot to them! And hope you can share the gift of reading with your friends! Cheers! Jack Rabid”

() “Hi Mr. Vale, Here is one story, which will be making many headlines this year. Headlines like “You like your smart phone, but does your smart phone like you?” The project that I would like to tell you about is one of the early birds in how robots will evaluate human beauty and I will be supporting this project because it may also have a major impact on aging research.
“Please visit for project details and a 30-second video. The contest will migrate to on Wednesday, November 11th and the app will become available on November 12th. — Alex Z.”

() “Mr.V;  i was thinking about the term ‘black humor’ that we have bandied about….I really think the correct term should be gallows humor….or guillotine humor – as many times those getting executed would say some witty remark for their last words…now that’s style… Thanks as always for the excellent newsletter…—Monte C.”

() “VV:  You were excellent at the library talk – good to hear you being interviewed… I recorded your parts—want to cut them up and loop them and add some sound… anyway, check out El Jardin Prohibido by Claidia Jares on youtube; I did the score and in case you don’t remember check out Uncle Bill Burroughs’s “Thanksgiving Day Prayer” on youtube; stll a great piece of gallows humor… you were so funny when you started out giving Peter Urban a hard time… too much serious bullsh*t and it set the tone: if you are going to be live don’t be memorex be live… anyway we still have to do some music sometime in the future… and what was Abby looking for in that paper bag—did a mouse run in there? Ciao, Monte C”

() “Hey Vale, Hope you’re doing well.
Here’s a private link to my first ever album!  Songs I wrote the lyrics for with John Cale back in the 80s and new stuff, all produced by the leader of Caged Animals, a Brooklyn indie band. Enjoy! Hope to see you soon. Best, Ratso, Nov 8, 2015 email


() Holidaze Lyrics to DEVO’s “Merry Something To You”:
Whether You’re Christian, Muslim or Jew
Happy Holidays
Any Old Dance That You Like To Do
Happy Holidays
Eat Bite Drink Up Nibble Gobble Chew
Happy Holidays
Believe What You Want To / Nothing’s Really True
Happy Holidays
Merry Something! To You!

() from Jukka Lahde:

() Last Gasp has a new artbook by Jay Howell:

8: Sponsors
(Without them you would NOT be receiving this newsletter – Please go to their websites!)

Here, a personal thanks to our pal Dave S. And this newsletter would not exist without Andrew B. and Emily.

If you would like to subscribe, we ask for a 6-month minimum of $72. (But, we will take sponsorships @$12/month!)

1. BEYOND BAROQUE: Only bookstore in L.A. with a complete stock of RE/SEARCH BOOKS! Please patronize them… (Also, some RE/Search titles at The Pop-Hop in L.A.; thanks, Rhea Tepp!)

2. Kevin O’Malley+Christie Dames, the High-Heeled Anarchist: TechTalk/Studio: + Commonwealth Club, San Francisco. (x4/31/16)

3. $0$0$0$0$0$0$0$0$0$0$0$0$0$0$0$0$0$0$0$0$0$0$0$0$0$0
V. Vale’s RE/Search Newsletter is cordially sponsored by “Beyond the Beyond.” @bruces
Information Wants To Be Free WE MEAN IT MAN!

4. Beverly Potter sent us her newest ultra-fun memoir, Animal House On Acid which includes tales of Punk Rock in Berkeley, specifically the Barrington Hall co-op. Order from: (x7/31/16)

5. THANK YOU, TIJANNA Eaton (x02-28-16)!

6. Reid Mukai (Cascadia Vape) wants you to know e-cigs and vaping aren’t just about nicotine. He carries vape pens for dry herb/oil concentrates and e-liquids containing CBD and Kava. To learn more, visit (x05/31/16)

7. Flesh and Excess by Jack Sargeant (new book) (x05/31/16)

The end, for now

[photo here]
Abby the cat

December 2015 RE/Search Newsletter #145 written by V. Vale & other contributors. RE/Search website powered by Laughing Squid.

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