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Last 6 Copies! SEARCH & DESTROY #7-11 10″x15″OversizeBook (gift: S&D#4)

(1 customer review)


Search&Destroy Volume Two (contains issues #7-11), a giant-size 10×15″ BOOK ($100 plus $12 shipping) contains interviews with William S. Burroughs, J.G. Ballard, John Waters, Russ Meyer, Patti Smith, Roky Erickson, Cabaret Voltaire, Screamers, Cramps, DEVO, Chrome, Pere Ubu, Siouxsie, Alice Bags, New York Dolls, Dead Kennedys, D.O.A., Television, David Lynch, Winston Tong, Zeros, Sex Pistols, EXENE (X), Avengers, Target Videography, more…Combining art photography, cutting-edge graphic design, in-depth anthropological interviews, reference sections, directories and other permanent reference-value articles — this 10×15″ giant-size BOOK is crammed with lasting inspirational content and true history. To recap, Iggy Pop, DEVO, Dead Kennedys and Ramones are featured alongside William Burroughs, J.G. Ballard, John Waters, Russ Meyer, David Lynch & many others. This is not some fake, false-narrative, retrospective written by a so-called “writer” who was NOT THERE — this is the real thing, captured when Punk was first inventing itself. Lots more interviews; when we feel more ambitious we will give a complete listing!

Product Description

Search & Destroy #7-11 (10″x15″ BOOK) contains in a JUMBO SIZE book the issues of Search & Destroy #7-11, plus an INDEX. Printed On Archival Paper! Over 150 articles and 400+ photos and illustrations. Jello Biafra called Search & Destroy “the best Punk magazine, ever.” … A few names have corrected spelling, for history’s sake. Please note: binding on a 10×15″ book is fragile; handle with CARE!

1 review for Last 6 Copies! SEARCH & DESTROY #7-11 10″x15″OversizeBook (gift: S&D#4)

  1. V. Vale

    . . . Numerous books look back nostalgically at late-’70s punk. But a new two-volume collection of the pioneering zine Search & Destroy offers a genuine document of the era. . . . By discussing “ideas and culture” instead of “personal biography” with the Ramones, Buzzcocks, and others, Vale (and such contributors as Jon Savage) created fresh, thoughtful material. And discovered surprising tidbits: Who’d have pegged Nico as an Yma Sumac fan?”

    –Spin, May 1997

    . . . Instead of looking back at wild times, compartmentalizing them as “history,” editor/publisher V.Vale presents unaltered interviews, with famous and unfamous punk figures, that remain surprisingly vital after almost 20 years.”

    –San Francisco Bay Guardian, February 1997

    . . . . . . the hype surrounding Search & Destroy: The Complete Reprints is truly deserved. The original eleven issue run has reached near legendary status among those of us who still care about overlooked cultural icons like Frankie Fix or Jennifer Miro, and who are actually interested to learn that the Nuns’ guitarist considered Jackson Pollack one of his prime influences.”

    –Maximum Rock’n’Roll, February 1997

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Search & Destroy #7: THE CLASH
Search and Destroy: How did you go from being interested in painting to being in a band?

The Clash in action, circa 1977Paul Simeon: Well, what happened–somebody I knew at art college met Mick Jones in the street. He was a drummer and he rehearsed with Mick’s old group, the London SS. I was going out with some girl at the time and this drummer he was sort of like, after her, and he was sayin, “Why don’t you come down and see me play?” So she wanted to go and I didn’t want to go, so in the end I went. When I went down there Mick said “You’re a singer aren’t you?” and I said “No, I can’t sing.” So he got me down there singing. It was really terrible. (This was only about a year and a half ago). Then I used to hang around with Mick–he used to say to everyone, “This is my bass player, but he can’t play.” I couldn’t do nothing: I couldn’t sing, I couldn’t play instruments, I couldn’t do anything, I was useless. Mick, in fact, taught me how to play. Every note I hit–that’s all from what Mick taught me.

So we borrowed a bass–it used to belong to Tony James of Generation X. I painted notes on it so I could remember where to put me fingers!

S&D: What’s your main interest in the Clash?

PS: There’s so many things I’m interested in and that center around the group: the music, the words, everything. I sort of basically design the clothes; I’m very much a visual person.

S&D: Are you into the political aspect of the band?

PS: Yeah, definitely. Otherwise I wouldn’t be in the group.

S&D: Did you write any of the songs for the new album?

PS: No, I do write, but it’s very difficult; I get put off in a way that-I’m always being told I gotta learn my bass!

S&D: Has the band started making any money?

PS: …Before we’d always be worrying about we’d always about where we’d get our next meal. Whereas now we don’t have to worry about that so much.

S&D: Can that change the nature of the group?

PS: Don’t think so. I mean, we know what we’re doing, we know what we want to do.


S&D: It seems like your most instantly memorable song is “California Uber Alles”–how did that come about?

Jello Biafra: It starts with the post WWII baby boom bringing a huge bubble in the population; a very large group of people of a certain age group moving up the scale who reached their teens and early twenties in the 60s when the Vietnam War was going on…

S&D: Right, the first post-atom bomb generation–

JB: And the first vid-kid generation. OK, the ’60s were very intense; we had Kennedy assassinations, the Vietnam War, Civil Rights, people were waking up to their poisoned ecosystem. There were a lot of people just Rebelling, a lot more than what is going on now, and saying, “I want to make my own rules, I want to run my own life,” etc. And gradually, about ’72 or ’73 (different time for different people), the bubble seems to have burst, both for the hippies and others from that era, who had just gotten to the point of “Where do I go from here?”
S&D: –Inward “self -realization” and all that bullshit–

JB: But part of the self-realization is that there was Nothing There! It was kind of hollow, and so a lot of people seemed to be wanting to be told what to do–that’s one more of the reasons why you see more and more people turning to totalitarian mindf***k organizations–

S&D: What is “Kill the Poor” about?

Dead KennedysJB: It’s about the neutron bomb in American cities. When you’re fighting a foreign country, the best way to win a war is to devastate them economically and you can’t do that if you leave all their buildings intact, so obviously, they’ve put this together to use it on us! So that’s what the song is about–it’s sung from the point of view of one who’s going to survive. Sometimes I like to slip inside the villains and speak that way rather than standard protest stuff: “Jobless millions whisked away, no more welfare tax to pay!”