Issue 19 : Fall 2010








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11 Sep 2010

SF CA 94110


Date: Mon, Aug 16, 2010 at 6:47 PM
From: Andrew Norman Wilson
To: Other Zine

Hay! How are you!?! I recently had my follow-up [to "The Virtual Assistant," OTHERZINE 16] published in a journal out of the UK and I think it works pretty well -

Check out pgs. 33, 34, and 35.


Date: Mon, 15 Mar 2010 10:13:03
Subject: Your "Bob Dobbs" interview

Bob Dobbs" [--see 'Motor Mouth,' OTHERZINE 18-19] is actually Bob Dean, an egotist who calls himself "Bob Dobbs" because it gets him attention from the Church of the SubGenius. That's the only way he ever gets any attention, because every word that comes out of his mouth is about himself, himself, himself. He can channel the undead spirits of Frank Zappa, Marshall McLuhan, and James Joyce all day, spinning them into somewhat comprehensible strings of nonsense that he attempts to pass off as genuine words of wisdom. This has managed to convince about five people that Dean actually is saying something meaningful with his unending blatherings about "the android meme" and "xenochrony." ...If you listen to any of the dozens of recordings he's made about himself, you'll find that all he has ever done is repeat his meandering dialogues about the same subject, over and over, for over twenty years.


Sat, Jul 25, 2009 at 2:38 PM

...In my childhood I was given 'How to Win Friends and Influence People' in a futile attempt to get me to give up my impulsivistic ways. It explained how genuinely liking someone you don't know and have no reason to like makes for success in business. Another such gift, also futile was 'Gandhi: His Life and Message for the World.'

[Package from Other Cinema] received. Curious stuff. So the Unabomber is a Frankenstein created [...] for the CIA.

...So, another reversal in the Churchill case. I have been mispredicting the outcome of the case because I thought it was in Federal court. The jury verdict was baffling, although satisfying in one respect: the jury, somehow believing everything he said, thus believed him when he said he wasn't in it for the money, so, they didn't give him any. ...[W]hy hasn't this Constantine guy, if he is on to Churchill, posted 'Up Sand Creek Without a Paddle'? I know of no single better summing up of the case against Churchill.

Bob [Black]

April 11, 2007


...When did I say [Len] Bracken was a spook? His dad was a spook. That's why Len passed some of his childhood in Moscow and knows Russian. He was maybe groomed as a successor as he has a degree from a Georgetown spook-factory program, but that doesn't mean he's ever been one, but it all accounts for his interest in the subject.

I don't know of [Alex] Constantine. I never read [Sherman] Skolnick. I knew Jim Keith, he often published me in Dharma Combat, we met at PhenomiconII in Atlanta in 1992 (where we hung with Adam Parfrey, Greg Kupey, Matt Love, [...] Bracken, Kerry Thornley, and to a lesser extent Bruce Sterling and Poppy Z. Brite). Keith died in suspicious circumstances at Burning Man, one of whose co-founders, John Law, [...] beat me up at the Gorilla Grotto. ...There are police connections traceable there (via his pal Jayson Wechter, a civilian investigator employed by the San Francisco PD, and Gary Warne, Grotto proprietor who later became a policeman). You do the footwork! [...]

Any questions?

-[Bob Black]


to: monty cantsin
date: Fri, Apr 3, 2009 at 3:23 AM
subject: ATR

Hi Monty,

I just read yr
"Any Time We Come We Come Dangerous"
article & I thought you might be interested in this trivia:

ATR performed on Herr Stilleto Studios'
TV show in Berlin that I was a part of when
I lived there in 1994.
This show was on the open channel of
the public access cable tv stn
for a minimum of 15 hrs a day
for 2 mnths.
Stilleto, in case you don't know him,
is a German neoist.

ALSO, I was invited to be part of
Ron Sakolsky's anthology: Sounding Off.
& contributed my "& the DeadBeat Goes On & On & On.." article to it but I was so pissed that Sakolsky cut out all but 2 or 3 paragraphs of it (I think he censored it) that I refused him permission to publish it. Instead, it was published here: MUSICWORKS 63 (Fall, 1995).