 It is a real honor to be part of this panel. I am going to be just talking about the Bay Area Dottis, give you sort of a snapshot of 1970s San Francisco. I will say, I know a lot of you know some of it, a lot of this perhaps, but I know that not everyone does, so forgive me if there's stuff that you know that you'll hear from me again. I'm also going to talk just briefly about punkzines because we have an expert here. I do think that history is important now, especially to be in touch with, I'm not an artist, but I am a historian and I am fascinated by artists, so. All right, so some images of 1970s San Francisco. The group I'm going to focus on is the Bay Area Dottis. You know some of these names, perhaps Bill Picasso, Gaglioni, Tim Mancusi, Charles Chickadel, Irene Dogmatic, Anna Banana, and there were others. They all met up in San Francisco in the 60s and 70s. This was obviously a complex transitional time when the hippie era was peaking and there were more cynical currents arising more and more. Gaglioni, who had come from New York, talked about how they adjusted to being on the West Coast. He said, we sort of goofed on hippie culture, though our hair was long and we smoked dope by two. I guess we were cynical because we were from back east. They found Bohemia, they found affordable living, they found urban density and they stayed. Mancusi said there was a convergence of creative energy in a place and time that discouraged limitations. They put on performances and on the left is their performance of being the Dada brothers where they marched as Dada in the Columbus Day Parade in 75. They put on their version of Tristan Zara's play, Gas Heart. They also put on the pink dot caper, which involved a bunch of them worked at Baron's Art Supply Store and John Held has written about this a little bit. They took these pink dots that they had that were extra at Baron's Art Store and had their friends just put them all over the city. So the city was covered with pink dots. It's one of their pranks. They also made zines from about 1970 to 1978. It's the correspondent school weekly breeder, the West Bay Dadaist, later Quo's, Dada Zine, the Medana Rag, Vile, Punks, there were many others. They looked to many different sources in making these. They were looking to fluxes and male art and they were also looking to the history of California and more specifically also San Francisco Publications. And you probably know some of these, the Attitude, the Oracle, Mojo Navigator, a rock zine put out by David Harris and Greg Shaw and then Semina, which is also an LA. They chose, the Bay Area Dadaist chose zines and I think we all know what zines are but it's kind of interesting to look at the history of them. Here are some historical ones from the 30s and 40s. They date back about that far. They can be defined as underground, amateur, non-commercial, small circulation, short-lived, usually put out by one or two individuals, usually associated of course with counter-cultural goals but any topic really, science fiction, politics, religion, travel, music, anything that one person or two people are interested in. They're distributed amongst interested parties. They're distributed through the mail or sold at a nominal cost, they're not for profit. And of course in the 60s and 70s with the rise of more easily accessible and affordable print technology like offset printing and xerography, more and more zines became more popular. Punk zines are by far the most famous I think. The Dada zines came out in print runs of about 50 to 300 at a time and they were sold at small stores like City Lights books like Lama Mel Center, also bound together books and they were also mailed internationally. I thought looking at one of the zines, the New York Correspondents School Weekly Breeder and the history of it might help explain some of the origin of how they got into zines. This publication began in 71 as a one-page flyer put out by the California-based Fluxus West director, Ken Friedman. He handed it to Stu Horn in Cherry Hill, New Jersey in 72. After one issue it went back to Mancuzzi in San Francisco and they put out a number of issues. The first issue was two pages stapled together kind of like a newsletter, but then they stapled, they put two staples on either side and he thought that made a big difference. The staples he said were significant because now it was becoming a zine and Ken Friedman said that starting with its modest single sheet beginnings that it grew to spark the phenomenon in publishing known as Dada zines. And I'll just let you look at these pages. They're full of newspaper cutouts, magazine cutouts, really anything maybe that they found on the street and lots of references to Ronald Reagan and Richard Nixon. So there's this cut and paste aesthetic that you see in these and using all of these different kinds of materials usually from the Bay Area Dada's themselves. One of my favorite pages is this one here on the right showing Nixon and Hoover and the caption reads, everybody in here but you and me is queer and I'm not so sure about you anymore. On the bottom Andy Warhol, Alice Cooper and the capital line Wolf all kind of just juxtaposed together and the readers left to think about what those things might mean together. I came to these magazines through my interest in Dada journals and my research on Dada journals. I think one of the most interesting parts of the Dada zines is how they do quote from Dada magazines. That's something that does make them stand out. They took reproductions from Motherwell's book Dada Painters and Poets. They cut out those reproductions and they put them on their pages. This page here on the left is, has the most examples of that. They cut out this man raised Dada photo and put it there. They cut out Dada triumphs from Dada to and put that there. And then also using the this flyer from Francis Bacavio from Funny Guy but in putting in Mancusi's name. And then this a really obscure cut. This is from an exhibition catalog in Cologne which maybe you've heard about that exhibition catalog or that exhibition but this is the catalog there and they excerpt that all put in with different excerpts from Blondie the comic and other contemporary references. They also even imitated whole pages. This might honestly be a coincidence but it's a striking similarity. This is a deluxe version of Dada 4.5 on the left by Tristan Zara from 1919. And on the right is this kind of bizarre cover where Gaglione has Dada shaped out of his hair holding a picture of a man who has Dada made out of hair on his chest and it says imitation Gaglione. It's sort of this sort of a narcissistic almost homoerotic coupling of the two images that does also kind of bring up interesting links between printing and performance I think. And then of course both of them have them over these classifies which at the time would have been even more striking I think for the first readers. And in Dada 4.5's case it's actually the classifies. Another Dada reference, the special neo-merits issue. I can believe me there is nothing about merits inside not surprisingly but they were just full of just references. And of course at this time there was, punk was becoming more and more well known in San Francisco. In San Francisco there were of course many bands at the time the Nuns, the Avengers, Crime, the Mutants, Negative Trend, Dead Kennedys, et cetera, et cetera. And these are photographs some by Bruce Connor of these bands and then of course the Zines. Punk, lobe, damage, search and destroy, cyclone, all Zines documenting the scene and doing a lot more than that as well so I'm sure we'll hear. Of course the punks were interested in Dada. I'm not going to talk very much about that but I just want to just point out you know this is just for example an article references Cabaret, Voltaire and then also talks about the similarities between black humor in punk and in Dada. I think people in this room know, I know people in this room know more about this than I but from all accounts, from everyone I've talked to including Vivaal about the scene in San Francisco it was encouraging, it was cross fertilizing, it was intimate. And this is of course the MAB and people were meeting there, they were talking, they were sharing ideas and the Zines reflect that to a certain extent. There are some overlaps between them. I would like to posit the idea that the Zines served as a kind of stage if you will, a medium that many different people, different people who are interested in say different aspects of art could come together or could make Zines. It was a platform that many people could take on. I'm showing you on the left a cover of flesh art or quotes, the titles change a lot. So actually the last issue of the West Bay Dada is with someone holding a picture of Gaglione where it says punk art, punk's a zine they put together in one day. They wanted to see how quickly they could put together one zine and they did it. Of course Irene Dogmatic whose collection is upstairs. She's an important link I think between these two. An issue of search and destroy includes a male art page that highlights Irene Dogmatic who of course performed in punk bands and edited a lot of Zines including dogarithms and this one insult. I thought the similarities between these were striking and I think it's also maybe points to the fact that the Zines again were this venue where people could in a way communicate, could meet if you will, where they developed a lot of the strategies that are common to both groups and a lot of the ideas that were in the magazines where it became defining aspects of both groups. Gaglione said to me it was almost like a rave. You do it and then it disappears talking about making these Zines and a lot of these magazines have disappeared. Mancusi said that they're sleeping in landfills. There are some still in existence of course and Zines are still around today and I actually wonder if we're gonna see a renaissance of Zines now after this week's events. I think people still want to have these objects. I think people are attracted to the materiality of them. They do, of course the internet is a venue for people looking for connections that the Zines were trying to accomplish as well but there's something about making this object, the materiality of it and also reaching different audiences, maybe even people who don't have access to the internet. And I also just want to emphasize the importance of that local scene. I think that it's the emphasis on this immediate community that catalyzed the explosion of Zines in San Francisco in the 70s and I think it really continues to inspire people today. So thank you.