SEARCH & DESTROY — NO. 4 (1977–78)
- Regular price
- $ 2,500.00 MXN
- Regular price
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- Sale price
- $ 2,500.00 MXN
Published by: Search & Destroy, San Francisco
Year: 1977
Editor: V. Vale
Issue: No. 4 — “New Wave Cultural Research”
Cover Photograph: Charles Gatewood
Dimensions: 27.9 × 21.6 cm folded (11 × 8.5 in); 27.9 × 43.2 cm open (11 × 17 in)
Language: English
Format: Tabloid on newsprint, folded once as issued
Pages: 24
Condition: Good — fragile newsprint showing visible signs of age and handling throughout the format. The paper has naturally become delicate over time, consistent with the original production and the passage of nearly five decades. The copy remains complete and retains its original printed material.
Issue No. 4 of Search & Destroy is one of the defining numbers of V. Vale's San Francisco punk tabloid, published in 1977 at the moment when the emerging punk movement was beginning to connect previously separate underground scenes across the United States and Europe. The publication operated from City Lights Bookstore in North Beach and combined music journalism, photography, cultural criticism, interviews, and documentation of the rapidly developing new wave underground.
The cover features a photograph by Charles Gatewood of Helen Wheels, the New York punk singer and performer. Gatewood's image captures Wheels onstage, embraced by a fan, with the physical intensity and intimacy that became characteristic of his documentation of underground culture. The photograph would become an important early connection between Gatewood and Search & Destroy: V. Vale later recalled discovering Gatewood's work through his 1975 book Sidetripping, and subsequently placing one of his photographs on the cover of this issue.
The issue's cover lines map the increasingly international reach of the punk underground: Iggy Pop, Jordan of the London SEX shop, Patti Smith, the Dead Boys, and the French band Metal Urbain. Inside, Search & Destroy moves constantly between San Francisco, New York, London, and Paris, documenting musicians, performers, writers, photographers, and cultural figures before many of them had entered the established historical record.
Among the issue's subjects are Death, Iggy Pop, Hunt and Tony Sales, Jordan, De Sade, Patti Smith, Lance Loud and The Mumps, the Dead Boys, Metal Urbain, Helen Wheels, The Spitfire Boys, and Sham 69. The issue also includes photographs and contributions connected to Charles Gatewood, alongside period advertising that preserves the wider network of clubs, record labels, artists, and underground businesses surrounding the scene.
The interview with Jordan is particularly significant. Her appearance in Search & Destroy No. 4 became an early printed document of the London punk milieu surrounding SEX, Vivienne Westwood, Malcolm McLaren, and the Sex Pistols. The issue therefore functions not simply as a San Francisco publication, but as a point of exchange between the American and British undergrounds at the height of punk's first international emergence.
Printed cheaply on whitened newsprint and folded once as issued, the physical construction of Search & Destroy was deliberately closer to an underground newspaper than a conventional magazine. Its fragile paper stock has made surviving copies particularly vulnerable to handling, folding, and deterioration, adding to the archival importance of complete original examples.
Search & Destroy would ultimately run from 1977 to 1979, with eleven issues documenting the development of the early punk and new wave underground. V. Vale subsequently transformed the project into RE/Search, extending its investigation into industrial music, transgressive literature, experimental culture, and outsider practices.
No. 4 is therefore an especially important issue within the short run: it captures the moment when San Francisco's scene was no longer isolated, but actively exchanging images, ideas, music, and people with New York, London, and continental Europe. The Gatewood cover, the international scope of its contents, and its fragile original tabloid format make it a particularly strong primary document of punk's first cultural network.
Intermission exists in the space between documentation and devotion an ongoing archive of cultural fragments that refuse to vanish. Each title within our portfolio is selected not for trend, but for tension: between what was meant to disappear and what insists on remaining.
We work with objects that speak quietly but persistently publications, recordings, and editions that define the undercurrents of art, sound, and design. Together they form a living record of marginal brilliance, a collection that privileges significance over scale.
Intermission exists in the space between documentation and devotion an ongoing archive of cultural fragments that refuse to vanish. Each title within our portfolio is selected not for trend, but for tension: between what was meant to disappear and what insists on remaining.
We work with objects that speak quietly but persistently publications, recordings, and editions that define the undercurrents of art, sound, and design. Together they form a living record of marginal brilliance, a collection that privileges significance over scale.
Every Intermission title is handled as an artifact. We believe that preservation is an act of reverence one that begins the moment you open a cover or unspool a tape.
To experience a piece, do so slowly. Allow the air to touch the paper, let light fall softly over each page. Avoid excess pressure; handle edges rather than surfaces. Each mark, fold, or patina is part of its passage through time evidence of care rather than decay.
We encourage collectors to engage not only with the content, but with the gesture of preservation itself: a quiet commitment to memory.
Every Intermission title is handled as an artifact. We believe that preservation is an act of reverence one that begins the moment you open a cover or unspool a tape.
To experience a piece, do so slowly. Allow the air to touch the paper, let light fall softly over each page. Avoid excess pressure; handle edges rather than surfaces. Each mark, fold, or patina is part of its passage through time evidence of care rather than decay.
We encourage collectors to engage not only with the content, but with the gesture of preservation itself: a quiet commitment to memory.
If you still have any questions, feel free to contact us.
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